Tom in Vegas starts us off:
For those of us not in the business, what exactly is a "Spec Script?”
Tom, it’s a script that is written on speculation. In other words, no one is paying you to write it. It generally is a sample script of an existing show.
At one time producers only wanted specs of existing shows. Then the trend turned towards spec pilots. Now I’m getting the sense it’s slowly coming back the other way.
If I’m a showrunner I want to see that the writer can write in the style and voice of an existing show. He or she may have a fresh voice in pilots but I’m not looking for a fresh voice. I’m looking for someone who can adapt to my show.
Along those same line, Mike Bloodworth has a question.
I've been told that when one is trying to get on a staff he or she should not submit a script for that show, but samples of other shows they've written to demonstrate their skill, I guess this is to avoid the old, "Hey! You stole my idea!" accusation. Is this true? Or was I given bad information.
That’s one concern although if it’s submitted by an agent there’s an understanding that the writer won’t sue. I’ve talked about this before. Spec scripts will come in that are coincidentally similar to stories already in development.
Even on a general level. Their script may be Klinger falls in love with a hooker and a script already out to a writer could be the story Klinger falls in love with the general’s daughter.
Typically writers have a tough time winning these types of lawsuits. And they do it at their own risk because no one will hire them afterwards. So you damn well better win. (And some have and have ridden happily off into the sunset.)
The real concern for writers is that the showrunner and staff of that show know it so well that any tiny infraction you make will be flagged. The thought is you’re leading with your chin.
However, I don’t subscribe to this. I would MUCH rather a writer do a spec of my show. I don’t expect him to know all the ins and outs. But can he write my characters? Are his jokes funny and in the style of the show? Even if the story has flaws, is it the type of stories we tell in an approximation of the way we tell it?
I’ve been burned in the past by good spec scripts for one show and a lousy draft for mine.
From JAS:
Friday Question: I saw an article today about Adele Lim quitting the Crazy Rich Asians sequel because she was being paid 1/10 what her (white) co-screenwriter was being paid. Warner Bros. put out a statement that compensation is based on experience, etc. However, Lim seems to have a ton more experience than her co-screenwriter. The difference is that she's written a lot of TV, while her co-screenwriter's (very few) credits are on features.
As someone who has written for both TV and features, can you give an insider's take on this situation? Is it pure racism/sexism? Or is there really that much of a disparity between how Hollywood values experienced television writers versus more inexperienced feature writers? Do you think you would have made more on the movies you've written if you didn't a television resume?
I would be so far out of line to speculate whether there’s racism or sexism. But it is true that the more experience you have the more money you can generally command.
When negotiating with agents, the first thing the business affairs person will ask is what were her “quotes?” In other words, what was she paid on the last assignment? The goal is to work your way up the ladder to a high quote because it’s easier for the agent to get that price again or better it.
But at the end of the day it’s up to the studio to determine how much this writer is worth it to them. Can they lowball a writer knowing it might insult him and he could break off negotiations? If they don’t give a shit that he walks then yes. But if they need the deal to be done they won’t start with a bullshit number. The writer’s quote is the bottom line. And here again the studio has a decision. Do they want this writer enough that they’re willing to match or beat the quote?
So was racism or sexism in the equation? I have absolutely no idea. But I know this: IF a studio has a chance to screw you, pay you less money than your co-writer assuming he’ll never find out, they’ll do it every single time. Regardless of race, sex, age, experience, blood type.
And finally, from Liggie:
A baseball question. I've heard MLB would like to expand from 30 to 32 teams, to consist of two leagues with four divisions of four teams each a la the NFL. Which cities would you like to put these hypothetical two teams, and in which league? (Assuming they can get a stadium built, of course.)
Montreal and Charlotte, North Carolina.
What’s your Friday Question?
from By Ken Levine
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