what does it mean to write a script on spec?

For a basic definition and run down of what a spec script is in more detail, have a read of this article by NoFilmSchool

In this article I will mostly be talking about how to write a spec for a pre-existing series or character.

WHY write on spec?

While certainly more an Americanised prospect, the Spec Script refers to a script written by a non-affiliated writer of a pre-existing show and harnessing those characters and that world as a means of showing what said writer can do. In layman's terms, it’s basically a high-brow fan fiction, but rather it acts if nothing else as a means of a writer promoting what they can do, and giving a producer a chance to see that. As an example, earlier in 2017, during the hubbub of the release the short film The Problem With Apu, producer Adi Shankar put a worldwide call out for a spec script of The Simpsons with an aim to essentially kill off the character.

I personally did not win this call out, and while the development of said winning script has been sketchy since the winner was announced, I was however a very close runner up. You can read all about that journey here, on the ComedyCrowd site. And whilst my career is still only in its infancy I’ve found that oddly almost half of my writing, or at least critiquing/journalist side of it, has been spent writing about The Simpsons (or simply just its constantly plummeting decline), and I thought it would be valuable to this post to include it before we dive in to just how to write up your spec.

With this particular opportunity, it was a tricky process in that one had to navigate what side of the fence you chose to be on: Was Apu racist? Should he be simply ran over by, say, I don’t know, Bumblebee Man perhaps? Did he deserve any sort of send-off whatsoever? Or was he simply misunderstood and highlighted minorities, working class jobs and fathering on the most mainstream show in all of TV history?

In the above speech, notice how it took in both the past events of the show (Apu teaches Lisa that it’s OK to be vegan, Apu’s marriage - and then deception of that, and the birth of the quintuplets), while also generating momentum in the show, driving it forward with Apu’s decision making and in-turn evolving the character and moving it forward, whilst simultaneously killing him off in one move.

As the writer of this, I personally chose to try and punch for both sides. I certainly see the problematic side of Apu, but certainly respected the beats that only his character could have brought to the show. This speech was intended to walk the line of bittersweet as I knew the character had to go, but rather also wanted to respect - without feeling like it was fan coddling - the past events of this particular character and his meaning. The script ended with Apu getting on a flight back to Bengal, India; Manjula meanwhile having secured a fantastic new job there and giving Apu the opportunity to finally retire from his 24/7 life in the retail sector and look after his many, many children.

Although the spec script may seem somewhat ambitious from the offset, it’s certainly big business, with the Blacklist.com being the obvious example, or regular film and script submission hub Filmfreeway just one of many sites that hosts services that cater to the spec script all across the globe and even handing out awards at top competitions for the best. While perhaps one should not assume that a spec is ever going to get made it certainly makes for good exercise on a writer, and for a producer can really show them what exactly you can do when out of your comfort zone (and for the most part, now in theirs!).

Prime examples of exactly this could include Damien Chezelle, director of Whiplash and Oscar winning La La Land, landing his first professional job via a spec script proving that spec scripts can be worth your time if taken seriously, Chezelle even getting his first job in the industry and moving out to L.A. as a result of his particular one. And that’s without mentioning the brilliant Good Will Hunting, which practically every studio wanted back in the 90s.

simple but complexed

I’d offer this too; don’t be afraid to go simple. What is right in front of your face? What is such a simplistic everyday part of these characters that it almost makes you ask how hasn’t this been done before. Prime example: for me, it seemed such an obvious move to close down the Kwik-E-Mart. Apu is character conjoined to his beloved store, and to take that away from him - as the evil writer that I am - seemed an obvious step to me. A recognised landmark of such a well known town like Springfield as the Kwik-E-Mart undoubtedly is creates immediate tension and conflict for both my protagonist (Apu), and the locals (in this case Homer). Apu has lost his job before in the show (...to James Woods, oddly), but to have the store close entirely is a definite, and something that my character would really have to deal and cope with. By shutting the automatic doors for good, his whole character and existence is questioned immediately. That’s where your story comes from.

SOMEONE ELSE’S PLAYGROUND

I think if nothing else, a spec script gives you an opportunity to play with characters and worlds that most certainly are not your own. You want to take Rick & Morty on a crazy vortex spewing adventure? Do it! How about the latest episode of Sex Education? Fine, great, go for it. I’ve included a few choice picks of fan films that I’ve seen in the past, that no, aren’t quite spec scripts but do for sure show what a creator (and fan of a show) can do with some enthusiasm, their own creative eye and some experience shooting.

PRACTICE MAKES PERFECT

Finally, I’d simply reiterate; use this as a springboard. It’s likely that it’s never going to get made, but that doesn’t mean that it’s not great practice for yourself as a writer and perhaps, who knows, even a fantastic springboard for your career if the right people get their hands on it.