Spec Scripts

In my last blog entry, I focused on managers and agents in a general sense. I had mentioned some actor friends of mine, who had some experiences dealing with different agencies and managers. However, since then I’ve been lucky enough to have my eyes opened to one aspect that I had not thought of. And I met someone willing to shed a little light on the world of writers for film and TV and the road they take to find some kind of representation or management.

I had previously stated that to earn their 15% the agent has to do all of their work before you even do yours. This fact is true of artist managers. And in the case of acquiring the management, they usually need to have done some work prior that would move the agent to want to sign said person, either that or they have to audition in person. The process is much different for a writer. One could say that this process of acquiring a manager is much more of an uphill struggle.

My writer friend clued me in to the process. You need to have at least three spec scripts to turn in. Our fine friends at Wikipedia define a spec script as scripts by writers who hope to have a script optioned and eventually purchased by producers or studios or by amateur writers hoping to convince a literary agent to represent them or a producer to hire them.

And if you want to write TV and film? You need to have three spec scripts in each format. This of course makes sense, because an actor can act on the spot in an audition, but the writer needs something to stand by. Quick wit and clever spoken quips are not enough. So unlike actors, you find yourself doing all of your work up front, and even then there’s a very good chance that they will not like your work or style. And then you’re left with a handful of scripts and no agent or manager. Let’s thank the skies that we are not all writers.

For more information you should all check out "Tales From the Script" available streaming instantly on Netflix!