Another open forum question – this one from Rob:

Alongside my features I’ve been working on a couple of TV spec scripts as samples. What’s the process/timing for submitting these if you’re looking to get hired as a staff writer?

Rob, a couple of things. First, by “spec scripts,” I assume what you’re referring to is taking a current TV show that’s on-air and writing your own version of a script (on spec) of that show, and not an original TV show you’re creating on spec. Because the former is how freelance writers get hired. The latter is the domain of show runners and staff writers, established writers with plenty of ‘street credibility.’ Someone outside The Biz can not expect to break in by writing an original spec TV pilot (I supposed it could happen, but it would be against astronomical odds).

Why the difference between an original spec movie screenplay and an original spec TV script: Studios can buy a movie screenplay, then if you, the writer, don’t produce what they want in rewrites, they can simply turn over the script to another feature writer. In TV, it’s a whole other thing. When they buy an original spec TV pilot, they’re not just looking at the pilot script, they’re looking at 22 episodes in season one, up to 66 episodes through season three, and so on. What’s on their mind is, “Who is going to guarantee those scripts?” It’s not just about the pilot script, it’s about the writers attached to the project — including show runners — who will meet the buyer’s comfort level that, yes, this group of writers, having an established track record, can be trusted to deliver all those scripts.

So assuming that you’re talking about a spec C.S.I. or a spec House (or whatever current TV series) that you’ve written. Again with another distinction: Are you talking broadcast networks (ABC, CBS, NBC, Fox, CW) or cable? If the latter, they don’t have a ‘staffing season’ like the broadcast networks as cable acquires and rolls out series throughout the year. Broadcast networks, on the other hand, have traditionally staffed up starting in May. For more background, here is a nice post on the wonderful blog The Rouge Wave.

Here is an excerpt:

Now, the bigger concern many of you might have: What about my material? Is my DESPERATE HOUSEWIVES spec going to work for me this year? Do I need to write another spec? What if I only have a pilot? I would say that having a current spec is first and foremost. If you don’t have a functioning spec, get writing! The market is seeing a lot of specs of DEXTER, HOUSE, and THE OFFICE. New shows that are relevant to spec might be THE MENTALIST, MAD MEN or even DAMAGES, and comedies 30 ROCK, HOW I MET YOUR MOTHER, and maybe for the kookier writers, IT’S ALWAYS SUNNY IN PHILADELPHIA. You should be spec-ing a show that is in the genre you want to get hired in. Don’t write a HOUSE and wonder why THE BIG BANG THEORY didn’t call you. A spec should be of a show that is critically acclaimed and has some commercial viability too. You won’t get a lot of fans of your work if no one has seen the show you are mimicing. And watch out for those stunt specs. Writing the DEXTER spec where his sister dies might be a great sample, but that doesn’t show off your skills to work with the given components of a show. The people hiring you want to know you can work with their cast of characters week after week; you can’t kill a series regular every week.

The nice thing nowadays is that writers can work in both TV and movies. As recently as 15 years ago, there was a pretty substantial ‘wall’ between the two. But with the success on both sides by J.J. Abrams, Joss Whedon, Gary Scott Thompson, and dozens of other writers, it’s possible to pursue both feature and TV writing.

UPDATE: In comments, Jeff made a great suggestion. For those of you interested primarily in TV writing, check out Alex Epstein’s site Complications Ensue. It’s an excellent resource.