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THE SPEC SCRIPT: Nice work if you can get it

It seems that not a week goes by that some writer hasn’t won a six or seven figure pot in the spec market lottery. Joe Esterhaus’ $3 million was eclipsed by Shane Black’s $4 million and the race is on for an even heftier sum. More and more writers, new and established, are looking to the spec market for the chance of moving into a higher tax bracket, plus the celebrity status such a sale can bring.

In the beginning, spec scripts were written by new writers to demonstrate storytelling skills which could lead to writing assignments. Now, scripts written on speculation, i.e., for no money just the hope of earning future income, have been sold for huge sums and to jump-start many careers. "One should not expect to be a Joe Esterhaus or Shane Black," says Agency of Performing Arts agent Justen Dardis, "but the possibility does exist."

Many writers with a script and a dream look to the spec market as their only hope. Since the market is always changing, it is hard to keep up with what the buyers are looking to buy. In an attempt to appeal to the tastes of potential buyers, new writers will often make the mistake of trying to predict the market. "It helps if the material that you’re talking about fits into what they are looking for." says David Warden of Warden, White & Kane Agency. "They tend to pay much more attention to the concept or action driven material, but I think everyone has a chance."

Some genres fare better in the spec marketplace than others. Action seems to do well, as do thrillers and other high concept scripts. "Almost inevitably action seems to do better than any other genre." adds Warden. "If I had to advise anyone as to what to write I would write an action-adventure piece. Other [scripts] are bought, but I would say it’s a 10 to 1 ratio." With those odds, a writer who can write a ‘good actioner’ has a better chance. The operative word is ‘good’ since just about anyone can copy the formula of Die Hard and write a script. It is the writer, who can put all the elements together with characters top box-office stars want to portray and a concept that is fresh and compelling, who can beat the odds. According to Justen Dardis, "If something good hits the marketplace, the buyers are always looking for something good, you’ll find a home."

"It’s the concept and the strength of writing, but more often than not it is the concept over the writing." adds Warden. Good writing may not guarantee a sale, but it will help a writer get noticed. Moreover, a writer should be flexible enough to conform to the standards of any genre. "Basically a writer should write what they are most passionate about," adds Dardis, "but I’m only going by track record and overall action scripts do better in the spec market than others."

There are many writers who are willing to bend to the will of the market and others who are not as pliable, however, the spec market does have room for original ideas and fresh approaches to old ones. "Either high concept or putting a face on an old friend." advises Warden. "Like doing a variation on North by Northwest, but do it with kind of an ethnic slant." Speed described as Die Hard on a bus is a good example of using winning elements of a successful film and changing them enough to give it a fresh approach.

Although action and high concept scripts rule in the spec market, it does not mean scripts that do not fit the genre are not sold. A number of writers have gained entry into the industry, receiving less fanfare and earnings in the low six figures with scripts that were not high concept, or action-adventure. "It is a material driven business." says Warden. If the script is brilliant and a savvy agent generates enough heat around the script with positive reader’s reports to back it up, it will do well. Warden continues, "We try to make the idea sound as interesting as possible and get excitement going."

Agencies large and small are active in the spec market, however a common misconception of many new writers is that the large agencies are better. The spec market is equal opportunity and depends more on the quality of the material and the enthusiasm generated by the agent brokering the deal to the potential buyer. Agency size is not even a consideration as Dardis sums up, "Usually the smaller agencies are where the majority of the spec material comes from." Smaller agencies are more open to new talent than the larger agencies which makes them ideal for the new writer trying to break in to the spec market. Warden, White & Kane is a small agency compared to the larger Agency for the Performing Arts which has offices in both Los Angeles and New York. "We have made I would say for our size more than our fair share of sales," adds Warden. "We’ve sold about 15% of the scripts that have been sold this year in this town. We’ve done fine."

Whether a writer writes action or drama or is signed to a big agency or a small one, the odds of hitting big in the spec market are better if the script is great. It is the writer who can combine passion for the story and the characters, with one eye on the market and a fresh, unique approach that has the best chance. Ultimately it comes down to those words on paper having the power to move people either to the check book or to the trash can. "People want to spend money right now." adds Dardis. The trick is getting them to spend it on your work.