Writing a spec script for a television series is like writing the thing that almost matters.  It matters in that it’s one of two primary ways of getting a job as a television writer.  It’s also something of a gamble because time is of the essence.

When I found myself compelled to write a spec script, the easiest piece to the puzzle was picking the show.  It had to be a series I knew like the back of my hand and it had to be still on the air.  I chose “The Office.”  It’s a comedy, it’s only a half-hour show, and I felt confident I could voice the characters in an organic way.  Fortunately, the season 4 DVD of “The Office” also came with a script, so I used that as a template (every show has a slightly different formatting style, it’s annoying but true).  Hey, I figured this was good practice and something to add to my portfolio…right?

Unfortunately, unless you’re ready to have your agent send the spec script out the following week, it’s only practice.  With a spec script, you have to write a possible future episode to the series.  With my script, Pam had already given birth, so I was anticipating.  However, two episodes into season 6 and Jim became co-manager with Michael.  I was not anticipating that.

So what’s the lesson?  Practice is still practice, but with the ever changing state of television, writing spec scripts is often a race against time.  Any new storyline can make you script irrelevant.  So, for now, I have to wait, keep writing my own stories and hope for the best.

I was one hell of a good script though.  That’s always something.

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