Into The Spec Pile
I’ve been diving into the spec pile of screenplays and novels for 20+ years now. ‘Spec’ is short for ‘speculative’, meaning no one in the industry has asked the writer to create that story. Instead, the writers have done it themselves ‘on spec’.
I always call it the SPEC pile rather than the more common ‘slush pile’. To me, ‘spec pile’ is much more neutral, whereas ‘slush pile’ seems very derogatory. It is essential to remember that ANY story – script or novel – is someone’s hopes and dreams.
However, I also like to shine a light on common mistakes in the spec pile on this blog. This is because it can be more illuminating to understand what NOT to do.
Recently, I have been doing a LOT of sifting the pile. I’ve done so for publishers and agents, but also producers and directors. This means I’ve noticed some patterns of submissions that nearly always get sent to the trash.
So to avoid YOUR novel or screenplay getting sent to the virtual bin, check these out for size …
The Submissions Package
The submissions package usually refers to 3 things:
- The cover letter or email
- A traditional synopsis (novels) or one page pitch (screenplays)
- The first 3 chapters/ 10K words (novels) or the entire screenplay (movie or TV pilot)
Specific places may ask for other things. Some publishers ask for the entire novel; some production companies require a whole pitch deck. Whatever you do, always, always be sure to check the submissions guidelines!
This may all seem obvious, because it is. However, it is a sad fact that many submissions never get read in full. This is frequently because the cover letter or email and/or synopsis or one page pitch commit the clangers listed below.
i) Cover Letter Or Email
1) Too Long Or Too Short
Too often, the cover letter or email is VERY long. But how long is too long? Well, over 300+ words is a red flag.
Equally, if it’s just a single sentence? That’s too short. Aim for around 250 words, because that’s the sweet spot. MORE: How To Write A Great Cover Letter That Gets Results
(By the way: a cover letter or email is DIFFERENT to a query email. Not sure what the difference is? CLICK HERE).
2) Weird or Inappropriate
If I never have to read a cover letter or email trying to be ‘funny’, it won’t be a moment too soon. Seriously. Keep it straightforward and professional.
3) Cringey Begging or Angry Threats
So many cover letters or emails essentially BEG people to read their writing. Don’t do this. I know it is tough out there, but begging just repels people away from you.
Also, don’t make threats in your cover letters! (Yes, people really do this). I don’t care if you’re trying to be funny (see point 2 on this list).
4) Answer The Damn Questions
Submissions portals and guidelines often ask questions like, ‘Why is [NAME] a good fit for you as an agent?’ or ‘What projects have [THIS PUBLISHER OR PRODUCTION COMPANY] published or produced in the last 5 years like YOUR story?’
Too often, writers simply ignore these questions. But good examples talk about that industry pro’s output. Bad ones focus on what that person or company can do for THEM. See the difference?
5) Quit It With The Mad Claims
‘This story is unique’ ? No, it’s really not … And if it was, that’s yet another big red flag anyway.
It’s ‘genre-defying’ – FOR THE LOVE OF GOD, NO.
And while we’re at it, stop with the mad mash-ups! No, your book or screenplay is NOT a sci-fi mystery with romance, thriller AND horror. Pick your lane, find out how genre works. There’s plenty of articles about it on this very site!
6) Get Real On Comparables
Comparables – ‘there aren’t any’ – yet another red flag. So are ancient books, movies or TV shows (aka five years plus ago! YES FIVE YEARS!).
Also, don’t talk about books, shows or movies you haven’t read seen, it’s usually very obvious. Too often, cover letters and emails compare a submission to wildly inappropriate ones.
Also, stay away from ones that EVERYONE uses (books: Stephen King, Matt Haig, Neil Gaiman, JK Rowling; TV shows: Breaking Bad, Ozark, Superstore, Friends, Dr Who, X Files; movies: Anything in the Marvel or Star Wars universe).
ii) The Synopsis Or One Page Pitch
7) No Hook
Too many loglines and short pitches are just descriptions of events. We don’t want B.O.S.H (‘bunch of stuff happens’) stories … we want to be involved in a character’s journey. A hook grabs us and brings us in.
8) It falls into ‘and then … and then … and then …’
YAWN! This your one chance to grab our interest. You should spend as long on your synopsis or one pager as your screenplay or novel. Seriously.
9) Focusing on thematics over story in the synopsis
Thematics refer to the meaning BEHIND the story. Theme has its place, but should NEVER take over from the actual story. We want to know what is happening on the surface, not beneath it.
10) Asking questions in the pitch
I’d wager really money approximately 50% of pitches and synopses end with, ‘Will X end up doing Y?‘ The answer is nearly always ‘yes’ or there is no story. Don’t ask questions, it’s pointless. Here’s some more DOs and DON’Ts.
11) Writes your own rave reviews
Look, I’m the first person to say writers should not hide their light under a bushel. However, there’s a line between pitching your work and writing your own rave review of your novel or script. Figure out where that line is!!!
12) Synopsis does not match the pages!
If your synopsis talks about a guy called Tom and what his journey is, why is page 1 of your novel or script about someone called Sarah? If you say your genre is ‘Horror’ on the synopsis, why does it open with jokes??
I’m always surprised by how often this kind of thing happens. It’s usually because the writer has tried hard with their synopsis … but then forgotten the pages need to match that synopsis. Always, always send your synopsis and pages to a friend for their take BEFORE you send it to industry pros. MORE: How To Write A Synopsis For Your Screenplay Or Novel
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