How to Write a Calling Card / Spec Script That Gets You Noticed in Film and TV

Let’s face it, the TV and film industry is cutthroat and deeply competitive. Everyone has that multi-million-pound idea. So a calling card script, spec script or sample is your golden ticket to success. It can get you meetings and get you noticed in a world full of noise. Whether you’re breaking into the industry or trying to land your next writing gig, your script needs to do more than just tell a great story. It needs to showcase your voice and your original ideas.

So how do you do it? I’ve got a few tips to make your script memorable and get you in that room.

Firstly, you need to make sure your premise is unique and ready to pitch in one minute. You may have heard of the elevator pitch, where if you were stuck in a lift with your dram producer, what would you say about your project? Its X meets Y with a twist. Make sure that you concept is hook-worthy. We execs are flooded with scripts so your loglines need to stand out. Sometimes we are given scripts that we’ve read twice, so if your draft has not improved over the years, it may not move any further. What’s your “What if?” Think about your premise and pack it with emotion. We’ll want to know the Why now? So remember to explore into relevant themes that would resonate with us.

As you know British TV is full of crime dramas, so instead of adding another one to the mix, imagine: What if, in a world where lying doesn’t exist, one person discovers how to deceive and becomes a detective?

We want bold unforgettable characters. We remember what we read. I’ve read scripts in the past that have ripped of a popular BBC show from years ago, down to the plot and all they did was change the character names. We’re not naïve so taking inspiration is allowed, I even use it in my own writing. But you need to make your characters real and memorable. Give them contradictions. How do they change? How does their character journey shape them? And above all, avoid gimmicks. Quirkiness isn’t character, but authenticity is.

Whether your protagonist is the next Fleabag or Tony Soprano, you need to make sure they are complex, and emotionally rich. These are the characters keep us turning that page. As I read hundreds of scripts a year, I can usually tell a bad script from the first three pages. My biggest advice is to hook us in the ‘First 10 Pages’. You only get one chance to make a good first impression, so that’s often within the first ten pages.

How do you do that? You need to establish tone and genre immediately. Introduce the stakes. Why should the reader care? A gripping cold open always works for me, though it may not for others. Remember to pose that dramatic question. Does this character goal or mission need a resolution? Think of your favourite series openings. Like in Breaking Bad: The first scene is a semi-naked man, wielding a gun in the desert. Its direct, comedic and thrilling. The perfect teaser.

Then you need to subvert expectations. A great script keeps readers guessing. What tropes can you flip on their heads? How is the pace? Are the twists earned? Or do they feel rigid? You can also play around with structure. Maybe you can include that non-linear narrative – Think Memento. Even a show like I May Destroy You (especially that penultimate episode set in an early 2000’s school, is something I’ll always remember as it provides that much needed context of why the protagonist acts the way she acts). Unconventional structure can elevate your storytelling.

Next you need to master the art of dialogue. It needs to sing but don’t use too much exposition, but just enough tone and subtext. Reveal the personalities of your characters. These characters shouldn’t sound all the same. And lastly be economical. No rambling because, less is almost always more.

In regards to pace, one of my biggest notes is to cut the scenes that does not move the story or character forward. Use story beats, cliffhangers or reveals and remember that not every scene needs to be loud. And most importantly - Show, Don’t Tell. We are visual creatures, we like seeing a plot unfold before our eyes in less predictable ways. So instead of writing a stage direction saying “he’s nervous” say “his hands tremble as he lights the fire”. But with this advice, I say you need to exercise this with caution as a film script shouldn’t rely heavily on novelistic prose. And avoid voiceover unless it’s really essential – it feels lazy.

Also, don’t forget about the smaller things like formatting. Although I formatted many a script in the past. It’s not a dealbreaker, but a messy script does tell a reader that you’re not ready. If you can afford it, use Final Draft. It’s important to always proofread your script and keep it to the industry standard page count – 90-120 pages for a feature film, or 30-60 pages for a TV pilot.

Your writer’s ‘voice’ is your currency so if you want your script to be optioned, think ‘how can I make this memorable, un-put-downable and authentic? We want to see your world view, your bold tone and style. Scripts with a strong voice like Atlanta, or I Hate Suzie will always leave a lasting impression. Your calling card isn’t a tick box exercise, it needs to showcase the best of you and prove why you belong in the writer’s room.

So with all this being said, are you ready to make your mark? It can get overwhelming at times so if you ever need a helping hand get in touch with me. Tell that story, that only you can tell.

✍️ Want more screenwriting tips?

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