'Clues' is an incredibly important episode for me. It's how I learned TNG producers accepted spec scripts!
After learning Mr. Arthur's scored his script sale, I was greatly motivated to write and submit my own teleplay. As far as the actual tale, it's certainly not one of the stand-outs, but I do enjoy the mystery without the murder, so to speak, and the notion of an alien race so savagely xenophobic they'd go to such elaborate lengths to keep themselves mysterious is intriguing.
Fascinating! How, exactly, did you learn this...? I don't think I learned about 'slush piles' until a few years later, as I was feeling out the book publishing industry for the first time.
One of the many interesting aspects of digging into the production history like this is the extraordinary contributions of so many people who would normally be invisible next to the inevitably more-conspicuous on screen talent. ❤
I learned about the spec script submission process in Larry Nemecek's book, The Star Trek: Companion. When I read the 'Clues' summary - 'Bruce D. Arthurs proved it could be done, the Arizona mail carrier and Star Trek fan submitted his spec script and sold it.' I knew I hadda try !
It's truly an amazing thing, considering Arthurs, myself and at least 5 others - who I know of - selling to one of the most high profile TV shows at the time in spec. I really can't think of any other show which has ever done something similar.
Thanks for sharing this story! I'm not entirely sure what the correct count is for successful spec script submissions in TNG, to be honest, because the production history archive doesn't always contain the full story. But I suspect it's more like a dozen or even two dozen - certainly if you count cases where a concept was bought on spec and then worked up by the internal team. And I agree, it's astonishing how open to external submissions everyone at Paramount was then! Today, I simply cannot imagine any TV show providing this opportunity. Even getting a slot in the secondary materials (audio plays, tie-in books) is far, far more locked down than this today, alas. Another reason why TNG is a one-of-a-kind show!
I was actually going to write a book on all of this - I sketched out an outline/treatment. The count for spec sales in general are hard to come by, however, the way I sold involves a more unique process. You may already know some of these particulars, but I thought I'd share.
- Michael Piller. He opened up TNG for young novice writers. Piller created an information booklet/release form which was obtained through the writing office. Other shows have been somewhat welcoming to unagented writers, but not at this level nor at such a high profile show.
- My episode & the several others I know of sold this way. With no agent representation, by signing the release & submitting full 55-65 page scripts. No concepts. No treatments. Not a pitch. A fully written teleplay. This is by far more rare than other writing situations.
- Agented submissions or pitches are different because they are either requested by the show - as later, Star Trek would reach out to me to set up pitch meetings after I had sold - and involve known agented writers. Again, Piller's process was and I believe is still very unique. I can't imagine it being allowed today.
- The Piller Process held for DS9 and Voyager. I got agent interest . Even was repped by one of Hollywood's biggest in a sort of casual way, however, I still submitted my DS9 script which sold again through PP. Along the way, I kept getting studio pitch meetings with producers, since by that time they knew my work from my teleplays sales. I even snagged other pitch meetings with other big TV shows because of my Star Trek work notoriety and sales.
Knowing your comprehensive level of detail, you prob know all of this already - lol - but hopefully I've given you a new Trekian nugget or two to intellectually feast upon. 😊
It's true that I have peeked in the corners quite a bit, but there's still a great deal that is outside my experience!
Although I've met a couple of Trek writers, the one I personally know best got through the slush pile for Voyager, and I didn't discuss Trek with Lee Sheldon when we had our meal together as I didn't then connect him with "Remember Me" (although I've messaged him about it since, and learned a little about the troubled production history of "Devil's Due" in the process).
It's fascinating to know that the same process was set up at TNG and ran through the main franchises (especially given other things you've said about how the individual shows were not always on the same page!). Even after thirty years, I still have a lot to learn about TNG! 😁
Also, I agree: this would not happen today. And that, frankly, is a shame. Many thanks for sharing your experience here! Greatly appreciated. 😍
Yes, as you well know, after Michael Piller came onboard in the 3rd season, TNG jumped into high warp (couldn't resist). Piller's creative contribution to TNG era Trek is so important, with not only his own creative energy, but also by hiring writing/producing juggernauts such as Ron D. Moore and Jeri Taylor as well. Meeting him during my Dead Zone pitch is such a highlight of my early Hollywood career.
Chris, your WAM-TNG is not only enjoyable/informative in a purely fan way, but clearly, it's gotten me to reminisce about my Trek contributions. Bravo!
'Clues' is an incredibly important episode for me. It's how I learned TNG producers accepted spec scripts!
After learning Mr. Arthur's scored his script sale, I was greatly motivated to write and submit my own teleplay. As far as the actual tale, it's certainly not one of the stand-outs, but I do enjoy the mystery without the murder, so to speak, and the notion of an alien race so savagely xenophobic they'd go to such elaborate lengths to keep themselves mysterious is intriguing.
Fascinating! How, exactly, did you learn this...? I don't think I learned about 'slush piles' until a few years later, as I was feeling out the book publishing industry for the first time.
One of the many interesting aspects of digging into the production history like this is the extraordinary contributions of so many people who would normally be invisible next to the inevitably more-conspicuous on screen talent. ❤
I learned about the spec script submission process in Larry Nemecek's book, The Star Trek: Companion. When I read the 'Clues' summary - 'Bruce D. Arthurs proved it could be done, the Arizona mail carrier and Star Trek fan submitted his spec script and sold it.' I knew I hadda try !
It's truly an amazing thing, considering Arthurs, myself and at least 5 others - who I know of - selling to one of the most high profile TV shows at the time in spec. I really can't think of any other show which has ever done something similar.
Thanks for sharing this story! I'm not entirely sure what the correct count is for successful spec script submissions in TNG, to be honest, because the production history archive doesn't always contain the full story. But I suspect it's more like a dozen or even two dozen - certainly if you count cases where a concept was bought on spec and then worked up by the internal team. And I agree, it's astonishing how open to external submissions everyone at Paramount was then! Today, I simply cannot imagine any TV show providing this opportunity. Even getting a slot in the secondary materials (audio plays, tie-in books) is far, far more locked down than this today, alas. Another reason why TNG is a one-of-a-kind show!
I was actually going to write a book on all of this - I sketched out an outline/treatment. The count for spec sales in general are hard to come by, however, the way I sold involves a more unique process. You may already know some of these particulars, but I thought I'd share.
- Michael Piller. He opened up TNG for young novice writers. Piller created an information booklet/release form which was obtained through the writing office. Other shows have been somewhat welcoming to unagented writers, but not at this level nor at such a high profile show.
- My episode & the several others I know of sold this way. With no agent representation, by signing the release & submitting full 55-65 page scripts. No concepts. No treatments. Not a pitch. A fully written teleplay. This is by far more rare than other writing situations.
- Agented submissions or pitches are different because they are either requested by the show - as later, Star Trek would reach out to me to set up pitch meetings after I had sold - and involve known agented writers. Again, Piller's process was and I believe is still very unique. I can't imagine it being allowed today.
- The Piller Process held for DS9 and Voyager. I got agent interest . Even was repped by one of Hollywood's biggest in a sort of casual way, however, I still submitted my DS9 script which sold again through PP. Along the way, I kept getting studio pitch meetings with producers, since by that time they knew my work from my teleplays sales. I even snagged other pitch meetings with other big TV shows because of my Star Trek work notoriety and sales.
Knowing your comprehensive level of detail, you prob know all of this already - lol - but hopefully I've given you a new Trekian nugget or two to intellectually feast upon. 😊
It's true that I have peeked in the corners quite a bit, but there's still a great deal that is outside my experience!
Although I've met a couple of Trek writers, the one I personally know best got through the slush pile for Voyager, and I didn't discuss Trek with Lee Sheldon when we had our meal together as I didn't then connect him with "Remember Me" (although I've messaged him about it since, and learned a little about the troubled production history of "Devil's Due" in the process).
It's fascinating to know that the same process was set up at TNG and ran through the main franchises (especially given other things you've said about how the individual shows were not always on the same page!). Even after thirty years, I still have a lot to learn about TNG! 😁
Also, I agree: this would not happen today. And that, frankly, is a shame. Many thanks for sharing your experience here! Greatly appreciated. 😍
Yes, as you well know, after Michael Piller came onboard in the 3rd season, TNG jumped into high warp (couldn't resist). Piller's creative contribution to TNG era Trek is so important, with not only his own creative energy, but also by hiring writing/producing juggernauts such as Ron D. Moore and Jeri Taylor as well. Meeting him during my Dead Zone pitch is such a highlight of my early Hollywood career.
Chris, your WAM-TNG is not only enjoyable/informative in a purely fan way, but clearly, it's gotten me to reminisce about my Trek contributions. Bravo!