Don't Chase the Market Place
I had an upper level TV writer client who was working on a comedy feature about growing up in a cult (which she had). It really was her passion project. But then her manager told her buyers weren’t interested in family comedies; what they wanted was YA sci-fi and fantasy. Naturally, she got scared her first feature would never sell, so she started developing a YA sci-fi pitch. (For the record, I encouraged her not to spend her time doing that, but supported her anyway — anxiety can make you do weird things).
Her manager set up meetings for her with YA producers — all of whom passed. Why? They said studios had bought “too many genre pitches this year.” I helped my client work through her disappointment (and rage at her manager), then nudged her back to her cult comedy. She did, and nailed it. Her manager begrudgingly sent it out, and while it hasn’t sold it yet, she’s gotten so many meetings and offers of work from that script that she’s happy to bide her time until it does (and yes, we’re talking about her finding a new manager).
In Hollywood, there’s always a “hot new script trend” that’s “guaranteed to sell,” and if it’s not the kind of story you’re currently working on — it’s easy to feel like you’d be an idiot not to drop everything and pivot to what the “market wants”.
Maybe it starts with a Deadline article, “Horror Spec Snapped up in $3M Sale!”
Or a casual comment from a rep, “Erotic Thrillers are selling like crazy right now hopefully you have one we can take out?”
Or over a coffee with another writer, “My friend just sold their true-crime pilot. Apparently, everyone’s asking for true crime right now.”
And suddenly your brain is in a full-blown crisis: “Should I shelve my current spec to write a horror? Or an erotic thriller? Or an erotic-horror-thriller with true-crime elements?! Am I crazy for not chasing this? Maybe that’s why I’m not selling…”
But should you pivot with every trend? Or stay the course with what really lights you up? Here’s how to find the sweet spot between being “market-aware” and writing what you actually love:
1. Beware the “trend lag”
By the time you hear about “what’s hot,” the execs buying that kind of material likely already have a stack of finished specs in that genre in their weekend reading pile (if not one already in development). Which means — by the time your spec is ready — they’ll be onto the next trend. Chasing headlines or trying to capitalize on this year’s “hot genre” might feel safe and “strategic”, but it’s usually a dead end. Why? Because everyone’s hunting for the next big thing. If you’re writing for today’s market you’re already behind the curve.
2. Don’t abandon what’s working
If you’re mid-draft on something you care about, finish it. Period. If you have passion for a story it will show up on the page in a way “trend-chasing” never will (and who knows your “off trend” spec might be “on trend” a few months down the line). You can always adjust tone, scope, character, or pitch angles later to make it more “marketable” — but you can’t retrofit real passion into a “trend spec” you wrote on autopilot (or in a blind panic). That said…
3. Do your homework
Nobody’s going to buy your script if it doesn’t have at least a hint of commercial appeal. So take some time to understand what sells. Forget “industry rumors” — peruse the trades, or scroll through streamers like Netflix and HBO to see what kind of movies and TV shows come up again and again. For example, contained thrillers and horror movies are often in demand. On the TV side, shows that feature unique worlds and relatable characters have a proven track record (think Yellowstone, Grey’s Anatomy, or Abbott Elementary). The goal isn’t to copy. It’s to understand what types of stories repeatedly get made. Once you’ve got a handle on what makes a project enticing from the commercial side, find the crossover…
4. Find the crossover
Writing for the market or writing for yourself isn’t an all-or-nothing choice. Let’s say you love writing family dramas. There’s a market for that inside other genres — a thriller (or even a horror) could absolutely be grounded in family tension. Or maybe dark comedy is your thing. That type of humor could fit inside a romcom. Instead of thinking, “I have to write a horror to sell,” ask, “What would my version of horror be?” Picture a Venn Diagram: one circle is what you love, the other circle is what’s selling. Where they overlap? Gold.
5. Every script is a calling card
If your spec doesn’t sell, it will mostly likely become a sample. Which means it’s a piece of work that could land in the hands of a showrunner, producer, or exec that you’d love to work with (even if it only gets as far as someone’s assistant, assistant’s talk — and are the next generation of executives). With that in mind, is the script you’re currently writing something you’d be proud to have passed around and recognized as distinctly you? If the answer’s no — rethink it.
6. Play the long game
I get it — chasing the market is enticing. One script sale can be a game-changer. But the writers who last in this business aren’t the ones who chase every trend — they’re the ones people call again and again because they consistently deliver something unmistakably their own. So before you drop your passion project for this month’s “hot” genre, ask yourself: Am I chasing a quick win — or building a reputation that will still matter in ten years?
How do you decide what ideas to spec? Let me know @CaroleKirsch!
For more industry info and tips check out these additional resources:
If you're interested in finding out more about my one-on-one coaching, go to: carolekirschner.com/options
For the ultimate guide to pitching a TV show that sells, check out my e-book, The Ultimate Guide to a Killer Pitch
To learn how to create your “personal logline” read my free e-book, Tell Your Story in 60 Seconds.
For my in-depth video course on breaking into the business go to: Carole Kirschner’s Hollywood Boot Camp.
And you can find my book, Hollywood Game Plan on Amazon or at Michael Wiese Productions (MWP).