A spec script is just that- a script that you write and send to the producers for approval. There is a very precise process which must be followed for submitting a spec script to Star Trek, more on this is in the Now that You're Done... section.

Scripts include both character dialogue and stage directions or actions.

"Are there any Special Rules or Guidelines?" is another commonly asked question. The answer is a firm "YES". Most television series do not allow outside submissions for scripts due to legal policies set in place by the Writers Guild of America (WGA) and the television legal departments. Paramount Pictures, the producers of Star Trek, have set up deals with these agencies to allow outside (freelance) scripts to be submitted.

Catch 22, though. Because Star Trek has an open submission policy, they have to set guidelines in place to assure that the legal matters are followed. Let's go straight to the guidelines, and take them step by step. Some should be self-explanatory.

By the way, before you submit your script (unless you're going through an agent), you need to call (323) 956-8301 for information on obtaining a Paramount legal release form.

Click here for the full text of the 1995-1996 VOYAGER submission guidelines, with useful annotations. Bold text indicates text on the script submission guidelines while regular text indicates appended comments.

"How do I Start?" What, you're asking ME? ;-) There's really no "by-the-book" way to start, but first off you might want to get a screenwriting program. There are many out there, but I personally LOVE Final Draft, which is the same program that the Star Trek writers use to draft their scripts. The link provided has a demo version of Final Draft, which I'm sure you'll fall in love with.

First, though, you need to hammer out your idea. My suggestion is to take a few notecards, write down major plot developments in your story, and arrange them the way you want them. Know your story. Have a detailed synopsis handy for your own reference. Another suggestion is to already divide your story into the five acts (and teaser) required of Star Trek spec scripts.

After that, it's all up to you! Now let's move on to Terminology.

Terminology is one of the most important things you need to learn before attempting to write your own TREK script, and there's quite a bit that you need to know

(NOTE: All script sluglines are provided in the format section.)

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Scriptwriting Terminology

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• act: an act is a group of scenes. In Star Trek, an act is the set of scenes between commercial breaks (excluding the teaser).
• agent: an agent is a person who may submit your script for you, if you so desire. Agents represent a variety of people in Hollywood, and a script submitted by an agent is more likely to be given attention over a script submitted without an agent. This, of course, doesn't mean that you HAVE to submit your script via an agent.
• cast list: a listing, included with a shooting script, of all of the characters in a script.
• freelance: a freelance script is a script submitted by a fan of the show who has no direct connection with the studio or the studio employees. Freelance scripts are basically scripts submitted to the studio.
• script: a script is a written version of dialogue, actions, and stage directions for a television show or movie. The format for writing TV shows (teleplays) and movies (screenplays) differs greatly from the format often used for stage plays.
• release form: the release form is a legal document provided with the script submission guidelines. If you do not submit your script via an agent, you will need to sign a release form and send it with your script.
• scene:: a group of actions and dialogue that flow together with one another. (ex: a SCENE in the corridor, a SCENE between Janeway and Chakotay discussing the Maquis, etc.)
• set list: a listing, included with a shooting script, of all of the sets and stages needed in a script.
• shooting script: a finalized draft of the manuscript which is used in production and filming of the episode. It includes things like cast lists, set lists, and scene numbers.
• slug line: a direction in the script which tells directors, editors, or special effects crews how to handle scenes.
• speculative script: a script submitted to the producers of a television show or movie agency from a freelance writer who has no pre-existing contracts with the studio.
• submission guidelines: rules that aspiring writers must follow in order to have their work allowed to be reviewed legally. To obtain submission guidelines for Star Trek scripts, call (323) 956-8301 and listen to the recording.
• teaser: a set of scenes, or 1 scene, appearing before the title sequence in Star Trek that is used to "tease" the audience and grab their attention.
• teleplay: a television script

Formatting issues are of chief concern in order to make your script appear professional. Let's start with the beginning...

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Title Page

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To come: Examples!

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Lists

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Shooting scripts contain cast lists, set lists, and pronunciation guides. You can find defintions of these terms in the terminology section. You aren't required to include any lists, but you may if you so desire. They will not count for or against you. :-)

To come: Examples!

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Script Pages

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Most script pages are the same. The very first one, which includes the teaser, has a special format you should use. It's included in the picture linked to below. The best way to explain these, I think, is just to show you.

To come: Examples!

Headers: Each page should include a header. The standard header format is: VOYAGER: "Title" - date as ##/##/## - TEASER(/ACT ONE/ACT TWO/ACT THREE/ACT FOUR/ACT FIVE) left aligned, and the page number aligned on the right side of the header.

Font: USE COURIER 12 POINT FONT! UNDERLINE IMPORTANT THINGS, DON'T MAKE THEM BOLD.

Tab Stops:

• Character names should be in ALL CAPS, and indented 3 1/4".

• Parenthetical notes under character names, which can include directions for speaking or actions at the time the dialogue is being spoken, should be in all lowercase, and indented 2 3/4" under the character name.

• Dialogue should be in normal type, and indented 2 1/4".

• Actions and scene markers should be indented 1 1/4" from the edge of the page.

• Scene transitions should be RIGHT-ALIGNED.

• Else... use your best judgement.

Character Names: Each time a character speaks, his/her name should be aligned as described above. In actions or sluglines, character names should be typed as regular names using upper and lower case, EXCEPT for the first time a character's name appears in actions. Then it should be in ALL CAPS. After that, standard.

Parenthetical Notes: Don't bog down on them. Many are ignored anyway, and directors improvise. If you do include them, make them short and to the point. Example: (sighs) is MUCH better than (sighs at Chakotay's ignorance).

Dialogue: Dialogue should be written in the character's voice. By that, I mean don't make the character say something he/she normally wouldn't. Don't create pages and pages of one character talking, either. Two pages in a row of one character speaking tends to get boring, on paper and on screen. On the same not, don't make dialogue too short, either. A page of "Really?" "Yes." "No kidding." "Wow." "Yeah." "I thought so, too." looks REALLY bad on paper, and will sound worse on screen.

Actions and Scene Markers: Make them simple, but concise. Example:

Scene Transitions: There are several types of scene transitions you can use. Here's a partial list:

• CUT TO: used to show an abrupt change in scene.
• SMASH CUT TO: same as above, only more abrupt.
• INTERCUT: used to change to another scene, but indicate that it takes place at the same time as the previous scene. A good example would be changing from Engineering to the Bridge during a comm discussion.
• DISSOLVE TO: indicates to the special effects guys to create a "dissolving" effect.
• TIME DISSOLVE TO: flashback sequences.
• FADE IN: use this every time you begin a new act.
• FADE OUT use this every time you end an act.

New Scenes: There are two basic ways of introducing new scenes. INTerior shots and EXTerior shots. Interior shots are shots which take place inside a room or building. Examples include BRIDGE, ENGINEERING, BRIEFING ROOM, MESS HALL, STRAW HOUSE, SEWER, SHUTTLE COCKPIT, etc. Exterior shots are those of outside areas, or space. Examples include SPACE, A FIELD, VOYAGER, THE PLANET, BORG VESSEL, etc. We introduce new scenes this way in the following format:

INT. VOYAGER - BRIDGE

Where Janeway paces.

--OR--

EXT. SPACE - VOYAGER AND THE BORG VESSEL

The Borg ship FIRES A TORPEDO at Voyager.

Revisions will be undertaken once you finish writing your script. Save it. Close. Exit program. Let it sit for a while. Come back the next day, or even the next week (the more time you let it sit, the better). Re-read your script. You're going to say to yourself "Goodness! What was I thinking?!" Now is the time to revise.

Revision is a very important process. You don't want to send your first draft off to the script reader. The more you revise, the better it'll become- just don't chop too harshly. You might even want to get a second opinion. If you have any friends (online or off) you trust very well, you may ask them to read your script and offer input or suggestions. That's good. IMPORTANT: DO NOT post your script to any public bulletin boards or download libraries. The producers want fresh, original material, and that means that they don't want your script if everyone's read it. Don't let this turn you off from having friends read it over. Just don't let anyone you don't trust read it. It can be stolen. Your name can be changed. They can submit it. They can sell it.

Now that you've finished writing, revising, and improving your script, print it out. Remember, the script coordinator will only take printed copies of your script. Punch holes in the left hand margin, and find 2 one-inch brass brads. Address a 10" x 13" envelope to:

Script Coordinator
Star Trek Writing Department
Paramount Pictures
5555 Melrose Avenue, Hart 105
Los Angeles, CA 90038-3197

Also include a self-addressed-stamped-envelope (SASE), with postage, for the return of your script. Sign your Paramount Pictures Release Form, put it in the envelope, lick, seal, stamp, and drop it off at the post office. Now comes the tedious part.

WAITING.

You may have to wait up to 6 months to hear something on your script. Remember, you should NOT call or write the writing office for the status of your script. Don't call them, they'll call you.