Existing franchises - if you have a burning desire to write a spec for someone like Bond, don't write a Bond spec. Redefine the rules, create your own franchise that's similar in genre ONLY but distinctly different in every conceivable way from the franchise you want to write. Yet, you celebrate the style and spirit of that franchise in your own way, on your own terms (usually by rebelling against it and being proud of it), which is exactly what we have here. Ultimately, in the end, I think you'll find yourself more creatively satisfied by your own creation as opposed to climbing onto someone else's bandwagon.
When Bourne: Ultimatum came out, Matt Damon said, "The Bond character will always be anchored in the 1960s and in the values of the 1960s. Bond is an imperialist and a misogynist who kills people and laughs about it, and drinks Martinis and cracks jokes." No, Matt, Bond has something called STYLE, which you do not possess, and why Bond doesn't have to go find himself in EVERY film. I mean, come on, isn't that what screenwriting is at its core? A celebration of style? Entertainment? Emotion? Guys like Jeff Kitchen write in their latest guru books life-sucking formulaic approaches like fractal plotting, which focuses on a series of inciting incidents, conflicts, reactions, and resolutions, and backing them up "one level" and applying the same method to each sequence and act - BLAH-BLAH-BLAH. Screenwriting is about style. If everyone focused on JUST the horizontal plane of development in a story, we wouldn't have any jokes in comedies because they "slow the story down" or we wouldn't have any big action sequences in action films because they "slow the story down" or we wouldn't have any sex in porn because... well, you get the idea.
An over-emphasis on the horizontal plane robs the life and humanity and style of a film. Genres live off of very specific heightened VERTICAL moments that DO NOT always push the story forward, and those vertical moments are the very reason people pay to see those films. At the end of the day, no one gives a shit about fractal plotting, because it's ultimately about how well you manipulate the human heart whether it be through laughter, tears, or edge-of-your-seat action. Hitchcock said that the screen has to be "charged with emotion," and he's right. I think it's that emotional component that has to be given the most consideration scene-by-scene. How compelling / funny / exciting is that scene? And does the writer have any damn style? I didn't fall in love with The Godfather because of its great fractal plotting. I fell in love with its heart and style, baby.