Producing Confusion

How Many Producers Does it Take to Make this Crap?

by Warren Bell

Few things are more consistently baffling to entertainment industry outsiders than the bizarre proliferation of producer titles on the average television show.  My last show ("According to Jim") had nine executive producers in its eighth and final season, as well as a small battalion of other lower-level producers.  Here, then, is a quick tour of all the titles.

Term writer:  Also known as staff writer.  The lowest-level writer on any show, this is the entry level position in television writing.  The pay is according to a WGA scale and is weekly (as opposed to per episode).  Term writers receive no regular onscreen credit.  They do get credit, of course, if they write an episode, but (perhaps a bit unfairly) they frequently don't actually get paid for the script.  The idea is that the term writer is paid X number of dollars for a certain number of weeks (the "term"), and the script fee is "charged off" against that amount.  The term writer does get residuals for reruns of the episode, which can be one of the happier moments in a young writer's life.  ("It's a check for ten thousand dollars for something I wrote six months ago!")

Story editor:  The next level up from term writer.  The pay is a little higher, but still weekly, not per episode.  To the great confusion of everyone's grandparents, there is no editing involved.  And there's no more story than for every other writer on staff.  You get credit on screen at the end of the show, and in today's world that means you need a DVR and a magnifying glass to see it whiz by.

Executive story editor:  A story editor who got asked back to the show for a second year.  More than likely making 5% more than a story editor.  Studios these days like to offer title bumps in lieu of significant salary increases.

Co-Producer:  The next level up on the writer food chain.  Usually co-producers are paid by the episode, not by the week, and that will hold true for all titles above co-producer.  (The difference has always been a bit gray to me, but your agent will insist that being paid per episode is better.)  In rare instances, the title co-producer might be given to a non-writer.  For instance, a star's longtime assistant might be given the title as a perk, which is a nicer way to say "meaningless vanity credit."

Producer:  A mid-level writing position.  Significant confusion enters here, as most producers are writers, but every show has at least one producer who does not write and is commonly called the line producer.  The difference is the line producer actually works for a living.  He or she is responsible for budgets, schedules, and all of the very difficult and technical aspects of getting a show made.  The line producer's credit on the show is usually "Produced by" as opposed to "Producer."  There are also some producers with vanity credits, who can be stars of the show or other people in the star's orbit, such as managers.

Associate Producer:  Typically second in command to the line producer on the physical production side of things.  Never a writer's position.

Supervising Producer:  On the fringe of upper-level writing positions.  Usually someone with at least five or six years of writing experience.  In rare cases, a line producer or post-production supervisor may get this title as a reward for staying with a show for many years.

Consulting Producer: One of the trickier titles.  Consulting Producer almost always means "high-priced and experienced writer taking a cut in pay to stay employed."  A former showrunner, for instance, who needs a job and can't get one at the usual level and rate may go on a show at 50 percent of their quote, taking the title of Consulting Producer to "protect" the higher quote as an Executive Producer.  Sometimes "Consulting" can also mean "Part-time."  I was a Consulting Producer for the first half of my first season on "According to Jim" because I only worked four days a week.

Co-Executive Producer: My friend Bob Nickman once said that in TV credits, "Co" means "Not."  So the Co-Executive Producer is Not Executive Producer.  But he's usually a "strong second," a highly experienced writer who can also help with casting and editing.  Co-EP credit can also be given to a very valued long-term line producer, especially one who has significant "star wrangling" duties.

Executive Producer:  The highest of all the titles, and bizarrely enough, frequently the most meaningless.  One and only one Executive Producer is also the Showrunner (unless the show is run by a writing team).  The Showrunner is the boss of everything (unless the Star is the boss, but that's a different subject entirely) from writing to casting to editing to staffing.  Other EPs may be highly valued writer/producers who have worked their way up to the EP title, but who are not the Showrunner.  Then there are stars who command the EP title, and may actually even serve some function in editing episodes or shaping the storylines.  (Or in the case of, for example, Jerry Seinfeld, who are fully-fledged writer/producers themselves.)  Many shows have a "non-writing Executive Producer" who deals with network and studio issues, may participate in story discussions and attend rehearsals and shoots, but isn't technically a writer.  Then there are EPs who are the star's managers, who can function as non-writing EPs as described above, or who can have literally nothing to do with a show once it's been sold to the network.

NYC Relocation Resource: Media-Pros

The yahoo group Media-Pros is similar to Craigslist.  The site includes roommate, apartment, and job listings in New York as well as networking event opprotunities.  Join today!

The Truth About Scriptwriting Contests

I was always wary of submitting my material to scriptwriting contests.  Would they steal my idea?  Was I paying an entry fee for nothing?  And if I did win, would it mean anything to anyone in Hollywood?

There are countless scriptwriting contests listed on the web, and it can be overwhelming to try and determine which programs are reputable and which ones are scams.  Here is a list of scriptwriting contests and programs that are reputable and respected by the industry.

Winning a writing contest or being accepted into a program does not guarantee you a job.  Abby Finer, who formerly co-ran the Warner Bros.Television Writers Workshop recently told me,  "Sometimes it takes a few years, even after graduating from these programs to find writing jobs.  People need to just keep writing new specs and continue to network."

While these programs do not guarantee you will be staffed, they do guarantee you a networking opportunity.  Not only will you develop relationships with fellow writers and instructors, but many of the programs feature guest speakers -- writers and executives currently working in the industry -- take an active interest in the students. 

I recently spoke with Jonathan Prince (creator of The Cleaner; American Dreams) regarding his thoughts on writing contests.  He absolutely encourages writers to apply.  And if your poem or play wins a local award, he recommends you list it on your resume.  For instance, the university I attended held its own version of the Emmy Awards, and I won for best original script.  Though no one reading my resume knew what the award was, they would always ask me about it in interviews, and they were impressed to learn that out of my entire university, my script was recognized.  Anything that makes you stand out is beneficial.

Writing contests are also a great way to test your skills and in some cases, receive feedback.  Finer notes,  "If anyone [who wasn't accepted] ever called me at Warner Bros., I offered to read the broad stroke notes we had written on their material."  These notes can help you determine your strengths as a writer and the areas you need to continue to work on.  

Please be aware, not being accepted does not mean you are a bad writer.  I applied to the Warner Bros. program while I was an executive producer's assistant and before the winners were announced, I was staffed on a show.  Then I received my rejection letter.   

You won't always win, but you have nothing to lose.  And if you are not accepted, apply again the following year.

As far as other online contests go, I have no experience with them.  If you do, please share your experience by emailing HollywoodUniversityBlog@gmail.com.

Lastly, a note on writing programs from Abby Finer: "Please be aware that if you get into these programs, you will need to write fast.  We have no way of knowing how long it actually took you to write the spec you got into the program with (some people spend years), so you need to prove you can write another solid spec AND within a specified time frame."

MediaBytes with Shelly Palmer: Technology, Media, and Entertainment News Site

MediaBytes with Shelly Palmer is a daily 2 minute video featuring news you can use about technology, media and entertainment. Each morning, Shelly picks the five most interesting stories, and offers insights and opinions about them for his viewers.

Shelly is the author of Television Disrupted: The Transition from Network to Networked TV (2008, York House Press) and the upcoming, Get Digital: Reinventing Yourself and Your Career for the 21st Century Economy (2009, Lake House Press). Shelly is also President of the National Academy of Television Arts & Sciences, NY (the organization that bestows the coveted Emmy Awards).

Relocation: Area Codes

Do I need to change my cell phone number when I relocate?

Some people recommend obtaining a local area code for your cell phone to prove to potential employers that you have, in fact, relocated, but it is not necessary.  Many people keep their hometown cell phone numbers for years after relocating.  What is necessary is to list a local address on your application materials.

On The Page: Script Consultation and Screenwriting Classes

A fellow writer emailed me a link to Pilar Alessandra's On The Page: Script Consultation and Screenwriting Classes site.  If you have attended one of Pilar's lectures or classes, I'd love to hear from you regarding your experience.  Email HollywoodUniversityBlog@gmail.com.

On The Page provides ongoing classes, workshops and private consultations for screenwriters and television writers at all levels.  Pilar Alessandra takes a "dig into pages" approach, inspiring students to write or rewrite their stories in a matter of weeks.  Students and clients have sold to Disney, DreamWorks, Warner Bros and Sony, and have won prestigious competitions such as the Austin Film Festival Screenwriting Competiion and the Nicholl Fellowship.

Pilar Alessandra jump-started her career in film as a script reader for Amblin Entertainment. With the formation of DreamWorks, she became Senior Story Analyst and a reader liaison between the studio and Robert Zemeckis's company, ImageMovers. Her expert script analysis was also sought out by The Robert Evans Company, Cineville Entertainment, Handprint Entertainment and Saturday Night Live Studios, and work at Interscope Communications led her to a position as Senior Story Analyst for Scott Kroopf's production company Radar Pictures.

Pilar was later bitten by the "teaching bug" while teaching screenwriting and story analysis at the UCLA Writers’ Program. In 2001 she started her own company, "On the Page," and in 2004 opened the On the Page Writers Studio in Sherman Oaks, California. In the interest of expanding access to her teaching tools, Pilar has created a new instructional "On the Page" DVD. She also presents weekly "On the Page" podcasts with guest hosts from within the industry. The shows regularly appear in the iTunes Top 100 list of film and TV podcasts. 

Networking Events In New York: Industry Power Play

Industry Power Play is a series of film screenings and networking events for the independent film and performing arts community of NYC.  Click here for more information.

Thank you again to writer Alana Sanko for continually serving as my New York resource.

Monthly Living Expenses In Los Angeles

I've had a number of email inquiries regarding the cost of living in Los Angeles.  Thank you to my apartment-dwelling friends who have provided me with lists of their average monthly expenses.

Please note: The following amounts are the average cost per month, per apartment.  Therefore, if you have a roommate, your share of the cost will be half of the amount listed below. 

A TWO BEDROOM APT IN WEST HOLLYWOOD

Rent: $1900
Internet: $65
Cable: $110
Gas: $15
Water and Power: $40

Total: $2130 ($1065 per person)

A TWO BEDROOM APT IN BURBANK

Rent: $1495
Internet: $50
Cable: $56
Gas: $20
Water and Power: $65-$150
Total: $1686 - 1771 ($843 - $885.50 per person)

A TWO BEDROOM APT IN SHERMAN OAKS

Rent: $1735
Internet: $50
Cable: $50
Gas: $10
Water and Power: $100
Total: $1945 ($972.50 per person)

Expenses vary depending on a variety of factors:  A two bedroom in Beverly Hills will cost more than a two bedroom in West Hollywood.  Some apartments do not charge for water; others bundle water and power.  Power fees vary depending on how frequently you use your air conditioner and heater.   Cable and internet may be bundled, depending on your provider, etc.

Other expenses to keep in mind:  The above lists do not include monthly expenses for cell phones, car insurance, health insurance, gas, food, or entertainment.  Click here for information regarding car and health insurance.

Creative Resumes And Cover Letters - A Big No-no

Some people recommend using creative tactics to attract attention to resumes and cover letters.  For example, "Create a cover page that looks like the cover of a trade magazine with your name in the headline."  DO NOT DO THIS.  Though it will get your material read, most likely out loud in a mocking manner, it will not get you hired.  Submit only professional application materials.  Simply email or fax your resume and follow up with a phone call to confirm it was received.  More on the process of How To Apply For A Job coming soon...

Current Los Angeles Gas Prices

For those of you asking, gas currently costs approximately $3.00 - $3.50 per gallon.

TV & Film Podcasts On iTunes

Podcasts are a great way to survive a commute, whether on the freeway or the subway.  With help from television writer Alana Sanko, I've complied a list of suggested podcasts, available from iTunes:

Baz Luhrmann: Set to Screen:  The Set to Screen Series is your chance to learn about filmmaking from Baz Luhrmann, director of Moulin Rouge! and Romeo + Juliet.  Baz and his production team will take you behind the scenes of the film Australia--and inside the creative process.  The Set to Screen podcasts will allow you to explore on-set still photography, costume design, scoring, editing, and more. 

Creative Screenwriting Magazine: The Official Podcast of Creative Screenwriting Magazine.  Senior Editor Jeff Goldsmith hosts Q&As with Hollywood screenwriters, directors, and producers.

Inside Media At the Paley Center:  The stars, creators and fans of your favorite television shows converge upon The Paley Center For Media -- formerly the Museum of Television and Radio -- throughout the year for live, unscripted discussions.

On The Page: With Pilar Alessandra: Professional script consultant Pilar Alessandra interviews television and screenwriters, directors, and producers, covering everything from breaking in to the pitch meeting. 

The Dialogue: Learning From The Masters: Learning From the Masters is a groundbreaking interview series that goes behind the scenes of the fascinating craft of screenwriting. In these 2-minute mini-lessons on writing, excerpted from the full 70-90 minute in-depth discussions, more than two dozen of today's most successful screenwriters share their work habits, methods and inspirations, secrets of the trade, business advice, and eye-opening stories from life in the trenches of the film industry. Each screenwriter discusses his or her filmography in great detail and breaks down the mechanics of one favorite scene from their produced work.  The series is hosted by industry veteran, and film fanatic, Mike De Luca or entertainment journalist Jay A. Fernandez.  For more information, visit TheDialogueSeries.com.

Do you have a podcast series to suggest?  Please leave a comment on this post or email HollywoodUniversityBlog@gmail.com.

Film And Television Events In Los Angeles - The Envelope Series

This summer, I was honored to have one of the episodes of In Plain Sight I wrote screened by the 2009 Emmy Envelope Screening Series.

The Envelope Series, produced by the Los Angeles Times, screens films and television shows in Oscar and Emmy contention, followed by a Q&A with the writers, directors, and cast members.  Admission is free, though a reservation is required.  To view upcoming screenings, visit The Envelope Series online.  Please note, this is not a networking event; access to the talent is restricted, but the events do provide a first-hand, behind the scenes look at the entertainment industry.

Below is a excerpt from the In Plain Sight screening.  Click here to view panel discussions from other film and television screenings.

Think Twice Before Tweeting About Hollywood

A word to the wise: Before posting your next status update, read Andrew Wallenstein and Matthew Belloni's article, Hey, Showbiz Folks: Check Your Contract Before Your Next Tweet, featured in today's THR Esq.

Hollywood is coming down with the Twitter jitters.

There’s a growing number of studio deals with new language aimed specifically at curbing usage of social-media outlets by actors, execs and other creatives. The goal: plugging leaks of disparaging or confidential information about productions via the likes of Twitter, Facebook and YouTube.  More...

Hollywood Resume Writing Tips from UNC

Here is another example of a Hollywood resume from UNC's Department of Communications Studies website.

Hollywood Job Interviews: The Curse of the Aspiring Writer

A few posts ago, I interviewed Production Coordinator Chris Arrington:

When you are hiring office assistants or PA's, you will frequently consider people with no prior industry experience. So how do you decide which people are worth interviewing? What makes a resume or cover letter stand out?

When I am looking for PA's I actually prefer people with little or no PA experience. In past experiences, I find that when I hire people with no experience they are very eager to work. Being a PA is far from glamorous and some of the responsibilities that they have are not necessarily the most challenging. I find that when someone has been a PA for a long time they tend to have a chip on their shoulder and feel that they are entitled to more. They become lazy and less willing to do some of the jobs that they are asked to do. I am looking for someone that is excited to be here and wants to learn. Being in production, I love when I see a resume of someone that wants to get into production and not writing. Nine out of every ten candidates wants to be a writer. That doesn't mean that I don't hire PA's who want to be writers. It just means that if you want to be a producer or on the crew make sure that your resume indicates that. You may have a slight advantage over other candidates.

I want to address the statement in bold. Many students ask me, should I reveal that I want to be a writer in my interview? Some people say yes, some say no. Here is my personal experience:

Chris Arrington gave me my first industry job -- a PA on the sitcom According To Jim. My resume listed my internships – I had worked in both production and with writers -- as well as my part-time job a set PA on a local news show. It also listed that I majored in scriptwriting. When Chris asked me if I wanted to be a writer, I was honest. I said, Yes. But that’s not all I said. I told him I was equally interested in production, which was true. I told him that I had written, directed, and produced my own series in college and that the most important thing I learned was that at 2 am, when you’re still shooting, the most valuable person on set is the one who brings you coffee and asks if they can get you anything. I said I understood that to be the job of a PA and that I was happy to be that person for someone. And I got the job.

It’s not that production coordinators dislike aspiring writers. They dislike students with a sense of entitlement. Med students don’t graduate med school expecting to be immediately hired as surgeons. Yet writers graduate college expecting to immediately be hired as television writers. If that happens to you, congratulations, you are the exception, but starting as an assistant is the customary path to the writer’s room. You must be willing to work your way up. I’ve worked with PAs who refuse to do certain jobs, such as organize the supplies closet, because they believe they’re above it. They believe they should be in the writer’s room. That attitude will only get you fired. The truth is, you will work on at least one show where you believe you are a better writer than some of the writers in the room, but you can’t let that affect your attitude or your work ethic. Don’t concern yourself with the other people on the show. Concern yourself with what you can do to advance your career. My first day at According To Jim, I cleaned out the writers’ refrigerator. I had nothing else to do, so I just went into the kitchen and started cleaning. Chris fell in love with me that day. I didn’t clean the refrigerator to get praise. I did it because I knew that THE MOST IMPORTANT THING TO DO AS A PA IS TO FIND SOMETHING TO DO.

And for the record, I had a blast as a PA. People always talk about being an assistant as if it’s such a miserable job. It’s not. It’s actually really, really fun. Look at it this way: you’re going to go to Starbucks for yourself; is it that degrading to be asked to pick up a couple of extra cups of coffee for the writers? Working on a TV show in any aspect is a extraordinary job. Enjoy it.

HOLLYWOOD COVER LETTER WRITING

Some people read cover letters; some don’t.  But I always recommend including one with your resume.

The purpose of a cover letter is to showcase one thing: your ability to write complete and coherent sentences.   As an assistant, part of your job will be to correspond via email with actors, writers, and executives.  Potential employers want proof of your ability to write an email using correct grammar and punctuation.  A cover letter is not the time to be creative or to pitch ideas.  It is the time to be professional.  Here is a sample of the cover letter my sister wrote after completing her first industry job.

GENERAL COVER LETTER WRITING TIPS

• Your cover letter should be one page, and one page only. 
  

• If you have been out of high school for over a year, do not include any high school activities, honors, or awards on your resume. If you are a recent high school graduate, you may include the items ONLY IF THEY ARE RELEVENT TO THE INDUSTRY.

• Always use an LA address.  If you don’t have one, borrow one from your friend.  Or use the street address of the Days Inn where you’re crashing.

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Thank you to Patrick Powers for featuring this blog in SCAN, Webster University's School of Communications Alumi News Blog.

Reputable Scriptwriting Programs and Contests

Many students hesitate to relocate before having a job or at the very least, a solid networking opportunity to pursue. Below is a list of reputable writing programs that you can apply to BEFORE you make your big move.

Note: Relocation is required upon acceptance into most programs.

TELEVISION

ABC Daytime Writer Development Program: Offers candidates an opportunity to develop the skills essential to writing for scripted daytime television.  The program seeks writers who excel in creating emotionally rich relationship and character-driven content.  Familiarity with the series’ history, storylines and characters of All My Children, One Life to Live and General Hospital is suggested, but not required. Program duration is determined on a case-by-case basis.  Open to all individuals; however, experienced television writers or candidates with a strong writing background in another medium are preferred.

ABC New Talent Development Scholarship Grant Program: The aim of this program is to nurture and support aspiring writers, directors and filmmakers from diverse backgrounds. The program is designed to assist college and graduate school students as well as artists who are all current members of participating non-profit creative arts institutions like Visual Communications. The goal is to provide financial support and mentorship in the development of a new work or for the completion of a work in progress.

CBS Diversity Institute’s Writers Mentoring Program: A six-month program offering mentoring and networking opportunities for African American writers.  Must be 21 or older to be eligible. 

Disney | ABC Television Writing Fellowship: Designed to expose aspiring writers to key executives, producers and literary representatives – all essential in the pursuit of a writing career. Additionally, while in the program, fellows have the opportunity to work one-on-one with a current programming or development executive to create spec scripts of series from the current broadcast season.  The ultimate goal is to prepare and nurture the fellows for a writing career. Fellows become employees of Disney | ABC Television Group and will be paid a weekly salary of $961.54 ($50,000.00 annualized) plus any applicable benefits for which they are eligible in accordance with the then-current Company benefits plans.

Fox Broadcasting Company Creative Writer Development: Creative Writer Development is Fox Broadcasting Company's incubator for emerging television writers.  The department identifies, showcases, and supports the next generation of TV developers.

Fox Writers Initiative: A six-week session at Writers Boot Camp and subsequent consultation with WBC mentors during which your submitted script will be rewritten and improved. The goal is to execute scripts at a level of professional quality equal to those purchased by Fox in the course of its normal television development. 

Institute of American Indian Arts (IAIA) Summer Television & Film Workshop: Held on the IAIA campus in Santa Fe, New Mexico, the workshop is designed to assist novice and experienced Native American television writers and filmmakers.  The program also brings executives, producers, screenwriters, directors and actors, both Native and non-Native, from the mainstream television and film world to work with the selected students. Sponsored by Disney|ABC Television Group.

National Hispanic Media Coslition (NHMC) Latino Television Writers Program: A five-week, Los Angeles-based, intensive program which takes place in November and December, offering participants have the opportunity to develop at least one television spec script under the guidance of an entertainment industry professional. Writers accepted into the program will have the opportunity to build relationships with broadcast network executives.

NBC Diversity Initiative For Writers: To further encourage diversity among writing staffs, NBC provides funding for a diverse Staff Writer position, open to all scripted NBC Primetime Series. These positions are filled with writers selected and hired by the Showrunner/Producers of each show, with the guidance of the network and studio(s).  Many sources feed the pool from which these staff writers are selected, including agency submissions, fellowships and external writer programs. The NBC Diversity Initiative for Writers also provides writers the opportunity to be read and evaluated by NBC through the an application process, and this may open the door to a future relationship with NBC. Though submissions are read on an ongoing basis, positions are generally filled during the March - June staffing season.

Nickelodeon Writing Fellowship: Designed to attract, develop, and staff writers with diverse backgrounds and experiences on Nickelodeon Network productions.  The fellowship provides a salaried position for up to one year and offers hands-on experience writing spec scripts and offering story ideas in both live action and animated television; allows fellows the opportunity to nurture relationships with creators, network executives, line producers, head writers, show runners, and story editors.  Each fellow will be assigned to an Executive in Charge of Production and have an opportunity to write a spec script for an on-air Nickelodeon show.  Fellows are allowed to attend story board pitches, notes meetings, records, table reads, show pitches and show tapings, all while being exposed to top creators and key production crews.

The Guy A. Hanks and Marvin Miller Screenwriting Program: Established by Drs. Bill and Camille Cosby.  A 15-week workshop designed to assist writers in the completion of a film or television script and deepen the participants appreciation for and comprehension of African American history and culture.  Note: Seeking intermediate and advanced level writers who have formally studied feature or television writing.  Not suitable for novice writers.

Warner Bros. Television Writers' Workshop: Every year, the Workshop selects up to 10 participants out of almost 1,000 submissions and exposes them to Warner Bros. Television’s top writers and executives, all with the ultimate goal of earning them a staff position on a Warner Bros. produced television show.

Writers On the Verge: A 10-week program focused on polishing writers and readying them for a staff writer position on a television series. Writers are given the chance to interact with industry players ranging from network executives to showrunners to agents, and receive valuable feedback on their work and pitch style. Writing assignments on a NBC television show may be available after successful completion of the program, but are not a guarantee. Seeking writers who are "almost there," but need that final bit of preparation with their writing and personal presentation skills. Writers of diverse backgrounds encouraged to apply.  concentrate on creating an exceptional spec script and understanding the dynamics of pitching oneself in the television industry.

FILM

ABC New Talent Development Scholarship Grant Program: The aim of this program is to nurture and support aspiring writers, directors and filmmakers from diverse backgrounds. The program is designed to assist college and graduate school students as well as artists who are all current members of participating non-profit creative arts institutions like Visual Communications. The goal is to provide financial support and mentorship in the development of a new work or for the completion of a work in progress.

Film Independent's Project: Involve: Film Independent's signature diversity program, dedicated to increasing diversity in the film industry by cultivating the careers of under-represented filmmakers. The program, which runs from October through June, selects filmmakers from diverse backgrounds and filmmaking tracks. During the nine-months, the Fellows are paired one-on-one with a mentor from the film industry, assigned to a team to make a short film incorporating a given theme, and attend monthly filmmaking workshops and other educational seminars

Film Independent's Screenwriter's Lab: Film Independent's Screenwriters Lab is an intensive five-week program running two to three evenings a week in Los Angeles in August and September. The Lab is designed to help screenwriters improve their craft, develop their voice as writers, and take their current scripts to the next level. During the Lab, Fellows receive feedback on their scripts from the Lab instructor, outside advisors, and the other writers in the program.

A secondary goal of the program is to help advance the careers of the Lab Fellows by introducing them to film professionals who can advise them on both the craft and business of screenwriting. Lab Fellows have one-on-one meetings with established screenwriters, producers, and other industry professionals who act as advisors on the Fellows' projects.

A maximum of ten projects are selected for the lab. Writing partners are welcome to apply as teams.

All applicants to the Screenwriters Lab will receive written coverage on their submission regardless of acceptance.

Institute of American Indian Arts (IAIA) Summer Television & Film Workshop: Held on the IAIA campus in Santa Fe, New Mexico, the workshop is designed to assist novice and experienced Native American television writers and filmmakers.  The program also brings executives, producers, screenwriters, directors and actors, both Native and non-Native, from the mainstream television and film world to work with the selected students. Sponsored by Disney|ABC Television Group.

Nicholl Fellowship in Screenwriting: The Don and Gee Nicholl Fellowships in Screenwriting is the world’s most esteemed screenwriting competition. Each year up to five $30,000 fellowships are awarded to authors who have previously earned less than $5,000 writing for film or television.

NALIP Latino Writer's Lab: The Latino Writers Lab™ is a unique program for NALIP members who aspire to work as professional screenwriters and who want to develop a strong, viable screenplay for production or sale. It includes skills development by professional instructors, direct mentoring of your work-in-progress by writer/mentors, and workshop lunches on various legal, guild, and industry matters. This program is not for beginning writers.

Outfest Screenwriting Lab: Continuing Outfest's commitment to supporting LGBT-themed films from conception to exhibition, this Lab nurtures screenwriters and promotes screenplays featuring LGBT characters and/or themes.  The authors of five screenplays will be invited to participate in an intensive laboratory during which they will work closely with Lab Mentors — established writers who will critique and encourage their work.

Slamdance Screenplay Competition: The Slamdance Screenplay Competition is dedicated to discovering and supporting emerging writing talent. We welcome screenplays in every genre, any budget, on any topic, from anywhere in the world.  A unique feature of the competition is providing constructive feedback for every entrant. In addition to this, we also offer a more intensive coverage service for a supplementary fee.  Now in our fifteenth year, we have a history of highlighting talented, independent screenwriters and introducing them to the entertainment industry. We’ve established a strong track record through our competition successes and are committed to continuing our pursuit to champion outstanding new work.

Sundance Institute Screenwriters Lab: A five-day writer’s workshop that gives independent screenwriters the opportunity to work intensively on their feature film scripts with the support of established writers in an environment that encourages innovation and creative risk-taking. One-on-one story sessions with Creative Advisors support, challenge, and inspire the screenwriters during the intensive process of script development.

Sundance/Sloan Commissioning Grant: Established in 2005, the Sundance/Sloan Commissioning Grant is an annual cash award for a science or technology related project that is at an early stage such as full treatment or early screenplay draft. This grant will also include a small stipend for a science advisor to provide support through consultation and feedback, as well as the possibility of inclusion in a Screenwriters Lab.

The Guy A. Hanks and Marvin Miller Screenwriting Program: Established by Drs. Bill and Camille Cosby.  A 15-week workshop designed to assist writers in the completion of a film or television script and deepen the participants appreciation for and comprehension of African American history and culture.  Note: Seeking intermediate and advanced level writers who have formally studied feature or television writing.  Not suitable for novice writers.

Universal Pictures Leadership Program: A two-year program consisting of three eight-month rotations within the Motion Picture Group, providing access to successful film executives.  Participants will follow a film at various points throughout the creative process, from the greenlighting process through to the films release on home video.

Women In Film Foundation’s Film Finishing Fund: The Women In Film Foundation's Film Finishing Fund (FFF) annually provides cash and in-kind production services to deserving filmmakers needing help to complete their film projects. The only program of its kind in the industry, the projects submitted have a broad range of subject matter and are judged by a committee of top industry professionals.

In order to apply for a FFF grant, a filmmaker must have completed principal photography and a rough cut at the time of application. The program funds filmmakers working in both short and long formats in all genres—narrative, documentary, educational, animated and experimental. You do not have to be a Women In Film member to apply for the FFF, and we encourage applications from around the world. Please note that student projects are not eligible to receive Film Finishing Funds.

For more information on writing programs and contests, click here.

RECOMMENDED READING - Starting Your Television Writing Career: The Warner Bros. Television Writers Workshop Guide

Executive producer Abby Finer was kind enough to talk with me over the weekend regarding writing programs for aspiring Hollywood writers (post to come).  We also discussed her book, Starting Your Television Writing Career: The Warner Bros. Television Writers Workshop Guide, which she co-wrote with Debby Pearlman; Finer and Perlman formally directed the Warner Bros. Television Writers Workshop.

Amazon.com:

The book focuses on all aspects of writing for television, from the definition and importance of sample material to what it takes to be a successful TV writer. The authors offer invaluable insider information on the keys to writing a good script and how to choose the right show for sample material. In particular, they provide instruction on troubleshooting scripts - with a do and don't list. For the novice scriptwriter, they include advice on how to research, brainstorm ideas, and write a beat sheet and outline through to a polished draft. Filled with practical advice and up-to-date industry information, each chapter provides strategies and insights that will jumpstart a fledgling writing career toward success.

In addition, the book includes a full outline and script of both a comedy and drama series.  

Script Formatting 101

Each television series is formatted differently.  Not only are dramas different from sitcoms, which are different from soap operas, etc., but series within the same genre are formatted differently.   Margins vary; line spacing varies; some series capitalize sounds while other bold or underline the same thing.  For comprehensive formatting guidelines, I recommended Script Frenzy’s formatting guides.  But THE MOST IMPORTANT RULE IN FORMATTING IS TO BE CONSISTENT THROUGHOUT THE SCRIPT.  

Professional scriptwriting software such as Final Draft includes a variety of templates for both original scripts and current series.  But if you are writing a spec script, the best way to ensure your formatting matches that of the series is to download a copy of show's script.  If you have an industry connection, an agency assistant can provide you with copies of scripts.  If not, here is a link to an online resource that provides a wealth of scripts from both past and present series, along with a link to other script providers.  Scripts are also available for purchase from Script City.  When it comes to formatting, it's not important that your margins and line spacing of your spec match that of the real show.  What is important is that your spec adheres to the style of the show;  if you're writing a spec of an ABC show, don't curse as though you're writing for HBO.  If you're writing for a single-cam comedy, don't use a multi-cam format.  And pay attention to the page count.  For instance, The West Wing scripts were longer than most hour long dramas because the characters talked faster.  But that's not license to try to get away with a 100 page script.

A note from my husband, Warren Bell:

For what it's worth, as a showrunner, I don't care about the specific formatting of a series.  If your Lost script doesn't look like real Lost scripts, that's not going to bother me.  In fact, there's little chance I will know, unless you send me a spec of the show I work on.  As long as you use some sort of appropriate standardized format, and as my wife said, it's consistent.

To submit a specific question regarding script formatting or to suggest additional resources, please leave a comment below this post. 

INTERVIEW with Production Coordinator Chris Arrington

Chris Arrington graduated with a film degree from the University of Kansas.  He began his career as a PA for Chicago-based features and television shows. His first job was as a PA for the series Early Edition. Shortly after he became a producer's assistant for the multi-camera comedy What About Joan. Then he realized that it was time to head west.  In Los Angeles, he ended up working as an assistant to the studio executive of What About Joan, which provided him with the opportunity to get to know several producers. It was long after that when he became a production coordinator for several multi-camera sitcoms including According To Jim, where he was eventually promoted to associate producer. After five years at ATJ, he is currently the associate producer for the new Disney XD series I'm In The Band, set to premiere in late November.

Most importantly, he gave me my first job.  

When you are hiring office assistants or PA's, you will frequently consider people with no prior industry experience. So how do you decide which people are worth interviewing? What makes a resume or cover letter stand out?

When I am looking for PA's I actually prefer people with little or no PA experience. In past experiences, I find that when I hire people with no experience they are very eager to work. Being a PA is far from glamorous and some of the responsibilities that they have are not necessarily the most challenging. I find that when someone has been a PA for a long time they tend to have a chip on their shoulder and feel that they are entitled to more. They become lazy and less willing to do some of the jobs that they are asked to do. I am looking for someone that is excited to be here and wants to learn.  Being in production, I love when I see a resume of someone that wants to get into production and not writing. Nine out of every ten candidates wants to be a writer. That doesn't mean that I don't hire PA's who want to be writers. It just means that if you want to be a producer or on the crew make sure that your resume indicates that. You may have a slight advantage over other candidates.

When I am looking through resumes of potential candidates, I generally don't read cover letters. Keep it simple. Keep it to one page. I know that you are straight out of school or have little experience in the business. You don't need to show me that you worked at 'The Gap' during your senior year in high school. Save the comedy for your spec scripts, not your cover letters or resume. When you do submit your resume, follow up. There are constant job openings on shows. I am always asked if i know any PA's by other producers. You don't want you resume to end up in the back of the file.

Also, save the suit and tie for funerals and weddings, not your interview.

What education or professional experiences outside the industry best prepare aspiring assistants to work in Hollywood?

I have hired people with all different degrees in school. You don't need to have a degree from film school. You don't even need a degree. Being a production assistant isn't brain surgery. You are there to support the each aspect of the show. I am always happy when someone thinks ahead. Don't wait to be told to do something. If you see something that needs to be done, just do it. There is always something that can be done. Stay busy. If your not, look busy. Most importantly, have fun. We are not saving lives, we're making TV.

So now you've hired someone in your office, and they're looking to move up. What kinds of things encourage you to promote an assistant?

We all started as PA's. We know what it is like sometimes. You are a very important part of the show. Sometimes it is a very thankless job. If you just give it your all, people will notice and soon you will be hiring the PA's. You need to take advantage of the time and learn as much as you can. I learned more my first year as a PA than I did in school. You have access to every department of the show. Ask questions. Get to know the purpose and responsibilites of each individual of the crew. It will pay off in the future.

Stay Tuned...

... for interviews with Mad Men writer's assistant Erin Levy and television writer Mike Fox.  Coming soon!

INTERVIEW with Script Coordinator Gregory Bonsignore

Gregory Bonsignore was one of Dramatics magazine's "Up & Comers," trained in Greek drama in Athens, TV writing at the BBC, and was an N.Y.U. honors grad. He's worked on many Broadway and Off-Boadway shows, including 42nd Steet, Tartuffe, Mary Poppins, Disney's The Lion King & Beauty and the Beast, and rewrites for Disney's Tarzan.  Most recently, he's worked on writing the book for the New York musical workshop of The Kevin Meaney Show.  

In London, he was the head writer for BBC's Grierson Awards, and in L.A. worked on BBC's HU$TLE, In Plain Sight and Three Rivers. He ran a Fulbright Theatre program in Egypt and was the Resident Playwright at The Library of Alexandria -- researching, writing and debuting his play, A Matter of Fact, on the destruction of the Ancient Library and the creation of the Abrahamic myths. Recently, he was invited on the Tel Aviv TV/Film Masterclass.

He's oddly a Maitre Fromagger, and is currently writing a movie with Jeffs Marx (Ave Q) & Witzke. 

How did you break in? 

There are a number of different times I "broke in"... and am finding that it's not like there's one big door to walk through, but a Japanese house of paper walls that needs to be navigated and broken through again and again...  I started in the theatre and told the producer of a national tour of one of my favorite Broadway shows that I know the show front to back, love it, and would work for cheap... And I worked my ass off all summer... and suddenly I never stopped working in NY.  Then, when I moved out to LA to do TV, I had met tons of people, but still never got that job-- for two years.  But I was determined not to be anyone's assistant anymore, as that is a black hole of a world where I've seen friends stay stuck for 5 years on, thinking they're in a PERFECT position... I was also just tired of answering phones that weren't for me... So I would write my plays and pilots in the morning and work as maitre fromagger [cheese-monger] at a cheese shop in the afternoon/evenings... And I loved cheese and wanted to know all about it, so it was a bit of a perfect idea for a short-term/pay-the-bills and learn something useful job. 

THEN, one-day, my roommate who was working on a show said they needed a script coordinator.  She told them I could do it.  They brought me in... We talked about EVERYTHING except the job... They, as anyone I've ever met who's hired me, couldn't give a shit about your abilities... they assume you can do it (or they'll fire you immediately). They want someone who they want to hang out with 6 days a week from 9 to 9... They literally said, sometime after their assistant said they had to wrap it up, "I mean you can do the job, right?"  I joked that I was color blind and often mixed up the revision pages, and that I prefer to do my own pass on the script before it goes out... they laughed and asked when I could start... seriously...  And I didn't totally know what I was doing either... because this town is a shitbox for growth... They wont hire you unless you've done it before... so I suggested what I did at the BBC was basically their equivalent of Script Coordinator (a bit of CV sleight-of-hand)... and when I got the job, I had two of my genius friends who were already script coordinators on gchat all day, for those moments when I had no idea what I was doing.

What is a Script Coordinator? 

A script coordinator (not to be confused with the Script Supervisor: the ubiquitously cantankerous stage-managery woman with the binder on-set, sitting next to the director) is the guy, or girl... or gender ambiguous person who is charge of every script document for the production.  Anything that the show puts out to the studio, the network, or the cast/crew... The "story area" - an idiotically named document that's basically a one to two-page early look at the episode's plots, it's characters, it's themes... like a pre-outline... Then the outline... then the script. The writers/showrunners finish it, send it to me, I then look it over for everything from tedious shit like formatting, spelling and punctuation (their/there/they're)... to clarity (Always nice to read scene headings that read "the first whispers of tomorrow" but then I have to go, on behalf of the lighting guy, and say "alright, day or night?")... consistency ("she said last episode she was allergic to peanuts, she's eating pb& j in this scene). Then there are bigger notes that, if you have a good relationship with the writer/producer, are often quite welcome as you might be the first person to read it with a bit of objectivity, and still a full encyclopedic knowledge of the story and characters ("This seems like an over-reaction" ... "This feels like an odd Act break." ... "Would a three-year old really know the word Inter-uterine?").  And remember, they all want to look good to the studio/network... so if you can help catch anything from misspellings to wonky scenes, before it potentially embarrasses your team -- always good.

Then, when there are revision pages (blue, pink, yellow, green, goldenrod, salmon, buff, cherry -- and the rarely used colors that I lobby for on every show: mulatto, maize & mauve) it's the script coordinator's job to make sure that the changes are integrated, mesh with the existing script, and the proper pages are issued and distributed. The ADs and that cantankerous Super will do a genius job of finding things you didn't or things that seemed fine in script form, but pragmatically are illogical. That's the part to remember, that you hand production this 30-60 page document, and they have to then make it happen... every word... in real three-dimensional life... often by tomorrow morning.  So, helping maintain and communicate the writers vision entails a lot of back and forth with a talented crew. This gets tricky with the asinine world of legal name clearances and Standards & Practices, which also falls under my jurisdiction... then, in many cases, you're spending lots of time coming up with character names that clear, names the art department can use for the Ice Truck Company, or... sadly... pushing back against people at the network who don't see the show as any sort of artistic venture, but just a way to sell soap, and you often have to fight for things on the writer's behalf... but it has that noble guildsman, fighting for good, brotherhood of man feeling to that. I had to switch out "pissed" because it "connoted urination" for "blows" which obviously connotes... fellatio.

I also pride myself on being the show dramaturg in a sense, something that doesn't often exist in television.  I have a background in research and enjoy those kind of projects, especially in service of enriching and contextualizing the world of the show. And finally, when you get the locked air masters of the episode... making a show Bible with the eye for it being a fully-functional reference tool for the writers. Honestly, I think of it in terms of the fact that, one day I'm going to be running my show and churning out idiotic numbers of pages... and having to look at casting and dailies and cuts and stories... and I would want someone who really cares and is watching my back... so I try to very earnestly be that for them... in the delicate circle of life.

And eventually, if you're lucky... you'll get to write a scene... or re-write a scene... or an act... or pitch story ideas... and that makes the rest worth it.
... until you're re-written... by a little twat script coordinator.

How have your life experiences shaped your writing?

I can't imagine anyone would care about my answer to this question, and I feel a bit like David Brent being interviewed by Inside Paper, even answering this with any hubris-educing sincerity... And are we talking about my job on a network series... or writing of my own pilots and plays which scare even left-wing, communist, Jewish, homosexual, pornographers? On the show, I think when it comes to characters and stories ... having lived a bit of a life is important. Nice vague platitude, Bonsignore. But, when hiring... they know what it's like to be a white guy in college who loves 30 rock and has a spec of mad men... I feel it helps to have some experience thats - if not interesting - is at least specific... As grating as it is to be canonized as "The cheese guy who worked at the BBC" or "The playwright from Egypt" or "The gay guy from Texas"... It is perspective, a something that - if not genuinely - at least feels like it adds a different voice to the room.

And, in the room, having a dynamic understanding of people (psychologically, sociologically, anthropologically) beyond just the tropes that fill up the airwaves does provide fodder for contributing something to the authenticity of the people who populate your show.  This will all be sieved out eventually by the studio & network, but hey, for that five minutes you're waxing about that guy you met in tribeca who was married, but you knew if you didn't kiss him it would be a life unlived... versus creating another medical mystery where our heroes save the day again... I mean, that's the job, isn't it? Pushing... day-in, day-out... I most often find myself on the "kill him" side of things... the one who doesn't want things to turn out nice, who wants our main characters to fuck up, who want to see nice people raped... or raping others... And I think that comes from the theatre... and working outside big box store america... where complexity and ambiguity is welcomed, not incorrectly regarded as a goof.