Getting Read

I've finished my spec.  How do I get it read by important people?

First of all, thank you for referring to those of us in the industry as "important people."  We're not, but we'll take the compliment.

Do you have any connections?  If so, ask them if they are willing to read your spec.  You can also ask if they are willing to pass it along to their connections (i.e., agent or manager) but be prepared for them to say no.  And don't take it personally.  It doesn't mean that they think your script is bad.  Perhaps they're uncomfortable asking for favors or perhaps they've already asked their agent to read a number of scripts this year and simply aren't comfortable asking them to read more.  It's also possible that their agent, like many agents these days, isn't reading new writers.  The current economy is taking a toll on the industry.  Experienced writers have quotes, meaning that when they are hired, a show must pay them a minimum amount per episode.  If a show can't afford that amount, the job goes to a less experienced writer whose quote is lower.  But right now, jobs are so hard to come by that experienced writers are lowering their quotes, leaving fewer jobs for less experienced writers.  Many agents are refusing sign or even read new writers right now because they are impossible to staff.  Agents don't want to sign you when they know they can't get you a job.

So if I don't have any connections and agents are refusing to read new writers, how do I get people to read my script?

There are two different approaches you can take simultaneously.  The first is to make connections.  Internships and entry level jobs are the best way to make contacts in the industry.  If you work as an assistant on a show, you'll get to know the writers and producers, and once you establish a relationship with them, you can ask them to read your script.  While agents are vital in getting writers their second job (and almost every job after that) new writers often land their first jobs themselves.  It seems backwards, but it happens all the time.  An aspiring writer will serve as a writers' assistant or a showrunner's assistant, and the showrunner will hire that person as a staff writer for the following season.  For instance, my boss hired me as a writer on In Plain Sight after I served as his assistant for a season.  So I got a job before I got an agent.  Luckily, I had connections to an agent, who agreed to represent me.  If you don't have a connection, your bosses and coworkers will often refer you to their agents, who will jump at the chance to meet any writer who already has a job.

People are often frustrated or discouraged when I tell them they should break in as an assistant.  Please understand that I'm not recommending this path because I think everyone needs to "pay their dues" or because it's a rite of passage or because I was an assistant and that means everyone should be an assistant.  I recommend it because these days, it's the most direct path to being hired as a writer. 
 
The second thing you can do is to get your script read is reach out to managers.  Managers accept query letters and unsolicited materials, where most agents do not.   Done Deal Pro is a wonderful resource that was referred to me by manager A.B. Fischer.  The site provides manager listings (for a fee) as well as an example of a query letter (for free).  The Hollywood Creative Directory is another good resource, though it's more expensive.  You have absolutely nothing to lose by submitting your materials to a manger, and it's something you can do even before you relocate.

What does a manager do?

A manager helps you develop your spec.  In Creative Screenwriting's article "Manager's HOT Sheet" by Jim Cirile, Energy Entertainment's Jack Wagner explains, "An agent will read a script once and make a decision if they can sell it or not, boom, one and done.  Managers will go through eight drafts."  ManDown Pictures' Pouya Shahbazian adds, "As a manager, I can take a flier on a young client who needs development work or wants more attention so I can get them to the place where their career will launch or we can place them with an agent."

Once your manager feels your material is ready to be submitted, they call their connections  (producers, writers, executives, agents, etc.) and ask them to read you.  They serve as your networking source.  And collect 10% of your earnings.

So if I have a manager, do I also need an agent?

Yes.  Because managers can't legally negotiate your deals once you are hired.

(Future posts on managers, agents, and lawyers to come.)

A Shout Out To My Husband

My husband recently sold a pilot to ABC Studios, has another pilot in development, is writing a screenplay, and just signed on as an Executive Producer supervising the pilot of Nicole Richie's new series.  It's hard to be married to an over achiever.  But I'm very proud.

He wanted me to explain what it means to supervise: "I am on the notes calls and I give the writer, who is very talented and doesn't need me, the benefit of my experience.  Occasionally I throw in a good idea."

So it's like what he does for me.  But he gets paid.  

Variety Columnists

For those of you who love to read about behind the scenes Hollywood, I recommend checking out the Opinion page in Variety.  My favorite: Peter Caranicas's BELOW THE LINE, covering "the crafts and people working behind the scenes in film and TV."

HU LOOKING FOR INTERNSHIP LISTINGS

I'm compiling internship listings for a future post.  If you know of any sites that list industry internships, please email HollywoodUniversityBlog@gmail.com.

Variety Screening Series

Attention WGA members: Reserve your seat(s) for the Variety Screening Series now.  (Members are allowed one guest.)  Screenings are scheduled in Los Angeles, New York, and San Francisco.  Be sure to read the event's Policies and Procedures (no cell phones, etc).

For non-members - find a coworker who is a member and tag along!

Advice on Pitching

Check out Ethan Banville's blog post on the process of pitching.  And while you're there, check out his other posts -- honest insite from a Hollywood writer.

Job Listings

Where can I find Hollywood assistant job listings?

Below is a list of sites that post industry assistant openings:

4EntertainmentJobs.com
ABC Studios - Production Associates Program
CBS Corporation
Comcast Entertainment Group (E! Entertainment Television)
Craigslist.com
EntertainmentCareers.net
Fox Network
Mandy.com
MGM Studios 
MediaBizJobs.com
MediaJobMarket.com
MTV Networks
NBC Universal
NYC.gov - Mayor's Office of Film, Theatre and Broadcasting 
Paramount Pictures
Showbizjobs.com
Sony Pictures Entertainment
Time Warner
Warner Bros.
The Walt Disney Company
Variety - Job Listings

Note: The sites above generally provide employment listings for networks, studios, and production companies, not television shows and films.  The truth is, most assistant openings on series and films aren't posted.  Here's how people find out about assistant openings on shows:

A show needs an assistant.  The production coordinator, who generally does the hiring, will call/email everyone they know: "I'm hiring for the following positions....  If you have anyone to recommend, please fwd me their resume."

Then those people send emails to everyone they know: "In Plain Sight is hiring PAs.  If you or anyone you know is would like to submit their resume, email me and I'll forward it to the production coordinator."  Within a matter of hours, the production coordinator has a stack of resumes in their inbox.  This is a perfect example of why it's so important to always have a copy of your resume and cover letter available to you at all times.  Email it to yourself so you can easily fwd it the second you get an email about an opening.  And remember, forward it in PDF format.   For information on how to write a resume and cover letter, click here.

UTA (United Talent Agency) also distributes a job list via email.  Again, you have to know someone on the mailing list who can forward it to you.  Usually at least one person in every production office is on the list.

* UPDATE - UTA Job list is now available via The Hollywood Temp Diaries.

But what if you don't have any connections?  How do you find out about job openings on a show? Here's a step by step process on how to find a job in Hollywood:

MAKE CONNECTIONS

Click here for tips on how to make connections.

WRITE A RESUME AND COVER LETTER

Click here for tips on how to write a resume and cover letter.

FIND PRODUCTION LISTINGS and APPLY

The best way find out if a show is hiring is to call the production office directly.  When I moved to LA, I had very few connections, so here's what I did:

First, I bought a fax machine.  Faxing at Kinkos can cost up to $1 a page, and you fax two to three pages to each show you apply to (cover sheet, cover letter, and resume); during my first job search, I faxed to 68 shows.  A fax machine costs $50 and will pay for itself the first day, and you can sit in your pajamas and watch movies while you apply.

Armed with my resume and cover letter, I called production offices: "I'd like to submit my resume; can you give me the fax number or email I should send it to?  Do you happen to know if you're hiring assistants?"  If the person is nice, you can chat with them for a moment.  "Is there anyone specific I should attention it to?"  Unless otherwise noted, attention your resume and cover letter to the production coordinator.  If the person on the phone seems busy or unhelpful, simply get the fax number or email and hang up.  If you'd like to follow up, call a couple hours later to confirm they received it.  If your resume and cover letter is good but the show is not hiring, the production coordinator will often forward it to other shows that are hiring.

Where do I find production listings?

Many sites used to host production listings online for free.  Unfortunately now you must pay for most of them.  Here are the most helpful resources I've found thus far:

The Hollywood Creative Directory
It’s like a gigantic Hollywood phone book, packed with names, numbers, addresses, and current titles of executives from film and television. Studios, production companies, television networks, and cable channels are listed with their preferred genres, selected credits, projects in development, and deals. A separate section contains the network, primetime, and major cable TV shows currently in production, along with staff and contact information. Comprehensive and up-to-the-minute (it’s published three times a year), the directory is used by studios, directors, producers, writers, actors, aspiring filmmakers, students, college and university libraries, researchers--everyone who wants to make it in Hollywood.

Below The Line
Weekly magazine providing contact information for films and television shows.  Includes Production Office numbers and emails.  Subscription required.

Call Sheet by Backstage (formally Ross Reports)
This website is for actors; it includes mailing addresses to casting offices (for headshot/resume submissions).  However, it also provides a complete list of shows currently in production and includes contact information for networks, studios, and production companies.

Please note: The website has some production listings available, but the phone numbers are often incorrect.  For instance, it lists the main Disney Studios number as the Production Office number for several ABC Studios shows.  Resumes should be submitted to the  Production Office number.

Production Weekly
Similar to Below The Line.  Subscription required.

The Hollywood Reporter
Film and television production listings available online; however, contact information is often incomplete.  "Online Only" subscription required.

Variety Film Production Chart | Variety Television Production Chart
Variety provides free production charts online but more often than not, contact information is missing.

If you have other resources to contribute, please email HollywoodUniversityBlog@gmail.com.

Making Connections

Contrary to popular belief, succeeding in Hollywood isn't about having connections; it's about making them.  I grew up in Kansas.  For those of you who don't know, it’s in the middle; the big, flat middle.  The closest "connection" I had was to my Dad's late friend Greg Sullivan who climbed a local hotel (a la Spiderman) in hopes of getting arrested, gaining publicity, and attracting the attention of a local news anchor he had a crush on.  I don't know if he ever met said news anchor, but he did make it into the local newspaper and in Kansas, that makes you famous.

In high school, my best friend's aunt (who was friends with a soap opera actress) invited us to attend the Daytime Emmy Awards.  ("Invited," as in she invited us to pay $200 a ticket to attend.)  We stayed at the Waldorf Hotel, along with many of the soap actors, where a line of limos was shuttling entourages to the awards show.  In an effort to save our cab fare, we approached the hotel concierge who, without question, loaded us into a limo.  Our driver, assuming we were actors, unloaded us onto the red carpet.  What's girl to do when she finds herself on a red carpet but walk it?  So we did.  (Please note: This was a pre-9/11 awards show.  If I tried this today, I would likely be arrested.)

If you're wondering where the red carpet leads, in this case it led to the pre-awards show dinner.  And like most industry parties it was chaotic, so we were able to lie talk our way in without much hassle.  Standing in a room full of writers and actors I was reminded of my father, who insists on stopping at the Grand Canyon any time we're in the vicinity noting: "You never know if you'll be back again."  We were almost certain we'd never be back in this room again so we decided go for it: we approached every actor we knew and (after making sure we weren't interrupting them; actors hate that) politely introduced ourselves.  In a room full of industry people, you never know who you're talking to.  We could have been Les Moonves' nieces for all they knew, so the actors were polite, asked our names, and in the most appropriate way they could, asked what we were doing there.  I'm convinced that had we been older, we would have been arrested, but what seems stalker-like at 20 is adorable at 16.  We were aspiring writers from Kansas.

"Where's Kansas?"

“In the middle."  

The actors took us under their wings.  One particular actor, Beth Chamberlin, introduced us to every actor and writer she knew as "High school girls from Kansas who want to be writers.  How adorable is that?"  Beth also agreed to send us her old scripts for examples of formatting (who knew about Final Draft?).  And that was the first time I made a connection.

Don't be discouraged if you don’t have connections.  The goal is not to have them, but to make them.  But in your effort to make them, you may find out you had them all along.

LETTER WRITING CAMPAIGN

Take advantage of email and social networking sites to make connections.  Before I moved to LA, I sent an email to everyone I “knew “-- family, friends, acquaintances, alumni, my parent's friends -- many of whom I'd never met.

Dear Cousin-who-lives-half-way-across-the-country-whom-I-haven't-seen-since-I-was-four,

I recently graduated from college (Can you believe that?!  I haven't seen you since I was four!) and I'm planning to relocate to LA to pursue a career in television.  I'm looking to make contacts in the industry that can offer me advice on pursuing my career, etc.  If you or anyone you know could point me in the right direction, I'd really appreciate it.  And I'd love to catch up with you when I get to town!

Why is it we use exclamation points when writing to people we don't know?  We never use them with our friends.

You'll be shocked how many connections you can make this way.  It turns out my parent's neighbor's nephew was an assistant on a television show.  He passed along my resume to his contacts, which led to two interviews.

After the Emmys, my best friend emailed a Webster University alum, who was the executive in charge of Procter and Gamble Productions.  The email simply said that we were two aspiring writers from Kansas who were planning to attend Webster, that we found her email via the alumni page (we're not stalkers), and we were looking to make connections; we would love to meet with her next time we were in NYC.  She emailed back almost immediately, inviting us to her office.  This connection lead to an internship with Procter and Gamble Production’s PR department as well as with the writers' offices of the two soap operas they produced -- As The World Turns and Guiding Light.

When we finally met, we thanked the executive profusely for meeting with us, and surprisingly, she thanked us for contacting her.  She said she's always amazed at how many simply don’t ask for help.  The truth is, not that many people pick up the phone and say, “I'd like to learn something from you.”  And most people are flattered when you do.

ALUMNI

Contact your school's alumni office or visit their website to make connections with people from your school working in your field.  (We really do want to help you.)

INTERNSHIPS

Internships are an amazing way to make connections while you're still in school, as well as gain experience for your resume.  I'm working to compile a list of internship listings but until then, visit your school's career counselor; they will most likely be able to point you in the right direction.  (While in college, I worked for Webster’s career counselors.  Again, it’s amazing how many people don’t ask for help.  Career counselors and their staffs are there to help you.  Utilize them.)

USE THIS BLOG

Personally, I never comment on blog posts.  I lurk, as do many of you.  (I can see how many people visit my page per day and how many don't leave comments.) Use this blog to connect.  Become a fan on Facebook or follow us on twitter to or email me personally and I'll put you in contact with other aspiring writers.  Need a job?  Email me.  Need a roommate?  Email me?  My inbox is full of job listings and roommate ads that I'm dying to delete forward to you.  People email me and say, “I'm sorry to bother you...”  You're not bothering me.  I volunteered to help.  Countless people helped me break in to the industry and now it’s my turn to return the favor.  So stop lurking and whining that you don't have any connections and use this site as a networking tool.

Universities That Prepare You For The Industry

I was clueless when it came to my college search.  I give my best friend and fellow writer Gina Gari 100% of the credit for finding Webster University.

Everyone knows about NYU, UCLA, and USC, but those aren't the only programs that adequately prepare you for the industry.  Below is a list of the programs that have been personally recommended to me by alumni working in the industry.

This list is a work in progress; if you would like to recommend a school or professional program to be featured on this site, please email HollywoodUniversityBlog@gmail.com. Your suggestions (and questions) are always welcome.

Actors Theatre of Louisville Apprentice/Intern Company
Professional Interns work directly with department managers and staff, receiving hands-on training in either administration or technical theatre. Internships are available as full-season or part-season contracts, at the discretion of the department. Internships are vital staff positions at this nationally recognized professional theatre acclaimed for its innovative programming and strong business acumen.Interns take leadership positions on Apprentice/Intern Company projects throughout the season, and are directly involved in regular season productions.

Interns are selected by application and interview with department managers. It is possible to arrange course credit with the intern’s academic institution.

AFI Conservatory
At the world-renowned AFI Conservatory, a dedicated group of working professionals from the film and television communities serve as mentors in a hands-on, production-based environment nurturing the talents of tomorrow's storytellers. With an emphasis on narrative visual storytelling and personal expression, each class breaks into teams that mirror a real production environment. Those teams collaborate and produce more films than at any other graduate-level film program. 

Newhouse School at Syracuse University
The Television-Radio-Film program prepares future leaders in the television-radio-film and interactive media industries. The major consists of eleven courses: seven core requirements and four electives. Core courses introduce students to issues, practices, and concepts fundamental to an understanding of television-radio-film environments. An extensive array of elective courses provides students with the opportunity to customize their programs of study in line with their unique learning objectives.

Tisch School of the Arts at NYU
For more than 40 years, Tisch School of the Arts has drawn on the vast resources of New York City and New York University to create an extraordinary training ground for the individual artist and scholar of the arts. Our undergraduates learn their craft in a spirited, risk-taking environment that combines the professional training of a conservatory with the liberal arts education of a major research university.

UCLA School of Film, Theater, and Television 
At UCLA the study of theater, film, television and digital media is integrated within a single professional school.

Located in Los Angeles, the entertainment capital of the world, the UCLA School of Theater, Film and Television (TFT) draws upon industry leaders for its faculty, advisors and mentors. Storytelling is the heart of our curriculum, and our talented alumni and faculty members have won Oscars, Emmys, Tonys — nearly every meaningful artistic accolade in the performing and visual arts.

University of Kansas Film and Media Studies 
The Department of Film and Media Studies unites the inquiry of the academic with the proactice and technique of the artist. Scholars and filmmakers work and study together in an environment of mutual encouragement and collegiality.

USC School of Cinematic Arts
Deciding which college or university to attend is one of the most significant decisions you can make in your life. At the School of Cinematic Arts we believe students find a combination of factors that make the USC Cinematic Arts experience truly unique.  More...

Vanderbilt University Film Studies Program
The Film Studies Program is committed to nurturing a film and media culture in Nashville, and particularly on the Vanderbilt campus. "Film culture" means a fabric of events and shared knowledge, appreciation, and analytical interest in film as an art form, as an element of global mass culture, and as a mode of expressing attitudes, ideas, and opinions about histories both global and local.  More...

Webster University's School of Communications - BA in Scriptwriting
The major in scriptwriting provides students with a structured approach to understanding the craft of writing scripts for film, television, and other electronic media. By analyzing scripts and producing their own creative work, students learn character development, plot, structure, suspense, and tension, as well as the conventions of various genres.

Webster University's Conservatory of Theatre Arts

The Conservatory at Webster is a professional training program for acting, musical theatre, directing, design, technical theatre and stage management. Located in St. Louis, the Conservatory has been training theatre students for the professional world for over half a century.

We select our students through auditions and theatre festivals nationwide. We also host auditions here on campus. All of our candidates for admission must complete the audition/portfolio review process to be considered.

One of the distinguishing elements of Webster's Conservatory is its integrated association with two professional companies on our campus: The Repertory Theatre of St. Louis and Opera Theatre of Saint Louis.

INTERVIEW with "The Colbert Report's" Glenn Eichler

Writer Glenn Eichler was kind enough to answer my questions regarding the state of the industry in New York, as well as share his own experiences as a television writer.

What job opportunities are available to new writers in New York?

I’m not too up on all the job possibilities, but it seems there are fewer than, say, two years ago.  I believe they relocated the writing staff of Law & Order C.I. to L.A., so there goes one potential employer (although I do think the other two Law & Orders are still written here).  All My Children is also about to move to L.A., after shooting here for 39 years.

  

30 Rock is written and shot here, as are several late-night shows: Dave, Jimmy, Jon, of course Stephen… there are still a number of talk/daytime shows here, like Wendy Williams and The View… the latest season of  In Treatment was written and shot here, but I don’t know if it’s coming back.

But when you’re thinking about writing jobs in New York, don’t forget the many MTVN networks (MTV, VH1, the various Nicks, BET, Spike, etc.) – that’s a good way to gain some experience and a credit on your resume.  There are also lots of news shows done here for CNN, MSNBC and (God help me for calling it news) Fox News, as well as the broadcast networks’ new operations.  I don’t know if there are actually jobs available at any of these places, but if feels like there should be.

What are the most successful ways to "break in" to the business in New York?

           When it comes to comedy, a lot of people seem to make connections by taking improv classes and/or performing at the Upright Citizens Brigade.  Again, MTVN is usually open to young, cheap talent (or, even better, young, free talent), and they have an employment page on their website.  But I won’t kid you about breaking in without some kind of entree: it really, really helps to know somebody.  And even when you know somebody, it’s tough as hell.  In any case, the old saw applies: if you want to work in TV, take any freaking TV job you can get, at least for your first job.  You can re-evaluate once you’ve gained some experience and made some connections.

Your credits include animated series as well as The Colbert Report.  How did you make the jump from one genre to another, and what advice do you have for other writers wanting to do the same (i.e. moving from comedy to drama)? 

          I made the jump because the animated show I wrote for five years (Daria) had a sort of cultish cachet, so I got to meet some up-and-coming comedy writers while doing it.  By the time the show wrapped, several of them had become established in the industry, including Ben Karlin, who became e.p. of The Daily Show and The Colbert Report.  He recommended me for the latter when it was staffing up.  So my story may be a little atypical.  But my advice for writers is always the same: never stop writing, even when you’re not being paid to, and try to learn as many genres as you can.  Even so, you may get pigeonholed in one area – I was “the guy who can write in a teenage girl’s voice,” until I became “the political satire guy.”

How does writing for a nightly comedy show compare to writing for a weekly series?

          I can’t say how a nightly show differs from an episodic show with human beings, since I’ve only done an episodic animated show, but the short answer is, they couldn’t be more different.  An episode of an animated series typically takes about nine months to produce, which means you’ve got a bunch going at once, rolling out slowly; obviously a nightly show has to be done nightly.  For a fictional series you’re concerned about things like character development, story arcs, etc; for a nightly show, it’s about what’s in the news and individual jokes.  And the pace of a nightly show is grueling, but the audience feedback is almost instantaneous.

City Secrets Movies: The Essential Insider's Guide

For you movie lovers: City Secrets Movies: The Essential Insider's Guide, edited by Robert Kahn.

From Fang Duff Kahn Publishers:

"Before I die, I want to spend a weekend hidden away in some idyllic place, watching all the wonderful movies I have never heard of. To prepare for this weekend, I have this book." --Mary-Louise Parker

"A wonderfully subjective little guide to the best films of all time."
--Graydon Carter, Editor, Vanity Fair

Movies is a compilation of short essays written by directors, actors, film critics, producers, film scholars, and other notable figures from the film industry, the arts, and other fields. Each has recommended a film, or an aspect of a film such as a performance, style, or theme, that they feel has been overlooked or underappreciated.

Contributors include Wes Anderson, Ken Auletta, Alec Baldwin, Adam Duritz, Milos Forman, John Guare, Arthur Hiller, Anjelica Huston, Barbara Kopple, Sidney Lumet, Simon Schama, Martin Scorsese, and Kenneth Turan, among many other film experts.

A portion of the proceeds from the sales of this book will benefit The Film Foundation, the leading nonprofit organization dedicated to film preservation.

CBS To Develop Sitcom Based on "Shit My Dad Says" Tweets

Twitter sensation Shit My Dad Says is headed to television. CBS has picked up a comedy project based on the Twitter account, which has enlisted more than 700,000 followers since launching in August and has made its creator, Justin Halpern, an Internet star. More...

RECOMMENDED READING - Writing Your Own Lottery Ticket

Everybody does it, sooner or later. But nobody talks about it. Here, finally, are the secrets for writing spec scripts, spoken by those in the know.  More...

RECOMMENDED READING - Malcolm Gladwell

I heart Malcolm Gladwell.  His Late Bloomers: Why do we equate genius with precocity? is a must read; a lesson in tenacity.  Enjoy.

More Showbiz Jobs Move To Louisiana

From Deadline | Hollywood:

Pixel Magic today announced a new digital media studio at LITE in Lafayette. It could create 40 direct new jobs in 3 years. "Pixel Magic is a great example of the kind of companies we hoped to position Louisiana to secure when we strengthened Louisiana's film production and digital interactive media tax credits during the last legislative session," said Gov. Bobby Jindal. "Pixel Magic's decision to locate in Louisiana will send a signal to Hollywood and to other leading digital media companies that Louisiana is a major player in the digital media industry. This win will help accelerate the development of Lafayette as a hub for digital media and film production, and of course it will help create more good jobs for our children so that they can pursue their dreams right here in Louisiana.  More...

Jonathan Prince Answers Your Questions

A few weeks ago I had the privilege of chatting with Jonathan Prince (creator of The Cleaner; American Dreams) regarding the FAQs of aspiring writers.

Spec Materials

If you only have one writing sample, Jonathan recommends it be an original pilot, feature film, or a piece of writing from your field of writing, ranging from a one-act play to a group of original poems.  Essays and short stories are acceptable submissions as well.  For instance, here is the short story John Hughes submitted to National Lampoon that was ultimately developed into National Lampoon’s Vacation.  According to a number of agents and executives I’ve spoken with, many readers appreciate shorter, less time consuming samples, especially during staffing season when the industry is overwhelmed by stacks and stacks of samples to read.  If you can express your voice in any format less time consuming than a 60 page script, you’re more likely to be read by certain executives and producers.  However, there are an equal number or producers who refuse to read anything other than scripts.  The moral of the story is, the more samples your have, the better your chances are of being read.

Agents, executives, and showrunners are looking predominantly for one thing -- your unique voice.  Why should they hire you as opposed to another writer? What voice will you contribute to the writer’s room?  That said, one of the most important skills of a TV writer is mimicry –- you need be able to mimic the sound of the show you are working on, which is why a spec of a current show can be vital to your body of work.  Please note: Your spec should be of a current show.  Many executives and producers will not read specs of shows no longer on the air.   Your killer Will and Grace isn’t going to cut it.

Jonathan encourages writers to know their own voice as well as how to represent it.  If your submit a sci fi pilot and a 2 ½ Men spec to the showrunner of Fringe, they’re going to be very confused;  are you a sitcom writer or a drama writer?  Your submission needs to match the tone of the shows you submit it to.  I have a Grey’s Anatomy spec, a Friday Night Lights spec, a drama pilot, and an In Plain Sight episode.  But my agents can’t submit any of that material to the showrunner of Breaking Bad because my writing samples don’t prove how I can write for that genre.  If I want to work for shows like Breaking Bad, I need to write a sample that shows my ability to write for an edgy, male-driven shows. 

So what should you write?  A pilot and spec for every genre you want to be considered for, a one act play, an essay, and group of poems?

Yes.

You hate me right now, don’t you?  Take it one sample at a time.  Start with pilot or a spec.  Pass it around and be prepared for the question, what else do you have?  Chances are, a reader is only going to read one of your samples but if they like it, they will often ask what else you have in your pile.  If you have something, give it to them.  If you don’t, be working on it.  Tell them about it.  They just might say, I’d love to read it when it’s finished.  Always be writing.

One last thing: Jonathan emphases that your samples must be submitted to readers in the correct format –- a PDF file.  Final Draft is also an acceptable format, assuming the person opening your attachment has Final Draft.

Writing Contests

Should you submit to writing contests?  According to Jonathan, absolutely.  Anything that makes you stand out from other writers is beneficial.  Did you win a writing contest at your university?  Were your poems published in a local publication?  If so, put it on your resume.

For more on writing contests, click here.

Entry-Level Jobs

What entry-level jobs best prepare you for a career as a writer?  Jonathan says a writer’s assistant or writer’s PA position is the best preparation because it puts you in the writers’ room, witnessing the staff’s process and developing relationships with them.  Writers LOVE a good writer’s PA.  Your main task everyday is to place the lunch order, deliver it on time, and make sure everyone gets what they ordered.   If you nail the job, you’ll be everyone’s hero.  Eventually you can ask the writers to read your work or even pitch a joke that may make it onto the show.  My second day at In Plain Sight, my boss asked everyone (assistants included) to type up five story ideas.  He bought mine.  You never know what opportunities may present themselves.

There are other ways to get your foot in the door as well - PA, personal assistant, or executive assistant positions, etc.  Over the course of Jonathan’s career, he’s been an actor, director, sitcom writer, drama writer, and feature writer. The great thing about the entertainment industry is that you can continually reinvent yourself… but you have to have the material to go with it.  If you want to jump from drama to comedy, you have to write and comedy pilot or at the very least, a comedy spec.   Crossover is absolutely possible, but you have to prove yourself.  The fact that you’ve worked in drama for 10 years doesn’t mean squat to the comedy department.  You’re like a heart surgeon who’s been operating on hearts for 20 years and now wants to become a brain surgeon.  They’re not just going to hand you the scalpel. 

Be patient, yet tenacious. Always be meeting new people. Always be writing.

More Los Angeles Housing Finders

Need a roommate?  Many local colleges and universities publish housing ads in the classified sections of their newspapers.  Happy house hunting!

USC -  The Daily Trojan - Classified 

UCLA - The Daily Bruin - Housing Classifieds

Cal State Northridge - Daily Sundial - Housing Classifieds

Loyola Marymount - Los Angeles Loyolan - Classifieds

Pepperdine University - Places4Students

Places4Students.com was created from within a college and university environment by a Marketing & Facilities Manager. We truly have the greatest understanding of student, school, and landlord off-campus housing needs. We are a young, energetic and vibrant company that is bringing a product to the post-secondary market that schools can really use. Places4Students does not charge schools any type of fee and does not charge students to use the web site.

LA City College - Uloop.com - Housing Classifieds

Uloop.com is an online marketplace for college students providing students an online bulletin board to buy and sell textbooks, find housing and roommates, full-time jobs and internships, connect with classmates for carpools, and campus events.

Majors and Minors

A fellow Webster student writes:

I'm addicted to your blog. I am an aspiring writer, and I am about to start my first semester at Webster University in the spring. I know I want to be a writer or work in television production. However, I find myself overwhelmed. Like most people I want to be "hirable" after college. What are studios looking for in the way of majors and minors on a potential candidate's resumes? I was thinking about majoring in film production; would that be attractive to potential employers?

The honest truth: Your degree matters less than your experience. My sister, for instance, attended one semester of community college before moving to LA and landing a job in the industry. That said, by the time she graduated high school, she had assisted local casting directors and served as a lighting designer or stage manager for over 55 shows at the high school, college, and local theatre level.

She also had a great connection.

But let's assume you don't have a great connection. Or any connection at all. Let's assume you're an incoming college freshman, have no prior industry experience, and want to work in Hollywood. What can you do in the next two to four years to increase your chances of landing a job after graduation?

You don't have to major or minor in film production or scriptwriting to get a job, but you do need to gain experience in the field -- participate in internships, student films, local theatre, etc. College is a great networking opportunity. Not only will you meet fellow film and television students, but alumni working in the industry as well. One of my film production teachers referred me to her friend who hired me to work for the St. Louis Film Festival; I later listed the experience on my resume.

A potential employer will spend less than one minute looking at your resume. They are not only looking for your field experience, but your professional experience as well. Have you worked in an office before? Does your resume indicate that you know how to send a fax? Use a copy machine? Deal with difficult personalities? A former employer of mine once hired an intern from Harvard and gave her the job of three hole punching a stack of scripts. She three hole punched them down the right side of the paper...

Does working in a movie theatre part-time look better on a resume than working at a bank? No. Employers simply want to know you've had experience working in a professional environment. For more tips on Hollywood resume writing, click here.

An important thing to remember is that simply studying movies and television will not make you a good writer. Take a history or literature or psychology class; study abroad. If you plan to be a writer, a theatre degree is just as useful, if not more so than a production degree. An understanding of the essentials of storytelling learned through playwriting will only benefit you in your career as a television and film writer.

Above all, be well-rounded person. Turn off the TV and go out! If all you do is study film, you may know how to write a script, but you'll have nothing to write about. The most important attribute for an aspiring writer or producer is life experience.