Finding Time to Write as an Assistant

A reader asks:

I am different for most students here in that I committed to it only 6 months ago. I have taken screenwriting classes since sophomore year, but as a pre-med student I was never able to focus on it. I never had time for internships and therefore feel limited in my contacts. I also have no completed scripts or features (just two shorts) though I plan on having a pilot and feature finished by May. I understand that having contacts and a body of work are both important,but having neither, what should I focus on as soon as I graduate? I have heard that jobs good for contacts rarely give enough free time for writing, and vice versa. Is that completely true? 

Another reader asks:

You've been both a Production Assistant as well as a writer's assistant for the executive producers of In Plain Sight- in what ways did you balance out your day job in the industry with your writing projects?

[Note: I was the EPs' assistant, not the writer's assistant.  A shout out to former IPS writer's assistants Brynn Malone (now on staff), Paul Mendoza, and Joelle Garfinkel!]

Writing your own material while working as an assistant takes discipline. Some stay at the office after hours and work on their own material for two hours before going home.  Some find that to focus on their writing, they need a 9-5 day job.  I know several professional writers who are only able to work on their own material while they're on hiatus.

The most important thing as you start out is to find a balance between making connections and generating material.  Both are essential to the process;  if you want to be a writer, you need to have good material, and if you want to get ahead, you need to have connections to read your scripts.

When the EPs of IPS wanted to hire me as a staff writer, I had to submit my specs to the USA network execs.  If I hadn't had the material, I woudn't have landed the job, regardless of my connections.  That said, having a pile of specs and no connections doesn't help either.  If you have two or three well written specs, spend some time meeting people who can help you.  Get a job in industry.

Perhaps you decide to work in a restaurant for a year, finish your screeplay, and then find work in the industry.  Or perhaps you decide you want to gain more industry experience before you start your next script.  One is not more important than the other.

I also know assistants who work for very low-maintenance showrunners who are able to work on their scripts throughout the day.  And assistants who get off every night at 6:30 and have plenty of time and sanity to go home and be creative.  

If you're able to write and make connections simultaneously, that's wonderful.  If you can't, don't fret; just focus on balancing the two.

Where to Download Pilot and Series Scripts

Thank you to HUSN member Wendy for these links!

http://sites.google.com/site/tvwriting/

http://tv.groups.yahoo.com/group/tvwriters/files (You'll have to join the Yahoo TV Writers group first to see them.)

http://drop.io/tvwriters  (A work in progress. half of the scripts from the Yahoo TV Writers Group are being uploaded).

Should You Make the Feature Version of Your Short Film?

John August discusses...

The Best Entry Level Jobs for Aspiring Writers

Are there certain entry-level jobs, besides a writer's assistant position, that are more helpful to writers than other entry-level jobs?

I believe the best entry-level job for an aspiring writer is an assistant position on a show.  Working at an agency/studio/network/production company, etc., is also beneficial, but working on a show provides writers with direct connections to other writers and producers -- the people who will ultimately hire them on staff.  If you have the choice between working at a network or working on show, whether it be an office PA, set PA, or EP assistant position, choose the show. 

That said, network assistants often make more money than first time PAs [approx. $700 versus $550].  If you feel you need to take the job that pays more money, take the network job.  You won't be tanking your career.  There are countless ways to break into the industry, and there are many many working writers who began their careers as network or studio assistants.  Each person must make their own path.

Writing for 3-D

John August discusses...

Inside the Writer's Room at M*A*S*H

Ken Levine takes you inside the story breaking process on M*A*S*H...

A Day in the Life of a Script Coordinator

Visit Eureka Unscripted for a breakdown of Script Coordinator John Herrera's day.

Agency Fires Employees for Forwarding Company Email

Another example of why you shouldn't facebook, tweet, or fwd messages regarding your job: Mass Reprimands, 4 Firings At WME Over That Floater's "Goodbye" Email

How to Format Numbers in Dialogue

"One hundred" versus "100."  John August discusses...

The Academy's Film Noir Series

Fifteen film noir classics from the 1940s, all of which were nominated in the writing categories, will be celebrated in a summer-long screening series, introduced by contemporary screenwriters whose own work reflects the film noir style.  Fellow blogger John August will be presenting “The Dark Mirror” on July 12.

Oscar Noir: 1940s Writing Nominees from Hollywood's Dark Side

Monday evenings, May 10 to August 30

Cartoons, shorts, and serial, 7 p.m.

Feature presentation, 7:30 p.m.

Doors open at 6:30 p.m.

Samuel Goldwyn Theatre

8949 Wilshire Blvd.

Beverly Hills, CA 90211

Series Pass for all 15 films*

General Admission – $30

Academy members and students with a valid ID – $25

Individual Tickets

General Admission – $5

Academy members and students with a valid ID – $3

To purchase tickets, visit The Academy's website.

Advice from Technical Advisors

I recently wrote a pilot including extensive descriptions of human cadaver dissection.  Luckily, I know a number or doctors and nurses who were willing to serve as technical advisers.  But what if I hadn't had those connections?  Where do writers find specialists to consult?

I recently found that the WGA West website provides both a list of experts willing to provide free information to writers, as well as interviews with numerous technical advisors including:

Pat Brown

Despite what movies and TV might have you believe, serial killers don’t play cat and mouse and aren’t particularly bright. Criminal profiler Pat Brown tells Technically Speaking what goes on in the mind of a real murderer.

Susie Schelling

Susie Schelling, a nursing consultant for ER, Nip/Tuck and Hawthorne dispels some medical misnomers including why doctors never yell, “Get me a (fill-in-the-blank), STAT!”.

Joaquin “Jack” Garcia

Joaquin “Jack” Garcia, an FBI agent who spent years infiltrating the Gambino crime family, knowing his life depended on getting his facts right, gives up the goods on where to get the straight mob dope.

Dr. Glen Gabbard

Sopranos consultant Dr. Glen Gabbard, analyzes Hollywood’s treatment of psychiatric disorders and recommends where to get (technical) advice.

And more!

The site's list of individuals or organizations willing to provide free information to writers includes: 

Government Departments
Medical Authorities
Religious Information
Psychological References
Miscellaneous [High Tech and Air Combat, Search & Rescue,Law Enforcement
(Fraud Schemes, Undercover Investigations, etc.)]
Points of Interest [Aviation Research Center, Railway History, etc.]

While every attempt is made to ensure that FYI listings are purely informational and accurate, the WGAW does not endorse any of the following listings or the information they provide.

WGA West's Interviews with Screenwriters

Check out WGA West's 2010 interviews with various screenwriters; includes NANCY MYERS [It's Complicated], IAN BRENNAN and BRAD FULCHUK [Glee], LINDA WOOLVERTON [Alice in Wonderland] and more.

PA Stories

I recently came across The Anonymous Production Assistant’s Blog, providing tales from the production office, advice on how to find a job, and more. 

Canadian Writing Programs and Contests

Check out Alex Epstein's posts on Feature It! and CFC's CBC Prime Time Television Program.

Vanity Cards

Ken Levine discusses the high-class problem of having to create a vanity card...

Filming Before a Live Studio Audience

Ken Levine discusses what night of the week is best for filming before a live studio audience...

Script Formatting: When Two Characters Are Played By the Same Actor

John August discusses...

Looking to Receive Notes on Your Spec?

Many HUSN members have expressed interest in receiving feedback on their specs from fellow writers. If you have a spec you would like share, join HUSN and respond the Give/Receive Notes on Specs forum. Include your name and the genre and logline of your spec, as well as the type of notes you're looking to receive (overall concept notes; story structure notes; joke punch-ups, etc.)

Family Comedies Panel

WHAT'S NEW, WHAT'S NOT? THE NEXT GENERATION OF FAMILY COMEDIES

Thursday, 5/27/10 6:45 p.m.

WGF/WGA Offices, 7000 W 3rd St, LA 90048

Wine & cheese to begin; dessert reception to follow.

PURCHASE TICKETS HERE

An evening of discussion with comedy writers as they discuss the new generation of family comedies on television. Speakers include Steve Levitan (Modern Family), De Ann Heline and Eileen Heisler (The Middle), Bill Lawrence (Cougar Town), Brad Falchuk, Ryan Murphy and Ian Brennan (Glee). Moderated by Mary McNamara (LA Times). Presented by Humanitas to benefit the Writers Guild Foundation Shavelson-Webb Library and other Foundation programs.

Tickets:
Online - $20; WGA - $15; Student - $10 (plus booking fees)
Door - $25, $20, $15

Please Note:
NO REFUND, NO TRANSFER.
TICKET PRICES INCREASE AT THE DOOR.
ONLINE SALES END AT 2PM, DAY OF THE EVENT.

NYT: The Writer's Room at "24"

Amanada the Aspiring TV Writer posted this link to The Writer's Room at "24," written by Alex Berenson, the show's consultant.

Working Your Way Up in Television: An Entertainment Career Workshop

PLEASE RSVP TO: atascareerworkshop@yahoo.com

NOTE: Each individual attendee must RSVP for themselves only. DO NOT RSVP FOR YOURSELF AND A GUEST.

Early RSVP strongly encouraged as seating is limited. Each individual must provide first and last name, and all guests must RSVP individually as well. Admission is free but not guaranteed. Seating is on a first come, first served basis. Arrival instructions will be emailed upon a confirmed RSVP. Attendance for full evening is mandatory (those who do not RSVP cannot attend). Parking is $4 in the TV Academy structure. Street parking may also be available.

Click here for more information.

UCLA Extention Program: From Assistant/Intern to Studio Executive or Producer

Interested in information about the most effective path to a successful career in entertainment? Interested in being a studio executive, producer, A&R music executive, writer, director, or agent for film or television? Interested in not answering phones or being an assistant for four years? This intense, challenging one-day seminar features a straightforward, no holds barred curriculum designed to help you advance more quickly to the top. It is recommended for people looking to become a producer or executive who either currently have assistant/PA/intern-level positions or are seeking employment or internships. Guest speakers include successful veterans from film, television, and music who provide an industry overview. The day also includes a smaller group Q&A session with current industry players available to discuss specific career pursuits. The final portion of the program is dedicated to job and internship opportunities, career resources, and a career advancement strategy to take you from intern or assistant to an executive-level position. For guest speaker information visit uclaextension.edu.  

Participants need not be enrolled in an internship to benefit from this seminar. However, if participants wish to enroll in one subsequently, information is provided. Attendance for the full day is required.

UCLA: 100 Moore Hall
Saturday, 9am-3pm
April 17

Click here for more information.

Browse UCLA Extension's additional industry-related courses.

Series Standings - 4/12/10

From the LA Times:

Here is where all TV series stand now. We will update this list as TV executives make up their minds over the next several weeks, so please check back in to find out how your favorite show has fared...

Writer's Room Event - Screenwriter Donna Powers

A little somethin' for us on the East side of town...

WRITERS' MIXER

5372 W. Pico Blvd. 90019, near Hauser

contact@WritersRoomLA.com

Please join Writer's Room and screenwriter...

DONNA POWERS

"The Italian Job"

Thursday April 15th, 7pm -10pm

$10 general public

FREE for A-Listers and Members

with emailed RSVP*

Topics to include:

* the always riveting subject of story structure

* the very sexy outlining process

* and well, the biz.......

Come mingle with other successful and aspiring film and television writers and authors. Feel free to bring a bottle of something yummy.

Why Journalists Make Good Scriptwriters

Jane Espenson explains...

The [Un]Importance of GPAs

A reader asks:

I had an appointment with my adviser and he said something along the lines of "When it comes down to it, GPA's don't matter as long as you can write." I was wondering how much weight GPA's have with studios and employers when trying to get a job in the business after college. Is it going to matter as much as presenting a really great spec would?

 Any insight into this would be awesome.

Your adviser is right.  A potential employer will consider your experience and pertinent skills (and in some cases, your writing sample); your GPA is irrelevant when it comes to landing an industry job.   

Disclaimer: This post is not responsible for any decline in blog readers' GPAs.

Updated Job Listings

In preparation for staffing season, I've updated HU's job listings sites.

Is Grad School Beneficial to Scriptwriters?

I received the following question from a blog reader:

Do you have an opinion one way or the other about the value of getting a graduate degree in writing for film and tv? It seems like there's quite a few good quality programs at schools in the LA area, but I've gotten mixed feelings from working writers, some saying it's not necessary and a waste of money, while others think the education and connections you make are valuable. I'm trying to decide if it's worth it to apply or if I should devote my energies to pounding the pavement and working.

I posted the discussion of HU's forum, HUSN.  Here are the responses I've received thus far:

Rob:

I haven't, nor do I have plans to attend graduate school, and I'm currently not a working writer, so I don't have any sort of authority to comment about graduate school; however, I can share my opinions based on my experience as an undergrad.
In my last class of college, my film editing professor, who has worked in the industry for many years, told us that if we already knew someone working in the industry, going to college wasn't necessary. He then went onto qualify this statement by saying that it's who you know that will get you your first job, and it's what you know that will keep you working. My film and television writing professor always said on the last day of class that he didn't care if we did well or not on our spec scripts, how hard we worked, or if we completed all the assignments. If we left the class without making two new connections, we essentially failed.

Nick:

I'm not going to grad school, but I did have the same dilemma. I asked everyone in the industry I knew, between ten and twenty people, and only one person was for it. His reasons were that you get to make a lot of connections, you get to work with expensive equipment for relatively low cost and with not as much stress as if you were working on a film, and that if you're moving to LA you get to grow accustomed to the city with a lot less stress than if you arrived and started working. Everyone else who was against it said that for the amount of money you'd spend on tuition you could simply go make a film since there isn't any film school that teaches something you can't learn on the internet/on your own through experimentation/by asking people. There's also no guarantee that you'll get work once you graduate, and there are even stigmas against certain schools that could hurt you in the long run. That being said, all of the people who were against grad school said that I should at least work for a year in the industry before deciding, which is what I'd recommend.

Nicholas:

No. There is no reason to pay 50,000+ bucks to be taught something that 1) cannot necessarily be taught, and 2) you need to, by and large, learn how to do on your own. Anyone can write a script (the slush pile proves this). However, whether or not you will be able to write a good one is not up to how much time you spend in school, but rather how much time you spend on your own figuring it out. If you read scripts, and watch a lot of TV/movies, and work your ass off at writing...you can do it by yourself, and do so for a hell of a lot less money.
If you want to learn how to write, no amount of time spent sitting in a classroom is going to help you, outside of maybe one or two introductory courses...but once you learn the basics it's really up to you to figure the rest out. That's just the nature of the craft.
Also, no one in Hollywood gives a shit if you went to graduate school, or even went to college. Hell, Quentin Tarantino didn't even graduate high school.

Warren Bell:

First of all, I can't say I have a crystal clear opinion on graduate film and TV programs because I don't know a ton about them. That's probably because I don't know too many people in the industry who have that kind of degree, and maybe that tells you all you need to know about the value of the degree to the business at large. It seems to me that getting a Masters in screenwriting or filmmaking would at the very least get you some very polished samples of your work, and hopefully also lead to some good professional contacts. The down side would be that it's an expensive way to come up with a spec script. Personally, I am a big advocate of life experience -- I would rather meet a writer who spent two years as a line cook or a tour guide or a bank teller than one who spent those years at USC or NYU. I guess the bigger question would be whether or not a graduate program really improves someone's writing, and I tend to suspect it doesn't. I don't think you learn how to write in a class.

Ross:

Here’s my outlook as an MFA screenwriting student rapidly approaching the end of my first year at USC:

After years of teaching myself to write, I managed to crank out a script that was good enough to land me a meeting with a major producer. He saw potential in my work but would not move forward without a revision. What was wrong with the script? Like me, the producer had no idea and the changes he requested baffled me to no end. I needed help. But who could set me straight? The only people who would read my scripts were friends, family, and, for a brief minute, this producer – and what did they really know? Were they professional screenwriters?

That’s when I decided to apply to USC. Now, one year into the program, I can safely say there is no equivalent to learning from top experts in the field. But, is it worth the heavy price tag? Yes. USC delivers serious bang for your buck. You get big name professors, an absurdly beautiful campus, and ample networking opportunities. Most importantly, you will generate mountains of pages and surprise yourself with how much you grow as a writer. You will not find a more thorough and efficient way to gain the skills you need to succeed. Expensive but worth every penny.

I hope this helps in some way to inform your decision. However you choose to further your education as a writer, I hope it is fruitful and rewarding.

What's your opinion?  Join the discussion at HUSN.

Writer's Room Event - Writer AYANN FLOYD (Private Practice)

THIS WEEKEND Join the Writer’s Room “Conversations with Working Writers” and 1-hour television writer Ayanna Floyd for a frank discussion on what she thinks it takes to break into writing for TV in today’s market. Hear how she got started, and made her career choices that set her on a path to work as a producer on the hit medical drama, Private Practice.

Topics to include:

* Finding an agent
* What happens in the Writers Room, from outline to full story
* Pitching ideas in a room full of executives
* What good shows to write spec scripts for

April 4th, Sunday – 3:00 pm to 4:30pm

RSVP required: contact@WritersRoomLA.com
Subject line: Writing For TV

Cost: FREE w/ RSVP if you are a Member or on our A-List.
At the door: $10

AYANNA FLOYD: Ayanna Floyd, a native of Toledo, Ohio, is a graduate of Eastern Michigan University and Columbia College in Chicago. She has been a writing fellow in the Guy Hanks/Marvin Miller Screenwriting Program, sponsored by Bill Cosby, and the prestigious Walt Disney/ABC Writing Fellowship. Her feature work includes a rewrite on How To Make Your Man Behave in 10 Days or Less, which later became Screen Gems’ Two Can Play That Game starring Vivica A. Fox. Her television credits include Gideon’s Crossing, Family Law, Strong Medicine and Medical Investigation. In 2005, she also developed the pilot script, Basketball Wives, with veteran television producer Darren Star (Sex and the City) for Fox. Currently, she is a writer/producer on ABC’s Private Practice.

What is Script Coverage?

A reader recently asked:

So I've been looking at a lot of Internships online and with most of them one of the duties is Script Coverage.  I don't know exactly what that is, but I'm assuming it's reading and then summarizing a script for the executives.  But like I said I don't really know what it is or how it's done, so if could you tell/help me understand that would be awesome?

Script coverage includes the logline and synopsis of a script, as well as the reader's comments and recommendation (pass or consider).  Many development departments require interns and assistants to complete script coverage on specs before passing on the material to executives.

When I interned at Beacon, I read and completed coverage on one script per day; the company provided me with a coverage outline indicating the exact format and content they wanted.  The coverage sheet was then attached to the script's title page and the script was passed along to executives.

FYI: Many companies require intern and assistant applicants to submit a writing sample to make sure the applicants can write well.

Here is a sample -- coverage on The Truman Show.  I have no idea if this is the "official" coverage, but it's example of the correct format and content, none-the-less.