CBS Announces They Will Add More Gay Characters to Their Shows

What's your opinion? Should networks force writers to add diversity characters to meet quotas?

From The Hollywood Reporter:

CBS adding three gay characters to shows

Move follows second failing diversity grade from GLAAD

By James Hibberd

July 28, 2010, 05:30 PM ET

CBS is adding a trio of gay characters to the network's shows next season following a recent GLAAD report that gave the network a failing diversity grade for a second year in a row.

Addressing reporters at the semi-annual Television Critics Assn. press tour, entertainment president Nina Tassler said a gay character will be added to new comedy "$#*! My Dad Says," returning half-hour "Rules of Engagement" and legal drama "The Good Wife."

"We're disappointed in our track record so far," Tassler said. "We're going to do it. We're not happy with ourselves."

During the press session, Tassler also addressed ABC entertainment chief Steve McPherson exiting ABC and defended casting Julie Chen in yet another program.

"My first thought: 'Dammit, he got out of doing press tour,'" Tassler said about her rival's departure, drawing laughs.

Then she added: "He's a great guy, a good friend and I wish him the best."

After the panel, Tassler said she'd be willing to buy a show from McPherson, should he pursue a producing career.

Critics also challenged Tassler about casting Chen on the network's upcoming "The View"-style daytime talk show -- whose title was she revealed is "The Talk." The panel chat show from a mom perspective has Chen as one of six panelists. Chen, the wife of CBS chief Leslie Moonves, already hosts "Big Brother" and co-hosts "The Early Show."

"It was Sara's idea," Tassler said of "The Talk" executive producer and panelist Sara Gilbert. "We talked about people who had a profile. Julie has a terrific reputation. The executive producer of the show said, 'What about Julie, do you think she'd be interested?' I made the decision; I don't think Leslie is unhappy with the decision."

Later, Gilbert confirmed she first brought up casting Chen and also defended the network's press release announcing the show, which drew headlines for neglecting to mention Gilbert's lesbian partner while noting the spouses of the other straight panelists.

"I've been acting my whole life, and I've never discussed my personal life," Gilbert said, "and the first place I wanted to do it wasn't in a CBS press release."

Asked about the network's expectation for moving "Big Bang" to Thursday nights, Tassler said "we don't expect the show to do the numbers it did on Monday just yet." Later, she said she has told her marketing team that she expects premiere date promotion that's so extensive, "I want a cheetah in Kenya to know when 'Big Bang' airs this fall."

"Big Bang" co-creator Chuck Lorre shrugged off the move.

"That's not my job," he said. "One assumes they've given it a lot of thought and it's a good thing for the show. Given where we are now after three seasons, I'd be crazy to argue with the choices CBS has made along the way."

Tassler noted that CBS' upcoming new sitcom "$#*! My Dad Says" was inspired by a Twitter feed and that freshman legal drama "The Defenders" started as a reality show pitch, emphasizing that the network is developing from a more diverse variety of sources than ever before.

"You never know where your next hit is going to come from," she said. "It was a terrific year for us, but we are restless, motivated and paranoid (about finding new hits)."

Before the session, CBS announced that the upcoming edition of "Survivor" will feature old vs. young castaways, which raised eyebrows among some critics since the youngest contender on the "old" group was only 40.

Also, the network announced four companies participating in the second season of breakout hit "Undercover Boss" -- NASCAR (Steve Phelps, senior vpt and CMO), DirecTV (Mike White, chairman, president and CEO), Chiquita Brands International Inc. (Fernando Aguirre, chairman and CEO) and Great Wolf Resorts (Kimberly K. Schaefer, CEO).

LA Surface Street Shortcuts

Another great post from Mike DeHart at KeyPA.net.  Print it out.  Put it in your glove box.

LA Driving Shortcuts

Mike DeHart

Almost all entry level entertainment jobs involve some driving around LA. Knowing how to get around quickly is a great way to get noticed. These shortcuts come to us courtesy of our friends at A1 Courier they definitely know they”re way around, hit em up next time your asked to call a courier.

Beverly Hills to West Hollywood
If you’re at Olympic and Beverwil, go south on Beverwil, then turn left on Whitworth Dr. Go east till you get to either Fairfax or La Cienega Blvd. It’s a short cut in the truest sense, and it gets you from Beverly Hills to West Hollywood fast.

Beverly Hills to Hollywood
Victoria sends us this great tip, “My most useful shortcut in getting from Beverly Hills to Hollywood without getting caught up in Sunset traffic is to take Holloway to La Cienega, and then cut up to Fountain, which then runs parallel to Sunset to La Brea. (It’s the west-of-La-Brea version of the Franklin shortcut through Hollywood.) Fountain is almost always faster than Sunset. When it isn’t, you can just pop up to Sunset again quite easily.”

Beverly Hills to Santa Monica
Proceed west on either Olympic Blvd. or Pico and go left at Overland. If you d ecided to take Pico, you might want to go left before Overland, onto Manning, then left on Ashby and right on Overland. Once you’re roceeding south on Overland, get on the 10 Freeway West. In less then 5 minutes you’ll have your choice of Santa Monica exits. (In general a courier saves lots of time taking the 10 West whenever they travel from Century City, Westwood, or West Los Angeles.)

Beverly Hills to Universal City or Burbank
Our veteran driver Tez points out that she takes Beverly Drive north to Coldwater Canyon and keeps going north until it merges to Mullholland Drive and comes to Cahuenga Blvd. Tez says, “from this point you can take Cahuenga west until the Barham bridge to Warner Brothers in Burbank, or you can take Lankershim to Universal Studios. Its also easy access to the 134 Freeway to Glendale. This shortcut saves lots of time and mileage with less stress and it offers a beautiful city view.”

Beverly Hills to the 405 Freeway
The first thing you want to do is, get to Olympic Blvd. Once you do, travel west and then turn left at Overland, or if you don’t want to have to “wait” to turn left, turn left on Pelham Ave., right on Tennessee and left on Overland. Take that to the 10 Freeway going West towards Santa Monica. Once you’re on the 10 Freeway start looking for the 405 signs…they’re coming up very fast.

Brentwood to Beverly Hills or West Hollywood
A freeway route would be the 405 south to the 10 east where you could exit at Overland going north. From there, turn right on Olympic Blvd. and turn left on a street just past Century City that would drop you off at a strategic spot on Wilshire Blvd., assuming that’s the Beverly Hills area you’re heading to. But a good surface street route is taking Sunset Blvd. east till you hit Canon Dr. where you would bear right, and turn right again onto Beverly Drive, which would drop you off in the heart of Beverly Hills. The West Hollywood route would involve just going in a more easterly direction beyond Beverly Hills.

Brentwood to Santa Monica
This is not a long ride, but San Vicente is the way to go. From San Vicente Blvd. you can turn left onto a Santa Monica street that makes sense. Perhaps it’s 20th Street, 17th, 14th Street, or Lincoln Blvd., etc.

Century City to Downtown Los Angeles
It’s not worth getting on the freeway for this one. By the time you get on the 10 Freeway at either Manning, Overland or Robertson, you could have already made a dent in the route by just taking Olympic Blvd.

Century City to Santa Monica
Proceed west on either Olympic Blvd. or Pico and go left at Overland. If you decided to take Pico, you might want to go left before Overland, onto Manning, then left on Ashby and right on Overland. Once you’re proceeding south on Overland, get on the 10 Freeway West. In less then 5 minutes you’ll have your choice of Santa Monica exits. (In general a courier saves lots of time taking the 10 West whenever they travel from Century City, Westwood, or West Los Angeles.)

Downtown Los Angeles to Hollywood
Go west on 8th Street and pass over the Harbor Freeway and make a right on Hoover and another right on to Rampart Blvd, which you will then take to the Hollywood Freeway.

Hollywood, from East to West
Franklin Avenue is a great way for couriers to get a quick start to the western area of Hollywood, or to West Hollywood. Take Franklin west, go south on La Brea, right on Hollywood Blvd, left on Laurel Ave, right on Fountain and then you’re at La Cienega.

Hollywood, from South to North
Highland is great some of the time. At other times, it’s way to crowded. Try this; from Wilshire Blvd., turn north on Rossmore Ave, which will turn into Vine. This is also good if you’re going through Hollywood the other direction, from north to south.

Hollywood to the Santa Monica Freeway
Crescent Heights Blvd., is the answer. It’s a popular route for everyone, couriers included, but at least there’s no businesses clogging it up, like there are on La Brea, Fairfax or La Cienega. Take Crescent Heights south and turn right on Guthrie Ave, and then left on La Cienega, then follow the signs to the Santa Monica Freeway.

Hollywood to Glendale
Our couriers take Franklin Ave. and then turn left on Serrano Ave, right on Los Feliz all the way to Glendale Ave, where you turn Left. But as, Taleen is so nice to point out; “Keep in mind that there is a “No Left Turn” restriction from Franklin eastbound to Serrano northbound between 4 – 7 PM. Waiting for the Western light is actually a better idea since so many cars can turn per light. Otherwise, stick to Franklin until Edgemont. Also, going west on Los Feliz from Glendale…Vermont is the last left turn before Los Feliz turns left and becomes Western. Berendo is a constant “No left turn” and Edgemont is No Left turn between 7-9 am and 4-6 pm. “Remember, Franklin through the hills past Marshall High school and right on Rowena, left on Hyperion turns into Glendale Blvd. in Atwater and drops you into Glendale without the hassle of Los Feliz. This is also a great cut considering how bad Los Feliz gets after 3 PM.”

Hollywood to Burbank
A great shortcut through the Hollywood Hills is the following; go east on Sunset Blvd., turn left on Gardner St. and right on Franklin Ave. Then go east and turn left on Outpost Drive. Turn right on Mulholland at the top of the hill, then turn left, or more accurately, head north on Cahuenga Blvd., then turn right on Barham Blvd., and before you know it you’re in Burbank.


Hollywood towards Studio City
If you’re coming north from Hollywood on Laurel Canyon, and you need to go east on Ventura Blvd., try turning right onto Sunshine Terrace, just before Ventura Blvd. It’s a great way to avoid cruising
traffic on the Blvd., when you’re in a rush.


Hollywood to LAX
The obvious choice is to take Highland Ave. or La Brea Ave. to the 10 West to the 405 South and exit at Century Blvd. and go east. But, if you’re worried about free-way traffic you can work your way west from Hollywood to La Cienega Blvd. and take that south till you turn right on to Century Blvd.

Mar Vista or West L.A. to UCLA
Our couriers take Veteran Avenue all the way past Wilshire Boulevard and then turn right on Le Conte Avenue. This is a tip our couriers were hesitant to give up.

Marina del Rey to Downtown Los Angeles
Assuming there’s no traffic, the 90 Freeway east to the 405 North to the 10 East would be great. But a fantastic route to consider is getting on the 90 east, till it stops where you would turn right onto Slauson Ave. and take that east till you can either to hop on the 110 Freeway north or you can take Figueroa Street north to your destination. (Slauson Ave. takes you through parts of South Los Angeles…which you might like or — you might not, or maybe it doesn’t matter.)

Marina del Rey to Beverly Hills or Hollywood
If there’s no freeway traffic, the 90 east to the 405 north to the 10 east exiting at Robertson, La Cienega, Fairfax or La Brea is fine, depending on your final destination. However a great use of surface streets in Los Angeles would be to take the 90 east and when it ends, turn right on to Slauson Ave. Go east till you come to La Cienega and go north till you arrive in the Beverly Hills area. If your destination is Hollywood, stay on Slauson Ave. till you come to La Brea Avenue and then turn left. From there, you can go north on La Brea till you get to Hollywood.

San Fernando Valley to Santa Monica
If you’re starting off in Woodland Hills, or even Tarzana, you should take Topanga Canyon Blvd south and turn left on the Pacific Coast Highway. From there you can go up the “California Incline” or stay on P.C.H. until it turns into the 10 Freeway, at which point you can exit at Lincoln Blvd (If the downtown area of Santa Monica is where you’re heading. Also, this route is a good idea if you’re starting in Canoga Park or even Chatsworth.

San Fernando Valley to Westwood & Century City
The obvious choice is the 405 Freeway, but you probably know how problematic that can be when you get towards Sunset Blvd. — no matter what time of day. To avoid this jam up, it might be a good idea to take the 405 part of the way, and get off at Getty Center Drive where you can then take Sepulveda towards Westwood. If you’re proceeding to Century City, turn left on Wilshire and right on Beverly Glen, then left onto Santa Monica Blvd.

San Fernando Valley (Sherman Oaks, Van Nuys, North Hollywood) to the Westside or Santa Monica via Surface Streets!
If you know there’s a problem with the 405 South, and therefore, Sepulveda as well, try taking Valley Vista Blvd. east till you get to Woodcliff Road and turn left. Then turn right on Mullholland and left on Roscomare (there’s lot’s of stop signs), till it ends; you’ll bear right on Chalon and that will become Bellagio and end at Sunset Blvd. From there couriers like going east on Sunset past the 405, which if it looks good, maybe you’ll want to get on it, or just proceed east to Bundy Drive and turn left for the Westside but keep going on Sunset if you’re going to Santa Monica and you can turn left on Cliffwood Ave. and right on San Vicente Blvd.

San Fernando Valley starting at the Getty Center & the 405 Freeway
This was sent by a fan of ours, and each messenger that’s tried it likes it! Even if it is a little complicated… “My favorite shortcut is getting on to the 405 North in Bel Air (near the Getty). If the light is red just hang a right at the Bel-Air Grill and make a U-turn at the first stop sign and go straight. The light is synchronized so that the last light to turn green is the one making a left (Northbound lane) and the Westbound cross street always turns green before it. You beat tons of cars onto the freeway and you don’t have to wait at the light. I learned that one from a Super Shuttle driver.”

Santa Monica to Santa Monica (east to west)
There’s two shortcuts for local Santa Monica chores. Taking the 10 Freeway West from the Centinela on ramp between Olympic and Pico is an absolute must if you want to go to downtown Santa Monica. Also, getting off at 5th Street is quicker because there’s less traffic and one less light compared to getting off at 4th Street. (This assumes you’re heading in a northerly direction upon exiting from the Freeway…going to the downtown area, rather then Main Street or Venice, in which case, you would exit at 4th Street and turn left.) Another must do shortcut in Santa Monica, for going east to west, is taking the 10 Freeway West from 20th Street between Olympic Blvd. and Pico Blvd. But don’t speed, because it’s a very popular route for the local SMPD to get back to Police headquarters :)

Santa Monica to Marina del Rey
Our couriers love to take 11th Street south till it ends at Marine, where you turn right. Then you take a left on Lincoln and end up bypassing some terrible Lincoln Blvd. traffic, and seven minutes later you’re in Marina del Rey.

Santa Monica to Beverly Hills
First off, if you’re wondering about shortcuts from Santa Monica, to Hollywood, there are none. Our messengers just get on the 10, and get off at La Brea, and go north. But if you’re in Santa Monica and you’re going to Beverly Hills, you can get on the 10 East and get off at Overland and take that north to Pico or Olympic…or if you think the 10 East is going to be bad, which it often is, with an early 3 PM start to rush hour each day, then take Pico east, and when you pass Sepulveda, turn left on a street that you can make a quick left on. This will drop you off at Olympic where you will turn right and then turn left after you pass those tall buildings in Century City, onto a side street that drops you off close to where you want to go. In other words, avoid Wilshire, till you need to be on it. Also, years ago, our courier service was a big fan of Olympic to go east, but not so much anymore. Too many new office buildings equals too much traffic!

Santa Monica to Sherman Oaks, Encino, Van Nuys etc.
If it’s 2 AM, don’t do this. In fact this is only good if you’re in the northern part of Santa Monica and you anticipate traffic congestion. Find your way to Montana Avenue, go left on Westgate and right on Sunset. From there, start hoping that the 405 North is moving. Some of our couriers like to pass the 405 on Sunset and get a view of how it looks. If it’s bad, they do a legal U-Turn in about 150 yards, and then take Sepulveda.

Santa Monica to Calabasas, Hidden Hills and Thousand Oaks
Tez, our veteran speedster offers another important shortcut. “I take P.C.H. North and then turn right on Topanga Canyon Blvd. until it connects to Mullholland Drive. Then I turn left on Mullholland and pass the 101 Freeway and make a left turn on Long Valley Road which takes you directly into Hidden Hills. Or when you come to the 101, you can take that north to Thousand Oaks. The mileage is almost the same if you take the 10 to the 405 to the 101 freeeways, but the best part is that it’s less time and you avoid possible freeway traffic as well as breathing cleaner and fresher air and seeing some stunning scenery.” Yeah Tez!

Santa Monica to Hollywood
Scott B. sends in this tip, which is absolutely right on. He says, “I have the quickest way to get from Santa Monica to Hollywood. Take the 10 East, exit Crenshaw, go left until it dead ends at Wilshire, go left a few a blocks to Rossmore, make a right, take that until it becomes Vine, go about 2 miles and you’re at Hollywood and Vine. I drove that route for 5 years after trying everything else.” A fast messenger we have does add, however, that if you’re going to the western part of Hollywood, you should exit La Brea and go north and then take a right on Edgewood Place, which turns into Highland and take that north.

Venice Blvd/Culver City to Santa Monica or the 405 North
If you find yourself at Venice near La Cienega, the Helms Bakery area and you want to go to Santa Monica or the 10 Freeway West, do not backtrack to the on ramp at Robertson. Instead go a bit out of your way and get ready to perform magic! Go east on Venice and when you go under the freeway, where it looks like there’s no way to find the 10 West, only the 10 East, simply do a legal u-turn at Cadillac and make your first right onto David and you’ll find yourself on one of the only “unadvertised” on ramps to a major Los Angeles freeway, the 10 West. You’ll be in Santa Monica in 5 minutes!

West Hollywood to the Santa Monica Freeway
If you’re going eastbound this is great, and if you plan on taking the Santa Monica Freeway West, it’s not bad either. Take advantage of San Vicente Blvd. (it goes Southeast), and then turn right on Crenshaw till you get to the Santa Monica Freeway.

West Hollywood to Burbank
A great shortcut through the Hollywood Hills is the following; go east on Sunset Blvd., turn left on Gardner St. and right on Franklin Ave. Then go east and turn left on Outpost Drive. Turn right on Mulholland at the top of the hill, then turn left, or more accurately, head north on Cahuenga Blvd., then turn right on Barham Blvd., and before you know it you’re in Burbank.

West Hollywood to Beverly Hills
Assuming you’re near the Beverly Center at 3rd Street and La Cienega, go west on Burton Way (it intersects with La Cienega and is just south of 3rd St.). It will turn into “Little Santa Monica Blvd”., in Beverly Hills. From there you can continue towards Century City as well.

West Los Angeles to Downtown Santa Monica
The quickest way a messenger will go is to take advantage of the Santa Monica Freeway and enter the 10 West off Centinela, between Olympic & Pico Boulevards. Exit at 5th Street instead of 4th. It’s quicker because you avoid an extra light as well as traffic next to Santa Monica Place.

West Los Angeles to Beverly Hills
Depending on where you are, it’s most likely best to take Olympic Blvd. However, if you’re by Wilshire and Barrington or east of there, it’s best to just take Wilshire Blvd. Cutting down to Olympic to go east, where you’ll have to make a left turn is time consuming. Most importantly, you should go north from Olympic on to a minor street where you can then be in the thick of things in Beverly Hills — that is. HOW TO AVOID TIME CONSUMING LEFT TURNS Our couriers never wait in line to turn left in Los Angeles traffic! What a smart messenger does is quickly determine if they can turn left without having to wait for another light. If you can’t make the light, you should see if you could turn into a driveway of a gas station or 7-11 etc., just past the intersection, on the right. If you can, enter the lot and then exit towards your destination. (See the picture) Don’t forget to look at all the people still waiting in the left hand turn lane wondering how you got in front of them. This is a great shortcut for messengers…and you too!

Freeway Tips

The 10 Freeway (The Santa Monica Freeway)
The 10 Freeway going east past the 405 Freeway has a through traffic exit that is very useful if there’s a heavy traffic. Simply make as if you’re exiting at La Brea, but then follow the signs to remain on the 10 East. This is especially helpful if you see an accident or some type of problem in the first couple of lanes on the far left of the freeway. You could also do the thru traffic trick exiting at Normandie, but if you intend to take the 110 North, it’s not a good idea. In general the Normandie Freeway shortcut is really only a good idea if there’s a noticeable mess on the 10 going east. In other words, there’s no guarantees on this one, as it can backfire if there’s a lot of cars getting on the freeway. The 10 Freeway going west also has a good option. Just make like you’re exiting at Normandie where you could re-enter at Western or Arlington. These are very good short cuts, especially if you see traffic on the 10 West. And that’s an easy thing to see…by turning your head to the…left!
A must do shortcut if you are taking the 10 east from west of downtown Los Angeles, and you intend to stay on the 10, beyond downtown LA, even if you will transition to the Pomona Freeway (The 60 East), is to make sure you stay out of lanes 1,2 or 3. Simply position yourself in lane number 4 and don’t get involved in all the traffic going from the 10 to the 110 North. Some people drive in the first 3 lanes, even if they’re continuing on the 10, only to burden themselves with unnecessary traffic that includes people transitioning to the 110 North.

The 405 Freeway (The San Diego Freeway, why do they call it that?)
When you are going north on the 405, approaching Century Blvd., you can act as if you’re getting off at Century Blvd., but there’s a thru traffic lane that might help if there’s heavy traffic. This way, you might pass a lot of cars as you briefly exit, but then get back on the 405 North.

The 110 Freeway (The Harbor Freeway…the first Freeway in Los Angeles!)
Going north from the 10 East, and the 10 West, there’s a great opportunity to miss lots of freeway traffic by staying in the lane you’ve entered the 110 North on. Don’t worry as you can stay on it all the way till you pass the exits for 4th and 3rd street. This is a great tip, if you’re going to Dodger Stadium, by staying on the 110 for a little while longer (exiting at Academy or Stadium Way), or transferring to the 101 North or South.

Moving to LA? Some Thoughts on Where You Should (and Shouldn't) Live

Some great advice from Mike DeHart at KeyPA.net:

How to Pick Your Hood

Mike DeHart

Los Angles is a huge and picking the area you’re going to live in can be easily become overwhelming. Whatever you do DON’T commit to a long lease without seeing the place or the area. Just because other people like it or you saw some cool pictures doesn’t mean it’s right for you. Always trust your gut and NEVER be rushed into signing a lease.

If you can couch surf go fot it! Be sure to ride the free apartment waves courtiously though: clean up, make dinners, offer to help pay some utilities, little things go a long way. Either that or find a month to month apartment or sublet. This will give you the opportunity to get to know LA without any huge commitment. Let’s be honest, you’re first job is most likely going to be some long hard hours, you want to come home to a place you like in an area your comfortable with.

http://www.lalife.com/ and http://www.lapdcrimemaps.org/ are two great resources to get a feel for potential living areas. They aren’t hard and fast guides, remember you’re moving to a city there’s going to be crime. (Stay away from South Central, some places have a reputation for a reason).

Where ever you are thinking about living check out that area out during the daytime, evening and at rush hour. Do you feel comfortable walking around? How far away are potential jobs? Thnk about what’s important to you, check out http://www.walkscore.com/ and get a feel for whats in the neighborhood.

That being said, here’s my two cents when it comes to finding a place in LA.

I highly recommend Burbank, especialy if you’ve never lived or worked in a big city before. It’s safe, clean, friendly and comfortable. Stay away from the areas near the airport and sun valley, but besides that Burbank is a great place to transition to LA life.

Glendale is also a fantastic community, but it can be little far away depending on where you find a job.


In the Valley: I highly recommend Burbank, Studio City, Sherman Oaks, or Glendale

North Hollywood is probably where you can get the best bang for your buck, but some areas can get sketchy.

Valley Village, Valley Glen and Van Nuys have some nice areas too, be sure to check out places off of the main roads.

Anywhere in the valley I’d strongly recommend living South of Victory Blvd.

East Side:

I have a lot of friends who love living in Los Feliz, Silverlake and Echo Park.

In the Middle:

Hancock Park, Miracle Mile, Koreatown all have great and not so great areas. Stay north fo the 10 freeway.

West Side:

If you love the ocean, Santa Monica or Venice is the place to be. Westwood is the heart of UCLA and is worth looking into. Also check out Palms, or Culver City but be aware of the not some great parts.

Manhatten and Hermosa Beach are both great places but unless you’re working in the area the commute will kill you.

Whatever you do don’t just take my word for it (i’m a valley snob). Go Explore!

Best Free Smart Phone Apps for Production Assistants

Via KeyPA.net:

Whether it’s the iphone, Droid, Palm Pre or Blackberry, smart phones have changed the game for PA’s and all entry level entertainment folk alike. You definitely do not need one to make it in Hollywood, but like my girlfriend’s father says: “If you’ve got it, flaunt it!”

Family Plan Side Bar: Staying on your family plan can be a smart money saver. An iPhone for example will only add on an extra $30 to the family plan (total cost of $40 to you if you’re nice and are paying your parents back) a far cry from the $100+ you’d have to pay on your own. But be careful, after two years of being out here AT&T figured out I wasn’t living in NY anymore and forced me off my parents family plan. I’ve only heard that happen to two other people I know, but keep in mind it can happen and you could be stuck with a huge bill.

 

10) Flashlight

Yup, that’s right this super simple app made this list. It doesn’t come with your phone and it may be one of the most useful things you can have on it. Most of the time you’ll find yourself standing around while someone else is trying to fix a problem. If they need some light, you’ve got it no need to go searching around for the real thing.

 

9) Bump

I thought that everyone had this app by now, but apparently that’s not the case. Bump can transfer you name, e-mail and photo and all with the correct spelling! It currently only works with the iPhone and the Droid, but none the less it’s the best way to instantly share info and a great fun way to share you contact info and network.

 

8) Kayak

In my opinion one of the best online travel resources out there…and now in your phone. I love the way this app is put together, I’d use it over heading to my computer. It’s got all the functionality of the site and it’s super fast. Flights, hotels and rental cars all instantly at your fingertips for free.

 

7) Sunrise & Sunset Lite

I know it sounds stupid, but it’s on every call sheet and the number one question that comes up at the end of the day is always how much sun do we have left. No one has their call sheet at that point, so with the click of a button you can say confidently when the sun is going down. It can be helpful in the office too if you ever get asked to help put together the call sheets.

 

6) Units

There are a number of free unit conversion apps out there, I like Units. Get one, it’s amazing how often you need to convert information back and forth. Its also a great help when comparison shopping.

 

5) Variety & You’re Other Favorite Entertainment News Sources

Whichever source you like they’ve probably got a free app. There is generally lots of downtime on the job, now I’m not saying you should do it in front of your boss, but if you’re alone, waiting on something you’re picking up or just plain bored, pop open one of these and stay updated on what’s going on in this town. One of the best things you can do is stay informed. Not only does it make for good small talk, but it shows that you’re passionate about where you are and what you’re doing.

 

4) Parkometer

Silly name, great free app. This one will save you $$ and prevent you from getting tickets or worse towed. I’ve heard countless stories of PA’s and assistant’s cars getting towed or ticketed simply because they lost track of time. This guy also lets you take a photo and leave notes to help you remember where you parked in some of those underground labyrinths.  I remember my first time picking up permits at LA Center Studios, it took me forever to find my car again.

 

3) Evernote

This app may seem completely unrelated, but it is in my opinion the best application for storing notes. You setup an account and boom, anything you need to remember you can access anywhere. Say you leave your phone at home or heaven forbid it gets broken. That extra long list of things you needed to do for you boss is easily accessible online. It’ll also store photos and let you record voice memos. Brilliant!

 

2) IMDb

Yup, there’s a free app for that. If you’re an assistant this is a must have. You literally have the industry at your fingertips and being able to pull up info anywhere on just about anyone in the industry is priceless. Move this guy to the front of the bus.

1) Yelp

No matter what role you play in the industry, if you’re at the bottom on the food chain you’re getting the grub. With two clicks of your phone you have a list of all the top rated nearby restaurants. You can filter by price, distance, if they’re open and even specific neighborhood. Not only is Yelp great with food, it’s a resource for reviews on just about anything. Odds are you probably already have this app on your phone. If you don’t, get it and if you do move it to the front page. I use it almost daily.

Michael DeHart is one of the founders of KeyPA.net. He has been out in Hollywood for 3 years now. Getting his start at Current TV as a part time PA, Mike climbed up the ranks securing a full time position following promotion to KeyPA, then Stage Swing and finally Production Coordinator. He continued to work in the freelance world in every facet from PA to Producer. Now you'll find Mike spending his days working on KeyPA.net, on set coordinating or producing. He grew up in the rural town of Cincinnatus, NY and was instilled with the idea that you can do anything with the resources around you as long as you get a little creative. He also loves cycling so if you're looking for someone to ride with definitely drop an e-mail - dehart@keypa.net

How to Write Something Exactly Like This Year's Hit, But Slightly Different

Lots of good information in this post from Alex Epstein.

Agents and Managers and Lawyers, OH MY!

What's the difference and which one(s) do I need?   

Entourage
When it comes to agents, managers and lawyers, who’s holding the best hand?

Written by David Hoag  (From the May 2007 issue of "Written By")

Fifteen or 20 years ago, a talented writer needed only a decent typewriter and a good agent to have a career. Today, the writer seems to need a veritable entourage-agent, literary manager, entertainment attorney, publicist, business manager, accountant, personal assistant.
What's next, the image consultant?

Sometimes, a writer must wonder, Do I really need all these people? With agent and lit manager usually each taking a 10 percent commission, the entertainment attorney and business manager another 5 percent a head, that's 30 percent right there. If you have a publicist, accountant, and/or personal assistant, a few more hands are in your pocket. Add in taxes and the writer might be left wondering if he or she will break even.

Perhaps the biggest change to this landscape has been the rise of the literary manager. (Many writers simply refer to this person as my manager to distinguish the role from a business manager, and we'll do the same here.) As recently as 10 years ago, most writers didn't employ managers. But comb the trades reading about various writers' deals, and you'll see far more seem to have managers in addition to the traditional agent.

But what does a manager actually do? The answers vary depending on which writers you ask. For some, the manager serves as a personal development executive or even a career counselor; for others, the manager acts as another level of connection in the business. Oftentimes, the manager serves two or three of these roles.

“Primarily, for me, the manager is very hands-on in development of spec material, which is really what I have him for,” says screenwriter Keith Domingue, who has written feature assignments for Village Roadshow, Dimension Films, and MGM, among others. “I look for someone who will become a development partner. I need that because it allows me to take more creative risks with my spec material.” As a result, Domingue will work through multiple drafts with his manager, something generally not possible with an agent. “From my experience, few agents have the time for that,” he adds.

For those writers who have been through bruising development experiences, voluntarily submitting to this process (and paying for it) might seem somewhat masochistic. The difference, Domingue explains, is that “the manager isn't trying to make it his cop thriller. He's trying to ensure that my idea gets across. There's never any, Wouldn't it be better if they wore clown shoes and fought crime at night? It's all about flushing out what my idea is. That's the difference between an assignment, where you have people trying to impose their vision on the project.”

Writer Doug Eboch, however, experienced the opposite with a previous manager in this capacity. “I felt like she overdeveloped stuff with me,” says Eboch, who has had both a manager and an agent in the past but now employs only an agent. “She kept wanting me to do new drafts and new drafts. I was satisfied with the material, and my agent was satisfied. That was frustrating.”

In contrast, screenwriter Eric Heisserer sees his manager first as his personal career counselor. “A good manager is much more interested in the long-term career and figuring out how to keep you employed for at least 10 years,” says Heisserer, who has a two-picture deal at Warner Bros. “The good manager asks you a lot of questions about where you want to be, what kind of stuff you want to be writing, and kind of has a college-counselor hat on.”

Television drama writer Elizabeth Cosin sees a different need for a manager in hour-long television. “As a TV writer, you generally don't need a manager unless you end up being a showrunner, and then it's often an advantage to add a manager to your entourage,” says Cosin, who has written for 24, Law & Order: Criminal Intent, and L.A. Dragnet. “There's a lot more at stake. You're making a lot more money, so there are a lot more deals to be made. When you're hot, you should get as much work as you can, and the manager can help you make inroads into parts of the business you haven't been able to get into. It's always good [to have more] people shopping your wares when you're wanted.” Cosin adds that, when you have a successful show on the air, it's difficult to find the time to focus on the next deal, and that's where the manager can help.

The Strategist

Given the increasingly competitive nature of the entertainment business, with more writers scrabbling for fewer available gigs, managers also help agents cast a wider net. “The manager adds another component of connections we might not necessarily have,” says Dino Carlaftes, a literary agent at Metropolitan Talent Agency. “They might have a good relationship with a particular executive or showrunner, and we bring them in as a second party to make calls and plant seeds in people's minds. In television or features, there are several people one needs to talk to. On a television show, you need to talk to an executive producer, a studio executive, and a network executive. If your manager colleague has a good relationship with one of those three, and you have a great one with two of them, then both the agent and the manager can connect with the whole team.”

Carlaftes notes that the manager can often help talented writers who aren't getting the attention they should from their agent. “Some clients don't get as much attention as the current super-breadwinners in an agency,” he says. “Managers have moved into that niche to help people who are being underserviced because of the pure economy of the business. The agent might spend more time with the breadwinners than the people who, for some reason, may have been cold for a little while.” A good manager, he says, can focus on the latter group to bring them into the former.

The manager also can be helpful in building contacts when a writer is new and untested, particularly in the shrinking world of half-hour television. “The tide has changed in terms of agents signing baby comedy writers,” says April Pesa, who has written for Scrubs and I'm With Her. “Back in 1995, when there were tons of sitcoms on the air, you just needed a couple great specs to get signed by an agency. Those days are gone. You almost can't get an agent anymore without a manager helping you get that agent.”

Agent Carlaftes agrees: “Many times managers are willing to take a risk with completely fresh, virgin writers who agents don't have the time to help. It's one thing to read a brilliant feature spec, because you can go out with it no matter who wrote it. But if someone has a terrific spec for Two and a Half Men with no credits and no connection to the business, most agents will turn that person away simply because it's too hard [to try to start that writer's career]. Managers sometimes will step into that role and start working with undeveloped, non-connected talent earlier because they have the time and they have a smaller client base.”

For the newer feature writer without an agent, the manager can also help make critical agent introductions. Screenwriter Heisserer landed his first agent with the help of his manager. “She said, 'Eric, I'm going to boil this down to three agencies that are important” he explains. “'Those three meetings are the ones I think you should take,' she said. 'You could take five or 500 meetings, but my job as manager is to whittle this list down to the three finalists for you.'” Heisserer's manager then accompanied him to each of the agent meetings before he settled on his final choice.
Writer Brian Horiuchi had a similar experience, landing a manager first who helped him line up the agent. “We went together to numerous meetings with potential representatives,” explains Horiuchi, whose feature credits include America So Beautiful and the forthcoming Oskur Fishman. “We shopped around together to create a team. My manager was a linchpin to help choose the rest of the team.”

The Technician

If a manager can do all these things, what's the point of having an agent? “One of my writers recently put it so perfectly,” says literary manager Julie Bloom at Art/Work Entertainment. “He says, 'Julie is my strategic; my agents are my technical.' I get my clients ready to sell. It's the agent's job to sell.” Bloom has a sense of both sides of the business because, before becoming a manager, she was a lit agent at William Morris.

“Managers get you all dressed up and confident for the ball, while agents make sure there are lots of eligible partners there who will ask you to dance,” says Horiuchi with a laugh, slipping into what he calls “my southern belle mode.”

In contrast, writer Domingue uses more of a business school analysis. “I almost consider it like, your manager is part of your marketing team, and your agent is part of your sales team,” he says. “Because the two are not the same. With marketing, you discuss the overall vision of what it is you're trying to do and to put the plan together. The sales people can help you implement the plan.”

Heisserer sees the primary role of his agent as moving him to the next big career level. “The agents are obviously interested in getting assignments for you,” he says. “But, more than that, agents are looking to take what you've already got set up somewhere and make sure it goes the distance. At the agencies, they have access to directors and actors. They have their ear to the wall at all the studios. Packaging is a dirty word sometimes, but at the same time agents help elevate you from being a sold writer to being a produced writer.” While the manager is more focused on making the writer, Heisserer notes, the agent is more focused on making the movie.

There are also legalities as to what managers can and cannot do that prevent them from eclipsing the agent's role. Unlike agents, which are licensed by the state and also are WGA signatories, managers are largely unregulated but cannot technically procure work nor engage in certain aspects of negotiations.
For those who have been around a while, it seems like today's manager is doing a lot of what literary agents used to do, particularly in spec development and career counseling. That's why some writers, particularly those with veteran agents, question the need for both a manager and an agent.
“My current agent seems to be giving me pretty full service,” says feature writer Eboch. “We talk about long-term career stuff. It's kind of rare these days that agents do that. My agent's been around for a long time, so he's more old-school.”

Screenwriter Marianne Wibberley has much the same opinion. “If you have an agent who is doing what they're supposed to be doing, things like career advice, development, and access to work, then you really don't need a manager,” she says. “Not to put down managers, but if your agent is doing her job, then why do you need a manager? Isn't an agent supposed to do all those things? Our agents sat us down right after they signed us and said, 'This is our trajectory that we see for your career. Here is our 10-year plan.' They were very, very focused on a long-term career plan. It wasn't just, 'Hey write us another spec and we'll sell it for you.'” Wibberley's credits include National Treasure, I Spy, and The 6th Day. Although she and her writing partner husband once had both an agent and a manager, they only employ an agent now.

Half-hour and comedy feature writer Jeff Lowell has a simple litmus test for determining whether an agent and a manager or only one is needed. “My test has always been, 'Are they making me more than they're costing me?'” says Lowell, who has written for Just Shoot Me, Spin City, and The Drew Carey Show and wrote the screenplay for John Tucker Must Die. “I usually have two or three things going at once, and I can always point at them and say, 'If it wasn't for my manager, I wouldn't have this; if it wasn't for my manager, I wouldn't have that.'”

Feature writer Craig Mazin candidly questions whether some writers are overrepresented with both a manager and an agent. “I get the feeling that the existence of managers has allowed writers to indulge their neuroses,” he says. “The formula goes something like this: The more representatives I have, the more likely it is that I will work. You can't have more than one agent because the agents wouldn't allow it, so along comes the manager. The writer thinks, I'll pay another 10 percent out and, great, I should get twice the work. But that calculus is just faulty.” Mazin's credits include Scary Movie 3, Senseless, and Scary Movie 4. He presently has a manager and entertainment attorney but no agent; however, he has had all three in the past.

“Whether we realize it or not, we are the CEOs of our own little companies,” Mazin continues. “We're faced with decisions about how many employees to hire. It's a classic business mistake to overstaff out of insecurity.”

There might be something of a prevailing opinion that, if you're working steadily, you can cut back on your entourage. Manager Bloom, however, wonders if that can lure writers into a false complacency. “There are a lot of writers with agents who are working and don't believe they need a manager,” she says. “But you're only as good as your next job. A manager can help you with that job to make sure that you're turning in your drafts in as great of shape possible. Making sure the executives love you and want to hire you again. The manager is another voice out there for you in a shrinking job market.”
Writers with both a manager and agent can also make the mistake of presuming their handlers will do all the work for them. Regardless of the writer's representation, he or she must continue writing, says Bloom. “Writers should never stop writing. If you're not working for hire, you should be writing. That's your job. If you don't have fresh material for your manager or agent on a regular basis, then that's a problem. It's difficult, once you have a spec out there [for a while]; everyone has read it, and you're not doing anything new. If you're a writer, and you're not consistently working for hire, you should still be consistently writing.”

Enter the Attorney

Notwithstanding they have both an agent and a manager on their team, many writers believe an entertainment attorney is also a necessary player in the entourage. They often don't feel they can rely on attorneys in an agency's business affairs department.

“At an agency, especially in television, they're often getting a package fee,” so they have more at stake than just the writer's commission, says Lowell, who employs a manager, agent, and entertainment attorney. “They want the deal to go smoothly. I've had deals blow apart because of issues my lawyer pointed out that I shouldn't back down on. I don't think an agency that has a package fee on the line wants to see a deal blow apart. I always know my lawyer is being objective and looking out for me. At an agency, with packaging fees, there's just an inherent built-in conflict of interest.”

Television writer Cosin stresses that an entertainment attorney is critical for those who are setting up pilots. “If you have a pilot deal of any kind, you need to have an entertainment lawyer,” she says. “Because when you start to talk about back-end stuff and points and credits, you want to get yourself set up in a way that's as solid as you possibly can. Your agent can't do that. Only an entertainment lawyer can make sure you're protected in that way. I just wouldn't trust an agent to negotiate a complicated deal. Some of them are lawyers, but they're not practicing contract law now. They're practicing being an agent. My agent is a lawyer, but he tells me right out, 'Look, I'm not going to be the one you want to rely on to ensure that your contract is as good for you as it can be.'”

In contrast, fewer writers seem to employ business managers, but those who do often find they save more than the 5 percent fee on all earnings. “The business manager is like an accountant plus,” says writer Horiuchi. “They lease your cars, they set up your corporation, they cut you paychecks, they set up your 401(k), they do your investments, they pay all your bills right down to your magazine subscriptions, and they do your taxes. And if you want them to, they'll even put you on a budget.” Horiuchi adds that the business manager is strictly for financial management and not for building industry relationships or securing work.

Regardless of how many professionals the writer employs on his or her entourage, it's absolutely critical that all of them get along. If you have an agent and manager at loggerheads or an agent and lawyer who can barely tolerate each other, you may be in serious trouble and suddenly find yourself without any representation at all. “It either means the relationship with the talent ends or a gauntlet is thrown down and something is done,” says agent Carlaftes. “But in more cases than not, the relationship with the talent is ended.”

Guild member David Hoag has written screenplays for Disney, Miramax, Goldwyn Films, Sony Pictures, Warner Bros., and more. He also is one of the administrators at WriterAction.com, a free website exclusively for WGA members.

Internships: Ithaca | LA

I'm slowly compiling internship listings. Ithaca College offers fall, spring and summer internships for Ithaca AND Non-Ithaca students.

The Ithaca College Los Angeles Program is an extension of the Roy H. Park School of Communications at Ithaca College, Ithaca, New York.

The Ithaca College Los Angeles Program is an internship-based program that provides juniors and seniors with a major or minor in communications an opportunity to gain professional experience in their chosen fields while taking industry-related courses. Classes are taught by our Los Angeles-based faculty and industry professionals at the James B. Pendleton Center, located minutes from Burbank and Hollywood.

Internships are available in the fields of cinema, television, radio, media and communications, music, communication/ management/design, advertising, public relations, and print/broadcast journalism.

Qualified students from other institutions are welcome to apply.

The Los Angeles Program can accommodate up to 75 students per semester: fall, spring and summer.

Juniors and seniors are eligible to enroll.

More...

An In-depth Explanation of Writer's Job Titles

Several months ago, my husband wrote this post to explain writer's job titles and duties.  For a more in- depth look at each position, including pay scale, responsibilities and what to expect inside the writer's room, visit the WGAW's Writing For Episodic TV feature. 

The Writers Guild Foundation's TV Day 2010

The Writers Guild Foundation's TV Day 2010 is a must attend event if you have any interest in writing for TV. Check out the amazing line-up of talent & experience that we've assembled so far. Tickets are going fast.

WRITING FOR TELEVISION 2010
Saturday, July 31, 2010
At the WGF/WGA headquarters, 7000 W 3rd St, Los Angeles, CA 90048
Free Parking all day

TICKETS

Confirmed speakers to date (subject to availability):

Chris Brancato (Terra Nova)
Tara Butters & Michele Fazekas (Law & Order, Dollhouse, Reaper)
Glenn Gordon Caron (Moonlighting, Medium)
Michael Cinquemani (Brothers and Sisters)
Savannah Dooley (Huge)
Jane Espenson (Buffy the Vampire Slayer, Battlestar Galactica, Caprica)
Nick Grad (Executive VP of Original Programming, FX Networks)
Jeff Greenstein (Desperate Housewives, Parenthood)
David Greenwalt (Buffy the Vampire Slayer, Angel)
Lauren Gussis (Dexter)
Allan Heinberg (Gilmore Girls, Gray’s Anatomy)
Marshall Herskovitz (thirysomething, Once and Again, Quarterlife)
Winnie Holzman (My So Called Life, Huge)
Jay Kogen (The Simpsons, Malcolm in the Middle)
Matt Nix (Burn Notice, The Good Guys)
Shireen Razack (Trauma, Undercovers)
Robb Rothman (agent)
Matthew Salsberg (Entourage, The War at Home, Weeds)
And more to come!

TICKETS - Purchase Tickets Here

Program:
9:15 Registration and light breakfast

10:00 PANEL -- BREAKING IN

12:00 PANEL -- THE SHOWRUNNERS

1:30 Lunch

2:30 PANEL – FROM THE GROUND UP: CREATING A SHOW

4:30 PANEL – TELEVISION IN A CHANGING WORLD

6:00 Wine & cheese reception in library

Note: program subject to change. Panelists confirmed subject to availability.
See full schedule details here.
Purchase Tickets Here
General Admission $150; WGA members $125;
Full time students and military veterans with ID $110
WGF Donors - please call 323-782-4692 for discounts.

CANCELLATION POLICY: Cancellations received by 5pm, Monday, July 26, 2010, are eligible to receive a full refund less $20 processing fee; After this, Cancellations received by 5pm, Thursday, July 29, 2010, are eligible to receive a 50% refund; THERE IS NO REFUND FOR CANCELLATIONS RECEIVED AFTER 5pm, Thursday, July 29, 2010. Cancellations must be in writing (to ahuss@wga.org).

Info & Tickets to all events: www.WGFoundation.org

FAQs of Aspiring Writers

Lisa Takeuchi Cullen "a mid-career journalist trying to write one-hour dramas" answers the FAQ of aspiring writers in her blog, Wasabi Mama. Visit WM to read about her first staffing season in LA.

Do I really need an agent? And other questions about getting started as a TV writer  

By LISA TAKEUCHI CULLEN

I’m back in Joisey taking a breather from TV staffing season; soon enough I’ll head back out to L.A. for more meetings. As I sift through reader e-mail and blog comments, I’m noticing some similar questions from fellow TV-writing aspirants about the process. I’m hardly your expert, this being my first dance in Hollywood, but you know what they say about the one-eyed chick in the land of the blind. So here’s me taking a fumble at some answers. It bears repeating that I speak only from my very limited and narrow experience as a mid-career journalist trying to write one-hour dramas. Please add your own in the comments.

Do I really need an agent to land TV meetings? Unless you’re Facebook buds with execs at all the networks, studios and individual shows — yeah, you do. Agents don’t just set up meetings with execs. Without an agent, I wouldn’t have had access to all the pilot scripts this season, and thus would have no idea what shows would be hiring. Plus my big-agency agent lends an unknown schmuck like me credibility by association.

What about a manager? Here’s the reality check: an agent’s top priority is his agency. His goal is to make money for his employer, whether by securing a lucrative contract for a writer or a packaging deal for developing a show. My agent’s smart and good at his job, but my newbie hands need a lot of hand-holding. Enter the manager. This relationship’s much more narrowly focused on the client. At a price. The manager takes a cut of my earnings, too — which tally up thus far to zero. (More on the agent-lawyer-manager thing here.)

So how exactly do I go about getting an agent and/or manager? I can only tell you my own experience and that of my friends, and you’re not going to like it: contacts. I met my TV agent through my book agent. I have a friend whose agent is his former colleague’s brother. Recently I met a working TV writer who didn’t even have an agent until she got her show, though she did have a manager. I’m told managers are easier to score. Don’t despair: my point is that you probably know someone who knows someone. If you don’t, take a workshop. Join a Meetup group. Attend a McKee seminar. You’re bound to meet people, trade cards. But here’s the catch: you’ve got to have something to sell. A great spec, a ripping good story, a fascinating bio. Me, I had an idea. It was just that — an idea. Then I had to learn what the hell a “treatment” was.

How do I get started? Write a spec. An original spec. You know all those books that tell you to write a pretend episode of a real show? Sure, do it for practice. But my agent didn’t even send out my “Good Wife” or “Big Love.” All he sent was the very first script I ever wrote in my life, which was an original idea based on an article I wrote.

Do I need to quit my job? I think that depends on what you do and how serious you are about making a switch. Me, I was a full-time staff writer at a newsweekly magazine. No way I could juggle a career switch on the down-low. To the lawyer and dad who wrote me from D.C. — buddy, I feel your frustration. It’s a big, big deal to toss a hard-fought career to the winds, especially with dependents in diapers. The good news is your lawyerly expertise won’t go to waste; you’ll have a terrific shot at one of the many legal shows that go to pilot every season. See David Feige’s story for inspiration; he’s a lawyer who wrote a book about his experiences as a public defender, then co-created TNT’s “Raising the Bar” with none other than Steven Bochco.

Will anyone take me seriously if I have no TV background? If you could call a do-over on life, you coulda gone the USC > intern > TV writer’s assistant > TV staff writer route. Me, too. All I can say is I didn’t even know that career path existed, and I’m not getting laughed out of meetings. It could be blarney, but what I keep hearing from execs is just the opposite: that they find my background as a journalist/author/blogger refreshing. Four of them in a row told me about the “Hollywood bubble” and the need for fresh, “real” perspectives and stories. Who knew a New Jersey address was an asset? That said…

Do I really have to live in L.A.? The answer I’m still trying to swallow is yes. As a baby writer, all the jobs — and I mean all of them — are there. This season I’m hearing about maybe three pilots, max, that’ll be written out of New York. Even the “Law & Orders” have migrated west. Me, I’m still hoping against hope for a shot at the thimbleful of New York shows. But if I get so lucky as to score an offer from something in L.A., I’ll have some tough decisions to make. I know someone who commutes from her home in Brooklyn to write on a well-regarded show in Hollywood. The things we working mothers do to keep our constituents happy, right?

What is a Beat Sheet?

John August explains:

Beat sheets are a form of outline. Each major plot point gets its own bullet point (or occasionally, a number). That’s it.

Here's an example from August's screenplay, Charlie's Angels.

Interview with Writers' PA

Via Amanda the Aspiring TV Writer:

Sam is a writers PA on a new network drama that will premiere in the fall. I asked him 5 questions about his gig:

1. How did you get your job/what experience did you already have?

I got in the door because the showrunner was an old friend of my parents. To be fair, I wasn't born in Hollywood and my parents don't work in the industry. I've been really surprised by how many totally coincidental connections my family and friends have, ones that I would never have known about if I didn't talk about my writing aspirations. I met with this writer back when I first moved out to LA and kept in touch with him afterwards. When his show got picked up, I sent him an email congratulating him and politely asking if there were any positions available. Next thing I knew his assistant was calling me to set up an interview.

Once I was in the door, I think what clinched it was my work experience. But it wasn't the stuff you'd expect. One of the producers I met with had spent a lot of time in New York (where I grew up and went to school) and loved that I had worked at the Shake Shack, which is kind of an institution there. It gave us a lot to talk about. They were also pretty happy to discover that I was currently working at the Apple Store. Our whole writing staff uses Macs so having someone around who could speak that language was definitely appealing. I've set up a lot of MobileMe accounts.

2. What is a typical day like?

It's hard to say with any confidence, since we haven't started shooting yet, but so far it goes something like this:

I get into the office around 8:15. I try to get there before any writers so I can put some coffee on, check the printer to make sure it's full of paper, unlock office doors, etc. Some writers show up early, but generally they arrive between 9:00 and 10:00. When the writers arrive I start organizing our lunch order, which I pick up around noon. The rest of my day is pretty amorphous, a lot of odd jobs -- post office runs, sending faxes, troubleshooting printers. If it's a Monday I'll probably do a big grocery shopping run. One thing I'm in charge of is distributing all documents that only go to the writing staff. The production staff handles all the production drafts of scripts, but if it's an outline, a concept document, or a writers' draft, that's my realm.

I don't have a set end of the day; once all of the writers are gone, I can usually head out. So far that's been about 6:00-6:30, but ask me again when we're on episode 10.

3. Have you learned anything about writing or Hollywood from your job?

I've definitely been learning a lot. Seeing the writers' room in action has been really inspiring. You can tell these people are professionals. They write fast and can quickly figure out whether an idea is worth exploring. And they think of everything. I've been able to sit in the room a couple times and every time I've had an idea, one of the writers has come up with it a few minutes later.

I've also been learning a lot of little tips and tricks, like don't write more than an act a day. Every writer's different, so ultimately you have to decide whether things like that work for you, but it's really great to spend time with people who have figured that stuff out for themselves.

4. What advice would you give someone who's trying to get a job as a writers PA?

Talk to everyone you know about your writing aspirations. If you get in touch with people in the industry and they don't have a job for you, stay in touch with them. And don't stress out if people don't get back to you right away. People on TV shows are VERY busy.

5. What's something you didn't know or that surprised you about your job?

Free lunches! Seriously, though, what surprised me the most was how much I like my job. There's this idea that assistants are always treated like dirt and that your bosses are constantly making outrageous demands...but being a Writers PA is not torture. Everyone I work with is really, really nice and the job is actually a lot of fun.

Should You Pay For Script Notes? ... and the Importance of Moving to LA.

I've never paid for script notes, and aside from collecting donations for Haiti post earthquake, I've never charged for them.

I'm blessed to be surrounded by working writers who will provide me with feedback for free.  But what if you're not?  What if you're an aspiring writer living in Kansas (like I was) with no connections, and you want to submit your script to the Disney | ABC Writing Program?  Should you pay for script notes?

Let's back up.

First, before you even consider submitting your script to any consultant (or contest, for that matter), have your friends and/or colleagues read over it for typos and general notes and suggestions.  Make sure your script is as good as you can possibly make it before you submit it for professional notes;  paid-for-notes should not be the first feedback you receive.

Secondly, utilize the industry contacts you do have before you pay for anything.  Are you an assistant on a show?  If so, ask the show's writers if they are available to read your material and provide feedback.  Tell them where you're submitting your script and the type of feedback you're looking for (overall notes, joke punch ups, etc.) so they can provide you with the most helpful comments possible.

Okay, but what if you don't have any contacts?  What if you're stuck in Kansas and want to submit your script to Disney | ABC but the only person who can read your script for you is your mother? 

If you feel that paid feedback is your only option, use it to polish a script for a specfic submission.  Do not depend on it to turn your script into a sample that will land you representation via a query.   I highly recommend reputable writing programs and contests, and I believe that queries can be successful, but the likelihood of breaking into Hollywood SIMPLY by paying for notes, submitting scripts to contests, and querying managers while living somewhere else is about as likely as being discovered as an actor by posting auditions on YouTube. 

If you want to be a television writer, move to LA.  Or at the very least, New York.  I've received wonderful notes from professors, assistants, non-writing producers, executives, agents, and working writers... for free.  It's one of the many reasons it's so important for aspiring writers to live here: connections.  While it is possible for feature writers to be discovered before moving to LA, the television industry functions almost 100% on connections.    

That said, a trusted friend of mine has heard great things about Jen Grisanti's Consultancy.  This blog is meant to be a forum for writers, and I'm curious to know your opinion.  Have you ever paid for script notes?  Do you have someone to recommend?  I look forward to your comments.

Nurse Jackie Now Hiring NY Writers

Via Deadline.com:

Showtime’s set-in-New York and filmed-in-New York dark comedy series Nurse Jackie will now also be written in New York. I hear that the writers' room of the show, which recently landed 8 Emmy nominations in its first year of eligibility, is being relocated from Los Angeles to New York with the idea that a team of New York-based writers would better reflect the city and its storylines on the show. Co-creators/showrunners Liz Brixius and Linda Wallem will continue to run the writers' room, joined by one of the 5 writers (3 writers and one writing team) that were on staff during Nurse Jackie’s second season, New York-based playwright Liz Flahive. I hear it was deemed financially prohibitive to relocate the other scribes who are staying behind. The vacant writing positions are being filled out of New York. One of them just went to Pulitzer Prize finalist Rajiv Joseph who has joined Nurse Jackie for Season 3. Also hired as new writers on the show are playwright Ellen Fairey, Alison McDonald (Accidentally on Purpose) and Wyndham Lewis.

Moving to LA? Buy Sunglasses.

That's my advice for you today.  It's very bright here.

LifestyleLemonaid.com: Another Blog becomes a TV Show

From Deadline.com: HBO has just bought a comedy pitch based on the modern day Lucy-&-Ricky 10-year marriage of Brandt and Nikki Joel.

Brandt, 45, is head of WME's talent department, and Nikki, 38, is a former ICM agent. Gilmore Girls and Desperate Housewives writer Jordon Nardino -- natch, a WME client -- has already been put on the project. The genesis for the show is Nikki Joel's tell-all blog about her marriage -- LifestyleLemonaid.com -- where she regularly shares with the Internet her husband's most intimate details. The time he wanted to have a vasectomy... the time she caught him masturbating in the middle of the night during an earthquake... the time he erased all her Tivo-ed shows because he was pissed she'd gone out 3 nights in a row without him... Both Joels pitched the show in person to HBO along with producer Steve Levinson -- "the last guy Nikki blew before she met me", as Brandt explained to the room. The pay channel's Sue Naegle and Michael Lombardo bought the pitch right then and there. Plans are to change Brandt's profession -- "there's only one great agent on TV and that's Ari Gold," Brandt told me -- but otherwise the couple will be portrayed true to life by Nardino, producers Mark Wahlberg and Levinson, and HBO exec Amy Gravitt. "I just want the show to get on the air," Brandt said.

Social Network Trailer

Aaron Sorkin, how I love thee.  And Scala & Kolacny Brothers' cover of Radiohead's Creep -- amazing.

It's embarrassing how many times I've watched this.

Nickelodeon Writer's Symposium

Via Amanda the Aspiring TV Writer: 

The Nickelodeon Writer’s Symposium, in partnership with the Indian Film Festival of Los Angeles, is a 2-hour, invitational designed to prepare applicants for submission to the Nickelodeon Writing Fellowship. Writing for television is a rewarding and creative outlet and alucrative career path that enables writers to continually develop and fine-tune their written skills.


During the 2-hour Symposium, participants will hear from Nick Executives on “How To Tell a Story” and will subsequently be required to submit to the 2011 Nickelodeon Writing Fellowship program. If you’re interested in writing for television and would like to attend the Nick Writer’s Symposium, RSVP to Anam Syed (asyed@indianfilmfestival.org) by July 26. Don't delay, there is only space for the first 60 who respond!


Sponsored by the Nickelodeon Writing Fellowship
When: Thursday, August 5, 2010 @ 10 am
Where: Nickelodeon Animation Studio


Please note: it is NOT necessary to be South Asian or a writer of children's programs to apply - all are welcome!

Attn: Comic-Con Fans

Via Deadline.com: Warner Bros Unveils Eleven Comic-Con Limited Edition Collector Bags.

The Importance of Your First 10 Pages

Have I mentioned how much I love Alex Epstein's blog? He recently wrote a post regarding the importance of the first 10 pages of your script. Is it true that many readers only read the first 10 pages? Yes. And here's why...

Interviews from Banff World TV Festival

Alex Epstein attended Banff World Television Festival and posted amazing transcripts of interviews with Ian Brennen (creator of Glee), James Manos (creator of Dexter), Vince Gilligan (creator of Breaking Bad), Bill Prady (showrunner of Big Bang Theory, and David W. Zucker (showrunner of The Good Wife).  Enjoy!

James Manos
Part I
Part II
Part III

Ian Brennen
Part I
Part II

Vince Gilligan
Part I
Part II
Part III

Bill Prady
Part I
Part II

David W. Zucker
Part I

The Importance of Story in Independent Films

John August discusses the importance (and often lack of) of story in independent films. 

Advice for Writers from Writers

Lauren [ Destination Hollywood ] shares advice from the five writers who participated in the Breaking In & Moving Up: Writing For Television Panel. Read it.

Attn: Graphic Designers

I'm looking for someone to design an ad for an upcoming HU feature. Anyone interested? Email me.

Blog Up and Running

I redesigned the blog this weekend; please email me or leave a comment on this post if you find any inactive links.

Blog Under Construction

I'm making formatting changes to the blog. Thank you for your patience.

"Josh Jennings for Congress" Pilot

Today I met with Nathan Gotsch, creator of the pilot Josh Jennings for Congress.  I was immediately inspired by Nathan's story and wanted to share it with you.

In Nathan's words:

A few years ago, I made some fake campaign commercials for a 25 year-old slacker named Josh Jennings, starring my friend Mike Maulof.

They ended up on CNN, MSNBC and FOX News. That led to me getting calls from TV development executives interested in creating a sitcom around Josh.

I met with agents and managers, and the guys who ended up representing the project advised me to create the show myself and shoot the pilot -- that is, the first episode of the Josh Jennings show -- on my own. Another one of their clients had just done the exact same thing with an idea that became the hit show "It's Always Sunny in Philadelphia."

Earlier this year, I raised $20,000 in six days and we shot the pilot the second week of March. I called in a bunch of favors from my former USC film school classmates and, on the strength of the script, was able to snag a very strong cast:

• Ashley Johnson – What Women Want, Growing Pains
• Sara Fletcher – star of Comedy Central's Secret Girlfriend
• Martin Kove – the Cobra Kai sensei from the original Karate Kid
• Johnny Pemberton – star of MTV's upcoming MegaDrive and a recent guest star on It's Always Sunny in Philadelphia
• Mike Mauloff, who played Josh in the original videos and has been on Curb Your Enthusiasm and Parks and Recreation since then.

Nathan is currently shopping the pilot to various studios.  I encourage you to check out the trailer.

WATCH THE FULL EPISODE

JHRTS Presents: A Night of Standup Sketch, and Music-Comedy

   Click here to purchase tickets.

Blog Recommendation: Destination Hollywood

I highly recommend Lauren Gable's blog Destination Hollywood: A Girl's Guide to Navigating the Entertainment Industry After Film School. (And it's not just for girls.)  Lauren is a recent graduate of USC's film program and has worked as a script coordinator, wardrobe assistant, actress, and more.  Her blog includes links to writing fellowships, answers to FAQs such as "What is a producer?" and "What is the difference between a Development Deal, First Look Deal, and Exclusive Deal?" and excerpts of conversations with industry professions.  For example, "This past week in The Business of Representation, we had a Producer come in and talk. I just wanted to touch on two things that he said quickly..."

Lauren takes her readers inside her USC classes: "In week three of The Business of Representation class, we had a manager from a top management company come talk to our class. He has an amazing client list and really had an interesting perspective on things! Here are some of the things we talked about..."

I recently spoke with Lauren to ask a few questions of my own: 

You've worked as a script coordinator, a wardrobe assistant on a SyFy channel movie, an extra on Glee... how do you find all these jobs?

All kind of random ways, really.  I answered a craigslist ad looking for interns for this company that does 12 movies a year... so basically one a month.  I was a general PA in the office and then once I got on set, I switched to wardrobe assistant, which I ended up doing for two films. Then on another film with the same company, I moved over and started doing casting and production coordination (dealing a lot with talent and coordinating dancers and rehearsals and such).  Meanwhile, I became interested in script supervising and started taking some gigs off of craigslist.  So when the production manager from the company that I did some work with originally got onto a bigger project, he brought me on to help with pre-production, and then I got to come on as script supervisor once we started filming.  After that film, I got calls from several other people I'd worked with offering me gigs on other films.  If you are hard-working and fun on set, its amazing how offers start flowing in!

For extra gigs, Sande Alessi Casting & Central Casting are great!  It can be a good experience to get on some film sets and see how things work.

Do you believe film school is necessary to succeed in the industry?

This is an interesting question and one that I go back and forth with a lot.  For me, USC film was the most amazing experience, and I wouldn't trade it for anything.  I LOVE all the people in my program and over the years, we have become such good friends, and I know these are going to the be the talented filmmakers of tomorrow, and I feel lucky to know them.  And education is super important to me, so I never could have just gone from high school to Hollywood.  A lot of the stuff that you learn in film school can be taught through practical world experience.  Film school hasn't helped me get jobs per say, but I think the label USC film school has gotten me in some doors that I might not have gotten in otherwise.  In my opinion, the best thing about going to USC film school were the people I met (because these people are going to be the filmmakers of tomorrow and the ones who help you get jobs), the location, and the label "USC FILM"-- as there are sooooo many USC alumni working in the business.  I get responses to job emails all the time that are like "Oh fight on!  I'm was a Trojan too!"  But I have a friend who is a real go-getter and just started working right after high school and at the ripe age of 20 ,he makes a healthy salary and is well integrated already into the film world. So I guess it kind of depends on the person.  Its hard to say.

Any advice for readers who are relocating to LA?

Well, you should know that you just kind of have to get here and start looking for work.  I don't know anyone who got a job before arriving in LA.  Check out craigslist and consider doing some unpaid gigs to meet people (you are going to need to create a social network).  Go out; you'll meet people that way as well.  There are industry parties and mixers that are sometimes fun to hit up.  

Check out Lauren's blog: Destination Hollywood: A Girl's Guide to Navigating the Entertainment Industry After Film School.

Emmy Nominee Beth Chamberlin

Congratulations to my friend, Beth Chamberlin, who was recently nominated for a Daytime Emmy Award.

Gorgeous in Jean Faras

Beth recently joined the cast of the web series CELL. Check it out.  She's also a certified Kettlebell trainer with a set of workout DVDs. Buy them. They. Are. Amazing.

Jane Espenson's Advice on Job Interviews

Let's imagine that you've landed a job interview for a writing position on a new show. You've just been shown the pilot and you need to react in the moment. What should you say? What I'm going to say here may seem self-evident, but it's amazing what you'll hear yourself saying when you're nervous, so it's best to have thought about it.  More...