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Home of Jane's blog on writing for television
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November 6th, 2007Comedy, Friends of the Blog, From the Mailbag, On WritingAnother day on the line, Gentle Readers, and I am simultaneously pooped and energized. I came home and napped, woke up at 6, and literally couldn’t figure out if it was 6PM or AM. The sky is getting darker, so let’s go with PM, okay?
They’ve got us Battlestarrers at the Barham gate to Universal now, out where Barham meets Forest Hills Drive. It has turned out to be a fun and active spot — lots more marching and chanting than at our previous location. We’ve had lots of supportive shouts and honkings from passers-by and drivers — thank you! We only had one ugly encounter, with a studio driver in a creepy Halloween mask, who treated us to a prolonged obscene gesture. It was genuinely chilling. But mostly it was a great day — we were joined by writers from Law and Order SVU, from the new comedy Carpoolers, from Bionic Woman, and others, so it was also a wonderful chance for all of us to meet more of our colleagues.
By the way, we may be rotated out of this location at any time — I’ll try to keep you posted on where we are, Gentle Readers.
I’ve received some questions about what you can do to help us if you live too far away or are otherwise unable to come physically to our sides. Gentle Reader Mike asks, “Do we stop watching the shows? What about the reruns?” Well, I could be wrong but I don’t think there’s much to be gained through wielding your viewing power at the present moment. Watch whatever you wish. But, if you want to, you might want to watch it while composing a letter in support of the writers to the editor of the Los Angeles Times or any of the New York newspapers. Or while posting a writer-positive comment on any of the web sites that are taking on this issue — Nikki Finke’s column in the LA Weekly, for example. You can also take it upon yourself to educate your friends and family, who may not be getting the full story on what the issues are. If you read this blog, you’re probably interested in television writing as a career. I want it still to be a sustainable career when you get here!
Speaking of breaking in, I want to direct your attention back to Chad Gervich’s blog, in which he specifically addresses Gentle Reader Betsy, who wrote to me with a question I couldn’t answer. His response is loaded with useful tidbits about breaking into the business and I encourage you all to check it out!
I think I have more faith than Chad does in the power of doing well in script competitions. Especially if you count the ABC/Disney and Warner Brothers Fellowships as competitions, I think they can help you get that proverbial foot in that metaphorical door. But don’t let that be your only angle of attack — Chad provides others. This job is volatile, sometimes short-lived, and for most writers not as lucrative as you might hope, but it’s still the very best job in the world, and I want to see as many of you as possible getting your WGA cards in the near future!
Lunch: a sandwich and some of that wonderful cheesy garlic bread at The Smokehouse. (We also saw John Stamos and Maura Tierney there, who assured us that the cast of ER would be hitting the line to walk with their writers!)
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November 5th, 2007Friends of the Blog, From the Mailbag, On Writing
UPDATE: I am being told that our team might be reassigned to a different and even more remote gate. If you’re looking for me and cannot find me, then please, support any writers you do find. Hold a sign, stay and chat… it will be appreciated!
I am freshly returned from the picket line. They have put our “team” of Battlestar writers at a secondary, but strategically important Universal side gate, primarily an entrance to the theme park but also used by productions. Even there, hidden and isolated, I was delighted to be joined by a number of fans and gentle blog readers who found me and then carried signs and endured my foot-sore company for the duration! Thank you! And, as for the rest of you, I would love to meet more of you during future mornings.
And, get this — pizzas were delivered to me and to the other strikers down by the main gate by the generous readers of Whedonesque.com! Whoo! Pizza! Thank you, my people! You’re making this bad sitch a lot more comfortable.
And today’s writing advice? Today I offer you this link to “Scriptnotes,” Writers Digest’s new blog “about the craft and business of writing for film, television, and digital media.” It’s offered by friend-of-the-blog Chad Gervich, and it looks as if it’s going to address a lot of the questions that I avoid about aspects of the job that extend beyond the margins of the page.
For example, Betsy in Los Angeles, who wrote to ask about seeking out production companies versus agents as a way into the business? Well, you might want to direct that question to Chad. I concentrate on helping you perfect that script. Chad is better equipped than I am to advise you beyond that point. I think it’s going to be a great resource. Enjoy!
Lunch: pizza with anchovies, delivered specially for me to the picket line. Beautiful! Thank you!
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October 14th, 2007Friends of the Blog, On Writing, Pilots
Okay, ready for more information from guest speaker and friend-of-the-blog Marcia? If you recall, Marcia is an accomplished writers’ assistant, with access to inside information about the job that I simply don’t have. So, once again, take it, Marcia!
Here’s where I say what you’ve been hoping I wouldn’t. Writers’ assistant jobs are near impossible to get if you’ve never been one. What’s equally frustrating is that a large percentage of those who end up in my position for the first time, get there by pure, dumb, luck. Being good at the job is how you land consecutive gigs, but that first one? Luck is a big part of it. There’s an unfortunate Catch-22 nature to the hiring of a writers’ assistant. No one wants an inexperienced writers’ assistant, but new writers’ assistants can’t become experienced if no one will hire them. Which is where connections come in. This won’t come as a shock to most readers, but being in this business is often like being in the mafia. It’s more than just a little helpful to know someone to get your foot in the door. That’s not to say the totally unconnected can’t find a job, but connections on all levels should never be overlooked. Nor should you feel the need to take the “I can make it on my own” stance. Take the advantages you can. Sure, connections may have gotten you the job, but it’s your abilities that keep you in it. Staying employed consistently is based only partly on who you know, the rest is the reputation you cultivate.
For example, my first job as a writers’ assistant was on the show Arrested Development. I was actually hired originally as the show runner’s assistant. That’s where connections helped, seeing as I was only up for that job because a friend of mine from college was an assistant at the production company co-producing the show. When the show runner asked her to help him find an assistant, she put my resume on the top. How did I get to the room from there? Now for the luck. In an attempt to save money, they put off hiring a writers’ assistant until we moved into the offices on the lot, which meant I was to function as both assistant to the show runner and writers’ assistant in the room for two weeks. During that time, they had the most detailed notes, not a single lunch order was delivered incorrectly, and every writer’s whim was met. By the time the move came, I was given my choice of the two jobs.
If you’re luck and connection challenged, one avenue to a writers’ assistant gig for the inexperienced is as a writers’ PA (being different from a regular production PA in that their responsibilities are solely to the writers, writers’ assistants and script coordinators, versus being used by the entire production.)
(LisaKlink’s October 4th blog that Jane linked you to had some particularly good advice for those right off the bus. [The blog is here. You can page down to the relevant entry. – Jane]The only thing I’d recommend caution with is her “find a way to stand out” piece of advice. She’s not wrong, but you want to make sure you do it in a way that doesn’t get under the skin of your fellow underlings. Because, though it may work to get you in good with the writers, it’s also those little people on the same level as you or thereabouts that recommend you for future work. For example, when I get hired as a script coordinator on shows, I do my best to make sure MY writers’ assistant and MY writers PA are hired. By which I mean, the people I’ve worked with in the past who I know will work hard for me, are people I don’t mind spending 18 hours a day with, and who don’t have a chip on their shoulder about the work. Anyway, where were we?)
You can often interview for a production PA spot and specify that if the position is open, you’d love to be the writers’ PA. They’re usually hired by the same person. As a writers’ PA, you’ll be exposed to how the room works and have access to the writers. Though a good skill to have is knowing when not to be around (you wouldn’t want to be known as that meddlesome PA), getting to know the writers and proving your worth is a good way to get that bump you’re looking for. For example, the writers’ assistant who replaced me when I left Arrested Development was formerly the writers’ PA.
So be sure you really want this when you give it a shot. You’re going to have to stick it out. For some people, it’s a short journey, but for most of us, it’s a long, winding road with many twists and turns. There’ll be disappointments along the way. Show’s get cancelled, orders are cut short, all ending your chance of a bump to staff writer in the future. Not to mention, there are plenty of show runners unwilling to see you as anyone other than the guy/gal who clacks the keys. But don’t let that discourage you from continuing on. There are also those show runners who will see that you’re working just as hard as everyone else to make their show a success, and reward you for it, if not in this production, than a subsequent one. You never know where that next job will come from, where it will lead you, who in the room will sell a pilot, and who will be able to give you the push you need to land what we’re all trying to land… a seat at the big kids table.
Thanks so much, Marcia! Jane here again. I hope you all found that helpful. And I wanted to leave you with this. One of my fellow writers this year at Battlestar Galactica began the year as our writers’ assistant — “clacking the keys,” as Marcia put it. Now he’s one of us. It happens.
Lunch: escargot and a greek salad in Squamish, Canada
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October 12th, 2007Drama, Friends of the Blog, From the Mailbag, On Writing
Greetings from Beautiful Vancouver, Gentle Readers. I’m up here because they’re shooting an episode of Battlestar Galactica that I wrote. It’s all very exciting and a little bit cold. Anyway, my time is limited, so I decided to invite in a guest speaker. Friend-of-the-blog Marcia is very experienced as a Writers’ Assistant, and I decided to go to her with the question that so many of you keep asking me about pursuing that job. Take it, Marcia:
So, Jane tells me you want to be a writers’ assistant. I’d beg you not to, what with all of you being my competition, but if you can’t be dissuaded… then let’s talk. I’m sure your first question is, “How do I get a job as a writers’ assistant?” Good question. But before that, let me ask you one. Do you really know what the job entails, what you’re getting yourself into? Being a writers’ assistant kinda stinks. It’s the worst job ever. I’ll give you the top three reasons why:1. The pay is just enough to get by and more hours than you can imagine.
2. It’ll never be the job you pictured when they handed you your diploma back in college. Not even close. A sentence you’re sure to mutter under your breath: “I’m so glad I worked my tush off for a first rate education from a four year institution for this.”
3. You’ll be expected to sit quietly by as you watch a roomful of people do exactly what it is you’d cut off both of your hands for a shot to do (and that’s a big sacrifice considering you need those hands to keep your current job.)
Even worse… there’s nothing I’d rather do. Well, other than get staffed, that is. But being a writers’ assistant is a walking contradiction. As much as it’s incredibly frustrating, it’s also the best education on being a writer and what being in a writers room is all about that you can get. Though it’s 50-50 whether or not you’ll be learning how to successfully run a room versus how to run a show into the ground, it’s all valuable. It’s all experiences you’ll be able to cull from when you write the next great American sit-com or the next great American drama. Either way, take it all in. And never complain. I’m constantly surprised by the number of writers’ assistants I cross paths with who have nothing but bile for the writers in their rooms. And nothing but disappointment for the career they have chosen. These are the ones who didn’t know what they were getting themselves into. The ones who never thought they’d be doing the job for more than a few seasons. Sure, there are those lucky writers’ assistants who end up landing their first gig on a show that becomes a hit, where they’re quickly promoted after a season or two to staff writer. But this, my up-and-coming comrades, is not the commonplace. It’s the exception. Let me just say this clearly now: being a writers assistant in NO WAY guarantees you will be staffed.
Along the same lines, it’s in no way the only way to get closer to that first writing job. Many people take the assistant route. Writers with development deals are usually guaranteed assistants in their contracts. This is often an opportunity to put in your time with a writer who could end up selling a pitch and running their own show, which gets you one step closer to the room. Not to mention earn yourself a mentor who might read your specs and give you notes and gentle nudges in the right direction. Also, the agency route has worked for some. End up on the desk of a literary agent, and you’ll have the opportunity to meet and form bonds with all sorts of writers, as well as develop relationships with current and future agents who could someday represent you. But if you’re sure that writers’ assistant is the path for you, here are a few necessities to being a good one. Don’t even bother looking for a job as one if you don’t possess the following:
1. Make sure your typing skills are honed. This may seem obvious, but new writers’ assistants are frequently shocked by the fast pace of a writers room. Nothing will get you fired faster than an inability to keep up, causing notes to be incomplete and basically useless to the writers. That includes being adept at spelling and punctuation. Often, the writers assistant’s computer is connected to a large TV monitor so the writers can see what you’re doing, and nothing distracts them more than your errors.
[NOTE FROM JANE: THE TV MONITOR IS NOT GENERALLY USED IN THE WRITERS’ ROOMS OF DRAMAS.]
2. Study up. Be an expert at one of the two most popular scriptwriting software programs, Final Draft and Movie Magic. I have found Final Draft to be the most common, but Movie Magic would be number 2. If you’re already a pro at one, it wouldn’t hurt to have a cursory knowledge of the other, if only to be able to convincingly lie when you’re asked in an interview. Also study up on MAC and PC operating systems. The computer in the writers’ room tends to be whichever the show runner prefers, so be prepared to use both. [NOTE FROM JANE: MOST OF THE SHOWS I’VE BEEN ON HAVE USED THE WRITERS’ ASSISTANT AS DE FACTO TECH SUPPORT, EXPECTING THEM FIX ANY COMPUTER PROBLEM THAT CROPS UP.]
3. Thicken your skin. A writers’ room is a place where writers need the freedom to pitch any and all ideas, including the outlandish, the shocking, and the sexually explicit in order to have something to temper down for air. It’s not a room where one should feel censored. Censorship is the antithesis of creativity, so a cringe, a self-righteous stare, or any other form of judgment on your part is a bad idea. It gives you what some writers would call a bad “room vibe.” I’m not saying prepare yourself for a hostile work environment, but don’t expect a normal one either. If you don’t think you can handle that, walk away now.
You’re probably saying, “I get it. I hear you. It’s not all cake and ice cream. But I already know I’m sure. I want this. How do I get the job?”
Since I know act breaks, I think that’s a good place to end for today. More from Marcia next time!
Lunch: Mmm… it’s the catering truck at the set! I love the catering truck! Lamb and coconut cream pie.
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October 4th, 2007Friends of the Blog, On Writing
Friend of the blog Jeff has directed my attention to this excellent piece by E. E. Knight on writing blunders. Knight is not specifically talking about television writing here, but much of it translates to our favorite genre.
Several of these entries are very relevant for the writing of stage directions and parantheticals. I was really struck by the admonition against telling us what a character “almost” did. He writes: “‘He almost screamed’ doesn’t tell me what he did do. Did he choke back a scream, bite it off, or did the scream come out as manic laughter?” That’s an extremely good point.
In other entries, he touches on other aspects of indicating a character’s emotional reaction, making sure it’s not overly-amped for the situation or so flatly described that it’s meaningless.
In our natural inclination as screenwriters to fuss over the dialog, we sometimes forget that the stage directions are our opportunity to speak directly to the reader and tell them what the characters are feeling without the biased and unreliable characters getting in the way. Think hard about your characters’ emotions and reactions — think about them as you would if you were an actor who had to play that role. Now make sure that your description does them justice in succinct and precise and creative language.
P.S. Please notice the new link in the “Jane Recommends” box on this page. If you’re not reading this from the actual web page, come on by and take a look!
Lunch: sopes — have you had these? A Mexican dish built around a little corn-flour patty. Yummy.