What It’s Like

I’d love to provide more information about the upcoming “Breaking into the Box” seminar, but I don’t know any more than the Writers Guild Foundation has on their website.  The purpose of the WGF is to provide education for the general public, as opposed to the programs sponsored by the Writers Guild itself, which are geared toward members.  So, I’d imagine this program is more for beginners than established writers.  Whether that makes it more or less worth your $150 is up to you.

I have to put in a quick plug for a book I’m thoroughly enjoying, called “Not Quite What I Was Planning.”  It’s a collection of six word memoirs.  The title is an example.  Others range from funny (”Catholic Girl.  Jersey.  It’s all true.”) to tragic (”Found true love, married someone else.”)  The idea of distilling your life down to six words is a fascinating challenge.  If your first thought is: “Ooh, I gotta try that,” you’re definitely a writer.  It also seems like a great writing exercise for a character.  What six words would he or she choose?

I’ve been learning a lot lately about assistants.  I never was one myself (the closest I got was that “Trek” internship), and most of the shows I’ve been on have been so low-budget, we’ve had one assistant for the whole office.  Turns out there are actually three types of assistants on shows which can afford them.  There’s one assistant just for the showrunner, another one for the writing staff, and sometimes even an office P.A.  The office P.A. is basically a gofer who makes copies and gets lunch.  It’s the entry level of assistant positions.  But at least you’re working in the writers’ office, as opposed to the set P.A.s, who fetch stuff for the production crew.  As an office P.A., you’ll have the chance to read various drafts of the scripts, meet the writers, and get some sense of office politics.  You probably will not spend time in the writers’ room - which, as an aspiring writer, is where you ultimately want to be.

The showrunner’s assistant also doesn’t spend much time in the writers’ room.  You’ll probably be stuck at a desk, answering phones, most of the time - even when the showrunner him or herself is in the writers’ room.  This job is the most like a conventional secretary.  You’ll take messages and keep a calendar for the showrunner, and probably do some personal errands as well.  If the showrunner is involved with multiple projects, like running one show while developing others, you’ll probably need to keep track of all of them.  One bonus of this position is that if you do a good job, the showrunner will probably agree to read your stuff.  If it’s also good, you stand a decent chance of getting a freelance script.

The writers’ assistant is the person who sits in the writers’ room as the staff breaks stories and takes notes.  Often, you’ll write up a rough outline for the writer of that episode.  This job is a front row seat to the process.  As a “Trek” intern, I sat in the writers’ room, and it was an invaluable education.  When the staff isn’t breaking stories, you’ll probably answer phones, make copies, whatever else needs to get done.  In terms of pay, the showrunner’s assistant probably makes more, but I spoke to one former assistant who considered it a promotion when she switched from showrunner’s to writer’s assistant, because it got her in the room.  You may have to work a little harder to form relationships with the writers, because you’re not one-on-one like the showrunner and his/her assistant.  But eventually, someone will read your material, and (again, if it’s good), you’ll be considered for a freelance script.

Getting that first assignment is, of course, the goal, but it doesn’t mean you can or should quit your day job.   One produced script doesn’t automatically lead to a staff position.  I know several assistants with produced credits who are still trying to make that jump.  I also know some assistants who have been at their jobs for years, waiting to get even that first script.  I don’t say this to be discouraging, but to let you know that the whole process may take a while.  Be ready for it.  Don’t burden yourself with a time limit: “I’ll be an assistant for a year and see how it goes.”  Pursue other writing opportunities at the same time, of course, but plan to be patient and give the writers you work with a chance to know you.  They all know you want to write.  Most of them were probably assistants, too.

I wish there were some steps I could tell you to follow to get an assistant job, but it seems just as random and unpredictable as getting any other job in this business.  Meet lots of people.  Make a good impression.  Let everyone know you’re looking for assistant work.  Rinse and repeat.  The opportunities will come.  Be ready to take advantage of them when they do.