Is your film industry internship illegal? – UPDATE

You’ve probably read about the two interns on the movie Black Swan who are now suing for $$$ they say is due to them for the work they performed (and if not, here's the NY Times article about it).  As I wrote a while back, most industry internships are probably illegal under current laws, and while the internship system is pretty set in its ways, it has been mostly unchallenged until now.

Overall, this is a tough issue, but in case I didn’t make it clear in my previous post on the subject, I think interns are already paying to go to college and an internship if made available to a student should provide an educational experience in exchange for class credit.  It should NOT be a source of unpaid labor or a way for a production, studio, or company to save money.  Interns are college students, they are already paying tuition.  This notion of paying to work someplace is simply ridiculous.  If a production or company or studio wants (or probably NEEDS) to hire PAs to make coffee and get lunch and things of that nature, they should open their wallet and pay some folks and stop exploiting desperate students.  Otherwise, you know, change the law, hire interns, go nuts.

Now, on the flip side, I get that cracking down on internships, well, it cuts both ways.  What’s worse for students...paying (tuition) to basically work someplace for free in exchange for the hope of connections and future employment…or, having fewer opportunities for networking before graduation?  Let’s face it, there aren’t that many legal internships for a reason…who really wants to play teacher or mentor to someone when they’re busy working a job?  On the other hand, doesn’t the practice of replacing paid entry level employees with interns end up hurting students in the long run?  Think about it this way, you work hard interning and once you graduate you can’t find a job because productions, like Black Swan, are only hiring interns for the work you're most qualified for.  Like I said, it’s a tough issue.

I can only speak from my own experience, but as I mentioned in my previous post, I worked a couple internships and while I did get a job offer through one of those, I couldn’t take that job and in the end, after I graduated, I got my first job from a college friend whose show needed additional PAs. That friend got their job a month earlier because they answered an ad on Craigslist…yeah, Craigslist.  So yes, it’s possible for a person without a ton of great connections to “break in” to the industry without an internship to pave the way.  But hey, I do know unconnected friends that got excellent (even amazing) jobs via their internships, so they’d probably disagree with me big time about this matter.

So anyway, all that debate aside, what a lot of people are wondering now is, what exactly will happen with this lawsuit?  Will these two guys make serious waves?  Will they “never work in this town again?”  Will anyone care much either way?  As far as the outcome of the lawsuit, I’m gonna guess these two fellows get a little class action thing going on and that the end result is that everyone involved gets a small settlement (hush hush and out of court) and as a result maybe a few more interns who worked for other shows/studios come forward with their own illegal internship lawsuits (the economy being the way it is, needing to pay rent might trump fears of “career suicide” in the minds of former interns).  Beyond that, I think the only thing that is absolutely certain about this whole issue is that students will continue to get the short end of the internship stick.

When does the UTA Job List come out?

Okay, an easy question today while I ease back into posting, but one I still see asked occasionally online.

And, drum roll please...the answer is...

The Job List is updated with new listings (if any exist) every Tuesday and Friday.  Sometimes, it’s updated on Thursday instead of Friday when there is a holiday weekend.

So, keep that in mind...whether you're trying to post a job you need filled asap or if you're job hunting/want to apply for one of their listings.

How do you post on the UTA Job List?

A short post today since I’m so busy right now (eek).  I mentioned this in my previous post about where to get the UTA Job List, but I still see it asked ALL THE TIME on multiple tracking boards, so for anyone searching for the answer online, just to reiterate:

To post on the UTA Job List, send your job posting to joblist@unitedtalent.com

No requirements I know of beyond that, except I'm pretty sure they only list reputable jobs (no Craigslist type one day gigs).  If I was emailing a listing, I would keep it short and write “job for list” in the subject line, and the (short) listing just as I wanted it in the email body.  I also wouldn’t use any euphemistic terms that make me cringe...like: “must be thick-skinned” or “rock star assistant needed”…I hate stuff like that for some reason…probably because it’s just code for “this person is a mean/abrasive jerk who thinks every moment of your life should revolve around this low paying job and no matter how good/hard you work will still regularily harass you, degrade you, or find some other way to make your life hell, all the while proving to you each day that they are a moron who wouldn’t be able to blow their nose without your assistance."

How do you edit a .pdf file?

Not all of writing is glamorous creative work.  Occasionally, a knowledge of the mundane or slightly computer technical is important.  One thing I have to do constantly for writing contests that require hard copy submissions/entry forms is edit .pdf files or make them editable (also, good to know if you ever have to prepare contracts for a production).

Sex:      Yes, please!      

Now, I guess you can always fill all those forms out by hand (ugh) or use Photoshop or Adobe Professional/whatever it’s called if you have it, but if you don’t, you’ll need a good free online .pdf editor.

My favorite one (i.e. the best one, duh) is PDFescape.  I like that you can go to the site and immediately use its services as an unregistered guest (so if you don’t want to sign up for anything you don’t have to) but I think I did sign up at one point because I wanted to store a form longer or something and I didn’t get any emails from the site or extra spam, so that’s good enough for me.

I’m sure some people feel iffy about uploading their forms to a site, but most of the things I have to upload are generic forms (like the blank ones already online that I download from a contest).  And, as far as editing on the site, I don’t have to edit directly on the site, in fact what I usually do is add the empty fields so the file is editable, and then download it back to my desktop to fill it out (although if I did want to edit a form I uploaded while still on the site, I’ve never seen a way I personally would have access to someone else’s files, but I understand the site might keep that stuff and people want their privacy).

While I know the site doesn’t have all the fancy bells and whistles some Adobe program has, it has what I need, saves me time when filling out contest submissions, and is really easy to use.  Not bad.

When are this year's TV upfronts?

Today, a simple question...but first, what are “upfronts?”

If you follow TV at all, you've probably heard the term/already know what they are, but “upfronts” are the meetings/shows put on by each network for advertisers/press/anyone like me who is interested from a far, where they officially announce their show line up for the next season.  Upfronts are important since ad sales = $$$ for the network so networks often try to put on a big show at upfronts to convince advertisers how cool their current and new shows are…and hopefully, all those advertisers will agree to buy lots of time.  You’ve probably heard of upfronts bringing out the stars of their shows to do funny skits/videos or perform for the crowd (I think a trip to the Fox upfront pretty much guarantees a concert by the Glee kids and probably some other song/dance action from their reality hits).

When will we know what we'll be watching next year?

At any rate, average people like me want to know when upfronts are because we’re waiting to hear if a show we liked that’s on the bubble is gonna be renewed/what new pilots are gonna get picked up/what shows we are gonna try to get a job on next year.

Check out the following link for a fairly up to date calendar of the upfront events (less than a month away for most of the big networks).

Also, check out the following link for info on the ever changing status of current shows…many have already been cancelled while some have recently been picked up.

How do you get someone "important" to read your script?

I wanted to do a post like this because of something funny that’s happened recently to my Significant Other.  My S.O. is freelancer who runs a small entertainment related business that has company credits on IMDB…and yeah, business has been booming which means they’re racking up the online credits.  The business is mostly post production related, so imagine my S.O’s surprise when they started receiving a bunch of emailed script submissions.  Needless to say, we had a good laugh over this. My S.O. has never produced a feature film let alone optioned a script so getting something that says “Dear Sir/Madam” followed by a script query was…bizarre.

I guess I shouldn’t be surprised.  I’ve handled several forests' worth of paper in unsolicited submissions on most of my jobs so I get that people just send stuff out in mass to any company they can find, hoping for the best.

Think of the trees, people!  Think of the trees!

Heck, even I’ve been queried before.  A while back, I was working on a pretty high profile movie.  As soon as my credit showed up on IMDB, I started getting the strangest Facebook friend requests from people I didn’t know.  I rejected all of these and then I got messages from some of them.  They were people asking me if I could get them a job on the movie or if I could pass on their script to the producers.  Egad!  After I changed all my privacy settings, I got to thinking…if this is the wrong way to get someone to read your work, just how do you get someone "important" to read your script?

Right or wrong, the way I see it, most people only have about 3 options:

1) Make a connection and ask/get asked to send your script

One reason why I advocate the LA/NYC move so much.  The more you surround yourself with people who work in the business, the more likely you are to meet a CE/development exec or even a hungry young manager/agent/their assistant.  Besides more usual forms of networking, you can also always reach out to friends or friends of friends via email or Facebook…let people know you finished a new script, and see if anyone bites or can pass your work along…just don’t be obnoxious.  Beyond that, it’s just a crap shoot.  Some people are excited to read stuff and some aren’t.  I’ve met a few people while networking who have said those magic words “I’d love to read that” or “I’d love to read your work” and then handed me their card, but I’ve also gotten the brush off or even worse, something vague like “Oh…cool.”

2) Send it to a reputable contest

You might have to pay a contest fee but if your script does well enough/wins someone will probably reach out to you to ask to read it.  At the very least, you can make your script sound more enticing in a networking situation:

“What do you do?”
“I’m a writer.”
“What do you write?”
“Mostly comedy, my last script was a buddy comedy about a guy and his psychic dog.”
“Oh…cool.”
“Yeah, I really enjoyed writing it, and it was actually a semi-finalist for the Nicholl last year.”
“That’s awesome…you should send it to me, I’d love to read it sometime.”

3) Send an unsolicited query

If you can’t tell from my little anecdotes about IMDB and Facebook queries, I don’t think this is an especially viable option…but hey, if you want to try, knock yourself out.  Just understand that legally, unsolicited work is a problem.  Almost no one including me, my S.O., or a big company wants to read them.  Let's say you mail me your psychic dog comedy unsolicited and I read it and try to be nice and write you back with a bunch of notes.  Then, a couple years later, my company makes a totally unrelated psychic dog movie.  You might sue me and say I stole your idea, and that would suck.  So, it’s really in my best interest to just send your work back to you unopened (and keep a record of your name) which is what I did for several hours a day at one of my internships.

There is one exception to the unsolicited thing and that’s if you are a novelist.  While not all literary agents accept unsolicited queries, a good number do, and some even have twitters and blogs where they talk about writing a good query that will catch an agent’s eye (check out Pub Rants and Query Shark under YOU MUST READ).  So, if you’re a novelist with no connections, you might just be in luck.

Overall, like I said before, it’s all a bit of a crap shoot.   Even having someone “important” offer to read your work or ask for it doesn’t mean they will actually read it, or more importantly, it doesn’t mean you’ll get anything out of it besides a pat on the back (even if they really like it): “Thanks for sending, really funny stuff!”  Don’t let this discourage you.  Just try your best to meet people/make friends, put your work in reputable competitions, and don't forget to say please and thank you (it might seem like common sense, but from time to time I've seem people forget that anyone who agrees to read something for you, even a close friend, is doing you a favor…not the other way around).

Where can you get the UTA Job List?

This is a simple question but still very valid (especially since tons of people I know are unemployed right now).

For the short answer, go to the Temp Diaries blog, put your name on their email list, and they’ll send it to you (along with “secret” jobs not on the list):

http://www.tempdiaries.com/p/job-list.html (if you Googled “UTA job list,” you probably already figured this out since it's the first page that comes up).

The UTA job list = Hollywood's Want Ads...sorta

Now, if you’re reading this and asking yourself: what the heck is this UTA job list?  Read on…

The UTA job list is a top secret (or not really top secret) list distributed by UTA (one of the 4 major agencies here in Hollyweird). The list is free, you don’t have to pay to get a subscription, and it used to be quite exclusive (but I think since the internet has existed it’s been posted all over the place). The way the list works is people and companies all over town submit their job listings via joblist@unitedtalent.com then, UTA sends out a list with those job posts...and then, the roughly one zillion people who read the list apply to the jobs. The list is updated a couple times a week with new jobs. The list is split into several categories (exec/management level, assistant, personal assistant, new media, music etc.). The bulk of the jobs are at agencies, management companies, studios, and production companies (i.e. desk jobs…8-6, maybe have benefits, you’ll probably have to dress nicely).  And, of course, the job list always advertises for eager young folks who want to give it a go in UTA’s own mailroom. There are the occasional “crew” and production jobs, but they're usually less technical and more like "office PA for a show/company who produces several shows," nothing like “G&E needed for commercial.”

As far as how effective the job list is…well, pretty much everyone I know says that the job list is worthless because so many people apply for the very few jobs and by the time you get the list, the job is already filled/you never get a response. I actually knew someone who worked at UTA once upon a time who used to occasionally forward me listings before they got posted (shush, don’t tell). I’m sure I’m not the only one. On the flip side, I did get an interview for a rare writer’s assistant job off the list a couple years ago (not forwarded early to me), and I sent a listing to a friend for a producer’s assistant job last year. The listing was a couple days old but my friend still got an interview after they applied…so hey, if you see something good on the list, it’s always worth a shot.

Anyway, if you aren’t on an email tracking board that passes the list around already, use the Temp Diaries link to find the list/sign up to have it emailed to you. I signed up just to see how their system works and it seems to me that sometimes it comes sooner than the people forwarding it on the boards, and sometimes later, so it's pretty okay.  Also, anyone who has worked a soul sucking assistant or temp job will enjoy reading the Temp Diaries blog itself.

Is your film industry internship illegal?

I know the college school year must be wrapping up because I’m starting to see an increased number of listings for summer internships.  First, let me say, I don’t have a problem with the idea of film industry internships.  One of the great things about going to film school is that it gives you access to internships that, in turn, can help you make industry connections, help you to build a resume, and give you a chance to ask questions and learn. I only did two internships in college, the first led to me being recommended for the second, and the second led to an assistant recommending me for a post PA job on a film (I had to pass, the job was 12 hours a day and started before I graduated).

Despite the potential benefits of industry internships, there is an internship problem in Hollywood…a BIG one.  Companies are hiring legions of unpaid interns to WORK FOR FREE, WORK being the important word here.  If you’re like me, you probably did a lot of WORK when you were interning (coffee runs, mailing/shipping, copying, filing, back up receptionist, back up assistant, reading scripts/books, writing coverage, etc.).  But, unpaid internships aren’t supposed to be JOBS, (that’s why they’re allowed to be unpaid).

The life of an intern.

And yet, look at these excerpts from recent listings I saw for UNPAID summer internships (these are for companies that have produced MAJOR movies, by the way):

Duties will include answering phones, reading scripts, writing coverage, running errands (driving will be necessary), filing, faxing, and other general office duties.  

General administrative duties include phones, filing, reading scripts, and writing coverage.

To compare, here are excerpts from recent UTA job list listings for assistant/PA/entry level jobs…PAID JOBS not UNPAID INTERNSHIPS:

Duties include administrative support (calls, filing, organizing, general office support, runs, research, etc). 

Responsibilities include phones, scheduling, research, follow up, and script coverage. 

Notice anything?  They’re…the same duties!  And that’s the problem.

According this NY Times article from last spring, states like California are cracking down on illegal internships (yeah, right) and fining companies that have illegal internships.  So, what makes an internship illegal?  That same article links to this document that outlines the six federal legal criteria an internship must possess to be unpaid (note a “trainee” is their terminology for an unpaid intern).  Here are those criteria:

1. The training, even though it includes actual operation of the facilities of the employer, is similar to what would be given in a vocational school or academic educational instruction; 

2. The training is for the benefit of the trainees; 

3. The trainees do not displace regular employees, but work under their close observation; 

4. The employer that provides the training derives no immediate advantage from the activities of the trainees, and on occasion the employer’s operations may actually be impeded;

5. The trainees are not necessarily entitled to a job at the conclusion of the training period; and 

6. The employer and the trainees understand that the trainees are not entitled to wages for the time spent in training.

So, is you film industry internship illegal?  I'm gonna guess, yes.

I can say for a fact that as nice as some of the people were at my internships, neither could be considered legal under these criteria (numbers 2, 3, and mostly 4 being violated).  Also, I’d venture to guess the internships I mentioned above won't be legal either (nor will the vast majority of other unpaid internships I’ve seen...don’t want to single out just these listings).

Now, I’m sure some people will say, “Every company does it, and that’s just the way things are” or “So what, that’s how I got my job, just suck it up” but it’s thinking like this that only adds to the problem.  Let’s face it, the only ones benefiting from illegal internships are the companies who save money by not paying their employees…er… interns fairly.  You also might say, “Well, the lower level assistants at companies ALSO benefit from having interns because they have more people to help them/do the work they don’t want to/have time to do” but I think the tide is turning on that.

We’re in an economic recession, some would say a depression, and I’ve heard stories from a few friends in recent weeks about their companies laying off paid assistants (and even people higher up than assistants) while simultaneously hiring a bunch of unpaid interns.  What does that say to me?  Uh…unpaid interns are being used to replace paid employees…and whether you are a paid employee in the industry now or an intern hoping to be a paid employee someday, that should scare the heck out of you.

A company’s answer to “I am swamped and need more help to do this job” should not be “Hire some unpaid interns to pick up the slack.”  If a company is SO busy they need another development assistant, they should HIRE AND PAY ONE, or PAY THEIR INTERNS.  Illegal internships are bad for the interns who are being exploited (no matter how much they are “learning”) and they are bad for people in the job force who don’t have job opportunities because of them, or who are slowly being squeezed out by this practice. 

How do you become a successful writer?

I was talking to a group of industry peeps recently and we were debating how much talent, hard work, and luck all play in a person’s success.  There were dissenting opinions, but I was of the belief that all three were important to differing degrees and sometimes one can masquerade as another.  I might say “Oh, Jane is so lucky she got a writer’s assistant job this year,” but the truth is, Jane worked for 4 years as a PA busting her butt and it was the connections she made doing that job that got her the better job.  That’s not to say luck didn’t play a role…maybe Jane was lucky her PA job was on a show that didn’t get canceled after 5 episodes.  In the end, I’m of the opinion that luck exists, but it’s what we do with it that really matters, we’ve got to take advantage of lucky breaks (and know that talent and hard work are what will keep us employed after we get those “lucky breaks”).

Anyway, luck aside, all that talk about success made me want to write today's post, and wouldn’t you know, someone way smarter than me, Heidi Grant Halvorson, Ph.D. wrote an article for The Huffington Post I recently saw titled, "9 Thing Successful People Do Differently." Read the article, and read below to see some applications of what the article is talking about, as it might apply to success as a writer.

From Charlie Sheen's personal collection.

 1. Get Specific

I actually talked about this before when I mentioned my dislike for vague New Year’s Resolutions.  Give yourself a specific writing goal: “I will finish that zombie apocalypse screenplay by April” or “I will write that Mad Men spec to submit to the ABC Writing Program this year.” 

2. Seize The Moment To Act On Your Goals

In  that same old post mentioned above, I also talked about this when discussing whether writers should write everyday.  What this point is basically saying is that you need to take your free time (how much or little you have) and get to writing.  Tell yourself specifically, I will write for 1 hour after I get home from work, everyday…and do it!

3. Know Exactly How Far You Have Left To Go

This is all about monitoring your progress.  My Significant Other suggests dontbreakthechain.com as a good visual motivator to track that you’re doing that writing you promised, maybe you could also make yourself a spreadsheet or something that counts down to how close you are to being finished on that new script (i.e. 50 pages down, only 50 more to go).

4. Be A Realistic Optimist

This just means that we need to get it through our little baby skulls that this industry is tough (as if we didn’t know) but I think I know a person or two who got discouraged and quit when they didn’t find instant success, so I think there is something to this.

5. Focus On Getting Better Rather Than Being Good

I think this is about understanding that this is a journey not a destination (or something new agey, like that).  In other words, don’t think you’re going to work and work and one day wake up and say “Hey, I’m a great writer!” know that you can always improve your writing…I think having that sort of willingness and humbleness helps baby writers improve (instead of getting offended by notes or stubborn about changing the way they do things).

6. Have Grit

The article describes this as “a willingness to commit to long-term goals, and to persist in the face of difficulty” so I guess it’s like number 4 in that no matter how many rejections your get, you should know that this wasn’t going to be easy, and just keep trying to improve…baby steps.

7. Build Your Willpower Muscle

This can be summed up as, “You want to be a writer?  Then finish your damn script already instead of watching repeats of Jersey Shore!”

8. Don't Tempt Fate

This is kind of the opposite of number 7 in that it’s saying, "Don’t burn yourself out."  Don’t try to write that novel, spec, pilot, and screenplay all at once.  One thing at a time...if you have Writer’s ADD like me, this is tough, but important.  While I don't think I ever worked too much on so many things to the point I “burned out” I definitely have spread myself too thin between too many projects and ended up with a bunch of half finished stuff.

9. Focus On What You Will Do, Not What You Won't Do.

When you focus on the negative all you think about is the negative: “Don’t smoke that cigarette, don’t smoke that cigarette...” leaves you obsessed with smoking that cigarette.  So, I guess for this, instead of thinking “Don’t watch TV, don’t procrastinate, don’t, don’t don’t…” focus on the stuff you DO want to do “Write for an hour after work.”

Also, while I don’t subscribe to/haven’t read The Secret or most self-improvement type books, I think one good thing I have heard that I guess the book mentions is putting out what you want into the universe (i.e. tell people what you want).  Makes sense to me (in a non-magical non-secretive way).  Who’s going to send you job offers or read that new script you wrote if they no one knows that's what you need?  The last time I was looking for a job, I emailed a bunch of former coworkers and put it up on Facebook, and guess what, people wrote back to me!  And not just the typical former coworker people…random people...from high school...who don’t live in LA but had friends of friends who worked at studios...and yeah a couple people sent me job offers.  Now, don’t abuse this practice by soliciting yourself too much (or posting a job ISO on a huge tracking board) you’ll just annoy people to the point of ignoring you, but do put yourself out there.  Sometimes if you want something, you just have to ask for it.

Is it okay to trade/share copyrighted scripts?

Yep, I'm going there.  This is gonna be a long post…get ready.

There was a stir in the online world last year when a certain blogger was sued by a certain major studio for running an online script sharing library.  Now, I never saw/used this library, but according to what I've read, the majority of the scripts shared were for movies so old you might have owned them on VHS, but one in particular was new…brand new…the unproduced script for Deadpool (you know, the X-Men spin off that may or may not happen depending on Ryan Reynolds' schedule).  Now, as I understand, this blogger was not the source of any leaks, she just collected scripts posted online and re-posted them in her library.  And now, she is getting sued for copyright infringement and a mess of other stuff.  Which brings me to my question: Is it okay to trade/share copyrighted scripts?

Sharing copies of your butt from the office holiday party = never okay.

So, what's the answer? 

First, let’s get some stuff straight (as I understand it).

1.     Writers read scripts to learn how to write.

2.     Scripts have copyrights.

3.     Sharing copyrighted material is a no no...except cases of  “fair use” (right?)

Ugh.  Now, I’m no legal expert, but it would seem that when you share/trade scripts or run sites that do just that, you are walking a thin line.

Now, I know some people will say, “fine, script trading is wrong/illegal/whatever but suing for millions is absurd.”  Some people even say a script for a movie that has already been released is worthless and others would argue a script in and of itself is worthless, regardless of whether the script is being produced (haha).  On the other hand, scripts for produced films have made money by being sold in book form (I understand Christopher Nolan worked hard to keep the Inception script under wraps so he could do just that).  So, when people trade a script for free, money might (or might not) be lost from the (theoretical) sales of a (theoretical) book.

So, there's that.

BUT BUT BUT...before I say, case closed, I think there is something A LOT deeper that needs to be addressed about this whole thing, something that goes WAY beyond one blogger and one script library.

There is a culture of script sharing in Hollywood, and a lot of it is sneaky.  I’ve heard tales of interns whiting out their boss’ watermarked name on scripts so their boss could have a copy they could share/trade and I can GUARANTEE you there are assistants at every studio on tracking boards right now asking for scripts that they/their bosses want.  In other words, studios are suing people for sharing copyrighted material while their own employees are DOING THE EXACT SAME THING.  This doesn’t make it RIGHT but it does suggest that studios that file these lawsuits are turning a blind eye to their own employees/other industry professionals doing the very thing they’re suing over (so long as it benefits them).

And, I mean, how do scripts get online in the first place?  That’s right, SOMEONE (or several someones) leaks them.  And who is that someone?  Well, logic would suggest it was someone who had access to the script, that probably means someone at the studio or at an agency.  In other words, the following scenario is quite possible: studio employee shares script, script gets passed around, script gets posted all over the place online, person finds script and puts it in her shared script library, studio sues woman. 

There’s got to be a better way, right?

This brings me back to the first thing I said:

1.     Writers read scripts to learn how to write.

It was great to see all the Oscar nominated scripts posted online a few weeks ago.  I think it would be great if studios/production companies/writers/the WGA could come together to create one (or several) easily accessible online libraries for already produced scripts.  I know most people don’t give a damn about aspiring writers, but I have a ton of respect and am super grateful to pros like John August and Kay Reindl who share their work on their blogs.  Now, of course, you can always read scripts in person at the WGA library, but if you don’t live in LA or you work a full time job, that doesn’t do you much good.  While a convenient online library for scripts wouldn’t eliminate the trade of unproduced scripts (like Deadpool) it might take many baby writers who just want to learn and don’t want to infringe on copyrights out of the legal crossfire.  Any other ideas out there to improve the script trade problem?

Where's the best place to write?

Okay, here’s a question without a correct answer and honestly it’s something I’m always curious to know about other writers.  My favorite place is on my couch with my feet up, and a nice cushy pillow at my back and another under my laptop (so I don’t get that red burned leg thing).

I know some people (like JK Rowling) swear by coffee shops but I honestly could never do them.  I feel like I can’t relax with a bunch of people talking around me or watching me (also, I hear Starbucks frowns upon you taking your socks off and putting your feet up on the furniture).  

The real reason I don't write in coffee shops...so tempting.

By the same token, I’m pretty bad at the whole sit at a desk and write thing.  I know people say it promotes discipline and the idea that writing is a JOB, but I think that’s what I DON’T like about it.  Don’t get me wrong, if it was a choice between a coffee shop and alone in an office I’d totally pick the office, but sitting at a desk and staring at a screen usually feels too uptight for me.

Beyond that, as much as I like to be comfortable when I write, I try not to have music playing or the TV going because I'm too easily distracted (and frankly the Internet/Facebook/Email is about as much distraction as I can afford).  Not saying I don’t do it (bad habits are hard to break) but I’ve been trying to cut back…aren't there studies out there that say people can’t multitask and background music/TV when you’re studying is bad?  So yeah, it’s probably the same when you write.  Or not.  I hear some writers enjoy making playlists for their scripts and get pumped by playing them when they write.  Sounds cool, maybe I’ll try it someday.  Did I miss any popular places to write/popular writing rituals?  Let me know!

How do you motivate yourself to write?

Ugh, it’s tough to motivate yourself to write some of the time (or all of the time).  Even if you love writing, life often has a way of keeping you from your latest script (or blog post…I’ve procrastinated this week…can you tell?). 

When you’re a pro who has been hired for a job it seems so simple: You get paid to write, you have a deadline to meet, you don’t meet, you don’t get paid, the end.  When you’re a baby writer you probably have another 9-5 job that pays the bills (or 9-9…or 9-11).  When you get done at the end of your day you're tired, annoyed, maybe you have a family waiting for you (or perhaps a long suffering pet or significant other) and episodes of Idol languishing on your DVR.  And yet, you have to somehow summon the childlike enthusiasm of Anne Hathaway and say …”HOORAY! It’s time to work on my script!”  When you’re a baby writer you write for YOU and the crazy dream that someday it’s gonna be YOUR name being called on the Oscars and you’ll be the one who gets to thank Scott Rudin and tell Aaron Sorkin’s daughter she ought to show you more respect.

Anyway, yeah, sometimes it’s hard to motivate yourself when your work is so…open ended, and no one is waiting for you to finish.  So how does a baby writer get motivated to write?  I’ve gotta say, I think the best way to motivate yourself is CONTESTS.

The winning moment.

Sounds like a cop out, I know, since I’ve talked a lot about fellowships/writing programs/contests before, but I actually know several baby writers who have spoken about lacking motivation and when I mention several popular contests they haven’t heard of them.  Contests give you that deadline I think most humans need so they can see the endgame for their work.  “I’m writing this script to submit to the Nicholl this year” versus “I’m writing this script to sit in the hard drive next to my computer until an agent/manager eventually asks for it.”  See what I mean?

Anyway, yeah, contests...check out links to some good ones under CONTESTS AND STUFF and get excited because deadlines are starting to come up!

What show should you spec this year?

I'll probably post in more detail on this in the next few months as more baby writers plan their specs for the upcoming TV writing program/contest season, but for now, a (fairly) short post.  

As I mentioned before, while pilots are the hot thing to have, new specs are still important to baby writers (until all the contests change their rules to allow pilots).  So, what should you spec this year?  There are lots of opinions and "rules" out there for specs that sometimes conflict: 

• Spec something popular so readers will recognize it/DON'T spec something popular since you'll have too much competition.
• Spec a show that's well established/DON'T spec a show that's been around too long and is overdone.
• Spec a show in its first season if it's a big hit/NEVER spec a show in its first season.

Rules, rules, rules.  I think the most important thing to remember is that whatever you write it MUST BE GREAT.  I think people worry about "rules" a little too much sometimes.  Yes, it's smart to not pick the most overdone shows to spec because you'll have lots of competition, but if you have an AMAZING idea for a popular show, who cares?  Anyway, like I said, I'll offer more unsolicited advice later, but for now, a link to get your brain started...

Fall 2011 TV Scorecard

While all the "rules" out there aren't set in stone there is ONE RULE that is fairly stern, and that's that you can't submit a spec for a show that has been cancelled or has ended (well, I mean, I GUESS technically a lot of these competitions say you can submit a show that aired new episodes this year, but seriously, why would you spec a show that was canned?).  Note, this is just a list of network shows, there are many cable shows out there as well.  Also note, I actually think this list is a tad optimistic for some of the lower rated "looking good" shows...keep your eyes peeled for more news on new renewals...and pray hard if you wanted to spec "Chuck" this year.

Can you put music in your script?

So, you've seen movies or read scripts that use music and now you want to write something like:

MUSICAL MONTAGE - QUEEN'S "BOHEMIAN RHAPSODY"

OR

CREDITS ROLL OVER JAMES TAYLOR'S "FIRE AND RAIN"

But, you've probably heard that's a big no no….so what gives?  Can you put music in your script?  Thinking about yesterday's post on Love Actually (which is full of music) made me want to write this post and now I’m gonna be a little controversial and say the answer to that question is YES.

A Billy Mack hit is ALWAYS welcome in a script

The music question is really a stand in for a bigger question: Can I break the unwritten rules of screenwriting?  In other words, can I write a 140 page script?  Can I write an 80 page script?  Can I put in camera angles?  Can I say what characters are thinking?  Can I write my script in the 1^st person? And so on.  The writers asking these questions usually want to break these rules and others (duh) but they’ve heard people say: DON’T DO IT!!!

So, why do I say yes?  Well, you’re the writer, even if you are a baby.  Write what you want to write!  If you want to include music because that’s your creative vision, then do it.  Some great scripts I've read break the music rule and I’d hate to discourage someone from writing something good because they were told they MUST MUST MUST do things a certain way.

BUT, be prepared for the consequences of your actions.  Baby writers can't get away with nearly as much rule breaking as pro writers.  So, what is breaking the rules worth to you?  If you do something that people say you shouldn’t (like assigning music choices) don’t be shocked or pissed if a friend/reader/people in general hate your rule breaking choice (or your taste in music).  Hollywood wants to find the next big thing, the money maker, the new fabulous talent, and it’s tough…if it was easy, every movie would be a critical and financial success.  People doubt their own taste sometimes…you enjoy a script you read that when made into an actual movie, totally blows (I’m still mad, P.S. I Love You).  So, if you see a “mistake” from a baby writer like telling us what song plays, it’s easy to feel more confident saying “this writer is an amateur”…PASS.

Pilots or Specs?

Since I touched on this last Friday, I figured I’d do an actual post on it.  What should you write...pilots or specs?  I think the answer is…BOTH! but I get that’s kind of a cop out so I’ll elaborate by saying specs THEN pilots.

I guess specs are becoming kind of worthless to pro TV writers, but they still have a lot of value to baby TV writers.  For starters, writing specs is a great way to learn and get your feet wet.  More importantly, specs are still used for all the major TV writing fellowships and programs (i.e. many of the programs listed under the "CONTESTS AND STUFF" section on the right, that you should be entering).  So, if you want to be a TV writer I would suggest starting out with a spec, better yet 2 specs before you write a pilot…in fact don’t bother entering ANY of the major TV writing program/contests if you haven’t written AT LEAST 2 specs, because if you make it far enough, you WILL have to give a 2^nd sample (as I’ve mentioned a few times, I was once a finalist for one of these programs, and after I made the 1^st cut, I had to give a 2^nd sample).  Once you have at least 2 specs you’re really proud of, I think you can write a pilot, and your pilot will be better for waiting and learning.  

My only other piece of advice to fellow baby TV writers plugging away on specs would be to try to streamline yourself and think about who you are as a writer when you pick the shows you want to spec.  Pick shows you like and shows with a similar tone/genre to the pilot(s) you want to write and remember that most TV fellowships/programs are divided along the lines of 1/2 hour = comedy and 1 hour = drama…this isn’t the Golden Globes, a show like Glee is always considered a drama because it’s an hour long, so don’t write a Glee thinking it’s a great comedy sample…better yet, don’t write a Glee at all.  Moreover, while I think it’s fine to show range and variety with your samples, don’t go all over the place.  If you want to write drama, stick to 1 hour samples, if you want to write comedy, stick to 1/2 hour samples and don’t write a Mad Men then a Hellcats…or a The Walking Dead then a Gossip Girl…or a Fringe then a Desperate Housewives.  I know everyone has varied tastes and you might love all these shows, but that’s way too many niches and genres and I don’t think a reader for one of the programs would know what kind of writer you were if any of those combos were your 2 samples.

Finally, if you haven’t yet, you should read every single post about specs on Jane Espenson’s blog (link under the "YOU MUST READ" section on the right…seriously, don’t write a word until you’ve done that).

Learn the basics before composing your original masterpiece.

  by  jeanpierrelavoie 

Does a protagonist need to be likable?

When the movie American Splendor came out it caused a stir among some of my film school friends.  While some enjoyed the biopic about comic book writer Harvey Pekar, others said they hated the film and couldn’t finish watching it because the protagonist was so unlikable -- if you haven’t seen video of the real Pekar (who passed away last year) you should check out one of his appearances on late night TV…he’s not exactly Jimmy Stewart.

This leads me to a question I often hear (usually due to the fact that baby writers get the comment to make their protagonists more “likable”): Does a protagonist need to be likable?  I say: NO…BUT.  Let me explain…

I think it's okay to write scripts about whoever you want, likable or unlikeable to the outside world (if your protagonist is SUPPOSED to likable but isn't, that's a different problem).  So yeah, write an unlikable character...BUT...and it's a BIG BUT, you’ve got to make me understand why that character is the way they are and understand that your unlikable protagonist probably DOESN'T think that they are actually unlikable. Think of your protagonist (and each character) as a real person and get in their head.  If your unlikable character has reasons or justifications for their actions, the audience can buy into them.  I think a good recent example is The Social Network (I guess biopics get less grief for unlikable protagonists because they’re showing you “real people”).  Mark Zuckerberg always has reasons for the "unlikable" things he does.  He fires his best friend because he thought he was hurting the company, he defends his actions towards the frat boy twins because he saw them as rich condescending jerks who couldn’t see the true potential of a good idea…and so on.

Now, this isn’t to say I won’t enjoy something with a likable protagonist more than an unlikable protagonist (let’s get real, do I want to spend 2-3 hours with someone I can’t stand?).  On the other hand, I think “likable” is subjective.  I know people who say Scarlett O’Hara is unlikable and while she goes through a lot of changes, I wouldn’t say her personality does a 180 even after 4 hours of Gone With The Wind.  It’s true, she is basically a spoiled brat who whines, complains, and often isn’t nice.  But, I happened to enjoy Gone With The Wind (the book AND the movie) and I think while Scarlett isn’t the sweetest, I get why she is the way she is (e.g. she's entitled because she was raised that way).  I also think those bad qualities are actually good because they contrast the circumstances she is thrown into and make for an interesting story (a spoiled Southern bell forced to come face to face with the realities of The Civil War).  I would MUCH rather watch THAT movie than a movie about Melanie, Scarlett's friend/rival who is unquestionably kind, nice, and “likable.”

So there you have it.  You can write a script with an “unlikable” protagonist, just think about why they are that way, why they do the things they do, and know that they probably don't think that they are unlikable.  When you do this, you might be surprised to find yourself liking your unlikable protagonist.

Should you go to film school?

Here’s a question I feel decently qualified to answer because I went to certain well known film school in the LA area (considered by some to be the top film school in the country, and blah blah blah).  So, was it worth it?  Should YOU go to film school?  The answer is: MAYBE.  Let me explain…

First, I HIGHLY recommend getting a 4 year degree in SOMETHING.  Most places won’t let you fetch coffee without a college education…whether you study film, econ, or dead languages of Mesopotamia, just get a 4 year degree. 

Now then, should you focus on film?  I’ve worked on shows where every higher up was a film school grad and they loved it/wouldn’t be where they were without it.  On the flip side, I’ve worked in offices where the higher ups did not go to film school and they REALLY looked down on it.  Both groups made great projects and were successful.  So, how do you know which category you fit in?  I think to decide, it’s important to think about two things and those are: CONNECTIONS and something I’ll call, JUST DO IT.  

CONNECTIONS: I've mentioned the importance of connections before, and my agent friend also mentioned connections (AKA referrals) as the best way to get representation...so yeah, connections!  How does this relate to film school?  Well, I suggest taking a route in life that will allow you to make the most connections (whether that's film school or not).  I think moving to LA for film school allowed me to make a lot of connections because I was surrounded by peers who all wanted to work in the industry.  I got my first job out of school from my friend/classmate and my second job off my school’s job board…and every job since then through subsequent connections via those jobs.  But hey, connections are everywhere, and I know people who didn't attend film school, or had non film majors who got the EXACT same jobs as me via totally different types of connections, so yeah, to each their own.

JUST DO IT: Regardless of your education credentials, if you want to be a director, you have to direct, if you want to be a writer, you have to write.  If that means attending film school where you might pay a lot of money up front to have professors, crew, equipment, and facilities at your disposal, then so be it.  If you can do it without film school, then so be it as well.  What’s important is that your creative life doesn’t end when school is over.  Just doing what you want to do is the first step to success…if you think film school is gonna help you do it, and do it better, then go for it, if you don’t think so, then don’t…but either way, if you don’t "just do it" (thanks Nike) it’s never gonna happen.

So…film school might be right for some, and wrong for others.  I think there will always be a bias for or against it.  I loved film school because things worked out pretty well: I love the friends I made, most of my professors, everything I learned, I didn’t “waste a bunch of money” (a common complaint) because I was lucky to receive a scholarship, and I got work after graduation.  Despite all this, school didn’t magically give me a career, but it gave me connections that led to jobs and it taught me skills I needed to “just do it,” like how to write a script.  Could I have gotten connections elsewhere or learned to write a script by reading a book (or blog)?  Maybe…but I didn’t because I knew I needed a more structured environment.

I think most people who say DO FILM SCHOOL say so because it helped them in some way (or they saw it was helpful for someone else).  Those who say NOOOO, well, chances are they went and things didn’t work out well so they blame film school for taking their time/money while promising a lot and giving nothing in return, OR they found success without film school so they see it as a waste of time/money, OR they dislike film school people because they see them as snooty and entitled.  Hindsight is 20/20 and everyone’s case is different.  Don’t go to film school thinking you’re buying yourself a career…while some schools might imply this is the case, I can assure you, it isn’t.  If you do go, do so to learn, make connections (i.e. your friends), jump start a career…and know the real work starts after you graduate.

How do you get an agent?

While it’s great to work on your art and plug away endlessly on specs and pilots, the truth is this is a business and if you want to make the jump from baby writer to pro, you are going to have to SELL your work (not that art and business can't mix).  That’s where agents usually come in.  Agents have relationships with just about everyone in Hollywood and they send their clients’ work around town to be seen/admired/bought and send their clients on meetings/auditions/interviews to book jobs, or, they'll negotiate deals for their clients once they’ve booked a job.

Now, I don’t have agent, but I have an opinion on this subject after working in the industry a few years. But, rather than just tell you what I think, I decided to go to the source and ask my friend who is an actual agent at one of the Big Five (or I guess it’s Big Four since William Morris and Endeavor merged).  Anyway, I asked my friend a bunch of questions like “How do you find new clients?” and “What do you look for in a new client?”  This was the answer:

I feel like the reason we take on clients is pretty standard but hopefully it's helpful.  Basically, agents just want to make money so if they're taking on clients it's because they foresee making money with the client.  They need to feel like other people are going to want to invest money in this client.  It's obviously easier to get representation once you're already making money (aka booking your own jobs, etc.).

The best way to get an agent is through a referral.  So people should really be networking and meeting people in all different facets of the industry.  If some development exec at some studio tells an agent about you he/she'll probably be more inclined to look into who you are.  Unsolicited material is definitely not the right way to get an agent since most agents never read it.  Lastly, being out there and working on your craft is important because you never know when an agent is going to go see a play, read a magazine article, watch something online, etc. and the more exposure you have the better the odds of an agent running into you.

So there you have it.  I think the most common frustration with the whole “get an agent” thing is the Catch-22 of: "You need an agent to get paid work, but you can’t get an agent unless you can get paid work."  Doh!  And yet, people get agents all the time.  How do they do it?  Well, like my friend said, usually through referrals and through working on their craft (having their work noticed online or in festivals, contests, etc.).

I think working on your craft to help land an agent is important for another reason as well.  I had a friend send a (good) screenplay to a lit agent at a big four (then five) agency through a connection/referral.  That got my friend a meeting with the agent who said they liked the script, but the genre wasn’t an easy sell (it was like an indie comedy drama).  Anyway, the agent asked if my friend had anything else (maybe something more commercial, like just a comedy) and…nope, they didn’t.  That was the ONLY thing my friend had written.  The agent told them to go out, write a few more scripts (they recommended doing a comedy next), and to send those along when they finished.  So yeah, work on your craft so you have more than one thing to show when you get that referral.

I mentioned festivals/contests as well.  If you win a contest as prestigious as say, the Nicholl, you will have agents knocking on your door because they know those scripts often sell to production companies/get made and they want in on the action (plus they figure you are talented since you won a prestigious contest).   In that case, you can probably get scooped up by an agent if you’ve only written one script, but you’ll do way better careerwise if you have more to show.  That’s a whole other thing…getting scooped up.  If you are in the position where agents are coming after you regardless of your level of industry experience, choose wisely.  Some large agencies will try to sign clients who have heat or are experiencing some success just to keep them away from competitors.  Sometimes having an agent at a large agency is best, sometimes having an agent at a slightly smaller agency who is hungry, is best.  I have a friend who described their relationship with their big name agency agent as “I only hear from them after I’ve booked my next job and then they step in to sign the deal.”

Should writers write every day?

As we get further into January, it becomes sink or swim time for any 2011 resolutions.  I'm not a big resolution person (I think they're usually too general or nebulous like "lose weight" or "be a better person") but I do like to have a few concrete goals for myself at the start of each year.  For 2011, one was to start a blog (check!) while another was one that most baby writers make and break yearly: to finish several projects I'd started...which really translates to the more general/nebulous resolution to "write more often."  This brings me to the somewhat divisive question I recently discussed with another baby writer and one that I think baby writers discuss all the time: Should writers write every day?  Luckily, I think I have the answer, and that answer is YES...SORT OF.  Let me explain...

I think the whole “writers should write daily” axiom can come across as a little bogus when pros say it to baby writers.  It sounds better to tell an eager baby, "Yes, write every day" than to say, "Well, yeah, I try to write all the time, but sometimes I just play Mass Effect and Madden all day."  Furthermore, I know for a fact some pros don’t write daily (on the flip side I know many who do).  And, how much are you supposed to write every day if you do write daily?  And, what about days you write a lot?  Do those balance out days you don’t write at all?  And does writing a blog count even if it has nothing to do with your screenwriting? (please say it does). So now that I’ve raised a bunch of questions and haven't explained anything, what was my point?

Well, I’m a big fan of the book Outliers by Malcolm Gladwell (my friends tell me I’m kinda obsessed).  Anyway, the book throws a lot of ideas out there, but the one that really stuck with me was that practicing your craft can be equally if not more important than natural talent or ability.  Gladwell gives examples of “outliers” in certain fields like the Beatles, Michael Jordan, and Bill Gates, and talks about how all of these "outliers" had tons of meaningful practice in their respective careers before they made it.  This introduces the 10,000 Hour Rule...you've probably heard of it, even if you haven't read the book.  The rule basically says you need to practice your craft for 10,000 hours before you can reach the level of expert.

Now, there are plenty of people who want to dispute and nitpick this rule, but considering all the success stories Gladwell mentioned, let’s assume for a minute that he's right (or that we at least want to emulate the success of those people).  So then, let’s say you decided (or only made time) to write for an hour a day, 3 days a week (basically every other day...pretty common among some baby writers I know).  At that rate, it would take you 64 years to get your 10,000 hours and become an “expert.”  Ouch.  If you change that number so you’re writing 1 hour every day, that number goes down to about 27 years, and if you can manage nearly 3 hours a day or 20 hours a week, that number goes down to around 10 years.  

So, what does this mean?  Well, even after dedicating as many (unpaid) hours to your writing as you would to a (paid) part time job, it still takes years to reach that expert level.  Now, the good news for writers is you probably didn’t write your first word today.  You’ve likely had hundreds of hours of practice through school and your own enjoyment, already…but if you never make time to write (despite life or a busy work schedule), it’s gonna take a long long long time to get to that 10,000 mark (if you EVER reach it). 

So, let’s all resolve to "write more often" (every day or several hours once a week if that’s what works best for you) oh, and to read Outliers if you haven't, because it's awesome.