How to be luckier

I’ve talked about luck on here before.  Mostly, I think I've expressed my own belief that luck can play a role in a person’s (or writer’s) success, but only to a certain extent.  I think it’s one thing to get a lucky break, but quite another to take that lucky break and make something substantial out of it (let’s just say, I’ve seen plenty of people get “lucky” and land amazing jobs…only to be fired shortly after because they couldn’t handle the responsibilities).

They shoulda had one of these babies!

However you might feel about luck, I don’t think anyone would say they DON'T want to be lucky.  But how can a person "be luckier" (an oxymoron)?  Lifehacker ran an article yesterday called "What Lucky People Do Differently Than Unlucky People" that describes a psychological experiment I recognized immediately because it also appeared in Malcolm Gladwell’s Outliers a couple years ago (see, I told you to read it already!).  Go ahead and read it again, though.  The experiment involves two groups of people, one that considers themselves "lucky" and one that considers themselves "unlucky."  Each group is asked to count the number of photos in a newspaper.  The lucky group, on average, completes the task in seconds while the unlucky group takes minutes.  This isn't due to the lucky group's superior picture counting skills, but due to the fact that most saw a message on the second page of the paper that said to stop counting and gave them the total number of pictures.

In other words, the lesson appears to be that lucky people catch a break (in this case) because they are more relaxed about the task and not so focused on one narrow thing that they missed a better opportunity.  This is a little hard for me to swallow.  After all, successful people have specific goals and get things done and I worry sometimes that if I don’t stay focused on specific tasks (like finishing a script) that I won’t finish anything.

But, I think there’s a balance to all this.  Like I said before, getting a lucky break and having success after that break aren’t necessarily one in the same.  Maybe it’s best to think about this luck stuff not in terms of tasks you WANT to complete/will be beneficial to you as a writer to complete (like writing your dang script) but tedious tasks you DON’T WANT to complete/don’t make you a better writer (like searching for a job, networking, and counting pictures in a paper).  So maybe the best advice is, be more relaxed in networking situations and don't try so hard to just pass your script along, and you might have the good fortune to make a friend who will help you more than a casual connection.  Or, stay open minded in your job search instead of focusing on one specific job or bust.  Or, just win the lotto already if you’re so lucky, jeesh.

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).

Reasons NOT to skip college

So, this interview with James Altucher appeared on the front page of Yahoo a few days ago.   You should read/watch it…Altucher's basic argument is that achievement minded people shouldn’t go to college.  I thought I'd comment on this idea since I’ve talked about college before (specifically the merits and/or worthlessness of film school).  While starting a business, traveling the world, and becoming a standup comedian (when you're 18) all sound like fun (and maybe even lucrative) alternatives to college, I’ve gotta say, that I TOTALLY DISAGREE with Mr. Altucher (but hey, he’s the expert and I’m not).

To skip or not to skip college?

First, let me reiterate how hard it is to get an entry level entertainment industry job without a college degree.  Let’s say you just want to be an assistant to a development exec…just to answer phones for someone, do their grunt work, and read piles of scripts, you usually need at least a year of work experience at an agency where you will first deliver mail, then answer phones, network in expensive clothes you can’t afford on your low salary...and you can’t get THAT job without a college degree.

I do understand a few things Altucher is saying, college is expensive and doing something else might save you (and your parents) some tuition money.  But honestly, I think he’s missing the point that most families pay for college with student loans.  Not that going into debt for several years for an education is a good thing, but it’s not like most families have a big fat account that they draw from to pay for school or support their kid for a few years.  Students live off loan money a lot of the time, with the expectation that their degree will lead to a job that will pay off (and it definitely will depending on your field…I don’t think too many petroleum engineers are hurting right now).  

Also, college students have access to internships and while some industry internships are bogus (and possibly illegal) some are great and can lead to future work/connections and you can only get them if you are getting school credit (for example, I was recommended for a PA job on a film when I was still in college all because of an internship I'd done the semester before).

So yeah, I say, don’t skip college, BUT I think there are a few good things to be gleaned from all this talk about alternatives to the usual college --> career path.  I think having lots of different jobs and trying lots of different things can be a really good thing (especially for a baby writer).  While you don’t want to isolate yourself too much from the industry and friends/connections... traveling, doing crazy things, and taking time to write will give you time to finish more work as well as cool stories that will make you stand out.  Also, it’s true, college is expensive, and I think waaaay more people need to look into doing community college for a couple years then transferring.

Bad networking types - PART 2

And now, the dramatic conclusion to yesterday's post on bad networking types!  Here are a few more people everyone dreads running into at a mixer.  Take note, and try not to fall into any of these categories.

Debby Downer

Some people (like Woody Allen) can be down on themselves or self deprecating in a way that’s adorable, even lovable, or simply in a way that doesn’t make you want to ditch them for whoever is on the phone...“Excuse me, I’ve gotta take this.”  But, the majority of us can’t do this well.  I’d say this is the type of bad networking personality I fall into the most…and I totally hate when I do.  Try not to be a Debby Downer.  Maybe you want to downplay accomplishments and ambitions so you don’t sound braggy...that’s fine, but putting yourself down makes people uncomfortable and diminishing yourself makes it hard for people to get to know who you are and exactly what you do.  Likewise, if you got laid off, your girlfriend left you, you got passed over for that promotion you deserved, and you just can’t get a break, try not to dwell on it too much.  If the person you're talking with tells you "sorry" or "that sucks" more than once during your conversation, that's a bad sign.  It’s cool to say you’re looking for a job and you need help.  Some people don’t know to offer help or don’t want to insult you by offering help if they don’t know you need it.  I think the key is seeming upbeat while still serious and not self loathing or pitying.

The Drunk

I actually don’t mind the drunk too much.  Sometimes The Drunk is fun or does something hilarious.  Honestly, they probably hate these things as much as I do...but avoid being The Drunk or getting the reputation for always being The Drunk.  Save The Drunk for your birthday party, Vegas, or not when you’re meeting a bunch of potential work associates for the first time.

The  Town Gossip

When you come face to face with a bad networking type it’s important to handle yourself gracefully.  As much fun as it is to pick on all these types, it’s best to vent your feelings at home…alone...on your blog, and not at the actual event.  Don’t put down or gossip about other people within earshot of them (or to their face…I’ve seen that happen too).  You never know who you might be speaking to when you gossip away.  Even raised eyebrows and rolling eyes are bad.  I know it can be tempting to bond with other people over how much you HATE the drunk guy, the braggy bragster, little miss brown noser, or the aspiring actress who keeps handing out her headshot, but try and restrain yourself.  Resist the urge to become that person because, they often come off worse than the people they're gossiping about.  It might seem okay to pick on someone while you’re laughing it up with a couple people who seem to agree with you, but honestly, if we’ve just met and this is my first impression of you, I always wonder if you’re not going to make fun of ME when I turn my back.  Why would I want to trust or help someone like that?  While you're out networking, focus on being the best YOU can be and not on critiquing the performance of the other networkers.

Bad networking types - PART 1

I’ve stressed connections several times on this blog already.  As a result, I think networking can be an essential part of "making it" in Hollywood.  I’m not so great at networking (99.9% of people will tell you the same thing when you meet them in networking situations, then immediately tell a story that doesn’t have to end with “and then I found $5” to be interesting).  

Whether you’re good at it or not, I think when most people say they’re bad what they really mean is they dislike doing it.  And why shouldn’t you?  I have some good friends I’ve met networking, but there can be a certain air of phony baloney to Hollywood networking ("let's do drinks!").  Like speed dating, it can feel weird to have to "turn on" your personality.  Also, I think there are certain types of bad networkers who make the experience extra uncomfortable.  So, to help you on your quest to be better networkers here are some of my least favorite networking types.  Try not to be these people while networking, okay?

My New BFF

Without a doubt I meet this person at every industry mixer I go to, and without a doubt, they are always full of it.  For example, two minutes after meeting if I mention that I’m loving Friday Night Lights my new BFF will say they ALSO love Friday Night Lights (maybe true), and that we should TOTALLY have a watching marathon at their place (never gonna happen) then ask for my name (which they already forgot) so they can “facebook me” and set that up.  Don’t do this, please.  We just met.  You might not even like me…I’m pretty sure you don’t.  Then, when we meet again at some point you’re gonna have to say something dumb like: “Oh man, I’ve been so busy, we’ve gotta have that TV marathon…uh…what was your name again?  Sorry I’m terrible with names!”

The Kiss Ass

Most people will say “I hate brown-nosers,” but let’s face it, everyone loves to be complimented, and we enjoy it so much that we don’t always realize when someone is doing it in a way that’s insincere (it’s always easier to spot when it’s happening to someone else, right?). I think the kiss ass is most obvious when you meet them and they’re a sour stick in the mud, but when you mention something that they latch onto (like you have a job they want to have) they suddenly become another person.  Or, they are super social and flutter around the room like hummingbirds looking for that sweet sweet nectar that they like (which is anything they think can help them personally) and if you've got what they want, they will ditch the person they were just enthusiastically chatting with to start talking to YOU…and worst of all, they will be so darn flattering you might not even care what a kiss ass they are.

The Bragger (AKA The One Upper AKA The Name Dropper)

This person is tough because they can often hide under the guise of having a “big “ or “fun” personality.  They’re just so darn excited, they can’t help but talk about themselves and all the amazing things they’ve done and the people they know!  It’s like they’re on a non-stop sales pitch and the product is THEM.  You’re a writer?  So are they!  They just finished 5 screenplays one of which was a semi-finalist for the Nicholl.  You went to film school?  They went to film school too!  Perhaps you’ve heard of their Oscar nominated student film?  You’re from New Jersey?  No way!  They once lived in the Himalayas where they not only discovered an injured yeti, but also nursed it back to health.  It’s great (and important) to list and be proud of your accomplishments while networking, but it's no fun being around someone who seems to think the universe revolves around them.  Pepper in how great you are, otherwise it sounds like you’re putting other people down or that you don’t give a shit about anyone but yourself.  You might not, but don’t make it so obvious, okay?

Wow, I think I could write a whole blog on bad networking types, but I’ll spare the preaching and limit myself to one more entry for now…stay tuned for tomorrow's post when I'll talk about some more bad networking types, including the one bad type I constantly fall into...

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.”

Winning the lotto

Earlier this week, I bought a lotto ticket for the first time in several years (and I wasn't the only one).  The Mega Millions was up to 355 million and after taxes that's 200 some million.  I didn't win, and that's way more money than I'd know what to do with, but I had a few ideas on how to spend it.  That being said, I don't like to play the lotto because the odds are astronomical while the promise of "it can happen to you" can suck you into spending lots of dollars on quick picks.  I much prefer contests where some skill is involved, or gambling games where I feel like I have some control over the results.  That's probably why I've tried my "luck" by sending my work off to several writing programs and competitions over the years.  Hey, one almost panned out.

I guess this is my way to get around to saying the last thing I'll say about moving/not moving to LA.  My last post talked about connections as a way to solve the problem of wanting to be a working writer but living in the wrong city.  Honestly, connections are important to anyone who wants to get paid to write, regardless of city, but when you're a baby writer lacking connections, there's one more option, and that's CONTESTS!

If connections are the secret handshake to get past an industry doorman, contests are the battering ram to break down the door.  You could be Joe Schmoe one day, win the Nicholl the next, and suddenly have agents blowing up your phone asking to meet.  Many Non-LA (but mostly LA) baby writers have sent their work off to prestigious and reputable contests, competitions, festivals, and writing workshops/fellowships to launch their careers.

Now, applying for stuff gets tricky because good contests are SUPER competitive AND there’s about a bazillion contests that will just plain scam you.  I’ve listed several contests that I think are reputable/worthwhile under CONTESTS AND STUFF on the right.  But, just like lotto quick picks, you shouldn't go crazy.  While some are free (huge plus) most charge a reasonable fee to enter.  Don't crank out something mediocre and waste a bunch of money sending it everywhere and don't apply to contests in areas outside your interest (I'm looking at YOU baby writer who applies to TV fellowships despite not actually wanting to write for TV).  After all, some of these contests have an interview/vetting process, and if you aren't serious, you don't stand a chance (this is mostly for the TV fellowships, but even the Nicholl has a small additional vetting process for finalists).

So yeah, that's pretty much my final word to baby writers who won't come to LA.  But, I warn you, lots of baby writers who DO live in LA (like me) will also be sending scripts off to all of these contests, and the ones that are programs often want people who have industry savvy and experience.  Being a baby writer with the wrong zip code might hurt your chances in the eyes of the contest deciders.

Get yourself connected!

The other day, I had lunch with a friend from college who is not in "the industry."  It was great, not only because this person is my friend, but because they have lots of cool stories from their work (in medicine) that have nothing to do with typing on a computer all day.  As a writer, this is the stuff I crave, otherwise, all my scripts would start to be about struggling artists or young assistants who get screwed over.  Bleh.

I think it's easy to get sucked into the wonderful world of Hollywood and suddenly realize all your friends are industry friends.  Now, this isn't totally bad.  Industry people are cool, have cool stories, and sometimes do cool non-industry things.  Also, this city does run on connections.  However, you'd be surprised to find connections are everywhere!  For example, my college friend once worked for a woman whose brother is an A list film director.  Heck, my grandmother, who lives in another state, once emailed me contact info for her neighbor's friend who lives in LA.  Turns out he was a very successful VFX supervisor.

What I'm getting at is an answer to the question I posed in my last post.  You want to write Hollywood movies/TV shows but you aren’t willing/ready to move to LA...so what should you do?  One answer is CONNECTIONS!  Connections can get you jobs, bridge city gaps, and bake ten minute brownies in five minutes.  Also, connections exist everywhere.  If you cast a wide net and tell everyone your goals, you might be surprised what turns up (even from people who don't live in LA who aren't in the industry).  Now, unfortunately, only certain types of connections (GOOD connections) can help with BIG problems like living in the wrong city.

Examples of GOOD connections are:

Your good friend/close relative or good friend's close relative is …

• A creative executive at a reputable production company
• The VP of Development at a reputable production company
• A Lit Manager at a reputable company
• A Lit Agent at one of the major agencies

And to counter, here are some examples of NOT-AS-GOOD connections:

Your roommate’s, friend’s buddy is…

• A security guard at a studio
• A PA
• A recent film school graduate
• A Blockbuster employee

Don't get me wrong, ALL connections on both lists can actually be great for a baby writer living in LA (except the guy who works at Blockbuster, sorry) but the only ones who can probably solve a baby writer's wrong city problem are the GOOD connections (and even then, they can't just hold up your unsold script(s) snap their fingers and make magic).  If your writing is good and your connection can really come through for you, you might get some meetings, and if those go well, perhaps you can cross the whole “living in another city” bridge at some point after.  On the other hand, I think knowing you have ANY connections is a good incentive to think about moving to LA, already.

Should you move to LA?

Is it just me, or is everyone in this city sick right now?  Seriously.  Myself, my significant other, and just about everyone I know is suffering from some sort of cold/allergy/flu/seasonal Ebola.  I’m sure this has something to do with the very un-Los Angeles weather we’ve been having (i.e. the nonstop rain).  I know some people love when this happens, but I’m sick of it.  This isn’t what I signed up for when I moved to you, LA!!!  Which brings me to a question I see all the time…Should YOU move to LA? 

More specifically, what I usually see is a baby writer (who doesn’t live in LA) asks if it is necessary that they move here (or NYC) to pursue their writing dreams.  I’ve seen people waffle on this, but the answer is simple: YES.

You're a baby writer who wants to write studio movies, TV shows, or maybe just get your foot in the door by working on a show or at a reputable production company?  Well then, you better come to LA (or Shreveport, or Detroit or…).  Ah, that’s the tricky part, there actually ARE lots of film/TV employment opportunities for people starting out in places all over the country and if you live in one of those places (mostly states that have big rebates for filming like Louisiana and Michigan) you can probably get a job on the next show that comes to town (if you know somebody who knows somebody who knows somebody). 

Doing that might help you make a few connections, but don’t misunderstand me, eventually, if you want to move upwards and onwards in this business, you’ll have to move to one of the big cities.  How else are you going to have drinks with that manager or take that sweet writer’s assistant job that just opened up if you don’t? 

Now, maybe I'm just a little biased.  I currently live in LA, AND, I was lucky enough to go to college in LA, so I basically got a 4 year transition period where I got to learn the city, make friends, and figure a bunch of things out without the instant pressure of gotta-get-an-apartment-gotta-get-a-job-gotta-not-starve.  But, I stand by my opinion.  LA or bust.  I know it’s scary to move to any new place and LA is as big and scary as it gets, not to mention kind of lonely (and now, with more rain!).  So maybe, if you know this is what you want but you’re on the fence, consider moving out with some friends.  OR, before you move, try to reconnect with any friends/acquaintances from high school, college, or anywhere, who work and live out here.  Actually, yeah, definitely do that last thing.  This city runs on connections and the more you have, the better off you’ll be when you get here.