It’s that time of year – for broadcast shows, anyway.
Pilots are being shot all over the world, generated by Hollywood writers who are hopeful that their project will end up on the Fall schedule. That means that writers rooms are about to be staffed.
So how do you get a job?
While it’s not easy to land one of these jobs, there is a method to the madness for TV writers and aspiring TV writers. Here are some of the key steps to follow, whether you have an agent or not. Of course, it all starts with good material, so you might do these things as long as you have a good sample that shows off your skills. Ideally, having several good samples is the way to go.
Read the trades: There’s plenty of information in Deadline Hollywood, The Hollywood Reporter and Variety about which shows have been picked up to pilot and are being shot right now. Read up on what’s out there and ask yourself whether people you know are involved in any of the productions that are happening. Begin to make note of the shows that seem up your alley (either because of subject matter or if it’s somehow in your wheelhouse or life experience).
Reach out to your peeps: If you find a connection – reach out. This doesn’t mean ask directly for a job. But it’s certainly a time to congratulate any writer you know who has a piece in production. It’s a time celebrate anyone who is acting in a pilot or working on a project in any capacity.
Read the script: You can likely find a copy of a script in production if you’re friends with any writer who is represented by an agent or a manager. Those companies usually have databases of the newest scripts. Ask around to see if anyone has a copy of one of the pilots you’re interested in. Then read, read, read.
Make a list of connections: If there’s a project you’re excited about, and you’ve read – and still like – that’s the time to figure out how you connect to that show. All connections are useful. Does the show mirror your life experience? Does it match with the kind of material you write? Do you know someone who is connected with the project (writer, executive, producer)? Get clear on who you know and what your bridge is to the material in question.
Let someone know: If you’re repped, this is the time to let your reps know that you’re interested in a project. I usually do this by email, after I’ve read several projects. I create a paragraph for each, clarifying what my connections are to the material, my writing style, the shows I’ve worked on and who I know who might be involved. This gives that person a complete package of info on you and how you fit with the project in question.
If you don’t have a rep, you might have a chance of getting one if you have good scripts and the evidence that makes you a fit for a project. This could be the ideal time to approach with a letter or some other contact. (These are always better if you can get a recommendation or intro from someone who knows and likes you.) Or, if you know people who are working on the piece, talk to those folks, they might be able to recommend you.
The important thing here is not to be pushy. Your plan is to let someone (or several someones) know you’re interested. Then, let the universe do the rest. The more seeds you plant, the better.
And, if you don’t know anyone, then, perhaps this is a good reminder that, for the future, you need to turn up your networking mojo and meet some folks in preparation for next staffing season.
While none of this guarantees a job, it is an excellent way to put yourself in the mindset of finding a TV writing gig that fits with your skills and your sensibilities.
This week, zero in on what you can do to increase your chances of getting a TV writing job. Lean into one or more of these strategies.
And let me know how it goes.
