WHAT GOES IN A SCREENWRITER'S CV? - Screenwriter's Survival Kit

Curriculum vitae, CV or a resume - whatever you call it, almost every job requires one. It's basically a combined work history along with a quick pitch for you yourself and your skills. When it comes to writing, there will be times (especially when you are without an agent) where you will be asked for one, or it will be handy to have to provide a little more context about your and your work.

However, just like there exist many templates for non film/TV CVs, what a CV in this field needs to look like varies. For writers, my advice is one of emphasis: sell YOU and what YOU OFFER. A bunch of waffle about your hobbies or some swimming prize at school (or for that matter, a long list of where you went to school) won't help. Focus on what you write/have written, what you've won and what makes your voice different and special. 

Let me breakdown on what to include (this is what has worked for me in the past, and it's how I was taught by a film producer). This applies both to total newbies and those of you who have/'are building a small body of work. Maybe you've even scored your first commission (congrats!) and want to know how to best present/highlight that. Here's my steps:

1. Full name. Ideally in a bold font. I'd also recommend keep this, 2 and 3 center-aligned: it's more appealing. Don't bother with wacky Publisher designs and colours.

2.  Contact info and personal websites - your blogs, your social media profiles (that you want to share - all this is info you have to be okay with a potential producer/collaborator looking at). Also, when you get an agent - put their details here.

3.    Write a Brief introduction – this is just a quick summary of where you’ve studied and what you’ve worked on. Succinctness is really key here, and tie it all into your goals to work in this industry - 2 paragraphs and boom. Why does it make YOU matter, why does this make YOUR STORIES special.

4.    Your credits – everything you’ve worked on in film/TV, and I do mean everything. Episodes, features, shorts, web series etc. Don't fuss too much over the chronological order - focus on the ones that you think are the best/have gotten the most attention. If you can, include hyperlinks to them. 

5.    Development – any other script projects you are working on right now AKA your spec scripts. Don’t need to be finished, and despite the name, don't have to be ones you have sold to a real production company: just mention them quickly here with a logline (a short description that contains the hero, villain and the conflict of the story) and if there is a treatment available (always good for gauging interest and building a little early interest).

6.    Additional credits – everything that isn’t film or TV. These will be useful if you're newer to screenwriting and need to bulk up the CV. Books, short stories, comics, podcasts, plays, games, visual novels etc. Like with social media, only share what you want people to see (I'd avoid fanfiction, though fan projects like fan films or audios can be used, depending on the quality of the production).

7.    Education – as you build more credits, you won’t really need this, but list where you’ve studied at University level. No need for anything earlier than that - doesn't serve any purpose. If you went on a specialized course, or a major school (like Met Film, NFTS etc.), it may be worth mentioning a notable teacher or mentor from the industry. Never know who you could bump into out there, after all, and a familiar name can always be a hand.

And there you have, seven steps to a more useful CV. Hope that helps out.

PAYMENT AND DOING FREE WORK - Screenwriter's Survival Kit

HERE COMES THE MONEY! Money money money money! 

Hey, you've got to eat and live too, you know: your worth, what you can expect and command, is a vital part of being a professional screenwriter. You deserve to be remunerated for your work and should never take less than what you're worth.

But how do you find out? Can a new writer be worth much? And should said new writer be offering their work for free, for the sake of 'exposure' or 'credit', the two tantalizing carrots that many a filmmaker and aspiring producer dangles.

FIRST, KNOW YOUR WORTH

This one is really easy: The Writer's Guild of Great Britain (and their American counterpart, the WGA) has rate cards for basically every medium - film, radio, TV, games etc. Just go over to their website and there is it, simply find one that matches your project. You might get tripped up by the differing names of the agreements (like BBC, ITV etc.) so if in doubt, and if your project is more on the indie side, just use the PACT rates. They tend to have the most adjustability.

If it's from a legit production company with a bit of branding and cash to their name, then they will usually already have the cash amount sorted in advance (in compliance with the Guild, but double check just to be sure there's no funny business), though they may ask you still. In that case, choose the highest as pertains to the medium of the project (TV, film etc.).

WHAT IF THEY CAN'T PAY?

This is a sticky one, because there are exceptions and particulars to consider. The big one is: do you know the person? 

If they are a good friend or family member and just need help on something, then I say alright. A freebie there is understandable.

If you do not have a pre-existing relationship, if this is someone who is approaching you out of the blue, then it's best to fully suss out the project and do your homework:

• Do they have any sort of online presence?
• Do they have any kind of track record?
• What is their budget range and market?
• How fast do they want turnaround and how long is the project meant to be?

Anything like a full feature film or a TV pilot should be remunerated - that's where I say a flat out NO to free work should be placed. It's a lot of effort to write either of these and you get nothing of substance out of it (and word to the wise, if they offer a 'net percentage' or something post-release as the main pay, that's a no too. Too shady and unreliable).

If it's a web series or short film... first, check out the rates and see what could suit the budget. Talk it through with the person - if they say no, then you have to consider the following: 

• Is the workload worth it? 
• Will it stop you from pursuing anything else in the meantime? 
• Can it be fitted into your schedule and life? 
• Does the person have a game plan for the project? 
• Do they want to take it on festivals, promote, create buzz? 
• How will they do it? 

If they want you to give up your time, the least they can offer in return is professionalism.

YOUR DESPERATION

This is a dangerous siren call - no matter how much it looks like you'll never break in, never leave yourself vulnerable to exploitation. For every scumbag who will screw you hard, there's someone out there who will treat you well. If the person looks or sounds dodgy; if they are vague on details; if they sound like they are promising the world, stay away. STAY FAR AWAY FROM THEM.

Do not let yourself get scammed. Nothing is worth that. NOTHING.

HOW DO I GET AN AGENT? - Screenwriter's Survival Kit

The big question that every writer has. The age-old dream that the agent is a wondrous wizard who, upon choosing you, will grant your deepest wishes and get you all the jobs and all the monies. You go from a  nobody to champagne at the BAFTAs and royally rolling in residuals dough. Oh Saints be praised!

Well, I can tell you right now, that's a crock.

I love my agent to be clear, he's a cool guy, but he's not a miracle worker. No agent is, and I think writers think about agents in a way which is harmful to both their development, as well as to the potential relationship they could have when they find one. Agents cannot guarantee you consistent work, and they cannot guarantee you will always make money between big gigs. Companies, broadcasters and even studios can only buy so much material, and the UK doesn't exactly have the same resources as Hollywood.

What they are is middle men, the guys who get you past the gatekeepers and put you in rooms with people who may have the money and work. They're a stamp of legitimacy that says 'this writer is not a crazy person who will stalk you for not reading their script'. They take care of contracts and other paperwork, enabling you to focus on writing the best material you can and not fret so much about networking.

Can you get work without one? Yes, I did a whole article about that. However, if you are getting to a point where you need one, I'll offer up two things for you: the standard wisdom on how to get one, and then how I did it.

HOW TO GET AN AGENT (CLASSIC STYLE):

• RESEARCH: Look up the writers you admire and want to be like. Look who represents them and where they are. Some of the classic names include Curtis Brown, The Agency, Valerie Hoskins, Knight Hall Agency and Independent Talent, but that's just the surface. A great tool here is The Writers and Artists Yearbook, full of names of places looking for submissions.
• REFINE: Get that script, if not several (actually, make it several) as good as you can. I would really advise you take your time and have two, or three, in sharp shape. One is not enough - you need to show range and that you're not a one trick pony.
• REFERRAL: Exactly what it sounds like - get someone in the business to read your script and, if they like it, ask them to act as a referral, an industry recommendation. I touch on a way to do this in another piece.
  
• QUERYING: The most daunting part - actually asking for a read. Usually, agency have a submissions guideline on the website, which you MUST follow. DO NOT, I repeat, DO NOT DUMP SCRIPTS ON PEOPLE. If you blind-send, or worse, spam send to everybody at once, you will crash before you've even started. It makes you look like a cynical huckster out for a fast buck, instead of someone building a professional relationship. As for the query itself, much like the networking article I wrote, there are some standards: a succinct introduction to your self; why you'd like this agent to rep you, and a quick pitch of the script you'd like to send. Be tight and to the point.
  

HOW I GOT AN AGENT

I did the above and got good responses from several places, but no firm yeses. Big or small, the size of the agency made little difference (but don't lose faith if you're waiting. It's a slow game.) However, I did, through my networking, send a script off to a development person at Dancing Ledge, who passed it onto Andrew Roach, an agent specializing in disabled talent, who passed it onto my current agent, Andy Townsend at the Galton Agency (who work with Roach's clients on screen projects). This was the power of a referral in action, and then some.

Andy read my stuff, liked it and we had a meeting. We got on well and he asked to read some more stuff, so I sent it over. In total, he read four scripts, counting the one from Dancing Ledge. Satisfied, he offered me the contract and I signed. Since then, we've done catch up meetings once a month, discussing projects and places to submit to. It's been a pretty easy-going thing, all told, and he has never pressured me to do something I wasn't happy with.

I hope this has been of use - the big thing is not to stress. Like writing itself, it's a long process and there will be mistakes and failures. So long as you understand this, you'll manage fine.

HOW DO I STAY INFORMED? - Screenwriter's Survival Kit

WE'RE BACK, and with a big one. 

 In past posts, I discussed that it is important to chase up your network every few months. On top of that, to know what’s happening means you need to follow the news in the industry. These places will often announce new shows coming out, if shows have been recommissioned for another series, or who is working with who. Often times, they will also include the names of the development team behind the show, who are people you can contact and the companies making them (companies which have development people, very important that.

Now, where are the places you need to keep up with? Well, here's a few:

• SOCIAL MEDIA

Follow production companies on their social medias pages to stay up-to-date. Facebook and Twitter are the main ones where they will post news about projects, commissions and other bits of business. Mentioning these developments in your catch up email will show whoever the relevant contact is you are keeping informed and interested in them.

If you are interested in a specific show, they do often have dedicated, official (always double-check) pages on these websites, where they keep fans up to date on what's going on. 

• INDUSTRY PRESS/THE 'TRADES'
  

These are websites and magazine all about what’s going on in the business. If you don’t want to, or can’t afford, a physical subscription (which can get pricey, if you follow multiple publications), you can also follow them on social media and visit their websites every couple of weeks.

    •    VARIETY
    •    DEADLINE HOLLYWOOD
    •    BROADCAST NOW - this is the big one for UK TV.
    •    SCREEN DAILY
    •    SCREEN INTERNATIONAL

 

Another good, if not vital one if you want to go into children's or animation, is Kidscreen, which is exactly what it sounds like – news on kids content. 

• ASK SOMEONE
  

When you are in meetings and talking to people, don't be afraid to ask ''So, what are you working on?'' Not all projects, especially newer ones, get announced and, well, you never what one might be setting up a writer's room in the future.

Short this piece, but sweet. Knowledge is power. Go get some and become an industry He-Man (or She-Ra, entirely up to you).

GETTING WORK WITHOUT AN AGENT - Screenwriter's Survival Kit

I'm repped now (thank you Andy Townsend!), but I spent several years in the 'wilderness' of the industry, without an agent. For new writers and out-of-school-students, this can be incredibly daunting: they've oft-heard the 'no unsolicited submissions/agents only' bit many times before, thus massively cutting down submission options. They may also have heard that big shows won't hire writers without one, or without a track record of credits. 

Can't get work without an agent - can't get an agent without work. What a Catch-22, right?

Well, not entirely. Your options will be more limited, to be sure, but as I've mentioned many times on this blog, the industry casts a huge smokescreen around itself (mostly for legal protection). Those walls and gates can absolutely be broken through and there are people out there who will take a chance on new blood. While I cannot sell you a magic ticket, nor would I, I hope the following will serve as a roadmap as to the avenues you can explore to train and earn.

Also, for the purposes of clarity, I'm specifically talking about paying gigs, not competitions, scratch nights or short film festivals, nor am I talking about self-funding projects like an indie feature. This is about commissions.

CAN I GET TV WORK? 

Yes, but get ready for it to be slow coming. Very, VERY SLOW. TV that is more amenable to unrepped writers tend to err on the lower budget end, meaning it can take longer to make and, more importantly, fund if it's not an in-house production from a broadcaster.

One easy recommend is Children's TV: shorter lengths, simpler stories and, on the whole, lower costs than regular comedy or drama. Pre-school, in particular, can be really amenable to new talent if you have a good sample on hand and are, most importantly, enthusiastic to write for the series. 

Based on my experience, some of the things that they look for include:

• Big and colourful, something cheery (but not bubblegum - the days of Barney are long gone.)
  
• Contains an educational component (though doesn't have to be an education series persay, just simply with something that teaches kids a lesson about life or the world.)
• Diversity
• Humour - kids loves slapstick, goo and goofery. Just be careful of imitable actions (''don't try this at home, kids'')

BUT WHAT ABOUT ADULT WORK?

Sketch shows, if you pitch it right and have some cracking samples, may be willing to give you a show. Again, just bear in mind the profile: the bigger the comic, the harder it will be. Between the two, however, comedy allows for more moving about between kids and TV, so doing the above can make this a bit easier.

As for drama, the continuing dramas/soaps are seen as the 'traditional' way in, though most don't regard themselves as such (even Doctors, often treated as the beginner's show). Reaching out to the script producer is an option, though bear in mind they also work on the series and handle a variety of other responsibilities, so don't be surprised if it takes 6+ months before you get a reply. However, that's not the only way - storyliners are a job you can apply for and, even better, they tend to progress into script editors or writers, meaning there will usually be a new callout every couple of months.

WHAT OTHER WORK IS THERE?

• Radio and podcasts: The audience is smaller than film or TV, but the advantage: lower costs, allowing more risks to be taken. Yes, you can just pitch straight to a producer on radio, and maybe get your work on BBC Radio 4, without any sort of 'unsolicited' hullabaloo. If you're into comedy, Newsjack is the classic entry point. Welcome to Nightvale and Homecoming, meanwhile, are proof of how much narrative podcasts have become a force of their own, and not something to overlook if you're interested. Audible do callouts from time to time, and don't be afraid to search 'audio drama' or dig into 'BBC Sounds'.
  
• Games: While these can sometimes demand some level of experience, and you won't be right away on the next Assassin' Creed, the great thing here is an agent isn't needed, and there are fairly regular call outs for writers, or narrative designers, to work on a new game with smaller developers. Sometimes it's on a specific game, other times to join the company's writing department to work on several.
  
• Online content: web animation, often no longer than maybe 2 or 3 minutes, has been coming more into its own in recent years. The views on Youtube are, frankly, insane. These tend to be, but by no means always, part of a bigger brand and a link will usually be provided on the channel to find them. There are also jobs to write live-action Youtube videos as well, such as being a researcher or copywriter, depending on the style of show.
  

WHO DO I SPEAK TO?

Exactly the same process as I discussed in the Networking article of SSK (read here if you missed it). Producers, script editors and head writers are your ports of call. End credits and IMDB are your friends.

WHAT WILL I GET PAID?

Use the Writers Guild of Great Britain (WGGB) website to check your rates, which covers all sectors of the industry and media.

I hope this is of use. Naturally, none of this is a complete guarantee: all work is tricky and competitive. However, this should clear away what can feel like some of the impenetrable mist.

HOW DO I DEAL WITH REJECTION? - Screenwriter's Survival Kit

This is inevitable.
You can do nothing about it.
It will happen.

Every writer, in every field, deals with this at least once (and that's being generous): rejection. The big R all writers fear (whereas Residuals is the R writers like). it's one of the hardest facets of being a working writer that newbies must make peace with.

 
Yes, you will work really hard on a script or other project (but as this is a screenwriting blog, let's mainly focus on that), only for someone to say no. I'll talk more about why shortly, but there's any number of reasons why rejections happen.

WHAT DOES REJECTION FEEL LIKE?

For as much writing as there is about rejection being a reality, I don't think there's much written on what it feels like in the moment; especially if you're new to the whole business. Naturally, I can't claim to represent every screenwriter in this: just my own experiences. However, for what it's worth, here's my take on the stages of rejection grief (mainly when you're a newcomer, though pros certainly feel the sting too), and what to do.

1. Shock - You open the email or envelope and get told the bad news. Usually, it will start with a courteous hello/how are you/hope you're well, and then tell you that they will not accept your screenplay at this time. Sometimes they will cite a reason (not for us/we already have something similar/we like the concept but...), but other times not. The initial shock of being told no will give way immediately to a sort of numbness, like time has slowed and you've divorced from reality. Afterwards, you will feel
2. Upset - Naturally, rejection hurts. You spent all this time, put in all this work, and they said no. This can hurt more if it's from a person or company you really like. You may feel a weight in the pit of your stomach, or even the trickling of tears at the corners of your eyes. Hey, it hurts - you're not a baby for feeling hurt by something that meant something to you. Then comes a burst of
3. Anger - You spent all this time, put in all this work, and they said no - HOW DARE THEY! You want to scream, want to explode with indignity and rage. You were sure you did everything write - proofread it over and over to make sure it worked; the characters were good; the plot was good; the pacing tight; the structure strong; no typos or errors. You were sure! SURE! And yet, it didn't make it. After the fire subsides (time taken can vary a lot), you will reach a state of
4. Acceptance - Having got the fire out of your system, calm sets in and you just say, 'well, that's a shame, but I must move on.' Maybe you go back to your current project, maybe you opt for a break; you just do something because you're a creative and it's what you do.

The main thing to remember with rejection is it's not personal. No one is out to get you, or humiliate you, or destroy your dreams. 

Sometimes, it just doesn't work out. 

BUT WHY NOT?

Maybe you need to get better at writing; maybe they weren't the person for the project; maybe it simply wasn't the right time in the market for the project; maybe you just didn't have the name recognition for it to be worth the gamble. 

BUT HOW DO I DEAL WITH IT?

Well, aside from going back to writing, one easy bit of advice is just give yourself room. Let yourself feel; let yourself have time to digest. If you're not on commission, then the script is being written on your time and thus, you are in total control. Step away for a bit; have a walk, eat something you like, maybe watch a movie or a show. Like after a night's binging, let yourself detox from a rejection. Give it a few days, I'd say.

As time passes, and you get more rejections (which you will), you will find the stages get less potent. The shock, anger and upset will start to fade: never fully gone, but they will not be as harsh on you. 

DO I NEED TO REWRITE MY SCRIPT?

I'd say, if you sent it out to multiple people, wait. If they all come back rejecting it, it's worth having another look over. As the saying goes 'If one person says it's crap, it's an opinion. If ten people say it's crap, you've got a problem'. However, never try to rewrite something right after getting a rejection - it's too raw for you yet to be truly objective.

WILL I GET USED TO REJECTION?

Like anything in life, the more you do it, the more used to it you become. The hurt and annoyance will never fully vanish, because you are an artist and you are, always, exposing yourself in creating your art. However, experience brings maturity and with that maturity, coping mechanisms. You may think you won't, but you will.

BUT IF I CAN'T?

You will - that's just the immediate shock talking. Nor should you worry about 'lost chances': barring you being rude to the other person, new opportunities can and will emerge in time. Maybe this script wasn't for them, but another could be. 

And if not? There's always someone else out there.

Always keep pushing, and you will get where you want to be in the end.

HOW DO I MAKE CONTACTS? - Screenwriter's Survival Kit

Welcome to a brand new sub-series on this blog, designed to be one-stop shops for your big craft and industry questions. 

To inaugurate, I'm going to talk about one of the most vital yet still poorly-explained parts of building a media career, in any field but focusing on screenwriting here. The big N: Networking. This can be especially troubling for those living away from the big media hubs, or have some difficulty in social circumstances. You may be socially awkward, or not used to being hyper-proactive in a job sense. 

However, it is a vitally important part of this business: you need people to make your movies and shows. You need people with some level of power or resources to know you exist, and playing the lottery with screenwriting contests and just waiting can be a needlessly big gamble. Whether it's for a producer, director or development person, the process is the same.

WHAT DO I DO?

First, after having written and polished a quality script, find a company/producer who makes stuff similar to your script. If you have an action thriller, find people who make action thrillers. Comedy: comedy. 

You can find people with greater ease than ever before: sites like IMDBpro and Linkedin offer ways to get directly in touch. There's also production company websites, which usually contain a generic/office email: HUZZAH! They've already done half the work for you. A little more brain juice, and you'll quickly figure out the email of the person you want. Producer, executive, script editor, assistant - all people to speak to.

In the email, you don't need to be heaping wild praise, or desperately begging for attention. Short and sweet is the desired. Start by say 'Hi, I'm a screenwriter (mention if something you worked on got an award or distinction. If you're currently on a course, even better. They love students, as they aren't a threat. Otherwise, just what genre you write in).' 

After, write a quick bit of praise. Something like, 'I really liked your show (quickly say why, just a line) and I'd like some advice on getting into continuing drama/hour-long drama/animation/sitcoms. If it's possible, could we do a five minute phone/zoom chat?'. 

NEVER EVER attach a script or CV without asking to do so first. Dumping stuff onto someone is only going to turn them off. You want to make their lives as easy as possible: the less demanding you are, the more willing they will be to hear you out. 

BUT WHY A MEETING AND NOT A SUBMISSION?

I'd say doing this is better than gambling on a blind read - you'll get a meeting, where you can become more than just another anon email, and make a contact in the process. This is how I did it - I was humble, open-minded and asked industry people for advice. Now, I'm in the business. This advice works.

WHAT DO I SAY IN THE MEETING?

It's an informative conversation, not a shopping list. There's no right way to go about it, save for not going overly-personal, or insulting the other's person's work. Some easy pointers, if you are having trouble, include:

• How did you get started?
• What are your influences?
• What was you best experience on a project?
• What keeps you going, even when things don't go well?

As for talking about yourself, which they likely will ask about, you just simply talk about your writing background, if you've won anything/placed anywhere, and maybe do quick pitches of whatever script you've ready to show. A logline, maybe a quick descriptor of the main character and the conflict. Be cool, be calm and, above all, be a good listener. Industry people love to talk, so let them. When it comes time for you, be chipper and upbeat: monotone will make you sound like you don't care. Don't force it, but I guarantee you will find, as you get comfortable, you will be more engaged, and be more charming to the other person. 

AFTER?

They will ask 'Can you send it/something along?' At which, you send the script and your writing CV. Good time to chase up would be 10-12 weeks. Indeed, checking in every couple of months with a simple 'Hey, how are you?' goes a long way.

You may not realize it, but you do have the ability to network with greater ease than you may be aware of. Once get in the groove, it may become your favourite part.