Screenwriting Advice for BA Students... From a Masters Grad (Part Four: Jobs and Networking)

Alright, I'll not beat around the bush: No, you're not likely to get your first paying gig in film and TV, if not just gig period, writing a script. Unless you have a Cousin Joel at Warners, or Uncle Mark at the BBC, you'll likely have to find another way. Sad, but true.

The good news: there is no one route. Everybody's way in is different, meaning there isn't a right or wrong way to start in the business. The bad news: that lack of structure puts all the onus on you and your initiative to get anywhere. No one comes to you: YOU go to people. Also, doing a lot of unpaid work is the norm, so don't be quick to give up the day job just yet.

So, what are your ports of call (as said, a number of these are also covered in Stack and Clague's book)?

• Being a script reader: one of the most common methods of attack, you help a production company wade the tsunami of screenplays and decide what ones are actually worth the head honchos' time. Usually in the form of a three+ page report, you grade the piece on several criteria, such as character, structure, dialogue and commercial prospects, write up a synopsis that summarises the whole script. With that you offer a page worth of comments on the positive and negatives, and whether or not it should be taken further for development.
• Being a runner/low level position at a production company: like the reader, you'll be starting at the bottom, helping to do odd jobs around the office and make the tea.But again, you'll meet people.
• Join a training scheme: certain companies and broadcasters like the BBC do offer training schemes to help get you involved on series and in departments, usually in an on-set/technical capacity. Be sure to check on their websites every couple of weeks if new ones come up.
• Being a teacher: Again, another common pathway is to get involved in the teaching of creative media at the college/university level, as well as on special film programs and workshops for schools. You'll be able to pay bills, enjoy certain benefits afforded the teaching profession such as set hours and, thanks to school holidays, have nice big chunks that you can devote solely to other pursuits.
• By the way, CVs? Keep it simple, keep it single column, two pages max, and tie every piece of information into the position you're applying: generic do-all CVs will not work (and forget about the 'Interests' section: no one cares if you like swimming or Chinese food). Lucy Hay talks about it here better than I can.

Say you pick the first two: Much like pitching your idea, introducing yourself to production companies and asking for the privellege of giving them free labour (remember, ask not what they can do for you, but what you can do for them) is a skill of its own. A short email, giving a brief account of you, your ambitions and your relevant experience, as well as why this specific company, followed by a quick ask to do, say, two weeks free work, can help. (How to reach them? IMDB Pro.)

Alternately, just ask to have a five minute meeting with someone in development about career advice, as a graduating/graduate student. You'd be surprised how generous people can be with their time, as well as how useful being a student is: you're still in school, so you're not trying to sell them anything. You're just a wide-eyed kid with big dreams. They can relate, and if they like you, they may even offer you some work experience, or possibly even a read of your script.

Now, onto the N-Word.
The Non-Tarantino one.
Networking.

Yes, YOU have to go and meet people. YOU have to acually talk to people before they can read your script and maybe, MAYBE, give you a job. YOU have to make people want to be around you. Go to festivals (like London Screenwriters), media conferences, screenings, talks and lectures: anywhere makers and movers will be, so must you. Research who they are beforehand, so that when you introduce yourself, you can point to something they've made and can say you admire. Nobody can resist a compliment, and thus, that snowballs into a chat, a conversation and, possibly, an exchange of numbers and/or emails.

You must, also, not be:

• Clingy 
• Annoying 
• Impatient
• Whiny 
• Unclean
• Demanding

Nothing cheeses off a producer like someone with no concept of patience or personal space or, just as bad, an obvious salesman. Britain, unlike the States, is not terribly fond of aggressive pitchers: people like to actually talk and hold interesting conversations about stuff that isn't just your idea.

Just like anywhere else in life, treat others as you would want to be treated yourself. Be polite, be understanding and, here's the big one, LISTEN. The art of shutting your mouth, letting others talk and actually absorbing what they are saying is such a rare quality that I think the dodo is a more populated species than people with this skill. And yet, just like making sure to say please and thank you to people, it makes all the difference in endearing you to someone.

After you are done, cordially thank them and send a follow-up email a few days later, thanking them for their time and that you hope that you can stay in touch. Afterwards, stay in touch every 3 or so months. Ideally, when you have a new project or piece of work or major news to share with them. Remember, treat others as you would want to be treated: you wouldn't want your time wasted with monotony or trivial nonsense, so don't waste theirs if you have nothing to show.

A last tip: to stay informed of who is making what and where, subscribe to the trade magazines: Deadline, Hollywood Reporter, Screen International (for film) and Broadcast (for TV) come out regularly and for an efficient fee. Occassionally browsing on IMDB is not good enough: you have to have a steady flow of reliable, well sourced information, if you want to stand any chance.

Okay, so let's say you've met someone and they want to read your script. What now?
Join me in Part five, where I talk about actually writing for a living, and those mystical, mythical beings known as ''Agents''.

Summer work experience - Production Assistant on Flowers in the Field (June 2014) and Revolution Farm (August 2014) - (8/8/14)

During this summer, I had the great blessing and privilege to work as a production assistant on two small theatre productions, both directed by tutors from my Middlesex BA Film course. These were the above mentioned Flowers in the Field, a period piece set during WW1, directed by David Cottis, and Revolution Farm, an update of George Orwell's classic novel Animal Farm, directed by James Martin Charlton.

Both were relatively similar in how I came to work on them, and then the type of working relationship and tasks I was given; both had announced their new shows via social media, so I promptly emailed both and asked if there were available position on the production team, regardless of pay. Both men were very prompt in their reply, and were very easy to work with and allowing. So, after a little discussion and checking over of schedules, I was signed up as an extra Production Assistant, and had a meet with the main body of the team, the principal person of note here being the designer; Joana Dias for Flowers, and Ian Teague for Farm. It was with these people who I was to chiefly collaborate with.

However, it was from this point that the two diverge, equally due to different subject matter, as well as the actual length of my collaboration; Flowers was a period piece, so my task was primarily to assist in the acquistion of props, many of them from the actual period and rather fragile, as well as set construction. What's more, my collaboration was for the full month that made up rehearsals. Farm however, was contemporary, so there was more in the way of gathering materials up to build props, such as cardboard for the placcards that advocate the rules of the farm. The catch here, however, was the timing; I only served on this one for a week, as it happened to begin around the time I was preparing to depart for Spain to visit relatives and sort out private affairs there. A shame, as I found that between the two, I found Farm more actively utilizing me as a member of the team, whereas Flowers, while very interesting given the material, definitely felt a tad more like a runaround catch-fest, chasing down after all of the antiquated props need for the show, with one particular escapade having me leave for Portsmouth on a Sunday to get ahold of some 150 year old music cylinders!

However, I cannot deny that on each occasion, the people have been absolutely lovely, and very welcoming towards a newcomer like myself. Also, it was a great insight into the worlds of fringe and community theatre, and how even these grassroots, low budget production can have just as bells and whistles as their West End big brothers. I wish to extend a considerable thanks to both David and James for giving me these opportunities to help beef up my CV, and I hope we bump into each other sometime soon.