Friday, April 11, 2008

A reader responds to my earlier post on how to ask your boss to read your script:

I think on the whole, you are right. Asking questions to pique someone's interest into reading your stuff is a good way of going.

But having worked on a TV network show and gotten a freelance script out of it, nothing beats being direct with the writers on staff that you have a good relationship with. The whole point of having a showrunner read your stuff isn't so he can give you notes - when he reads your stuff, you want him to have no notes, and you want him to like it so much that he will consider you for a freelance spot or staffing. There is no other point to a showrunner reading your stuff - because good notes can be had from other sources without the high stakes.

My advice to your reader would be to make sure the the script is in tip top shape, and then pass it along to whomever he gets along best with on staff (and if that's the showrunner, even better). Being direct and saying "I would like to be considered for the freelance spot" also helps people gauge where your interest lies. If the relationship is good and the boss is cool, they will not feel threatened and will want to give you an opportunity.

The key in all of this, however, is to be ready to show good material and ready to pitch.

I guess there's a difference between being a p.a. and being a writer's assistant. As a writers' assistant, you're entitled to ask someone to read a script of yours, so long as they're not too busy. Writers' assistants are supposed to be writers themselves. If you're a p.a., you're a step further away from the writing room, and it probably pays to be a little bit less in people's faces about getting them to read stuff.

Patrick is definitely right about getting having a great script ready to show. With most people, you get one read. One. It better be good.

Labels: breaking in

7:21 AM

0 Comments:

Post a Comment

Back to Complications Ensue main blog page.