Being a writer’s assistant
I am interested in becoming an assistant to a TV or Film writer. I have experience in the industry as an assistant to a Producer/CEO of a Production company, but I’m not sure what the qualifications are to be a writer’s assistant or how to apply for the job.
–Beth
I’m passing off the question to my own very capable assistant, Rawson Thurber, who is an aspiring writer/director in his own right. He first started working with me on the TV show "D.C.," and continued on with me since. Take it, Rawson:
The "qualifications" to be a writer’s assistant are be no means
Herculean. As long as you have basic assistant skills (answering the phone
without hurting yourself, computer literacy and a working knowledge of the
film & TV industry) you’re already there, especially if you’ve already
assisted a producer/CEO of a production company.
The more important question you should ask yourself is: why do you want to be a writer’s assistant? Generally speaking, if your answer is anything other than, "Because I want to be a writer myself", then you shouldn’t be one. There are other Hollywood jobs that pay better and have better chance for advancement.
That said, there is a big difference between being an assistant to a TV writer versus a feature writer. If you work for a TV writer, you’ll usually be working for the show-runner, the main voice/architect behind the show, in addition to doing the research/transcribing/copying for all the other staff writers. You’ll sit in on all the writer’s meetings, taking notes: pitched jokes, storylines, plot points, etc.
Working on a television show, especially a sitcom, can keep you up until all hours of the night. When it’s crunch-time, several of my writer’s assistant friends don’t get home until 2 or 3 in the morning for several days in a row (weekends included). It can be exhausting and exhilarating (you learn how a writer’s room is run and how a television show is produced from politics to post-production). But it is also a great way to break into television – often times, television shows promote from within, and occasionally farm-out an episode or two to promising assistants – you just can’t say that about CAA.
Working as an assistant to a feature writer is generally less demanding, but just as educational. Of course you learn the tricks of the trade: what works and what doesn’t work in a two hour movie, how to deal with studio executives and how to ignore or embrace notes (sometimes contradictory or just plain wrong) given from all sides. This is, of course, on top of the usually assistant duties of research, faxing, and scheduling lunches, meetings, pitches, parties and premieres.
The only words of warning I would offer, before jumping headfirst into this breed of assistant-hood, is to understand that writing is a solitary process. Whomever you work for will spend most of his or her time behind closed doors creating. This leaves you with a lot of time to spend doing what you’re there to do, which is write.
Additionally, working for a writer isn’t like working at a production company. There’s usually only one or two projects going on at a time, not fifteen, and it’s just you and your writer, usually in separate rooms – there isn’t much "office culture" to be had, so if you’re looking for football pools or water cooler gossip, best look elsewhere. Lastly, and this is the most important one, only work for a writer whose writing you respect. There are plenty of millionaire screenwriting hacks out there and life is too short to begrudge your boss his or her success.
Being a writer’s assistant can be a wonderful apprenticeship, just be sure you want the job when you finally earn your stripes.
John would like to add: For the record, not all that many feature screenwriters have assistants. Partly that’s because the workday life of a feature writer is generally less hectic — fewer meetings and less to stay on top of — and partly it’s because many feature writers work in their homes. Rawson’s point about the solitary nature of the craft is important. It’s one thing to be stuck in an office with a maniac boss, and another thing to be trapped in his house. So make sure the personality is the right fit before considering the job.
Articles
September 14th, 2004 at 2:10 am
I find it incredible Rawson went from being your assistant to selling a script, directing it, and having it released a mere 8 months after he was your assistant. That’s remarkable.
November 25th, 2004 at 12:55 pm
dear/dears hi I am a student at university. I study international relations. I have written a cool TV show program. please guide me what should I do to perform it.
Kind regard Alireza
November 25th, 2004 at 12:59 pm
dear/dears hi I am a student at university. I study international relations. I have written a cool TV show program. please guide me what should I do to perform it.
Kind regard Alireza
November 26th, 2004 at 6:04 pm
Just run it over to ABC or Fox and they’ll make it for you.
December 5th, 2004 at 12:24 pm
dear/dears hi I am a student at university. I study international relations. I have written a cool TV show program. please guide me what should I do to perform it.
Kind regard Alireza
April 6th, 2005 at 5:41 am
I’ve blogged a bit about being a writer’s assistant here:
http://complicationsensue.blogspot.com/2005/04/back-door-in.html
March 27th, 2006 at 4:17 am
Cheers John and Rawson. Very interesting.
September 26th, 2006 at 1:59 pm
This article helped me get a clearer idea of what to do as I move to LA. Thank you.
As for Alireza K., above, I’ve got a feeling he’s got some more studying to do.
November 1st, 2006 at 11:56 am
This doesn’t answer any kind of questions as to HOW to apply for the job.
August 25th, 2007 at 11:39 am
I AGREE, THIS ANSWER GIVES US WHAT MILLIONS OF OTHER WEBSITES DO, BUT IT DOES NOT ANSWER THE ONE MAIN IMPORTANT PART – HOW DOES ONE APPLY FOR A WRITERS ASSISTANT JOB?