 We get lots of clients who have parallel career trajectories – they’ve been a producer for years but have also worked in events, or they’ve worked equally in TV and branded content, or they write while holding down a steady day job, or any number of other dualities (as resume writers and entertainment professionals ourselves, we fall into the same category)! But what does this mean for your resume and LinkedIn profile? How can you prove to a hiring manager that you’re interested in a specific job, when half of your experience is in a different part of the industry (or a different industry entirely)? First of all, you will almost certainly need at least two different resumes, one focused on each trajectory. The particulars depend on the specifics of your situation -- that's why we advocate for letting your story guide your resume format, not the other way around. Generally speaking, there are two ways to go about this: 1. If you can leave one path out without creating gaps, only include related jobs in your timeline and allude to your unique perspective in another way, like a call-out in your professional summary or skills & interests section; 2. Include both sets of jobs in your timeline, and for the divergent career path, only include transferable, relevant skills. If your timeline overlaps, put the more relevant jobs first. If you're looking to combine your two skillsets for an entirely new role, you'll need a strong professional summary or even a functional resume that allows you to organize your work by core skills -- these being, of course, the skills you'll bring to the new role. But what about LinkedIn? You can’t have two LinkedIn profiles. Before you write off LinkedIn as a tool for your career, consider that it offers a huge upside compared to your resume. LinkedIn lets you write in first person and tell your story in a truthful way -- it's an opportunity to add context to the simple chronology and explain what your unique perspective is. And with two backgrounds, you certainly have a lot to say! If there’s one side of your two career paths that you’re leaning toward more heavily, focus more on those skills on LinkedIn as well and express the other work as a side interest, highlighting what you've learned from those experiences that enhances your work in your primary path. But even if you’re looking for jobs in two fields equally, you can use your professional summary section to outline your unusual career trajectory and explain that you have two different passions, each one informing the other in its own way. Explain that you're open to roles on either side, and frame it as a value-add. Take the opportunity to give reasoning behind your career choices and explain how the things you have learned through each enhance your business approach. However, there are some times when you may want to be a little more vague with your LinkedIn profile -- if your boss doesn't know you're looking for jobs and expects your profile to reflect your full-time position, if you use LinkedIn as a sales prospecting tool in your current role and need to show focus to potential clients, or if there are other political reasons you need to maintain a level of privacy, that's fine. We still recommend you have a profile so that you can connect with people, but you may prefer to keep your profile sections short and sweet. When you've moved on to your next role, you can build your profile out more. One key thing to remember – no two people have the same career trajectory. In fact, the things that make you an unconventional candidate might be the same things that make you stand out from the pack! Take pride in your ability to excel in more than one area and come up with a few different frameworks to express your skills and background, so hiring managers get the information they need to see. It may take a bit more work to craft your story for your audience, but with two careers, we know you're no stranger to hard work, and in this industry, no stranger to storytelling! We're here for you during this uncertain time. Visit us at www.hollywood-resumes.com to take advantage of our services. If you have questions about resumes, the job search, or navigating a career in Hollywood, email us your question with the subject line "ASK HR SUBMISSION," and we'll answer your question in a future newsletter! Don't worry, all questions will be kept anonymous! Know someone else who should be getting these tips? Share the Hollywood Resumes insights with your friends, family, colleagues, interns, uber drivers...whoever! Have a great day! Cindy & Angela Want more Hollywood Resumes? Follow us on Facebook, LinkedIn, and Google+ -- and make sure you're subscribed to our emails. If you work in entertainment, you’re a storyteller, in one way or another. And when you’re looking for jobs, those storytelling skills should be put to use when you write your resume. Every good resume tells a story – the story of your work history and why it makes sense for a specific employer to hire you. And every good story has a beginning, middle, and end. Keep this in mind as you start to craft your resume – it will help dictate the structure, format, and verbiage you use. The beginning of your resume is where you introduce yourself. When you meet someone new, you typically shake hands and tell the person your name. You can’t shake hands on paper, but you can put your name across the top in big, bold letters. Announce yourself proudly – you’ve got a lot of great stuff to share! Additionally, an introductory conversation often begins with where you’re from – in a resume, that takes the form of contact info. This should all be in the resume header. Whatever goes next on your resume is going to be the information that gives the hiring manager context for all the other stuff they’re about to read. The first section after the header varies from person to person, depending on what’s most important to get across. For recent grads, it should be education, and your story will read as “Hi, I’m a recent grad looking for an entry-level position. Look at all the impressive stuff I did while I was in college!” For many people, experience will lead the resume – “Hi, I’ve spent the past 5 years as a development executive at Comedy Central.” Hopefully that first thing has a natural lead-in to whatever job you’re applying for. If it doesn’t, you may want to consider a professional summary that calls attention to your areas of expertise and specializations. A professional summary or list of core skills is also helpful for executives with a dense work history – if the hiring manager only read the professional summary or saw a few words called out in bold, they’d be able to get a sense of what the person brings to the table and can choose to read further if that person sounds like a fit. Think about how you want to frame yourself, and let that dictate however you start your story. The rest of your resume should unfold naturally based on whatever information you’ve set up at the top. Typically, this takes the form of a timeline that shows your trajectory in reverse chronological order. A hiring manager should be able to see career progression and any key achievements that happened along the way. Within your resume bullet points, you will provide supporting information to back up the argument that you’re right for the job, including the relevant skills you’ve acquired in each role. And the end of your resume should be the “extras,” stuff that doesn’t need a whole lot of space, like computer skills, languages, and interests. Sometimes this is a spot to get in keywords for applicant tracking systems. But it’s also a place to share information that’s going to round you out as a person and make it seem like there’s more to you than the stuff you’ve done at work – like volunteer work, hobbies, and various achievements. Again, this stuff all depends on the specific person, but it’s a nice way to tag your story. Keep in mind that your story may need to change slightly depending on the job you apply for. It all goes back to tailoring your resume to the job posting. There’s no way you can fit your entire work history into one or two pages, but by choosing the most relevant information selectively, you can build a profile that positions you for the role you’re interested in. Just remember that the story you need to tell is the one the hiring manager is looking for (in the same way that you’d pitch the type of project you think a development executive is looking for). Be authentic, but present information in the way they’ll be able to understand it. -- Angela Silak & Cindy Kaplan
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"Industry Spotlight" is our newsletter series where we interview professionals from across the entertainment industry about their current jobs and career trajectories. Our hope is that you will learn more about the positions you're already interested in, discover new roles you may not have considered, and utilize the wisdom of those who've paved the way before you to forge your own path for success.
This month, we sat down with a reality TV producer who spent time as a COVID Compliance Officer. We've granted her request for anonymity so that she could be candid. While CCO may not be a long-term position in the industry, production safety touches everyone who works in the industry, and we appreciate the opportunity to learn about how we can all contribute to a safe environment. HOLLYWOOD RESUMES: In one sentence, how would you define what a CCO or COVID Testing Manager does? CCO: The CCO establishes a plan to communicate COVID-19 safety guidelines from the CDC to the cast & crew, notifies production of any significant changes in safety recommendations and protocols, schedules and manages COVID testing, conducts contact tracing, and serves as the first level contact and response for COVID-19 safety and compliance concerns. HR: What is your day-to-day like? CCO: The CCO is the first person on set. The CCO makes sure all cast and crew fill in their medical questionnaire, get the COVID test, and have their temperatures taken. They make sure PPE is handed out to all, cleaning stations are fully stocked, and schedule cleaning routines with production on the agreed-upon schedule. They also take the appropriate action if someone tests positive on set. HR: You come from a background as a reality TV producer. How did you prepare to take on a new role in the industry? CCO: I prepared by taking the COVID-19 Compliance Certificate Program for LA County, the John Hopkins COVID Certificate Program, and OSHA. Knowing how production and filming works is a must. HR: What are the skills someone would need to succeed in this position? CCO: Management, understanding how production works, logistics, planning, extensive training in COVID-19 protocols, communication, time management, robust rules implementation, medical knowledge of COVID-19, collaboration, and managing crew. I can’t stress enough the importance of appropriate COVID training. This role is for a PM or project manager who understands the risks associated with COVID-19. This is not an entry-level position, since we are dealing with people's lives. HR: How has COVID safety changed the way productions run from a logistical and creative perspective? CCO: COVID safety has added a lot more stress to an already very stressful environment. It has also limited the creative locations we can use. Since health and risk factors can be very high on any given day, it has added a terrifying element to filming. Before the vaccine, you put your life at risk just being part of a show. If the COVID-19 protocols are not followed correctly, the show could shut down due to COVID infection and spread. HR: What are the biggest challenges or surprises you faced in the role? CCO: The amount of pushback from grown adults who should know better is unbelievable. I did not expect the lack of cooperation or pushback—the networks and EPs turning a blind eye to unqualified COVID-19 CCOs, and flawed COVID plans and testing just to do a show. It has been heartbreaking to see the lengths some people will go in this industry to film a show unsafely with no regard for the crew. HR: What's something you wish people understood better about COVID compliance on set? CCO: Hiring unqualified PAs with no training as CCO or having a nurse do both CCO work and testing is cutting corners. Not enough PPE, cleaning stations, or paying the CCO a PA rate is unacceptable. The CCO needs to be a trained professional with a high understanding of logistics and COVID training. Taking a set COVID certification [minimal certification] is not enough. It's most frustrating when you have networks and EPs on the show that do not adhere to COVID -19 protocols -- it seriously endangers the crew, just to get a show done! Executives who never stepped on set during the pandemic do not have an understanding of how it should work, which can then trickle down to the crew and cast, creating a toxic, unsafe environment. Because everyone is eager to work, some risk their health and life by working on sets that are not following the CDC guidelines. It must stop. We need to unite and demand a safe working environment, no matter if it is a union, scripted, or non-union show. HR: Let's end on a hopeful note -- if you could give any piece of advice to someone trying to break into the industry, what would it be? CCO: Work hard, be kind, and give back once you move up. Do it with class, integrity, and honesty. HR: Thanks, CCO!  If you work in entertainment, you’re a storyteller, in one way or another. And when you’re looking for jobs, those storytelling skills should be put to use when you write your resume. Every good resume tells a story – the story of your work history and why it makes sense for a specific employer to hire you. And every good story has a beginning, middle, and end. Keep this in mind as you start to craft your resume – it will help dictate the structure, format, and verbiage you use. The beginning of your resume is where you introduce yourself. When you meet someone new, you typically shake hands and tell the person your name. You can’t shake hands on paper, but you can put your name across the top in big, bold letters. Announce yourself proudly – you’ve got a lot of great stuff to share! Additionally, an introductory conversation often begins with where you’re from – in a resume, that takes the form of contact info. This should all be in the resume header. Whatever goes next on your resume is going to be the information that gives the hiring manager context for all the other stuff they’re about to read. The first section after the header varies from person to person, depending on what’s most important to get across. For recent grads, it should be education, and your story will read as “Hi, I’m a recent grad looking for an entry-level position. Look at all the impressive stuff I did while I was in college!” For many people, experience will lead the resume – “Hi, I’ve spent the past 5 years as a development executive at Comedy Central.” Hopefully that first thing has a natural lead-in to whatever job you’re applying for. If it doesn’t, you may want to consider a professional summary that calls attention to your areas of expertise and specializations. A professional summary or list of core skills is also helpful for executives with a dense work history – if the hiring manager only read the professional summary or saw a few words called out in bold, they’d be able to get a sense of what the person brings to the table and can choose to read further if that person sounds like a fit. Think about how you want to frame yourself, and let that dictate the start of your story. The rest of your resume should unfold naturally based on whatever information you’ve set up at the top. Typically, this takes the form of a timeline that shows your trajectory in reverse chronological order. A hiring manager should be able to see career progression and any key achievements that happened along the way. Within your resume bullet points, you will provide supporting information to back up the argument that you’re right for the job, including the relevant skills you’ve acquired in each role. And the end of your resume should be the “extras,” stuff that doesn’t need a whole lot of space, like computer skills, languages, and interests. Sometimes this is a spot to get in keywords for applicant tracking systems. But it’s also a place to share information that’s going to round you out as a person and make it seem like there’s more to you than the stuff you’ve done at work – like volunteer work, hobbies, and various achievements. Again, this stuff all depends on the specific person, but it’s a nice way to tag your story. Keep in mind that your story may need to change slightly depending on the job you apply for. It all goes back to tailoring your resume to the job posting. There’s no way you can fit your entire work history into one or two pages, but by choosing the most relevant information selectively, you can build a profile that positions you for the role you’re interested in. Just remember that the story you need to tell is the one the hiring manager is looking for (in the same way that you’d pitch the type of project you think a development executive is looking for). Be authentic, but present information in a way they’ll be able to understand. -- Angela Silak & Cindy Kaplan"Industry Spotlight" is our newsletter series where we interview professionals from across the entertainment industry about their current jobs and career trajectories. Our hope is that you will learn more about the positions you're already interested in, discover new roles you may not have considered, and utilize the wisdom of those who've paved the way before you to forge your own path for success.
This month, we sat down with screenwriter Jamie Nash, whose credits include V/H/S/2, EXISTS, and SANTA HUNTERS. Jamie also wrote the brand new installment of the Save the Cat! series, Save The Cat! Writes for TV -- a must-read for aspiring TV writers and development executives. HOLLYWOOD RESUMES: Tell us about your job as a screenwriter. What types of projects have you worked on/do you like to work on? What's your day-to-day like? JAMIE: I’m weird. I tend to write a whole range of genres and formats. Over the last few months I’ve worked on a biopic, a sports movie, a kids movie, two horror movies, a true crime podcast, and an animated TV show. I even throw in a novel and a non-fiction screenwriting book and other stuff once in a while. Weird. I’m always doing ten things at once — sometimes preparing a pitch, other times drafting a new script or revising a script based on producer notes, or coming up with new ideas to present to industry connections. I tend to focus on one project at a time just so I can scratch it off my to-do list. But there are days where I might be doing one thing in the AM and another in the PM with meetings mixed in during the day. HR: What do you like most about your job? JAMIE: I don’t need any permission to write. Anytime I want, whenever I want, whatever I want, I can just open my laptop and go to work. It may never sell or see the light of day, but I can do it, and what I’m doing here is not fundamentally different than what Shonda Rhimes or JJ Abrams or Diablo Cody can do. They just get big paychecks in the mail. But even that might come from something I do right now. It’s probably the only thing in the industry where you don’t have to wait for someone to kick off a project in order to do what you love. And that’s the coolest thing about writing. HR: What are some of the biggest hurdles to getting a screenwriting job? JAMIE: Early on, the biggest hurdle is apathy. Everyone is a screenwriter. Everyone has a script or pilot or pitch. Development execs and literary representatives are so overworked with their own projects, it's hard to get even the smallest amount of attention. Most of them aren’t looking for the next great discovery. It’s really frustrating at first, and it takes a long time for opportunity to meet timing where you can leverage relationships to even get a shot to pitch or submit scripts, and then its all about having what they need when they need it and, of course, quality. Later on, the tricky part is that it ebbs and flows. You’re either working on too many projects or not enough. You’re either overbooked or starting to think you may never work again. HR: If you don't like ______________, you won't like my job. JAMIE: Taking notes. You’ll get notes from agents, managers, directors, studios, actors, show runners, co-writers, craft service people, your mom, etc., etc. Unlike other forms of writing, you’re often hired to implement other people’s visions -- and even when your original script sells, it becomes "their vision" of your script. It’s a skill you have to learn. Be open to it and always remind yourself everyone wants the movie to be the best possible. HR: What's something you do in your job that an outsider wouldn't expect -- and maybe you didn't before you started! JAMIE: The job can be very meeting heavy. When I’m really busy, 30% or more of my week might be phone/zoom/in-person meetings. HR: Tell us about Save the Cat! Writes for TV. How did you come to write it and who should read it? JAMIE: Save the Cat! Writes for TV is part of the wildly popular Save the Cat series. I wrote a script with Blake Snyder, author of the original Save the Cat!, and was an early adopter to its methods. I also teach screenwriting at the college level. In recent years, many of my students would want to write pilots, and they were fans of Save The Cat, so it caused me to think deep about how I use the Save the Cat process in my own TV writing work. The book was born out of both of those things. I also analyzed several recent TV pilots before writing and came up with a few new tricks. The book is for writers who want to create original shows or write TV pilots. If you want to sell or pitch a show, or just create an original pilot script as a sample to get staffed, the book will guide you through the process. HR: What was your first job in Hollywood? How did you get it? JAMIE: It’s weird for a writer. I optioned a script and got hired to do rewrites. That one was eventually sold/made. The bigger lesson…it was my 12th script probably about 4 years into screenwriting. I technically optioned one right before that. And sold a couple right after. I sort of hit my stride around script #12. HR: What's a mistake you made early in your career? JAMIE: I spent too much time on some of my first scripts. On one hand, I think most writers need to learn some hard lessons early on….but the truth is, those first couple of scripts are often unsalvageable. You’re better off writing 3-5 different scripts than writing 50 drafts of 1. If you’re on draft 5 or 6 on your first script…it might be time to start up a new one. HR: If you could give one piece of advice to someone trying to break in/move up in the industry, what would it be? JAMIE: Try a bit of everything….within reason. Write a movie. Write a pilot. Try directing. Write an audio drama. Make your own stuff (it’s good for the soul). Enter a couple of contests. Visit some film fests. Jump on Twitter. Read books. Take classes. Try not to spend too much money on anything. Writing is something you should be able to do for free. There are some money-sucks out there, and very few of them are worth it. HR: Thanks, Jamie! |
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