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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 Amy Thurlow, who has worked as a writers' assistant and script coordinator on SLEEPY HOLLOW (Fox), KRYPTON (Syfy), AMERICANAH (HBO Max), and is currently working on TWO SENTENCE HORROR STORY (CW). HOLLYWOOD RESUMES: Tell us about the role of a writers' assistant. AMY: A writers’ assistant is responsible for taking notes while the writers break story, and then organizing the notes, so everyone knows what the room discussed that day. They create a record of the work that’s being done and track what ideas the writers "land" on and help create a blueprint of what the room discussed for the writers to reference as they go to script. When I’m a writers’ assistant, my day-to-day is nonstop note taking and keeping up with the story breaking conversation. The writers’ assistant job is an art form, because you have to really understand story to keep up and make sense of everything when you organize the notes. You also have to pay attention 100% of the time, which seems easy, but oftentimes the writers themselves aren’t this focused. At the end of the day, I organize the notes and send them out to the writers. HR: Tell us about the role of a script coordinator. AMY: The script coordinator is the keeper of the script. They make sure that everything is proofed and formatted correctly for production and that it gets to the right people at the right time. They keep track of all the files for the show and versions of the scripts and are a walking reference guide for the show. As a script coordinator, every day is a little different, depending on the show’s needs. If I get a script, I’m uber focused on proofing/formatting and generally making sure everything makes sense for several hours, then I’m asking clarifying questions to the showrunner to ensure that we’re on the same page, and eventually distributing the script to the departments that need it. Script coordinating is a hard job to describe, because there are so many layers in between each step. For example, you might need to alert a department head of script changes or flag overall mythology inconsistencies. It really changes from show to show. Script coordinators are also responsible for important WGA paperwork and sometimes even writer contracts. HR: What are the skills someone would need to succeed in your position? AMY: A good attitude. No one wants to be around someone who thinks they’re better than getting coffee. Everyone has to start somewhere and chip in. TV writing is a lot of teamwork. It’s about supporting the process no matter what level you’re at. HR: What do you like most about your job? AMY: I love TV writing, and I love being around the process. Whether I’m in the room while we’re breaking story, or I’m prepping a draft, I love seeing what decisions are being made about story. If you live and breathe story and character and love being part of a creative team, you don’t mind the other parts of the job that are less fun. HR: If you don't like _______________, you won't like my job. AMY: Being flexible! Assistants and script coordinators need to be flexible. You might have to take your laptop with you to the movies or a friend’s birthday. Things are constantly changing, so you need to be able to roll with the punches. HR: What's something you do in your job that an outsider wouldn't expect (and maybe you didn't before you took the job)? AMY: How much goes into to TV writing. I don’t think I ever realized the extent to which stories are discussed before I saw it in action. HR: What's the key to finding time to write when you're working as support staff in a room? AMY: This is a huge challenge, since shows are so engrossing. I struggle with time management, and a thing that’s really helped me is scheduling everything, including my writing sessions. Recently, I joined an online productivity program called CaveDay that really helps me unplug and focus. HR: How did you get your current job? AMY: I got the job on CW's TWO SENTENCE HORROR STORY through a mentor and friend I worked with on KRYPTON. HR: What was your first job in Hollywood? AMY: I worked at a 2D to 3D conversion company as a Stereoscopic PA/Coordinator for two years while I was trying to get hired in TV. HR: What's a mistake you made early on in your career? AMY: When I was a writers’ PA, there were writers that wanted to help me, but I had just started writing TV. I was really nervous about sending them my pilot, so instead I wasted a bunch of time paying for evaluations to tell me if I was ready. But writing is subjective, and they didn’t really give me an answer. Most show relationships fade after the show ends. I wish I’d trusted myself and my work more. HR: Tell us about the #PayUpHollywood movement and why it's particularly important for people in your role. AMY: TV is a changing landscape. It used to be you got a job as a WA or SC and you spent maybe a season or two doing it before proving you were ready to staff. The staff writer role used to be more of an apprenticeship. Now, what we’re seeing is that staffs are smaller, so staff writers are expected to operate at a much, much higher level. There are a lot more shows than ever before (which is great!), but they also have fewer episode orders. The WGA mandates freelance episodes be given out on shows with 20 episodes (or the show pays a penalty). Those freelance episodes regularly went to support staff as a way to prove their ability to write for the show and eventually get promoted to staff. They also supplemented the poor wages. Freelance assignments are still given out by generous showrunners, but there are a lot fewer of them available with shorter episode orders. Along with fewer freelance opportunities, the vast majority of shows don’t make it more than one or two seasons. Miniseries are bigger than ever. The progression generally used to be put in 1 season as WA or SC, write a freelance in season 2 and staff in season 3. That progression has become pretty rare. So even though there are more writer jobs than ever before, the ability to move up the ranks as a WA or SC is harder, and people are stuck in support staff roles for a lot longer. It may be feasible for someone to suck it up and defer their student loans for a year or two, but the financial burden compounds when people are in these roles for 5 years or more. Since the 2008 crisis, there’s been a steady crack down on how much these roles pay, and just as cost of living sharply increased in LA, studios were pushing to pay less and less. With COVID, they're trying to tighten their belts even more, which ultimately results in actual wage theft. Studios often try to pay these jobs as part-time roles, even though they’re full-time jobs. A show recently tried to pay their script coordinator for only 3 days per month. Aside from this being in violation of our union contract, there’s no version of that job that can be done in so few hours. Likewise, we’re seeing the cutting of overtime from a 60/hr week to a 40 or 50/hr week. But we don’t operate 9-5 -- we have to be available 24/7, so cutting the overtime means that we’re available off the clock for the show. When you work on a show, you can’t work a second job, so ultimately, only people who can afford to be paid less than base cost of living can afford to work. This is exacerbated by the fact that this is all freelance. Even on the most successful shows, there are typically 6-10 weeks of hiatus per year where you’re not paid (including the two weeks at Christmas where you don’t get paid). Other freelance positions that have comparable duties like Assistant Editors and Script Supervisors make about 3-4 times as much as we do. They’ve been unionized a lot longer, but even so, the difference is staggering. Studios often try to act like our jobs are a luxury to the writers, but the reality is that our jobs are crucial. Why would a studio pay a room of writers upwards of $100k per episode if there’s no one taking notes on what they’re saying? My twitter thread tried to highlight how much money and responsibility rests on the script coordinator’s shoulders considering how little they make. On top of it all, the pay rate is exclusionary, and unfortunately, BIPOC are excluded at a higher rate from these jobs. The #PayUpHollywood movement is about changing representation from the ground up. HR: If you could give one piece of advice to someone trying to break in/move up in the industry, what would it be? AMY: Really evaluate why you want to be in this area of the industry. At the end of the day, you have to really love it, and if you don’t, you’ll be unhappy. I can’t tell you how many people I’ve met that think "TV writing pays a lot and is fun/easy." It’s not really that simple. Yes, the schedule of minimums on the WGA site looks high, but it’s not like being a doctor, where you put time in at med school and then make a steady amount of money for the rest of your life. You may put in 5-10 years as an assistant, going into debt, then be staffed for only one season. The same things that make it difficult for assistants to move up in rank are also making it harder for writers to move up in rank. It’s a lot of instability to deal with even if you really love the work. I also see a lot of people who are introverts who want to be TV writers. If that’s you, then you might want to reconsider. The job is literally being in a room talking all day with people. If you’re a writer who likes to be out on script, then maybe features or novels are a better fit. HR: Thanks, Amy!
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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.
In January, we interviewed a Talent Acquisitions Manager at a global media firm who previously worked at a communications-focused staffing and recruitment agency about resume and LinkedIn best practices. Here, he shares insight into the interview process. HOLLYWOOD RESUMES: How should a candidate prepare for a phone screen? RECRUITER: The phone screen is an important step in the interview process. Yes, the future conversations with the hiring manager and interviewers will go more in depth and be more specific to the actual role, but the phone screen is your ticket in. Doing some preparation will set you apart -- research the company, the key players, and the business unit or division you are hoping to join. Be professional and courteous during the conversation. Have questions prepared. Explain why you are looking for a new job and why you are interested in this specific one. And be prepared to talk about salary expectations. HR: How can you tell if you're doing well in the interview process? RECRUITER: My general advice is not to stress over it. People seem to stress over how long it has been since the last interview, when should they follow up, if it's worth following up, etc. The thing is that there are many factors going on behind the scenes that are out of the recruiter's control. Maybe they haven't heard back from the hiring team yet, so they don't have an update to share with you. Maybe there's been a budget change. Maybe the role is going on hold. Unfortunately, recruiters are usually managing many open requisitions at once and are getting pressure from many different hiring managers, so while it would be great if we could provide timely updates and check ins with every candidate in play, it's just not realistic most of the time. And that's where you come in. Be a collaborative partner with the recruiter. Ask them when you can expect to hear from them. For me personally, I love when candidates follow up with me to check in (as long as it's not every day or too frequently!). When I have an email from a candidate sitting in my inbox, it's a great reminder that I owe them a response. As long as you are professional, follow up is welcome. The bottom line is, don't worry too much or stress over things that are out of your control. Be professional, follow up as appropriate, and if ultimately this role is not the right fit, there's something else better waiting for you. While lack of communication from the recruiter is not necessarily a positive sign, it usually isn't a reflection of you. And remember, you're in control of your career -- do you want to work at a company where they don't respect your time and leave you hanging for so long? Probably not. So don't worry too much about it, and focus your time on landing that role of your dreams. HR: What's the best way to get in touch with a recruiter and manage that relationship? RECRUITER: If there's a job you are interested in, always apply. Even if you have a connection to the recruiter or hiring team and plan on reaching out directly, or even if you plan on reaching out cold, always apply if it's a role you are interested in, just like everyone else is. Follow up after that is completely fine. Some recruiters may not respond, but some will. And some appreciate it. It may help your chances, it may not. But if you want to do it, by all means, do it. That said, give it some time and be courteous. Send an email as opposed to blowing up the recruiter's phone (particularly if they don't know you yet). Give it about a week before following up again. If you are currently in an interview process, more frequent follow up can be appropriate if you haven't heard anything. Another great way to get the attention of the recruiter is to keep them posted on your job search and the status of other positions you are interviewing for. That's a great excuse to check in with them, provide some helpful information, and hopefully get an update for yourself. It's also a great way to know how they feel about you -- if they care that there is competition for the role, it probably means they are interested in you as a candidate. If ultimately you don't get the role, you know have a professional relationship with the recruiter, and then check-ins every so often (maybe once a month or a once a quarter) are completely acceptable, or when you see new openings at the company that interest you. But remember, always apply and don't expect special treatment just because you know the recruiter. HR: How should a candidate handle compensation discussions? RECRUITER: People can get very uncomfortable when it comes to salary. There is concern that whoever says the first number will not "win" the negotiation. Here's the bottom line: Know the market, and know your worth. If you come to the conversation prepared, having done your research on salaries for similar positions and similar levels of experience, that will go a long way. The recruiter will also respect you for it. However, if you play hardball right upfront, try to avoid the salary conversation, or your expectations are clearly way out of line, that will turn a recruiter off. That tells us it will be difficult to work with you throughout the process, especially should it get to the offer stage. If you're uncomfortable stating a number or range, there's nothing wrong with asking the recruiter what the salary is for the role. Some will share, some will not. If they do not and want to hear from you what your expectations are, that's where your preparation comes in, so you can quote them a number that you will be happy with. The good recruiters will then have an honest conversation with you about whether that will be doable for this role and your level of experience, and if it's not, they will work with you to come up with another number you'd be comfortable with. It's also okay to ask about benefits and other perks that might help offset a lower salary! You're likely looking for a career move, and the most important thing is doing work you are interested in. Yes, salary is important, but you want to take the full picture into account. Maybe the salary is on the low side, but will this role help advance your career? Will it get you the skills you need to climb the ladder that you want to climb? All of these are important things to consider. At the end of the day, it's your decision as to whether the salary will work for you, and there's nothing wrong with telling a recruiter the salary is too low for you to consider the position. However, I don't recommend telling the recruiter the salary works for you if you know it ultimately will not. If you go through the process and then it falls apart at the offer stage, you'll have wasted everyone's time, including your own. You will also burn a bridge having lied to them. While some people may think they can prove themselves during the interview and then make the case for more money at the offer stage, the truth is that many companies have clear budgets and salary bands, and making exceptions would cause salary inequality on the teams, which companies want to avoid. Sometimes their hands are indeed tied, and it's always best to have a transparent salary conversation upfront. Do note, however, that these days you should never be required to share your current salary. It's illegal to ask that in many states, but even if it's not illegal in a particular state, it's a practice companies should be moving away from, as it's a hindrance to equal pay. If a company or recruiter demands to know your current salary, you probably want to run far away; they should be paying you based on the role's requirements and your experience, not what you're making now. Bottom line: Just like everything else, doing research and being prepared is key, and approaching this from a place of empowerment as opposed to fear or uneasiness will set you up for success and happiness in the role. Thanks, Recruiter! "Industry Spotlight" is our monthly 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's we sat down with Brett Roach, an Assistant Editor on ABC's THE ROOKIE. HOLLYWOOD RESUMES: How would you define your job? BRETT ROACH: An assistant editor is almost like a gate keeper. We bring in all of the footage shot by production, confirm post has received everything, and then organize it for the editor. As the cut evolves, assistants will cut in temp SFX, create temp VFX, help choose temp music, and sometimes even cut some scenes. Later on, the assistant will be in charge of turning over the locked cut to the sound, music, and VFX departments. It's important for the assistant to keep track whats being used where so that every department knows what they should be doing. Being an a good assistant editor is all about being organized. You need to keep your project and bins organized so that your editor can easily find things. HR: What's your day-to-day like? BRETT: It depends on what part of production you are in on an episode. In dailies, half of my day is bringing in and organizing new material. I've got to make sure everything is accounted for and then separate it by scene and mark takes and retakes. Then I'll do some sound design and place temp music. HR: What do you like most about your job? BRETT: The creativity. It's fun to be able to mix and match takes in a scene. An AE is always shaping and re-shaping to make things better. HR: How did you get your current job? BRETT: I'm currently working with an editor I've worked with for almost 5 years. She was offered the job and brought me on. I originally met her through a co-worker back when I was a PA. HR: What was your first job in Hollywood? BRETT: My first paid gig was as a Post PA on an NBC show called THE EVENT. HR: What are the skills someone would need to succeed in your position? BRETT: You need to have the technical skills to be able to use Avid, which you can pick up along the way. You also need to have the personal skills to know how to read a room -- when to pitch a good idea or when to just listen. HR: If you don't like _____________, you won't like my job. BRETT: Making lots of decisions. HR: What's something about your job that an outsider wouldn't expect (and maybe you didn't before you took the job)? BRETT: I don't think people realize how much work goes into assistant editing. There are endless options when it comes to putting together a scene and you have to come up with everything. Also, even though what you're doing is temp, everyone expects the show to sound final. So there is a lot of temp sound effect work. HR: What's a mistake you made early on in your career? BRETT: I was probably a little too shy about sitting in the room with editors. You don't want to be annoying, but you also want to be sure to make a personal connection. Luckily, the show I was on went for multiple seasons, so I was able to take that time to get to know everyone. HR: If you could give one piece of advice to someone looking to break in/move up in the industry, what would it be? BRETT: Meet as many people as you can and show them that you're eager to learn about what they do. Try to sit in a room with an editor or assistant editor if you can to watch and listen. If you show genuine interest and willingness to learn, people are going to want to help you out. Thanks, Brett! "Industry Spotlight" is our monthly 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's Industry Spotlight is a special edition, where we sat down with a Talent Acquisitions Manager at a global media firm who previously worked at a communications-focused staffing and recruitment agency. Here, he shares his insight into the recruitment process and key advice for job seekers. HOLLYWOOD RESUMES: What does a recruiter do and what is your day-to-day like? RECRUITER: It varies a bit by company and type of recruiting role, but in general it's a recruiter's job to find the best candidates for open positions. We collaborate with hiring teams and business leaders to craft job descriptions, sometimes make recommendations on how to structure the teams, post job opportunities, review applications/resumes, source for passive talent, coordinate the interview process from start to finish, and extend job offers. Day-to-day includes meetings with hiring teams and business unit leaders, spending time in the applicant tracking system (ATS) reviewing resumes for open positions, conducting initial phone screens, attending events, reporting on recruiting metrics and KPIs, and looking for qualified talent on LinkedIn and other sourcing channels. HR: What's the first thing you look for when screening candidates? RECRUITER: The first thing we look for is if the candidate has the necessary hard skills to do the job. Because no matter what, that is needed. However, that is not enough to proceed to the next round. We also pay close attention to communication style/ability, personality, and soft skills. Does the candidate have an ego, and if so, will that be a detriment to this team? Can they describe things clearly? Do they seem confident? Have they prepared/done research? Believe it or not, we're also listening to the candidates to understand what they are looking for in their next role. They could have every single skill needed, but if the role doesn't align to their career goals, it won't be a successful hire. Finally, we are also thinking about the future -- perhaps this role may not be a fit, but maybe there are others now or down the line that would be better. Given the active job market and low unemployment rate these days, recruiters need to think ahead and be strategic if they are going to successfully fill their open positions. HR: What's the #1 resume mistake you see? RECRUITER: Misaligned dates of employment. For example, we'll see Job A from December 2015 - January 2018, and then Job B from January 2017 - June 2018. While it's possible someone held two jobs at once, make sure that's clear if it's the case. Along those lines, sometimes we also see certain dates on the resume, but then when talking to the candidate they give us different dates or time in the role, and that conflict can cause concern and lack of trust in what's being communicated to us. Bottom line is, don't be afraid to tell the truth, and if there are gaps in employment, that's OK -- just find a way to address them on the resume and the phone screen (and you don't have to account for every single little thing you did, it's understandable that candidates will have some minor gaps in employment history for a variety of reasons). HR: How should candidates use LinkedIn? RECRUITER: LinkedIn can be a powerful tool. First and foremost, make sure you have a professional profile. That includes a professional-looking photo, and most (if not all) of the sections filled out. Link your role to your company's page if they have one (and if they don't, take the initiative and make them one!). Another thing that's very helpful for recruiters is if you include two key pieces of information for each job: 1) a brief overview of the company or business unit/division you work for, especially if it's not commonly known, and 2) a summary of your key responsibilities. These two snapshots provide some great information all in one place. Also, leverage your network! Reach out to mutual connections, ask for introductions to recruiters or professionals you want to meet, and be willing to pay it forward and help others! And finally, if a recruiter does reach out to you, respond! You don't have to be interested in the role, but it never hurts to start the relationship. HR: Many of our readers are looking to make big career transitions -- i.e. freelance to full time, returning to work after time off with family, switching career paths entirely -- what can they do to convince a recruiter they're right for a job in a new sector? RECRUITER: This is a great question, and I've found myself in this situation in my own career as well. First, you need to know the market and come to the conversation with knowledge. You need to understand the role you are applying for and what the requirements are, and whether you have them or not. I'd say it's less about "convincing" and more about "exploring" -- make it a collaborative partnership with the recruiter, be very open and clear about what you are looking for and why, and what areas of your background and experience can apply. Also, admit to what you don't know or don't have experience with -- most companies, while they have a list of requirements for each job, will hire people who don't hit every single box. Remember, other skills are important, too -- personality fit, soft skills, communication, ambition -- these all can help your case. And finally, be realistic -- if you've been a graphic designer for 10 years and now you want to be a TV executive, you're not going to be able to start at the same level as someone with 10 years of relevant experience. Be ready to have that conversation, admit to what you do and don't know, be realistic about your expectations for the job and salary, do your research, and you'll probably then be well on your way to landing that career transition you are looking for. HR: Tell us about ATS - how important is it to tailor your resume to them? What keywords are absolutely imperative? Do all companies use the same ATS? RECRUITER: There are tons of ATSs out there that companies use; it's essentially recruiting software. Many are similar in how they function, but each have their own strengths and nuances. My first piece of advice is not to worry too much about it. The ATS is more for the recruiting teams to manage open positions, applications, pipelines, job status, candidate status, etc. However, certain ATSs are more advanced than others and may use technology to help match a resume to a particular role. So, first and foremost, make sure you have a solid resume as a foundation. This means it's detailed, hits the important points, and can be adaptable. Then, it doesn't hurt to tailor your resume to the job description. So, if you see a job description touting certain skills or using specific keywords, there's nothing wrong with making sure your resume matches some of that verbiage or addresses those areas...but only if it's true! It may increase your chance of matching in the system and getting contacted for the role. But again, I wouldn't drive yourself nuts trying to do this to perfection. Just develop the best resume that showcases your professional career and professional self and make tweaks here and there to align to the the job description, and you should be in good shape. |
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