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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 Shannon Massey Smith, an out neurodiverse writer, filmmaker, and single mom. She works as a script doctor/ghostwriter (one of the good ones) and sensitivity/authenticity reader. When she’s not writing and letting other people take the credit, she works on original content for screen and prose. HOLLYWOOD RESUMES: Give us an overview of what you do, and how you would define each of your roles. SHANNON MASSEY SMITH: I own a production company, Girls To The Front! Productions, and we’re working on finalizing financing and distribution for our 22/23 slate. I’m a freelance filmmaker and typically work as writer/director, assistant director, or somewhere in the art department (although after this many decades in the industry I’ve worked in every department). I also work as a script doctor/ghostwriter (one of the good ones) & sensitivity/authenticity reader both for screen and prose. Explaining what that is can be tricky because there are so many misconceptions about what people in my line of work do. What I like to tell people is to think of the nerd in high school that did the jock’s homework to help them stay on the team. Except instead of doing math homework, I’m doing everything from properly formatting screenplays so they can be broken down and the budget can be made, to helping to ensure the women in the script look/sound like real women and not something you’d see on the Men Write Women Twitter/Tumblr account. Regardless of what I’m doing though, I’d say the most important part of my job is to uplift and empower other creatives and create a safe space for them to thrive. Some people have great ideas, they just don’t know how to execute them, so I help them get those ideas on paper and flesh them out into full screenplays or novels. HR: What do you enjoy most about your job? SMS: I absolutely love helping people, it genuinely fills me with such joy. Whether it’s helping someone take an idea and characters that have existed in their head for years and helping them get out onto paper or just helping to educate and empower people with the knowledge needed to do better in the future. There is nothing like knowing I helped make a difference for someone. HR: How did you become a script doctor/ghostwriter/sensitivity reader? SMS: I fell into it. it was around 2002, and I’d been working sets for 4ish years. I had a friend I’d worked with in LA who sent a screenplay to me because he knew I was a writer (I was active in the zine scene in the late 90s and published on a few now-defunct sites) and wanted to get my opinion on his script. I sent him my suggestions, and that’s where it all began. As I started to get other people asking for help, I decided to go to film school to learn screenwriting properly. I have a degree in writing/directing. Then through networking and a random string of events, I landed my first major client in 2004 which led to a lot of other clients, and I’ve just sort of kept doing it ever since (yes, you’ve seen or read something I wrote; no I can’t talk about it due to NDAs and contracts). Back when I started as a sensitivity/authenticity reader, we didn’t really have a term for it. We were just people trying to make sure there wasn’t anything deeply cringey in screenplays (or novels). HR: What advice do you have for someone looking for script reader roles? SMS: I have very strong feelings about script readers that aren’t always popular. Be careful when looking at script reader positions, because so many of them are volunteer or unpaid. While doing free labor as a script reader can be a good way to learn about what works and what doesn’t in a script, I personally believe everyone should be paid for the work they do. Readers tend to be, in some regards, gatekeepers to what makes it through, which unfortunately opens us up to the issue of people’s personal bias and prejudice coloring what they read. Which is why it can be so hard to get work through from marginalized creators. It’s something we’re trying to fix with my production company. I read every script that comes through our inbox. I don’t hire readers. With my extensive experience both on set and as a writer, I usually know within the first 5 pages if a script is producible. HR: What does sensitivity reading entail? SMS: There are sensitivity readers, then there are authenticity readers. Both serve a vital service, but they’re very different. Let’s say you have a film about professional rock climbers, but you’ve never even seen a mountain. The authenticity reader would go through to make sure the climbing scenes are accurate, and the lingo is on point. A sensitivity reader will go through and also make sure your scenes are accurate and on-point, but they’re dealing more with characters and how they interact. If you have a Black Nigerian man, you’re going to want to make sure he’s accurately represented and not a damaging stereotype. Most of the work I’ve done is helping with women and lesbian characters, however, I’ve also helped to make sure characters with PTSD or ADHD are accurately represented. But there are dozens of things I check for both as a sensitivity reader and an authenticity reader. HR: Why is this work important? SMS: This work is vital because writers are the first line of defense against problematic stories and content. We have a moral obligation and ethical duty to make sure we are not perpetuating hateful or harmful stereotypes that can do real world damage and cause actual harm. Especially because the people that are most often hurt are ones that are in marginalized communities and already in danger. We can also help you determine if this is a story you should even be telling. While its okay to write characters that are different than you, it’s never okay to write about being part of a community that’s not your own. Sensitivity readers can help make sure that when you’re writing about people that are different than you, you’re treating not just the characters, but the community as a whole, with the respect they deserve. HR: When should writers hire a script doctor or sensitivity reader? SMS: The most important thing is to make sure you’re hiring someone that knows what they’re doing, because the last thing you want is to waste money on someone that can’t actually help you. People like me that have experience both on set and as screenwriters are ideal because we understand what it takes to take words from paper and turn them into something more. You want to hire a script doctor/sensitivity/authenticity reader once you have a polished script or manuscript and you’re getting closer to querying. HR: Can you share a little bit about your process working with writers? SMS: Everyone has a different way of doing things. Before I even start a project I tend to ask for movies/books that have a similar vibe to what the writer is trying to achieve. I'll then watch/read to get a sense for the voice/style. When I’m doctoring, I’ll go through and do a pass for formatting first. Once I’ve fixed or marked any formatting issues, I can go through for creative content and make sure the action/dialogue is strong. After this initial pass, I’ll send my first round of notes to the clients so they can integrate them and ask any questions they may have about why certain changes are being made. Once we’ve gone through that, I’ll go ahead and do another pass to make sure we got everything and it’s looking okay. As a sensitivity reader, it’s a similar process, but I don’t look at formatting, only the representation/characters. HR: What are the skills someone would need to succeed in your position? SMS: Humility is the single most important skill. You cannot do my work if you have a big ego, because you need to be okay with doing all the hard work and letting someone else get the credit. I’ve helped clients win hundreds of awards, placement in fellowships/labs/incubators, and get optioned/staffed. No one knows about my involvement, but that’s not important. What is, is that I helped someone else succeed. You also need to stay on top of current/future trends. I am constantly watching shows/movies/listening to podcasts/reading because I want to stay informed. You also need lived experience to be a sensitivity or authenticity reader. Anyone can write anything they want. However, it’s incredibly important to make sure you’re not actively doing harm with your representation of people that are different than you. I have honestly lost track of the number of women characters I’ve had to rewrite because they were just being treated like another prop in the story, instead of a human being with human needs. This is not only unfair to the women in the audience but also to the actress who has to bring the role to life. HR: If you could give one piece of advice to someone trying to break in/move up in the industry, what would it be? SMS: If you are a writer: learn to accept criticism and not take it personally (yes, I understand how hard this can be, but trust me, it’ll help you be a better writer). You are doing the best you can, and there is nothing wrong with your best being different than my best. As a writer, I understand that sometimes we have a blindspot when it comes to our own writing, I know I do. I can look at someone else’s work and within the first 5 pages know what’s wrong and how to fix it. However with my own content, I read things the way they are supposed to be written, not always how they’re actually written. I always have someone do what I call the “sanity check” before I query original content to make sure things are the way they’re supposed to be. So see? Even someone that’s been doing it for decades sometimes needs help, and that’s okay. It doesn’t make me a bad writer -- it means I’m only human. Thanks, Shannon!
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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 Eve Weston, the CEO of VR content company Exelauno and author of 10 Kick-Ass Careers for Storytellers: Interviews with Pioneers in Virtual Reality, Artificial Intelligence, Podcasts, Escape Rooms, Video Games, Comics, Interactive Television and More to learn about the many careers you can pursue as a writer, beyond the realm of traditional film and TV. Eve is an award-winning VR writer/director, produced television writer, author, and professor who believes in storytelling as a force for positive change. An alumna of Princeton, USC, and Goldman Sachs, she has created the taxonomy for immersive POV, which serves as the backbone for TheLook.Club searchable database of immersive narrative and The Look Club review show. HOLLYWOOD RESUMES: How would you describe your career in 1-2 sentences? EVE WESTON: A jungle gym! Definitely not a ladder—my career has not been linear, and it has been fun, with plenty of unexpected surprises. I give credit to Sheryl Sandberg and Nell Scovell for the wonderful analogy, which you can read more about in their book, Lean In. HR: How did you get interested in XR and VR? EW: Oh, this is a fun story that I tell in my book. In short, I met a software engineer at my college reunion who explained VR to me and then said, “But I don’t know what the content would be.” I could already see the possibilities and how XR would be an amazing platform for storytelling, so I thought, “Maybe this is an area I should look into…” HR: How is working in immersive narrative different from and similar to working in comedy? EW: Well, immersive narrative is a form, and comedy is a genre that applies across forms, so that’s one big difference. But both of them require paying particular attention to your audience. There’s a reason multi-camera sitcoms are filmed in front of a live studio audience; how you make your audience feel in comedy is crucial. And similarly, when you’re designing immersive narrative, your audience shouldn’t be an afterthought. You should be designing with their experience in mind from the beginning. HR: What was your "plan" when you started your career as a storyteller? Did you expect to be where you are today? EW: That question is deceptively simple—when did I “start” my career as a storyteller? I’ve been a writer since I was a kid—so many poems! But I didn’t even know about screenwriting until I was in high school. It would’ve been impossible for me to predict where I’d be today; I’m working in a field that, not only did I not know it existed, it actually didn’t exist. That being said, in college I was a Classics major—I studied Latin and Ancient Greek and ancient literature and history—and I had this sense that I wanted to bring the old to the new. And even when I was working in sitcoms, I felt like I was learning from the greats to apply that knowledge to “the next thing,” even before I knew what that next thing was. So, in a general sense, it’s sort of remarkable how I’ve followed through on my intentions. But it wasn’t always by conscious choice, and in the moment, I couldn’t always see the connections; I just followed my instincts. HR: What do you like most about your job? EW: I get to earn a living thinking about story, talking about story, and creating stories. It’s what I would want to do anyway, and that’s kind of amazing. HR: What was your first job in Hollywood? EW: I was hired by the incredibly talented Alan Kirschenbaum as a Writer’s Assistant on the CBS sitcom Yes, Dear. I learned so much from him. HR: Tell us about your book, 10 Kick-Ass Careers for Storytellers. What inspired you to write the book? EW: In Spring of 2021, I taught a course at Chapman University—one of the nation’s top film schools—and brought in amazing guests to speak with students (over Zoom). I was captivated by every one of them and the unique, compelling, creative career paths they shared with us. It seemed a shame that more people wouldn’t get to benefit from their stories, so I fixed that by turning a semester’s worth of interviews into a book. HR: What do you hope readers will learn from your book? EW: I hope this book engages readers—and that maybe reading it is a bit of an immersive experience in itself, bringing you into the class. My goal was to make the book an easy, fun read and to make new and even technical topics very approachable; the book’s style is extremely conversational. Whether you’re a writer just starting out or an experienced storyteller looking for a new outlet, this book aims to open your eyes to careers that you never knew existed or, perhaps, that truly never existed before. HR: What are some of the commonalities across the different storytelling career paths? EW: Each of my interviewees actually talk about this exact thing, and each from a unique perspective. In short, character. A character want. An obstacle. A resolution. For a sampling of the kind of amazing insights on this topic that you’ll find in the book, check out the podcast Kick-Ass Careers for Storytellers. In particular, in his episode, Archie Gips—an accomplished storyteller with a large presence in the unscripted space—shares some real gems on the topic. HR: What are some of the skills someone would need to succeed as a storyteller? EW: The ability to devise and develop the four things I mentioned above. In terms of skills, that might translate to patience, creativity, empathy. HR: Where can someone look for storytelling jobs? EW: Anywhere there are stories, there are storytelling jobs. Obviously in TV, movies, commercials, etc. And also, behind website copy, Instagram captions, a CEO giving a speech, a company needing to explain to their customer base what they do and why they have value, an entrepreneur pitching a venture firm, a tech company creating interactions for an artificially intelligent robot—this last one is specifically covered in the book, along with ideas for where to look for opportunities in the field. Some storytelling jobs are posted on career sites, or blasted out in e-newsletters, but also, you’d be surprised what opportunities you can get by owning your abilities as a storyteller and making them known to the people around you. I’ve been amazed by the number of people I know who aren’t in entertainment who have been in need of—and gained much value from—my storytelling skills. HR: If you could give one piece of advice to someone trying to break in/move up in the industry, what would it be? EW: Keep writing. And don’t be afraid to try different forms and formats. Maybe you’ll find a new one you love, and even if you don’t, you’ll likely learn something—about your story or yourself—just by stretching your writing muscles in a new direction. HR: Thanks, Eve! "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! "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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