Project Cre8 Script Competition

BET is on a nationwide search for the next great comedy television show. One winner will have their script purchased for $25,000 and will further develop the show with Tracy Oliver's Tracy Yvonne Productions for series consideration at BET.

Apply HERE

Universal Animation Writers Program

Universal Filmed Entertainment Group has announced the Universal Animation Writers Program through its Global Talent Development & Inclusion (GTDI) department. Budding writers can apply to a film track or one of two tv tracks, aimed at preschool (3–5) and kids (6–11) respectively.

The full-time program lasts one year, and each writer will be paid $75,000. In that time, participants will develop two scripts for either features or tv pilots. According to Universal, “The program identifies and develops an inclusive group of talent who can build upon the studio’s commitment to telling stories with unique narratives that appeal to and reflect the vast diversity of its audiences.” Applications are open until Friday, January 17 and the program will start in June 2020.

Apply HERE

There is No Come Up : Network Across like Issa Rae

At In the Cut, we admire the brilliant multi-hyphenate creative Issa Rae, not only for her undeniable talent, but for her commitment to increasing representation behind the screen. When I was still a graphic designer, stuck at an unfulfilling corporate 9-5, I slipped on my headphones and listened to any and all Issa Rae interviews while I worked. One of my favorite gems from Rae is her advice to network across.

Many people, especially those new to the industry, make the mistake of looking for a quick “come up.” We hear outlier stories of people being plucked from obscurity on Twitter and falsely believe that if we can get just one celebrity to look at our work, we’re in. We waste time trying to contact the current Issa Rae’s of the world instead of building with the future leaders of the industry. Rae build her web series by collaborating with like-minded individuals at her level. Now with Insecure on it’s 4th season at HBO, Rae still works with those same people and they are all reaching new heights with their careers—together.

Networking across is simultaneously simpler and more difficult than the come up model. It’s easy to meet people who are at your level. But it’s also hard to put in the time and energy to build together. It takes hustle and ingenuity. You might have to your savings, or stay up late into the we hours of the AM working on your side project after your day job ends. Networking across requires sacrifice and sweat, but the come up is out of your control. The come up will probably not happen. But you can learn, connect, and hustle with other like minded creatives at In the Cut.

At a typical industry event, the panelists sit on a stage and the audience is kept at arms length. There is a short Q&A session where the vast majority of people will not get their questions answered. Audience members are expect to be quiet and listen while the panelists speak, with no time allowed for attendees to meet and learn from each other. In the Cut is different. Our workshops are organized in a round-table format. Each panelist sits in conversation with a small group of attendees. Panelists rotate between groups, allowing everyone to meet face-to-face and get their questions answered. Every workshop ends with a mixer event, where attendees are encouraged to network and interact with one another. Our events are designed to help you learn from industry professional, and create with the people around you. Network across at In the Cut.

Pay Up Hollywood : Assistants in the Writer's Room

The latest trending topic to shake up the entertainment industry establishment is #PayUpHollywood. Created by writer Liz Alper, this hashtag (and larger movement) is meant to address the financial concerns of the most vulnerable players in the Hollywood system — the assistants.

The Hollywood machine encourages new creatives to take low-paying assistant positions at agencies and studios, or support staff roles in writers’ rooms with the promise that these jobs will eventually lead to dream fulfillment. In the past, budding screenwriters would hold these entry-level positions for a year or two, allowing them to learn and hone their craft before being promoted to a staff writer on a television show. But the system is broken. Assistants are often expected to work 60 hours a week for less than a living wage and no healthcare. Many feel trapped in these positions with little to no chance for advancement.

On November 24, 2019, a town hall organized to address the situation took place, with over 120 assistants in attendance. The event began with a panel of speakers, including: Alper, screenwriter John August, who initiated the recent conversation around assistant pay when the issue was brought up on the “Scriptnotes” podcast which he co-hosts; Jamarah Hayner, a consultant brought on to work with #PayUpHollywood; and Young Entertainment Activists founder and CEO Allison Begalman.

Alper surveyed a group of assistants and shared a few key kindings. 47% of the 1,100 surveyed have been assistants for three or more years, while 21% have been assistants for more than five years. And over two-thirds — 67.17% of assistants — currently or previously have had to take on an additional job in order to survive. Many assistants also report verbally and/or emotionally abusive employers, with 91.54% reporting high levels of anxiety associated with their position.

There is clearly a problem with this model, but what is the solution? Some applaud the recent unionization of writer’s assistant and script coordinator roles as a positive, while others claim that step is not far enough. PAs and showrunner’s assistants are not eligible to join the union. And does creating a union for transitory positions that are supposed to be a stepping stone to a career make sense? High union costs ($1,200-$1,500 initiation fee + quarterly dues) can deeply impact people who already financially strained. With low pay, high stress, and little room for advancement, some may wonder if the well-worn assistant pathway is still a valid option to achieve their goal of writing for television.

I was the writer’s assistant for the upcoming Shondaland/Netflix production, “Bridgerton” and currently work as the script coordinator on “The Witcher.” Fortunately, I’ve worked with gracious and supportive showrunners who respected my time and contributions to their shows. I’ve never felt overworked or undervalued, and my time in the writer’s room has improved my craft tremendously. Watching seasoned professionals pitch and break stories each day made me re-evaluate my approach to structure and character. The relationships I’ve built with professional writers are invaluable to me, both in terms of advice and mentoring, and finding work. The writers I’ve met have supported my web series, recommended me for jobs, and given me a wealth of knowledge and resources. Despite flaws in the assistant to staff writer pipeline, I still encourage people to find work in the writer’s room. Your most important tool in this industry is your network. Finding a support staff position will allow you to expand your network to include the people that can help you the most: other writers. I believe that a show is only as strong as its showrunner and it’s important to work for individuals that you can grow with. You are not only support staff, you should be supported as well.

But how do people find a job in the writer’s room? If you are completely new to the industry, learning about support staff positions can be difficult. That’s why we organized In the Cut: I'm in LA Now What? a workshop and networking event with current and former assistants. At our event you will meet writers who have worked with industry heavyweights like Shonda Rhimes, Issa Rae, Lena Waithe, and more. Click the button to learn more. You can also watch the live stream of the #PayUpHollywood Event below.