I'm in LA, Now What? | Event Recap

Our first event, I’m in LA, Now What? | Hollywood Etiquette + Entry-Level Jobs was an amazing success. Tickets sold out in just a few short hours and honestly, I was a little unsure of what to expect. I know I wanted to create an inclusive environment, where knowledge could be freely shared and connections made, but the outcome far exceeded my expectations.

The mantra of In the Cut is Learn. Hustle. Connect. But to do so, you must begin with yourself and be intentional about your desired career path. Do you want to write for Television or Film? Are you a Director, Writer or Producer? Are you a Content Creator? Do you want to create your own projects or would you like to be staffed in a room ? Getting clear about what type of work you desire to create, will help determine the types of things you need to do to for your career. 

Next you must meet people! In this industry, your network is your net worth. You need to be surrounded by other creatives interested in making the same content as you. If you don’t know anyone in the industry, attend our events and other panels, networking mixers and film festivals. The internet is also an amazing place! There are a multitude of Meetup, Google, and Facebook groups dedicated to whatever niche you may occupy, just search.

Key Takeaways From the Event

• Be Prepared. Have a script and/or resume ready to provide when opportunities arise. This industry moves extremely fast, jobs come and go very quickly. If you stay ready, you never have to get ready. 

• Create. Create. Create. People give opportunities to people that are creating their own opportunities first. If you want to be a writer, how many finished scripts do you have? If you want to direct, how many projects have you shot? Ask yourself if you are currently doing the things that you say you want to do. 

• Be Professional. If you want to be a part of the industry, leave the fandom at home and approach each meeting as a professional. You are as much of an asset to the people you meet with as they are to you. Do not send anyone unsolicited materials. Be respectful, not desperate.

• Be of Service. When approaching people, inquire in a way that you can be of service to the person vs. what they can do for you. 

• Network Across. So often, we try to connected with people that are already established. But the reality is, a celebrity is (probably) not going to pluck you from obscurity and make you famous. You have to put in the work and hours necessary to achieve greatness on your own. That means building with people at your level. Family and friends can help you create a project. An assistant you met at a networking event can recommend you for a job.

Thank you to everyone who made our first event a success. We are working on securing a larger venue for our next workshop in March to be able to serve more people. Your support is truly appreciated!

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.