By Joshua Kazemi
POV: You’re a writer, and you want to get a job writing television, but you don’t know where to start. For the coveted TV staff writer gig, you won’t find a job posting detailing what experience and special skills you’ll need. Instead, aspiring writers need to demonstrate their value to the people running the show: the Showrunners.
Showrunners, the creatives behind the scenes bringing their vision to our television screens, are in charge of building their writer’s rooms based on their specific needs and preferences. So, what do they look for in their writing staff? And what do aspiring writers need to know and work on to be prepared for their shot when the opportunity arises?
FIRST THINGS FIRST – WRITE A GREAT SCRIPT
It goes without saying, but we’ll say it anyway. Any writer seeking to be staffed will need a polished script that showcases their ability to write TV at a professional level. Back in the day, Showrunners were interested in seeing writers write spec scripts of existing shows as a way of seeing if they could write in someone else’s voice. Which makes sense – that’s a huge part of the job you’re trying to get.
However, these days, Showrunners are more interested in seeing original TV pilots. They want to get a sense of your unique voice and your ability to build a world, establish great characters, and structure a story. If you can, write both and be prepared if they ask to read more than one sample of your writing.
The thing Showrunners care about the most is: can you do the job of being in a room with other writers, help to break stories, develop characters, and go off to write your outline or script? Reading your work is the main way they have to see if you can do the job. But even still, it’s not the only factor in the hiring process.
KNOW WHEN TO USE YOUR LIFE EXPERIENCE
Past work experiences (unless specifically relevant to the show OR it includes other TV experience) don’t hold as much weight in a writer’s room. But your time in food service might still come in handy at the appropriate time. Those stories can be very helpful in the room – especially as they relate to the characters and storylines the room is developing. Because you have firsthand knowledge of working during a chaotic lunch rush, interacting with uncaffeinated people first thing in the morning, and/or living paycheck to paycheck, you can speak on those experiences when a story touches on them.
And when relevant, Showrunners do hire writers based on their non-writing experiences. A Showrunner running a show about surfing would benefit from relying on someone who has extensive surfing experience. That firsthand knowledge is worth more than any search engine research could ever be. And you’d be surprised to find out just how many cop shows have hired retired cops-turned-writers, because it makes sense to have as much authority and lived experience in the room as possible.
BE IN IT FOR THE LONG HAUL
A lot of the job of being a writer in a writers’ room is spending hours, days, and weeks together. You’re talking through every beat, every character arc, and every detail in between. So a lot of Showrunners ask themselves, “Do I want to be stuck in a room with this person all day?” Even if you’re a great writer, if you don’t click with the Showrunner on some personal level, it might not be the right fit for either of you.
Your best shot to vibe with a Showrunner is your staffing meeting. At this point, they have read your script, they like your writing, and now they want to get a sense of who you are. This is your opportunity to tell your story. After all, the job of a TV writer is telling stories, so you need to be able to tell your own. All the while, highlight your skills, your experiences (crucial if relevant), and highlight what you genuinely love about their show or their pilot script. Be sincere and specific, and don’t be negative unless you are specifically asked to give constructive feedback from the Showrunner.
FIND YOUR SUPERPOWER AND FLAUNT IT
Every show is run differently. That’s a perk of being a Showrunner: you can define how your show is run. This means that the needs of every room are different and depend on both the Showrunner’s personal preferences and what the show itself is about. Some shows require a lot of research, like medical shows or shows that take place in different time periods. A lot of shows are based on books or comics, in which case knowing the source material well is a strong need. You can be the person in the room who has read every book in the series cover to cover.
Having a specific thing you’re good at in a writer’s room can also be very appealing. A lot of writers even become known for having some sort of “superpower.” This writer is a joke machine and can punch up any joke with an alt at the drop of a hat. This writer sees story structure as ones and twos and knows the formula to make sure every story is calibrated correctly. This writer has great handwriting and volunteers to write on the board for everyone.
When a Showrunner can rely on their staff to fill a need the room has, it makes them more likely to hire them, rehire them, and recommend them to other showrunners.
BUILD RELATIONSHIPS
Who you know definitely comes into play when getting hired. Are there people out there having good conversations about you behind your back? Did you make a good impression as that person’s assistant, in that writing program, or even on the last show you were on? It’s not uncommon for a Showrunner to ask around about a potential hire that they don’t know very well. Especially early in a writer’s career, before they have a body of work that can speak for itself.
There’s a lot that goes into hiring the right writers for the room, and for better or worse, a lot of that is based on more than just your ability on the page.
If you’re looking to learn more about what all goes into the job of being a TV writer and you want to take your career to the next level, consider applying to our TV Writers Mentorship Program!
Over 8 weeks, participants will meet with Showrunner Beth Schwartz (ARROW, SWEET TOOTH), Peacock Development Exec Duane Luu, Industry Leaders, Agents and Managers, working TV writers from top shows, and more.
Winners will also have the opportunity to meet with Showrunner Jess Brownell (BRIDGERTON) and get an inside look at what it takes to run one of the world’s biggest TV phenomena – plus, gain insight into what showrunners look for in writers and how stories come together behind the scenes.
This is a once-in-a-lifetime opportunity that will open doors and shape your future in the TV industry! Final Deadline is June 29th
