HIM: If I can’t get an entry level job in the industry what are the best jobs to get?
ME: Assuming that while you work you’re going to continue writing specs you need a job that pays enough to live on (duh) and you don’t take home with you after your shift. If you’re writing with a partner you obviously have to coordinate your schedules. Work at Starbucks so you can walk around and see what everyone else is writing. Work at an LAX parking toll booth. That way you only have to use .000001% of your brain. I taught idiots how to be disc jockeys at a Broadcasting School. What a jerk-off job that was. But I was done everyday at 6. And no weekends. The students needed that time to memorize how to announce weather forecasts.
HIM: There are sometimes ads looking for screenwriters. Is that something worth pursuing?
ME: I say beware. Usually these are not WGA signatories which means you get screwed. The pay is crap, you have no rights or protection, you’ll work like a galley slave, and chances are the movie will never get made. I know it’s tempting and you’d rather get a job using your skills than putting on a straw hat and serving "cups of dirt" at TGI Fridays, but trust me, your writing time will be better spent crafting a spec, which, if it sells, will pay infinitely more than some laundry magnate’s pet project on the man who invented Sanforizing.
We all have to start somewhere. At times it’s confusing, exasperating, demeaning, and depressing. But when you make it you will look back nostalgically at that period as one of the best of your lives. And for me there’s the added glow that I contributed so much to radio.
Wednesday, February 15, 2006