# data[].attributes.attachment_link.readable_text
Howdy, Playwrights! Here's a list of 35 play submission opps with November+ 2023 deadlines.

10 mins,
One Act (max 30 mins)

Playwrights are required to attend the festival.

11/16/23

Independence, Kansas

No Fee

Do You Want to Quickly & Easily Submit Your Play to

hundreds of Contests & Theaters?
What you see on this blog isjust a small sample of what's available in the member's area. You will save hours of research time and increase your odds of getting a production. We update these opportunities every month, so you'll never waste time sending your play to an uninterested theater. Plus, you'll get regular emails with brand-new opportunities!

max 15 mins

Short plays & musicals. Playwrights must produce. Theme: LUV

11/26/23

NYC

Fee: $50 if selected,
Prize: $100

One Act
(max 15 mins)

Adult playwrights, 18 and up. Dramas or comedies. Playwrights must produce.

11/27/23

Maplewood, New Jersey

$100 fee if selected,
Prize: $500

Full Length

Musicals. Must be complete and ready for readings, workshops and/or productions.

12/1/23

NYC

No Fee
Prize: $2,000

Full Length

Original play, unpublished. *Members of the Dramatists Guild need only to pay $10.

12/1/23

Fort Worth, Texas

Fee: $15
$500 royalty

Want to see more opps jus t like those listed in this blog post?

Remember, as a member you'll get all sorts of extra benefits, including:

The full, up-to-date listing of 400+ theaters that are looking for new plays

Regular emails of new play submission opportunities with year-round and hard deadlines

Access to over $10,000 in prize & content money

Here's what your fellow playwright have to say about PSH:
"PSH was recommended to me by a playwright I looked up to when I was first starting out. The price was reasonable, and it has been a great tool. I found a few opportunities that I could take advantage of with the few plays I had written at that time. Later in the summer I found out I had won a national contest, collecting many hundreds of dollars. The opportunities are varied and specific, with links provided so time is not wasted frolicking through websites to get to the information you need. PSH also gives a quick overview of what kind of material people are looking for out there. It helps me prioritize my work so that I'm offering plays with a better chance of seeing a stage. I've written to PSH with questions, and they were more than responsive, obviously passionate about the playwriting community. Yes, I highly recommend subscribing to PSH."
- Dave Durham, Michigan Playwright

Also, please visit our friends:

# data[].attributes.attachment_link.title
35 Play Submissions Opps w/ November+ 2023 Deadlines

# data[].attributes.attachment_link.description
Howdy, Playwrights! Here's a list of 35 play submission opps with November+ 2023 deadlines. 10 mins,One Act (max 30 mins) Playwrights are required to attend the festival. 11/16/23 Independence, Kansas No Fee Do You Want to Quickly & Easily Submit Your Play to hundreds of Contests & Theaters?

# data[].attributes.attachment_link.description
Rideback Rise is a new non-profit content accelerator empowering the next generation of Hollywood leaders and advancing racial equity in mainstream entertainment.

# data[].attributes.attachment_link.readable_text
@Inclusionists

The Annenberg Inclusion Initiative is the leading think tank in the world studying diversity and inclusion in entertainment through original research and sponsored projects. Beyond research, the Annenberg Inclusion Initiative develops targeted, research-based solutions to tackle inequality. The Annenberg Inclusion Initiative works in three major areas:

RESEARCH: Uses data-driven and theory-based research to offer insight and evidence to industries on where diversity is needed and how to achieve it

ADVOCACY: Exists to foster inclusion and give a voice to disenfranchised or marginalized groups

ACTION: Offers simple actions for complex solutions to facilitate social change at the student, industry, and societal level

Contact us

For more information and updates on the Annenberg Inclusion Initiative, visit us: You can also reach out to us at aii@usc.edu.

Introducing The Inclusion List

Stacy L. Smith and the USC Annenberg Inclusion Initiative in collaboration with the Adobe Foundation have created The Inclusion List. The Inclusion List is a data-driven ranking to show who in the entertainment industry has taken inclusion seriously and been a driving force for industry change. We systematically measured inclusion for top films, distributors, and producers from 2019-2022 through a process of assigning points for films that met particular inclusion metrics. A total of 20 points could be earned for inclusion - 10 points for cast inclusion across 5 indicators (gender, race/ethnicity, LGBTQ+, disability, age) for leads/co-leads and all speaking character and 10 points for Crew inclusion of gender and race/ethnicity across ten positions (1 point each for director, writer, producer, cinematographer, editor, composer, production designer, costume designer, casting director, assistant director). With this tool, we seek to inform, challenge, and congratulate the entertainment industry and point out where there is room to grow.

Visit inclusionlist.org or click the link below to learn more.

The Inclusion Rider: Legal language for ending Hollywood's epidemic of invisibility

Across the 100 top-grossing films of 2016, 47 did not feature a single Black woman or girl speaking on screen, 66 movies were devoid of Asian female characters, and a full 72 films erased Latinas. Very few females from the LGBT community, native and indigenous females, Middle Eastern females, or female characters with disabilities are seen in our cinematic stories. More generally, the percentage of females on screen in film has not moved in decades. It's time to change these statistics. The inclusion rider was created to do just that. The inclusion rider is an addendum to an actor/content creator's contract that stipulates that stories and storytellers should look like the world we actually live in - not a small fraction of the talent pool. It does this while also protecting story sovereignty.

The purpose of the inclusion rider is to counter bias in interviewing/auditioning and hiring/casting in specific employment positions in the entertainment industry. The rider is a template and living document, not something to be cut and pasted into a contract. The details of its implementation are crucial to its success. The rider is a flexible and adaptable framework that actors/content creators should consider together with counsel prior to signing on to their next project. The inclusion rider does not provide for quotas. It simply stipulates consideration of the deep bench of talented professionals from historically underrepresented groups and strongly encourages hiring and casting of qualified individuals from under-represented backgrounds. We believe that this language is a necessary first step to eradicate inequality experienced for years on screen and behind the camera.

In the spirit of inclusion, Stacy L. Smith of the USC Annenberg Inclusion Initiative, Kalpana Kotagal of Cohen Milstein, and Fanshen Cox of Pearl Street Films are sharing the template and hope it will be an important tool in achieving change. Read more about the origin of the "inclusion rider" and use the link below to see the original language.

Studies

Inclusion in the Director's Chair?

The annual report from Stacy L. Smith and the Annenberg Inclusion Initiative, Inclusion in the Director's Chair, was released on January 2, 2023.

The study examines the gender and race/ethnicity of directors across 1,500 popular films from 2007 to 2022, revealing an increase in the number and percentage of women and underrepresented directors hired to helm top-performing movies. The report also looks specifically at women of color working as directors.

Read the Report

Muslims in Popular Movies

The Annenberg Inclusion Initiative released its first-ever study on Muslim representation, sponsored by the Ford Foundation and Pillars Fund.

The report investigated the prevalence and portrayals of Muslim characters across 200 top-grossing films released between 2017 and 2019 and 200 top international series from 2018-19. The research showed that Muslim characters were erased in popular movies, that portrayals lack intersectional inclusion, and that Muslims still face stereotyping on screen.

Read the Report

Inequality in 1,600 Popular Films

The Annenberg Inclusion Initiative examined the gender, race/ethnicity and age of characters in popular movies from 2007 to 2022. The results demonstrate where there has been change and where progress is still needed.
Read the Report

Mental Health in Popular Storytelling

Stacy L. Smith and the Annenberg Inclusion Initiative released the findings from their newest study exploring mental health representation in storytelling. In partnership with the American Foundation for Suicide Prevention (AFSP), the report is the third in the series by the Initiative and examines 100 top-grossing films from 2022. An over time comparison of the results from prior years - 2016 and 2019 - provides a rich understanding of the current landscape of mental health in entertainment. The prevalence of common mental health conditions depicted, such as anxiety/PTSD, addiction, mood disorders, suicide were analyzed, as well as the demographic breakdown of characters with mental health conditions. Additionally, the report covers how these characters and conditions are portrayed, including ways in which they may be positively or negatively presented in popular films.
Read the Report

Inclusion in Animation

The Annenberg Inclusion Initiative released a new study on the participation of women in the animation industry, in partnership with Women in Animation. The study evaluated females on screen, behind the camera above and below the line across film and TV, and in the executive ranks at major animation companies.

In addition, a qualitative investigation examined the reasons that limit women's access and opportunity in the industry. The study results were unveiled at the third annual Women in Animation World Summit, held in partnership with Les Femmes s'Animant (LFA), at the Annecy International Animation Festival and Mifa 2019.
Read the Report

Critic's Choice 2

The Annenberg Inclusion Initiative has released a new report in partnership with TIME'S UP Entertainment, titled "Critic's Choice 2." It is the second from Stacy L. Smith and the USC Annenberg Inclusion Initiative to investigate inclusion among film reviewers and examines access and opportunity for film critics. The report uses reviews of the 300 top-grossing films from 2015-2017 posted on the site Rotten Tomatoes to assess gender and race/ethnicity of critics, finding that reviewers are overwhelmingly white and male.
Read the Report

Inclusion in the Recording Studio

The Annenberg Inclusion Initiative's annual report examines the gender and race/ethnicity of artists, songwriters, and producers across the year's top songs, according to the Billboard Hot 100 Year-End Charts. The study also looks at Grammy nominations in key categories. The latest report covers 2012 to 2022
Read the Report

Exploring Inclusion in Snap Content

The Annenberg Inclusion Initiative conducted this study in partnership with the Media Neuroscience Lab (MNL), University of California, Santa Barbara, and the study was sponsored by Snap. The analysis is a multi-year, first-of-its-kind representation audit of English-language partnered content on Snapchat (content from traditional and digital native media partners). The team used a combination of computational methods and human assessors to understand how well gender, race/ethnicity, LGBTQ+, and disability were represented in Snapchat content.
Read the Report

Inclusion in Netflix Film and Series Content

The Annenberg Inclusion Initiative partnered with Netflix to evaluate film and series content on screen and behind the scenes from 2018 to 2021. The study examines gender, race/ethnicity, LGBTQ+ and characters with disabilities in Netflix content
Read the Report Summary

Stacy Smith: The data behind Hollywood's sexism

In October 2016, Stacy L. Smith, the Founder and Director of the Annenberg Inclusion Initiative, delivered a powerful TED Talk on the prevalence and portrayal of female characters in film. Most importantly, she shared her data-driven solutions to the problem. Watch now!

Photo: Marla Aufmuth / TED

Research Areas and Reports

Stacy L. Smith, PhD

Stacy L. Smith is the Founder and Director of the Annenberg Inclusion Initiative at the Annenberg School for Communication & Journalism at the University of Southern California where she is also an Associate Professor. Smith's work examines gender, race, LGBT status, disability, and age on screen and gender and race/ethnicity behind the camera in cinematic content as well as barriers and opportunities facing women and people of color in the entertainment industry. She also conducts economic analyses related to diversity and the financial performance of films. Smith is a world leader, with speaking engagements ranging from the TED Women stage to the United Nations. Her research sets the global standard for data on employment diversity in entertainment, and she is a trusted source to the entertainment industry. Smith's work is cited widely by both corporate and educational audiences. Smith has written more than 100 journal articles, book chapters, and reports on content patterns and effects of the media. In 2015, LA Weekly named Smith the #1 Most Influential Person in Los Angeles. You can read more about Smith's work and accomplishments in her full bio.

PARTNERS

Research and advocacy at this level involves multiple stakeholders. The Annenberg Inclusion Initiative is grateful to our existing sponsors and partners, including The David & Lura Lovell Foundation, Mari and Manuel Alba, Bonnie Arnold, Ann Erickson and Richard Pellett, Beth Friedman, Suzanne Lerner, Valley Fund for the Advancement of Women and Girls at the Women's Foundation of Southern Arizona and Ann Lovell, the Women's Foundation of Colorado and Barbara Bridges. Support is also provided by The Tides Foundation on the recommendation of Ms. Julie Parker Benello. Interested in supporting the Annenberg Inclusion Initiative? Please contact us for more information or click here to donate.

Annenberg Inclusion Initiative Media Mentions

# data[].attributes.attachment_link.description
The Annenberg Inclusion Initiative is the leading think tank in the world studying diversity and inclusion in entertainment through original research and sponsored projects. Beyond research, the Annenberg Inclusion Initiative develops targeted, research-based solutions to tackle inequality.

# data[].attributes.attachment_link.provider_name
TTIE | Think Tank For Inclusion & Equity

# data[].attributes.attachment_link.title
Writers Lists - TTIE | Think Tank For Inclusion & Equity

# data[].attributes.attachment_link.description
Want to reach the most engaged, passionate and qualified job candidates in entertainment? Post your job openings on Georgia Entertainment. We promote

# data[].attributes.attachment_link.title
Fellowship & Writing Programs for Screenwriters Masterlist — The Writers Guild Foundation

# data[].attributes.attachment_link.description
The Writers Guild Foundation celebrates the vital importance of screen storytelling and storytellers.

# data[].attributes.attachment_link.readable_text
not only allow people to read short stories for free, but also publish them for an audience thirsty for new fiction. It's also no surprise to learn that Hollywood producers and studio execs are reading short stories with the end goal of developing them into larger properties like films. ( Short stories seem to be having a moment in popular culture. Director Wes Anderson has four new short films based on short stories by Roald Dahl set to stream on Netflix later this month and Reddit threads like r/shortstory Read this recent Q&A with Hollywood lit agent David Boxerbaum where he talks about looking for short stories for writers to adapt).

So, if you're a screenwriter wondering if you should consider penning a short story, here are five reasons you should consider doing just that.

1.) Explore a New Genre

Many writers may have considered exploring genres like science fiction or fantasy but may be intimidated by writing outside of their wheelhouse. Writing an entire TV pilot or feature screenplay in a new genre can be a risky endeavor considering how specialized certain genres can be, but a short story, typically 5,000 to 20,000 words, may be your best bet when it comes to seeing if the genre is a good fit for you.

See if you can establish a genre-specific world of your choice and make it relevant to today by creating a relatable protagonist dealing with universal themes. This type of experiment can serve as a testing ground for writing with unfamiliar narrative conventions and exploring exciting worlds you may not think to explore in your screenplays.
Read More: How to Write a Short Story
2.) Create a Short Story Instead of an Outline

If you're the type of writer we call a " Pantser ," meaning you like to write by the seat of your pants, letting inspiration guide you instead of creating a detailed outline, maybe writing a short story would help you work out the plot and character details in a fun, generative way. Any short story with a beginning, middle and end will likely fit into a three-act structure , so why not sit down and let the creativity flow?
Read More: 12 Best Short Stories to Read for Screenwriting Inspiration
3.) Writing Sample

Because of the growing popularity of online forums like Reddit's ThrillSleep thread , short stories are now reaching a much wider audience. These pieces of short fiction can easily be adapted into other mediums and are getting read by Hollywood producers, executives and literary managers. Some TV showrunners are even requesting to read short stories as writing samples instead of original pilots. So, even if you're looking to have a career in TV, having a well-written short story might get you a meeting or at the very least, be a refreshing addition to your writing samples.
Read More: How to Write Short Stories That Make an Emotional Impact
4.) Get Published

If you're not a screenwriter but are interested in becoming a novelist, a short story is a great place to start if you want to get your foot in the door of the publishing world. There are dozens of literary magazines, journals and online fiction outlets seeking short story submissions year-round - some even pay to publish your work! If you do spend the months (or years) it takes to write a full-length novel, it may help to mention to potential book publishers that you've had a piece of short fiction published before and include a link if it's available online. People love knowing someone else liked your work before they commit to reading a lengthy submission, so it's a win-win situation.
Read More: Why Do Short Stories Make Great Movies?
5.) Explore an Antagonist in Depth

If you've ever written a screenplay and gotten the note that your antagonist or villain is too arch or not developed enough, a great experiment could be to write a short story from that character's point of view. Write the narrative in the first person and really dig deep into their world and psychological state. See if you can really understand what motivates their actions. What do they value most of all? Are they a purely evil person? Or do they do the wrong things for the right reasons? If you can crawl inside your antagonist's head, you're likely to develop a greater awareness of what makes them tick and even create empathy for them .
Read More: 8 Films You Didn't Know Were Based on Short Stories
-

Writing short stories can enhance your screenwriting abilities by sharpening your storytelling skills, deepening character development and exploring new genres. Writing with a limited word count can also help you develop your own discipline when it comes to creating concise and engaging plots that get straight to the meat of the story. Having a surprising - maybe even mind-blowing - short story in your repertoire could set you apart from other writers.

CHECK OUT OUR PREPARATION NOTES SO YOU START YOUR STORY OFF ON THE RIGHT TRACK!

# data[].attributes.attachment_link.title
5 Reasons You Should Write a Short Story - ScreenCraft

# data[].attributes.attachment_link.description
Thinking about adding a short story to your writing portfolio, here are 5 reasons you should explore this world.

# data[].attributes.attachment_link.readable_text
"God is real, and his name is Chris Mayne."

That's how one animator thanked the creator of the best animation job board we know of. She isn't alone: Mayne's vast spreadsheet, which teems with job postings, event listings, and more, is well known in the industry. It's become a go-to resource for anyone looking for employment in the animation, vfx, and gaming sectors. Check it out here.

As the industry booms, Mayne is doing a good job of keeping up: he's added more than 1,500 jobs since the start of the year. He also keeps track of internships, events (recurring and one-off), schools, and website of interests. In addition, he manages a database of more than 4,000 studios, complete with links to their official job boards. Remarkably, he does it all pretty much on his own, spending an hour or two of his spare time updating it almost every day.

Why? Well, Mayne knows the pain of unemployment first-hand. As someone who had suddenly found himself jobless after a studio shutdown, he felt empathy for the crew of Toronto's Arc Productions when that studio shut down in 2016. "[Losing your job] sucks, it's overwhelming," he tells Cartoon Brew. He'd been privately keeping tabs on job postings for some time, but in "a brief moment of insanity" he decided to make his spreadsheet public to help out the laid-off staff at Arc. He's kept it going ever since. Below, he explains how he manages it all, and what he gets out of it.

Mayne: Starting out, there was a lot of uncertainty on my part on where best to look for work. There were some days I felt like there had to be a secret handshake needed to get in the door anywhere. I was mainly looking at the job boards on studio websites and my school's website. I did my best to stay in touch with others I graduated with, as well as the mentors I had during school. Truly, it was networking and staying connected with people that helped jumpstart my career. That produced job leads and led me to websites I'd check to find my next gig.

[What sparked] the spreadsheet was when Arc Productions shut down. To help those that lost their jobs in their search, I felt that a source that compiled listings from all the different sources out there would make it a little easier. An important part of that was not to limit the type of studio: from small to large, games, television, vfx, etc - all options should be possible. Even though the closure of a studio got this going, I wished I had something like this when I first started in the industry.

The large majority of jobs on the sheet are found by me. I have a set of websites I hit, in addition to perusing social media to see what I can gather. Linkedin especially is a major source. I have to say, I'm so happy when I receive job suggestions from studios or anyone else. There are so many jobs that unfortunately don't get listed.

Through various surveys I've conducted, it seems that most people who use the spreadsheet are looking for artistic roles, so I try to get as many of those on there as I can. With that said, anything from pipeline technical directors to producers and department heads can also be found on there. Ideally, all jobs would be paid as well.

If I'm on a project, I'm usually animating about 40 hours a week. I'm very fortunate to be able to stay pretty busy throughout the year. During the slower times, which are going to happen, I tend to focus on non-animation activities. Although I love what I do, I feel it's important to take advantage of the breaks so that I'm recharged and ready to go for the next project that rolls around.

From a personal standpoint, the spreadsheet has helped me connect with many others in the industry and discover studios I hadn't known of previously. From the feedback I've received, it seems like it has been beneficial to those that use it. That in itself is a great feeling, and I'm extremely appreciative of the support received due to this.

Correction (Feb 5, 2020): An earlier version of this article incorrectly stated that Mayne had worked at Arc Productions.

# data[].attributes.attachment_link.title
This Spreadsheet Is Probably The Best Job Board In The Animation Industry -And It's Run By One Person In His Spare Time

# data[].attributes.attachment_link.description
Chris Mayne tells Cartoon Brew how he keeps track of more than a thousand jobs per month.

# data[].attributes.attachment_link.description
a variety of resources that support BIPOC creatives

# data[].attributes.attachment_link.description
Hire the best remote game job talents in the industry. Post your remote job ad and reach the right audience from all around the world. Don't limit yourself to the talents around you, and get rid of the hassle of physical relocation

# data[].attributes.attachment_link.readable_text
Studio Hog is a directory site for animation and vfx companies. It's designed for those interested in finding new studios or just exploring studios in other locations. Ontop of listing the studios we also provide each studios estimated size, location, link to website, career page, linkedin, imdb, glassdoor profile and linkedin profile if available.

We are constantly finding new studios from around the world to add to the directory. However the functionality for adding studios and updating studio information is current on an invite only basis. But will be public soon. In the meantime if you would like to add a studio, update studio information or links please visit the contact page to send me an email.

# data[].attributes.attachment_link.title
Studio Hog: Animation, VFX and Game Studio Lists

# data[].attributes.attachment_link.description
Lists of Animation, VFX and Game Studios, for those looking for new companies.

# data[].attributes.attachment_link.description
Work With Indies is a job board and a community for artists, designers, developers, and more, to find their next role working in indie games.

# data[].attributes.attachment_link.title
Amir Satvat's LinkedIn Community Jobs Spreadsheet

# data[].attributes.attachment_link.readable_text
Effective networking can be both fun and spontaneous (and may we add, comfortable), but it will be truly effective if you go into potential networking situations with a simple, thought-out plan.

In this networking prep series, we are going to answer a few basic questions that will help you prepare for your next networking encounter. For the purpose of this article, we are considering the term "networking meeting" to mean either an in-person event or a virtual one. (We have not been paid to mention any of the resources we link to.)

Location matters

Take a moment to think about the setting for your networking event. Why? Because you would prepare differently for a Zoom conference call at home, than you would for an in-person meeting with your local book club, or the Society for Editors Conference (ACES).

Before your meeting, ask yourself:

Could there be anything in the setting that makes me uncomfortable? If so, how can I cope with it? For example, if being in a room with cold AC gives you a headache, and you know your meeting/conference/lecture is going to be in an auditorium, bring a sweater, a scarf, or whatever you need to feel well and at ease. If the meeting requires you to be outgoing or introduce yourself, and you are an introvert, consider writing down what you want to say (the key points) on a flash card that you can review before speaking.

Do I know where the meeting is going to be? If your meeting is at a venue, visualize what it's going to take for you to get there. Plan to arrive at least fifteen minutes early, and consider how long your drive/walk/ride is going to take. Do you need to account for weather conditions? Road closures/accidents/rush hour? Parking? Always build a buffer into your schedule so you can arrive a few minutes early.

Is my meeting online? If it is, and you will attend from home, then consider creating a comfortable space that you want to be in. Tidy your desk, get a back pillow, wear your favorite shirt, or light a candle. Make sure there is good lighting (natural light from a window is best), and keep your space neat so you reduce distractions and can be fully present.

Will my virtual meeting be voice only or will I be on video? If you are on a video call, and because of life's circumstances you aren't able to/don't want to have your camera on, then think about notifying the presenter in advance (or the person you are meeting with), so you manage their expectations and avoid potential awkwardness.

For example: During the first pandemic year, when my son was attending school from home, I would always notify my coaching clients in advance that my nine-year-old son was in the room next door and that at any given moment we might be interrupted, or they might hear laughter or noise in the background. I also made sure I addressed whatever needs he had before the call. Thankfully, none of my clients minded and everyone was very understanding and grateful that I was up-front with them. It also showed that I am not a two-dimensional editing robot, but that I'm a human being, with a life and other responsibilities, just like them!

You never know where your next project is going to come from, and someone at your next meeting might just be writing that type of project you've been wanting to work on. You only get one chance to make a first impression. Don't take that for granted, and instead, come prepared.

Linda Ruggeri is a full-service editor and project manager based out of Los Angeles. She coauthored the historical memoir Stepping Into Rural Wisconsin: Grandpa Charly's Life Vignettes from Prussia to the Midwest and Networking for Freelance Editors. She can be found online at The Insightful Editor and on Instagram.

# data[].attributes.attachment_link.title
Prepare for Any Networking Event, Part 1: Where Will I Be Networking - Networking for Editors

# data[].attributes.attachment_link.description
Knowing WHERE we are going to be at is the first step in preparing ourselves for networking success

# data[].attributes.attachment_link.readable_text
What works must become reflexive.

Networking is a way of life. For screenwriters, particularly, who pound keys for hours at a time, meeting influential executives or investors who can make or break your career with a single decision is an integral part of the puzzle.

I'll begin with some perspective: I ran and moderated a professional networking group for entertainment professionals for nearly 10 years, until I left in 2015 to focus on my writing. The idea was to level the playing field between filmmakers and possible private equity investors or finance company reps by seating an equal number of each (it didn't always work out that way, but that was the goal). The thought behind the effort was based on a screenwriter's reality: The more you bring to the table in terms of money and/or attachments, the less you will need from the network, studio or production company, and the more control you can negotiate for your project.

There certainly is no guarantee of attaining more control, but your position to do so is that much stronger.

Our three-times monthly All Cities Media Group was hosted in Los Angeles venues as diverse as Paramount Studios, Warner Brothers Studios, Sunset-Gower Studios, and various entertainment-centric law firms and accounting offices. We also held several meetings out of state, but primarily our gatherings were focused within the hub of the film industry. The groups ranged in size from 30-100 based on our space, and for many years were completely filled.

The meetings were two hours long, and broken up into three sections. The first half hour was a general mixer. Following the mixer we sat at a large conference room table. The second half hour was dedicated to elevator pitches: "Who are you and what do you do?" We kept those elevator pitches to 10 seconds, such as "My name is Joel Eisenberg. I am a writer-producer. My company is (at the time) EMO Films. And what do you do?" The idea was to mimic the time of an average one-floor elevator ride. The third 15 minutes was, for anyone who wanted to do them, personal intros. Talk briefly about where you are from...

# data[].attributes.attachment_link.title
25 Networking Tips For Screenwriters: So Easy Today, Even a Child Can Do It.

# data[].attributes.attachment_link.description
Networking is a way of life. For screenwriters, particularly, who pound keys for hours at a time, meeting influential executives or investors who can make or break your career with a single decision...

# data[].attributes.attachment_link.readable_text
Please see our current mission statement regarding equity, diversity, and inclusion:

All human beings deserve to be treated with dignity and respect. We hold ourselves accountable to this belief by creating an equitable, diverse, and inclusionary environment that nurtures, protects, and empowers our artists, audiences, and students. We are committed to hiring all people to create theatre for all people - including individuals who represent different ages, types of education, ethnicities, genders, locations, physical abilities, races, religions, sexual orientations, levels of socioeconomic status, or any other social or personal characteristic. In our work to create a company culture of kindness and humility, which will hopefully help shape our industry, we submit ourselves to continual growth and humility as we work to ensure these values are upheld.

# data[].attributes.attachment_link.description
Literary Managers and Dramaturgs of the Americas

# data[].attributes.attachment_link.title
This Career Coach Just Perfectly Broke Down What's Up With The Job Market Right Now, And It's A Must-Read

# data[].attributes.attachment_link.description
"So what's happened is companies stopped posting jobs, and it's called a 'hidden job market.'"

# data[].attributes.attachment_link.readable_text
The goal in any meaningful relationship is to give it depth. That's what my book, The Lost Art of Connecting: The Gather, Ask, Do Method for Building Meaningful Business Relationships, is all about. Of course, not every networking contact has to become a deep relationship: We have a finite amount of time, energy, and resources. But when there's potential to help each other in business and in life, it's worthwhile to take the relationship deeper. And what people so often ask me is: How? How do you transform a relationship from the superficial to the meaningful without feeling awkward or stiff?

What's the best job for you?

Use The Muse to find a job at a company with a culture you love. Select the career path that aligns with you:

How many years of experience do you have?

What company benefits are most important to you?

Calculating your job matches...

Here are a few practical tips:

This is one of the biggest mistakes I see people make: They fail to follow up quickly and effectively. Don't stop the train midtrack! Taking follow-up action is not only essential for deepening that initial connection, but also for turning a job or idea into reality. Take immediate steps post-meeting. Connect with and follow up on their preferred social platforms or set a reminder on your phone to take action in another way. Don't wait for the other person to take the lead.

Let's say, for example, that you meet someone at a dinner event who works in criminal justice reform. And let's also say that you are a public relations consultant. It would be easy to think, "Well, that was an interesting person, but I don't see how our lines of work can intersect."

If you feel a connection or sense a shared passion or goal-even if it's not clear how it relates to your current jobs-you want to act right away once the door to the relationship has been opened. What did you talk about? Is there a passion you share? Does this person have knowledge about a topic you would like to learn more about? Make that first follow-up a way to solidify the connection.

Here are a few examples of follow-up emails I like to send:

"It was wonderful to meet you. I'm fascinated by the work you're doing in [field]. Please keep me posted on your work. I'd love to find ways to support you and your endeavors."

"It was great to meet you last evening at the [event]! Let's keep in touch."

"So great to meet you! I'd love to get to know you better and see how I might be able to support your good work. Want to grab coffee in the next several weeks?"

"I saw this article on [topic] and thought of you-it was great to connect! Let's keep in touch."

During each meeting you have, jot down notes about what is important to this particular person. Do they mention a hobby or interest you share? Are they traveling to London this fall? Write these things down so that when you follow up, you can do so on a particular item that will prove how closely you were listening and paying attention. You can email them to say, "How was that trip to London? Did you happen to grab a lunch at Borough Market?" When you do this, the person will feel remembered and heard.

Celebrate them and their wins, too. Is someone celebrating a birthday? Reach out. Did they just change jobs and announce it on LinkedIn? Congratulate them. Did they or their company receive a media mention? Send them a note to let them know you saw it.

Telling someone you'll do something (and then taking action) is one way to instill trust and help that person feel seen. Following someone else's suggestion-and then circling back with them to let them know-is a great way to deepen your connection. And it usually takes only a few minutes of your time.

If a new connection suggests you order the hummus at the restaurant down the street from your apartment-try it. Then you have the perfect opportunity to reconnect with them over email. "Loved the hummus-great call!" Did the person mention that they were just on a podcast? Listen to the episode and send a brief note or better yet, promote the podcast on Instagram or Twitter. Not only will these actions provide context into their work and their personality, you'll also have another reason to connect. You can write: "Fascinating podcast about impact direct-to-consumer marketing-I have some friends in this space I'd love to connect you to, if you'd like?"

Research shows that if you don't follow the advice a colleague or a contact gives you, it can have negative consequences. So don't ask for their advice or tips (no matter how trivial) if you don't plan on taking it.

Following up not only means moving business forward, but it also means checking in on the people who are important your business and your life as a whole.

I have a daily practice of sending Tweets, LinkedIn likes, text messages, phone calls, and even snail mail to let people in my world know that I am thinking about them-that I am interested in staying connected on a deep, human level. I like to use my morning coffee time to share and like posts on social and skim the news for topics of interest or to discern where I can be of help. In what's become a cherished morning routine (while throwing a toy with my pup), I participate in a mutual exchange of support that's kept me and my business thriving. I encourage you to find your own daily or weekly practice of following up on the meaningful people in your life.

As you go through your daily routines of following up with the people in your life, make sure you're intentionally carving out ways to talk about something that is personally meaningful-to have conversations that are not transactional or based on small talk or the business at hand. Essentially, you're extending your practice of making another person feel seen. Of asking them, in many different ways, how you can help.

To that end, I've developed a set of questions to use as a jumping off point. And while there is some finesse to delivering these kinds of questions (you certainly don't want to randomly fire them off in a list!), becoming familiar with them can help broaden your sense of how to share deeper conversations with others. You can even use a few in a job interview or at a networking event. Here are a few examples:

1. If you could invite anyone in the world as your dinner guest, who would it be?

2. Tell me the story of your whole career in three minutes.

3. If you could change anything about the way your career has evolved, what would it be and why?

4. If you could wake up tomorrow and acquire one new professional quality or ability, what would it be? What about personal qualities?

5. Is there something you've dreamed of doing for a long time but haven't? Why haven't you done it?

I like to think that each person has what I call a chief differentiating factor, or CDF. I see it as each person's specific expertise or "secret sauce" that makes them unique. For example, my very dear friend, Lisa Witter, cofounder and chair of Apolitical, is one of the most articulate human beings I've ever met. This specialty has enabled her to command the attention of large audiences, score meetings with global government leaders, and raise millions of dollars from investors who believe in her mission.

As you pay more attention to the depth and quality of your relationships, ask yourself: What's this person's chief differentiating factor? What's this person's unique asset or set of characteristics?

Once you learn what someone's CDF is, it's your job to remind them of it. If you reflect back on someone's specialness in a way that they can clearly see it-especially during a challenging time or when that person might struggle to see the full scope of their own value-I promise you they will never forget it.

Think for a second about all of the different contacts you've made in your lifetime at virtual or in-person gatherings. You likely have a gigantic list full of professors, colleagues, friends, cofounders, neighbors, and even relatives. Include them all in your mental tally. Now pick the one, two, or three people who've made the biggest impact on your career. Have you told any of these individuals about the esteemed position they hold in your life? (If you've already told them-has it been a while since you did?) Now think about a new connection, someone that you met more recently. Have you told that person how grateful you are to know them?

You might even try writing a handwritten note to someone who did something for you in your career or in life. I always keep stamps nearby so that when I think about writing someone, I can do it. In the sea of mass emails we all get, a handwritten note will not go unnoticed. It will strengthen your ties and boost feelings of gratitude for you as well as the recipients.

Curiosity is linked to psychological, physical, and emotional health. Research shows that it may also play a critical role in our social relationships. It makes sense that curious people may have an easier time bonding with a diverse range of people, simply because they are interested in learning about what people from different walks of life have to offer.

Can curiosity be learned? The research isn't clear. But I would argue that simply walking into a meeting, event, or dinner with the mindset that your primary goal is to find out about others rather than to spew information about yourself-just that reframing of your intentions alone-can make a big difference.

With each relationship you develop, ask yourself: What is there to be learned? If you're sitting across from someone vying for a new job, even if they ultimately say no, ask yourself: What other new knowledge could I walk away with? What viewpoint had I been missing?

The same goes for keeping in touch: Whether it's your first tea with someone or your 500th, tuning in to them will not only make that person feel special, but it will also deepen the relationship and foster authentic and long-lasting connections.

Susan McPherson is a serial connector, seasoned communicator, and founder and CEO of McPherson Strategies, a communications consultancy focused on the intersection of brands and social impact. She is the author of The Lost Art of Connecting: The Gather, Ask, Do Method for Building Meaningful Relationships. Susan has 25+ years of experience in marketing, public relations, and sustainability communications, speaking regularly at industry conferences, and contributing to the Harvard Business Review, Fast Company, and Forbes. She has appeared on NPR, CNN, USA Today, The New Yorker, New York Magazine, and the Los Angeles Times. She resides in Brooklyn.

More from Susan McPherson

# data[].attributes.attachment_link.title
9 Tips to Turn Networking Contacts Into Meaningful Relationships

# data[].attributes.attachment_link.description
How do you transform a relationship from the superficial to the meaningful? Susan McPherson, author of the book The Lost Art of Connecting, shares her tips.

# data[].attributes.attachment_link.title
You Don’t Have to Stop Networking Because of the Pandemic

# data[].attributes.attachment_link.description
Here’s how to forge connections remotely.

# data[].attributes.attachment_link.readable_text
There are 36 days between Thanksgiving and New Year's Eve. This end-of-year stretch can feel like a black hole for your job search and career. But like an actual black hole, it only seems empty. In fact, it's packed with opportunities.

What's the best job for you?

Use The Muse to find a job at a company with a culture you love. Select the career path that aligns with you:

How many years of experience do you have?

What company benefits are most important to you?

Calculating your job matches...

We turned to our Muse coaches for their advice on what you can do for your job search, your career, and yourself during this holiday season-as we stare down another letter of the Greek alphabet (hi, omicron?), navigate the Great Resignation, and more.
[RELATED: Need some more personalized help? Book a coach today-pick from Resume Review, 30-Minute Career Q&A, Job Search Strategy, and plenty of other services.]
Here's what they had to say (tips have been lightly edited for length and clarity).

Network with your family and friends. Even if cousin Natalie isn't in your industry, it's who she might know that is just as important. Be sure to detail what you're seeking. Give a bit of a roadmap, more detail than "Keep me in mind if you hear of anything." -Muse career coach Tara Goodfellow, owner of Athena Consultants

Read more:

Reach out to people who've been helpful to you (e.g., mentors, networking contacts, colleagues) to let them know how grateful you are for their assistance and support. Holiday cards (physical or e-cards) with special personalized messages are great, but emails and LinkedIn inbox messages work, too. Everyone likes to be acknowledged, and your sincerity will be appreciated. -Muse career coach Heidi Ravis

Read more:

If you have time and energy, it's a great time to strengthen your skills. Choose an online course that will help you gain a new skill or further your knowledge in a certain area. -Muse career coach Leto Papadopoulos

Read more:

Set your priorities. As the end of the year approaches, it can feel like every day slips away quickly and nothing gets accomplished-the days between Thanksgiving and New Year's are often a complete blur! Setting two to three top priorities for that time and breaking those priorities up into manageable steps can help keep you on task and can increase productivity. -Muse career coach Cassie Spencer

Read more:

Plan ahead, focus on what's most important, eat right, slow down, take a walk, listen to music, and lean into what gives you joy. -Muse career coach Tina Wascovich

Read more:

Take a break! Especially if you're feeling burned out. Yes, it's a great time to apply for roles, but if you're feeling tired and stressed, you will benefit from stepping away for a bit. -Muse career coach Leto Papadopoulos

Read more:

Stop replying to emails when you're out, or when many are out. Some people need to answer emails to feel purposeful. Take time to live your life-the one beyond work emails. The work will still be there in 2022 (and so will the emails). -Muse career coach Anne M. Kelly, owner of

Read more:

We're all surviving one of the most tumultuous periods in at least the last 100 years. Take a moment to pat yourself on the back, remind yourself that we're all doing the best that we can. Even if you're not exactly where you want to be professionally, have patience with yourself. You're a work in progress. -Muse career coach Andrea Gerson, founder of Resume Scripter

Read more:

Stav is the former deputy editor of The Muse. Before The Muse, Stav was a staff writer at Newsweek, and her work has also appeared in publications including The Atlantic, The Forward, and Newsday. Stav earned a B.A. in history with a minor in dance at Stanford University and holds an M.S. from Columbia Journalism School. She won the Newswomen's Club of New York's Martha Coman Front Page Award for Best New Journalist in 2016. She prefers sunshine and tolerates winters grudgingly. You can find her on LinkedIn and Twitter and can visit her website here.

More from Stav Ziv

# data[].attributes.attachment_link.title
13 Best Things You Can Do for Your Career Before the Year's End

# data[].attributes.attachment_link.description
This way, you'll start off 2022 in a better position than ever.

# data[].attributes.attachment_link.readable_text
So you're looking for a job, and you've turned to your LinkedIn network to help you out. That's great! Not only are your connections a great resource, but groups like your college alumni association, sorority, and digital marketing association are also full of people who are generally inclined to help-and all you have to do is ask.

What's the best job for you?

Use The Muse to find a job at a company with a culture you love. Select the career path that aligns with you:

How many years of experience do you have?

What company benefits are most important to you?

Calculating your job matches...

Well, all you have to do is ask the right way.

The truth is, asking for help from your LinkedIn connections takes a little bit of finesse. For example, I'm a fashion-tech CEO who genuinely enjoys helping young women with career development, so I'm always happy to help my contacts find a job or internship in fashion, e-commerce, PR, marketing, or tech startups. However, I'm swamped with work and don't always have time to think about how to provide that help, unless someone spells out for me exactly what they need.

So when you're the one asking for help, your goal should be to write a post that will immediately tell a distracted, time-crunched, but very willing connection like me how to help you. Just follow these five rules.

1. Put your "ask" up front.

I read my LinkedIn notifications when I wake up each morning-along with about 100 other overnight emails (this morning's non-spam count was 137!). If you don't tell me what you want in the first 200 characters, I'm on to the next email.

Also remember to ask, not pitch. For example, if I see a post in my sorority group notification that starts, "Bright, eager, self-starting new graduate from Beta Pi chapter at the University of Florida with a degree in mass communications, a minor in public relations, and a varsity letter in soccer," I might do a little Kappa Delta-pride fist pump, but I'm not going to be able to help you find a job. Use this prime real estate to quickly tell me how I can help you. On that note:

2. Be as specific as humanly possible.

The more specific your request, the more likely I am to think of a way to help you before my mind wanders back to those other 100+ unopened emails.

For example, if you write, "looking for a marketing internship," your only hope is that I happen to be looking for a marketing intern right at that moment and am willing to read further to see if you're a fit. However, if you write, "looking for a summer marketing internship in NYC with an e-commerce company like Warby Parker or Bonobos," I might remember that I know someone at Warby Parker. It doesn't matter if my contact is looking for interns-I can easily send your resume over with a note saying that Warby is one of your favorite companies and ask her to please consider you when she's next hiring.

Even if you don't know exactly what you want, you lose nothing by naming a few companies. Specificity is always helpful in reminding your connections who they know.

3. Make it easy to get to "know" you.

Remember, every time you ask someone to help you-especially by recommending you for a job or introducing you to one of their contacts-you're essentially asking them to put their own professional reputation on the line at least a little bit. So make it easy for your connections to be comfortable recommending you. Make sure your message is thoughtful, concise, and well-written and that your LinkedIn profile is complete and up-to-date. Even if your connection knows you well, seeing how you present yourself can help give them an extra boost of confidence in you.

4. Make it easy to forward your info.

Include a link to a PDF of your resume (you can use Google Docs or any similar service to do this) in the body of your message or post so that your contacts can easily forward it on if needed. Make sure that resume has all your contact info as well. Personally, I don't have time to go back and forth with you to get your resume as an attachment-it's much easier when it's all in one easily forwardable place.

5. Follow up if they helped you out.

If someone who saw your post ends up giving you a hand, let them know immediately! Even if you've never met them before (which is not unlikely if you've reached out to a big professional group). Not only is it good karma (and good manners!) to thank someone who's helped you, but they may also be able to help you further with interview advice or an introduction to another person who may be good for you to speak with.

A LinkedIn post template to help you along

Now that you know the rules, you can use them to plug in the right info to this LinkedIn post template. Note: You'll need to tweak it based on what specific help you're asking for and how well you know the people who will be reading your post.
Hi all! I [reason you're asking for help; e.g., "am a data analyst with fintech experience looking for my next opportunity" or "recently saw a job opening for a sales rep at ZZZ inc and was wondering if anyone would be willing to make an introduction to someone on the team"]. As a [few word description of yourself], I'd love to [why you have your request; e.g., "connect with them to discuss email strategy" or "find a new opportunity at a small company where I can help build their HR strategy"]. Would anyone be able to [succinctly ask for what you want]? [Add anything you're doing to make it easier to help you; e.g. "Here's a link to a PDF of my resume. Feel free to it pass along if you'd like."] Thanks in advance for any help you're able to give me!

An example LinkedIn post for a professional group

Here's how the template looks filled in.
Hi all! I'm looking for a UX web design role in the ed-tech space. As a former teacher who now has three years of experience in UX design, I'd love to find a job where I can unite these two parts of my background at a company like Would anyone be able to let me know if you hear of any openings like this? Here's a link to a PDF of my resume. Feel free to pass it along if you'd like. Thanks in advance for any help you're able to offer! or Coursera.
OK, now it's your turn. You probably already have lots of connections out there willing to help you. They're just waiting for you to tell them how!

Regina Borsellino contributed writing, reporting, and/or advice to this article.

Carrie Mantha is the founder and CEO of Indira ( indiracollection.com), a fashion-tech company that delivers customized, couture-quality bridesmaid dresses and wedding accessories through an interactive online atelier and a vertically-integrated, eco-friendly, American manufacturing. She was a physician and biotech investor before marrying the man of her dreams and deciding to make couture quality available to brides everywhere.

More from Carrie Mantha

# data[].attributes.attachment_link.title
How to Ask a LinkedIn Connection for Help

# data[].attributes.attachment_link.description
You probably already have people in your LinkedIn network who are willing to help you. All you have to do is ask-the right way. Plus a template and an example!

# data[].attributes.attachment_link.readable_text
Lately I have been trying to get through the UN Intergovernmental Panel on Climate Change's big report, the one that came out late last year, called " Climate Change 2021: The Physical Science Basis." It's a challenge because (a) I must, um, learn as I go, and (b) the PDF is nearly 4,000 pages of aggregated, footnoted, illustrated scientific consensus about weather. That's too much consensus; everyone agrees. Yet obviously they-the hundreds of IPCC-affiliated scientists who compiled this behemoth- want us to read it, right? The thing exists, so I should at least try. Plus it's free to download. I love a bargain.

However, the gigantic PDF broke my e-reader. In time I got it to work, but the font was too small. So I used a command-line program called mutool to split each page in half, and now I can read the book in landscape mode with bigger type, a little hack of which I am embarrassingly proud-although the resulting document is nearly 8,000 pages long.

Eight kilopages is a lot, but a very long book is still a book: You start at the beginning, skip the intro pages, skim over the "Summary for Policymakers," jump forward 7,000 pages or so and read a little from "Annex V: Monsoons." OK, so maybe it's not really a book, more of a database that results from a complicated bureaucratic process. I make it a few pages at a time, until my brain refuses to go any further without a Twitter break.

Frustrated by my slow progress, I started to use Twitter to look up the climate scientists themselves, click through their timelines. It's a good way to see what they're about-to pick up social signals that might bring the rest of their network into better focus. As you'd expect from a group of extremely smart literal cloud people, they aren't exactly dank memelord true posters. Some speak in press releases; some like to share science news. Yet personal details always leak out-kids and spouses and the like. You see their little avatar faces, come across some artifact like a Spotify playlist, witness their naked enthusiasm for glaciers. Reading through this stuff, I definitely feel like I'm creeping.

I think this sort of filthy spyhood-peepreading-is a particularly internettish way of learning. Like when you wake up and all the social media posts circulating in your peer group are suddenly about a thing, but you don't know what the thing is. Most of the time the tweets are elliptical, like "Couldn't happen to a nicer columnist" or "Just shows you what actually goes on in the mineralogy community." In fact, the vaguer they are, the more likely the thing is to be really bad and/or salacious. So now you have to-no higher priority-blow up your morning and use context clues to unpack the scandal, poking around the network, seeing who liked what, pasting tweets into your group chats to see if anyone has any insight, until you find out who has been called out for what by a now-locked account, with the end result being, of course, that you do figure it out, some squalid nasty thing someone said or did, and, welp, you can go about your day and wait for the story to show up in an essay about cancel culture.

Being a sneakbrowser is just who I am. I'd rather spy for a year than ask a direct question.

I'm not proud of this. I just do it. Sometimes it's the only way to learn about subcultures and communities. When you're researching software history, which is something I like to do, you have to venture into copyright-dubious Discords and peculiar archive-focused websites and lurk around until you find out how to get the good stuff. You have to page through a bunch of gossip, drama, fights over whether emulating old computers in software is "real" or not. And if you lurk long enough, read enough forum threads, someone will post a temporary link to the special Google doc filled with links to confusingly titled zip files. The internet turns the world into a puzzle you must solve to feel safe. It's scary, of course, but when you solve the puzzle you feel an unbelievable sense of control. (This is also, alas, how you get QAnon.)

But being a sneakbrowser is also just who I am. Owing to cowardice, extraordinary shyness, or perhaps toxic masculinity (choose whichever works for you), I'd rather spy for a year than ask a direct question. This is an unfortunate quality in a journalist. The job of a journalist is to call smart people and ask them to explain things. Those people have to talk to you because it helps their careers. I find that I always slightly misunderstand what they tell me; I get the tone wrong, and then they send corrective emails that pulp my soul. I do better looking at the artifacts of a civilization than participating in it. Twitter, newsletters, Slacks, Discords: Lurking is learning.

So give me a network and the tools to read it. Give me the textbook called Web Markup Languages Produced in Anger, the anthology of GitHub messages called You Can't Program in Lisp Because You're an Idiot, the climate report called "Energy-Systems People and Earth-Systems People: The Longest Thread."

# data[].attributes.attachment_link.title
The Best Way to Learn Online? Be a Lurker

# data[].attributes.attachment_link.description
The internet has made me immune to a coherent narrative. In order to truly understand anything, I've taught myself to read networks.

# data[].attributes.attachment_link.readable_text
I hope to never work a job again.

But I've spent most of my career in jobs. A decade of working in finance gave me an interesting perspective.

I got to see many people get their version of a dream job. My curiosity would often go into hyperdrive, so I'd ask them how they did it. Eventually I used what I learned to get my dream job.

Here's what I learned about dreams jobs while chasing my own.

My dream job was unexpected and isn't what you'd think.

I got a job working with two other guys. We became best friends. The work we did isn't anything to tell your mother about. But the bonds we formed made it my dream job.

I have fantasies about working a dream job like this again. Yet, I know it's unlikely to ever happen once more.

The autonomy of self-employment is too good to give up.

Takeaway: The people you work with make a job a dream.

Many employees are delusional.

They think they'll find their dream job via a job ad aka the front door.

Unlikely.

Job postings are nothing more than ads. Many of them aren't even real. They're a way to collect email addresses. Lol. You could say job ads are a lead magnet. Don't worry, I'm a sucker, I fell for it too.

The second door is where you patiently warm your office seat each day waiting for an opportunity to come up. This is the career ladder p*rn HR sell to attract talent. Most of the time it's a mirage.

Dream jobs are found when you look for the third door.

How?

You have conversations. Instead of competing for jobs you become a connector of humans. Let me tell you how it happened to me.

I got in a lift. A farmer got in at the same time. I struck up a conversation - not small talk. The next day I saw him again in the hallway...

# data[].attributes.attachment_link.title
This Is How to Get Your Dream Job Quicker than You Think

# data[].attributes.attachment_link.description
But I've spent most of my career in jobs. A decade of working in finance gave me an interesting perspective. I got to see many people get their version of a dream job. My curiosity would often go...

# data[].attributes.attachment_link.readable_text
Most people see email as a strictly transactional tool, using it only when they need something or owe someone something. That's exactly why you should use it to stand out.

Taking a moment to send these seven emails every week can help you strengthen your connections, stay top of mind as opportunities come up, and learn about industry trends. (Slack messages and texts also work, but I'm into email because most people have their inboxes open all day anyway.) None of these messages should take more than five minutes to write, but each of them will go a long way in helping to advance your career.

Imagine opening your inbox after lunch and seeing, sandwiched between a coupon from the local pizza place and a message from an acquaintance asking if you could tweet their new article/contest/course, an email with the simple subject line: "Thank you." Now imagine how much those two words could improve your day.

People love to feel appreciated. Instead of worrying about all the things you need to do in the morning, take a moment to thank someone for what they do for you. "Thanks for all your support during that last big project" or "I'm so glad we get to work together. Thanks for being my sounding board" is all you need to say to make an impact.

The fastest way to get what you want is to get to know the people who already have it. Send a message to someone a step or two further ahead in their career and let them know how their work has impacted you. I like to use the formula: "Thanks to your work doing X, I've been able to accomplish Y."

I've been sending cold emails every week for the past three years, and many of those messages have led to great phone calls, which in turn have led to close relationships and interesting opportunities. Amazing things happen when people we admire turn into friends.

Earlier in my career, Conor Neill, a leadership expert and the person I admire most in the business world, would...

# data[].attributes.attachment_link.title
The 7 Emails You Should Send Every Week to Get Ahead in Your Career

# data[].attributes.attachment_link.description
Most people see email as a strictly transactional tool, using it only when they need something or owe someone something. That's exactly why you should use it to stand out. Taking a moment to send...

# data[].attributes.attachment_link.readable_text
Want A GUARANTEED WAY TO WIN MORE JOB OFFERS?

I'm giving away some of my premium content for FREE. This is stuff you won't find anywhere on the site. Stuff that's helped people just like you land jobs at places like Google with no "traditional" experience and without applying online. If you're tired of job searching and want to land a job you love, spin for a chance to win strategies most people pay for:

# data[].attributes.attachment_link.title
How To Get A Job Without Applying Online - Cultivated Culture

# data[].attributes.attachment_link.description
Learn how to land a job you love without applying online. This guide breaks down the system that got me offers at Microsoft, Google, & more.

# data[].attributes.attachment_link.title
How to land a competitive internship | LinkedIn

# data[].attributes.attachment_link.description
With National Intern Day on Thursday, professionals in various industries are sharing advice to students and recent graduates on how to secure a role.

# data[].attributes.attachment_link.title
8 - THE JOB MARKET (DB) Archives - The Tracking Board

# data[].attributes.attachment_link.description
If you are looking for assistant & executive jobs or intern positions with Hollywood production companies, agencies and management firms, then our jobs list has it here for you!

# data[].attributes.attachment_link.readable_text
From bedroom to HBO Part II

As I've written before, there's no one way to be a screenwriter. But there are some common prerequisites:

You must know how to write a story.

You must know how to network.

You must know how to work.

Plenty has been written (here and elsewhere) about how to write a story. And there will be more to come about how to work. If you have missed it, here is the first part of this series: How to Be a Screenwriter - The Craft.

In this episode, let's talk about that dreaded part of the job that has nothing to do with narrative, formatting, or hero's journeys: networking.

I Think I Can Write, But Now What?

In From Bedroom to HBO - Part 1, I detailed how I studied and learned the craft. The pages, the hours, the books, the scripts. But it would all be for nothing if I didn't get my work out into the world. And to get my script into people's hands, I needed to meet people.

When I first started writing, I was living in Atlanta. There weren't many groups or events for screenwriters at the time, but there were a few, and I looked up every single one. Some were homegrown, and others were meetups from sites like The Blcklst.

I attended one or two of these a week, but I was meeting the same people, and they were all writers, and most of them were aspiring like me. I'm still in touch with a handful of folks from those meetups. Some write professionally, others have moved on, or just do it as a hobby. But at the time, nobody was getting paid to do it, and I noticed that the ones that wanted to were moving elsewhere.

The Decision To Move to Los Angeles

One of the most significant decisions I made for my screenwriting career was moving to Los Angeles. It's a question that comes up all the time, and if you're wondering if it's the right call for you, here are a number of articles that explore the intricacies of that decision.

In my case, there were a number of factors that went into the decision, both personal and professional, but the most significant factor was the fact that physically being in Los Angeles put me in the middle of the largest opportunity stream I could find.

You can't control how and when opportunities will arise, but you can control putting yourself in situations where they do. Those opportunities exist in a stream. The more they come around, the larger the stream. For my situation, Los Angeles provided a bigger stream than I otherwise had access to. In essence, I'd get more chances for happy accidents. Here are some of those chances:

One of my closest professional friends I met at the grocery store.

When I flew to the Austin Film Festival, half the plane was full of people also attending the festival from LA.

The very coffee that led to my first job happened because we lived in the same neighborhood.

How Not To Network

This is where I did everything wrong. My approach was scattershot, and I was just looking for things that I wanted, rather than seeking to provide value. The only reason I had a modicum of success here it was because I was doing nothing else. Even a broken watch is right twice a day.

Looking For Work

The first thing I did after I moved was apply to jobs at an assistant level, looking for ins at Lit Management Companies, Lit Agencies, and even trying to get on as Writer's Assistant in a room. My emails weren't getting returned, and my savings were starting to dwindle.

I pivoted and picked up a part-time job completely outside of the industry. I chose one that had flexible hours, good pay, and decent healthcare. (Hello, Trader Joe's!) And then, after having a fairly established career in production in Atlanta, I interned.

That first summer I was here I interned at a Talent Agency two days a week, and then I read for a Production Company remotely. When those ended, I rolled right into an internship at a Management Company, once again reading.

At these companies I built relationships not only with the people I was working for, but also the people I was working with. Not just the executives, agents and managers, but the assistants and my fellow interns. We would discuss what we read that week, what we were each working on, and what was next for us. I talk to at least one person from those internships every week.

Looking For A Win

That's me on the left, with writers from Stowe Story Labs that I talk to around once a week.

I also entered a few screenwriting contests. And I know, a lot has been said about these as well. I identified contests that offered a lab or workshop or event. In 2018, I had just one placement, but in 2019 I received a fellowship to the Stowe Story Lab, and I was a Semi-finalist at the Austin Film Festival.

These two events put me in touch with a whole other group of people that I would never have known. And while it was great to have work in competition, it was attending that really changed things for me. I wish I had been attending the Austin Film Festival every year, not just the year I received a Semi-finalist placement. Meeting writers at all sorts of different levels has helped me build a network of various people that I can turn to for various questions.

Looking For Community

It wasn't too long after my internships ended that I realized I was ignoring a whole other way to connect with writers and others in the industry: the web.

I had been disappointed by Facebook Groups and Meetup.com in my budding career, but when I discovered Twitter, things changed. Now, I could chat (or usually just listen) to professional screenwriters talk about their craft and their career. Once I gathered up the courage to start engaging with them, it opened up a dialogue, and I have some really great friends that I would never have found elsewhere.

While Twitter's been the place for me (it's even how Arc Studio Pro first found me to come write for them) I've heard other folks have success on Discord, Instagram, and yes, even Facebook.

There are also plenty of communities that are just run through their own websites and email lists. They're a little less discoverable, but if you find a community that makes you feel supported, stick with it.

ScreenHikers Meetup #1

Here are some of the ones that I've enjoyed being a part of:

Okay that last one is a small group that I started of writers that live in LA that get together once a month to go on a hike.

So besides doing all that, writing, making money bagging groceries, in whatever free time I had left I was attending anything where I might meet other like-minded people who wanted to make movies. And in doing so, I've picked up a few tips.

You Must Know How to Network

Show Up

If something is happening, you have to be there.

If know where to look, in the way back you can find me. I met a number of writers here, and I wouldn't have if I didn't show up.

This is the first lesson. If something is happening, you have to be there. You can't very well network if you don't go to networking events. And to be clear, an event doesn't have to be a "networking event" for you to network. In fact, it's easier to do at other types of events, such as parties, workshops, and screenings. Networking meet-ups are great, but they can sometimes feel like a singles mixer. I've begun some of my strongest relationships by attending midnight screenings for movies that I love.

Provide Value

When you show up, make sure that you "show up." Physically being in the space is key, but you have to engage with others. And that can feel awkward when you're trying to sell yourself. So how do you avoid the awkwardness? Don't sell yourself! What you can do instead is provide value.

Now, before you start offering your weekly rate for writing services, you should engage in conversation, and where there's a chance for you to help out, offer it. I've volunteered on sets, offered reads, given notes.

Volunteer on set

Host a table read

Give notes

Pick-up/drop-off equipment

Connect them with another writer, producer, director, etc

Here are just a few ways I've offered to provide value:

And it doesn't have to be just in screenwriting or industry related favors. If someone mentions an interest in sailing, and your friend sails on the weekends, offer to put them in touch. If someone is having trouble with their car, and your uncle is a mechanic and you've picked up a few things, offer to help. If someone needs a kidney...

In all seriousness, be careful how far you go for a favor. I volunteered on sets but I don't anymore. And I don't offer reads or notes anymore simply because my stack is too high. But none of that means there aren't situations where you can't provide value. Find them and provide it, while remembering to value yourself and your time.

Tell It Like It Is

I cannot stress how important this is. And while you may think I'm warning you against lying to try and impress others, the mistake I see more often is self-deprecation. It may seem strange to talk yourself up, but it's okay as long as it's true. If someone compliments your script or your work, graciously take it. This one took me a while to get, as I am so uncomfortable with compliments, but once I started thanking them and saying, "I'm glad you liked it, I worked hard on that one" it allowed the conversation in a much more open way, rather than the awkwardness that follows.

False humility and false modesty are also big no-no's. People can tell. Oh, and don't lie to try to impress others.

Calculate Less

This is one that I first heard Craig Mazin say on Scriptnotes (here and here), and while true of the whole industry, it's especially true in networking. The real truth of it comes from the fact that it is near impossible to calculate, so you shouldn't even try.

There is no way you can anticipate exactly how any person in any room will impact your career, and trying to machinate the game to maximize your benefit will just end up with you making a lot of guesses in your head that almost never pan out.

When I first met the director of the movie we would eventually sell to HBO, it had not been calculated at all. We were connected through two production designers that I had worked with in Atlanta almost six years prior. When I worked with them building paper maché models for a gig at the aquarium those years ago, there was no way I knew that relationship would gain me my first writing employment. But it did. If I had said, "This isn't worth my time, this isn't going to help me, these guys can't do anything for me," I wouldn't be where I am today.

Keep Track & Follow Up

If you're networking properly, you're going to meet a lot of people . A single day at the Austin Film Festival would fill my pockets to the brim with business cards. And when I got home, I followed up with every single one of them.

A single day at the Austin Film Festival would fill my pockets to the brim with business cards.

How and when and what to follow up with is different for each person and situation. One trick that has helped me is to actually work it into the conversation. If you're at a conference, talking about an article you read, tell them you'll send it to them when you get back to your room. As the conversation wraps up and someone hands you their business card, tell them you'll send them an email so you can connect online. I usually give a two day buffer, so if it's Tuesday, I'll say something like, "I'll shoot you an email, you can look for it no later than Thursday." That way, they have the opportunity to say, "Actually, I'm busy this week. Can you hit me up Monday?" or "Sounds great!"

The one thing I try to do in every follow-up is...you guessed it: provide value. I try to piggyback off something from the conversation. An article, a movie, a show, anything I can provide a link or an insight to. Sometimes, it's just reiterating what was already said or offered, like a read of their script.

Your memory is not good enough to keep track of the number of people you will connect with. Whether it's an app, something in your email client, or a robust CRM tool, having something to keep track of who you've met, who you've talked to, the last time you spoke, etc. can provide useful data to see who may be slipping through the cracks.

Personally, I started off just using a spreadsheet, but now I use an app called Cloze. The free version is okay, but the paid version has features that automate a lot of the tracking work I was doing. It took a while to set up (and it costs a decent amount each month) so it is a time and financial investment, but once my career really started taking off, I just couldn't keep up and sprung for the software.

I've also had good luck in the past with the following tools:

Like any other relationship, professional connections need love and attention. The rules and expectations are a bit different, but fundamentally, it's the same. If you don't stay in touch with a friend after college, you'll drift apart. If you don't stay in touch with an exec after a great meeting, you may not be on their radar when the next OWA comes around.

Getting a Return on Your Investment

So you've done all this networking. Now what? When does the money roll in? Well, if you're asking that, you're calculating. So don't.

Once I stopped seeing my professional network as something that I did, and started seeing it as something that I had, I was able to ask myself about the relationships within it, and strengthen those (or loosen some) for their own sake. Again, you can't calculate how a connection will help you. That relationship might not provide you any significant opportunity for six years. (That's what happened to me.) Some relationships might never provide you significant opportunity, which is why I always recommend you prioritize the relationship itself.

Ask: Is this someone you want in your life? If the answer is yes, then look to provide value to them. If the answer is no, then maintain a professional working relationship, but don't necessarily push for something more just because you might be able to get something from it.

You can't calculate how a specific relationship will help you, but you can estimate the benefits of your network as a whole: the more relationships you have, and the stronger their quality, the more you will provide, and ultimately receive, value.

From Bedroom to HBO Part III: How to Make a Movie - The Job

‍

# data[].attributes.attachment_link.title
How to Network as a Screenwriter - The Industry - Arc Studio Blog

# data[].attributes.attachment_link.description
Networking as a screenwriter doesn't have to be hard. It takes time, but putting your best foot forward will have you not only making movies and television, but doing so with people you like.

# data[].attributes.attachment_link.readable_text
From bedroom to HBO Part II

As I've written before, there's no one way to be a screenwriter. But there are some common prerequisites:

You must know how to write a story.

You must know how to network.

You must know how to work.

Plenty has been written (here and elsewhere) about how to write a story. And there will be more to come about how to work. If you have missed it, here is the first part of this series: How to Be a Screenwriter - The Craft.

In this episode, let's talk about that dreaded part of the job that has nothing to do with narrative, formatting, or hero's journeys: networking.

I Think I Can Write, But Now What?

In From Bedroom to HBO - Part 1, I detailed how I studied and learned the craft. The pages, the hours, the books, the scripts. But it would all be for nothing if I didn't get my work out into the world. And to get my script into people's hands, I needed to meet people.

When I first started writing, I was living in Atlanta. There weren't many groups or events for screenwriters at the time, but there were a few, and I looked up every single one. Some were homegrown, and others were meetups from sites like The Blcklst.

I attended one or two of these a week, but I was meeting the same people, and they were all writers, and most of them were aspiring like me. I'm still in touch with a handful of folks from those meetups. Some write professionally, others have moved on, or just do it as a hobby. But at the time, nobody was getting paid to do it, and I noticed that the ones that wanted to were moving elsewhere.

The Decision To Move to Los Angeles

One of the most significant decisions I made for my screenwriting career was moving to Los Angeles. It's a question that comes up all the time, and if you're wondering if it's the right call for you, here are a number of articles that explore the intricacies of that decision.

In my case, there were a number of factors that went into the decision, both personal and professional, but the most significant factor was the fact that physically being in Los Angeles put me in the middle of the largest opportunity stream I could find.

You can't control how and when opportunities will arise, but you can control putting yourself in situations where they do. Those opportunities exist in a stream. The more they come around, the larger the stream. For my situation, Los Angeles provided a bigger stream than I otherwise had access to. In essence, I'd get more chances for happy accidents. Here are some of those chances:

One of my closest professional friends I met at the grocery store.

When I flew to the Austin Film Festival, half the plane was full of people also attending the festival from LA.

The very coffee that led to my first job happened because we lived in the same neighborhood.

How Not To Network

This is where I did everything wrong. My approach was scattershot, and I was just looking for things that I wanted, rather than seeking to provide value. The only reason I had a modicum of success here it was because I was doing nothing else. Even a broken watch is right twice a day.

Looking For Work

The first thing I did after I moved was apply to jobs at an assistant level, looking for ins at Lit Management Companies, Lit Agencies, and even trying to get on as Writer's Assistant in a room. My emails weren't getting returned, and my savings were starting to dwindle.

I pivoted and picked up a part-time job completely outside of the industry. I chose one that had flexible hours, good pay, and decent healthcare. (Hello, Trader Joe's!) And then, after having a fairly established career in production in Atlanta, I interned.

That first summer I was here I interned at a Talent Agency two days a week, and then I read for a Production Company remotely. When those ended, I rolled right into an internship at a Management Company, once again reading.

At these companies I built relationships not only with the people I was working for, but also the people I was working with. Not just the executives, agents and managers, but the assistants and my fellow interns. We would discuss what we read that week, what we were each working on, and what was next for us. I talk to at least one person from those internships every week.

Looking For A Win

That's me on the left, with writers from Stowe Story Labs that I talk to around once a week.

I also entered a few screenwriting contests. And I know, a lot has been said about these as well. I identified contests that offered a lab or workshop or event. In 2018, I had just one placement, but in 2019 I received a fellowship to the Stowe Story Lab, and I was a Semi-finalist at the Austin Film Festival.

These two events put me in touch with a whole other group of people that I would never have known. And while it was great to have work in competition, it was attending that really changed things for me. I wish I had been attending the Austin Film Festival every year, not just the year I received a Semi-finalist placement. Meeting writers at all sorts of different levels has helped me build a network of various people that I can turn to for various questions.

Looking For Community

It wasn't too long after my internships ended that I realized I was ignoring a whole other way to connect with writers and others in the industry: the web.

I had been disappointed by Facebook Groups and Meetup.com in my budding career, but when I discovered Twitter, things changed. Now, I could chat (or usually just listen) to professional screenwriters talk about their craft and their career. Once I gathered up the courage to start engaging with them, it opened up a dialogue, and I have some really great friends that I would never have found elsewhere.

While Twitter's been the place for me (it's even how Arc Studio Pro first found me to come write for them) I've heard other folks have success on Discord, Instagram, and yes, even Facebook.

There are also plenty of communities that are just run through their own websites and email lists. They're a little less discoverable, but if you find a community that makes you feel supported, stick with it.

ScreenHikers Meetup #1

Here are some of the ones that I've enjoyed being a part of:

Okay that last one is a small group that I started of writers that live in LA that get together once a month to go on a hike.

So besides doing all that, writing, making money bagging groceries, in whatever free time I had left I was attending anything where I might meet other like-minded people who wanted to make movies. And in doing so, I've picked up a few tips.

You Must Know How to Network

Show Up

If something is happening, you have to be there.

If know where to look, in the way back you can find me. I met a number of writers here, and I wouldn't have if I didn't show up.

This is the first lesson. If something is happening, you have to be there. You can't very well network if you don't go to networking events. And to be clear, an event doesn't have to be a "networking event" for you to network. In fact, it's easier to do at other types of events, such as parties, workshops, and screenings. Networking meet-ups are great, but they can sometimes feel like a singles mixer. I've begun some of my strongest relationships by attending midnight screenings for movies that I love.

Provide Value

When you show up, make sure that you "show up." Physically being in the space is key, but you have to engage with others. And that can feel awkward when you're trying to sell yourself. So how do you avoid the awkwardness? Don't sell yourself! What you can do instead is provide value.

Now, before you start offering your weekly rate for writing services, you should engage in conversation, and where there's a chance for you to help out, offer it. I've volunteered on sets, offered reads, given notes.

Volunteer on set

Host a table read

Give notes

Pick-up/drop-off equipment

Connect them with another writer, producer, director, etc

Here are just a few ways I've offered to provide value:

And it doesn't have to be just in screenwriting or industry related favors. If someone mentions an interest in sailing, and your friend sails on the weekends, offer to put them in touch. If someone is having trouble with their car, and your uncle is a mechanic and you've picked up a few things, offer to help. If someone needs a kidney...

In all seriousness, be careful how far you go for a favor. I volunteered on sets but I don't anymore. And I don't offer reads or notes anymore simply because my stack is too high. But none of that means there aren't situations where you can't provide value. Find them and provide it, while remembering to value yourself and your time.

Tell It Like It Is

I cannot stress how important this is. And while you may think I'm warning you against lying to try and impress others, the mistake I see more often is self-deprecation. It may seem strange to talk yourself up, but it's okay as long as it's true. If someone compliments your script or your work, graciously take it. This one took me a while to get, as I am so uncomfortable with compliments, but once I started thanking them and saying, "I'm glad you liked it, I worked hard on that one" it allowed the conversation in a much more open way, rather than the awkwardness that follows.

False humility and false modesty are also big no-no's. People can tell. Oh, and don't lie to try to impress others.

Calculate Less

This is one that I first heard Craig Mazin say on Scriptnotes (here and here), and while true of the whole industry, it's especially true in networking. The real truth of it comes from the fact that it is near impossible to calculate, so you shouldn't even try.

There is no way you can anticipate exactly how any person in any room will impact your career, and trying to machinate the game to maximize your benefit will just end up with you making a lot of guesses in your head that almost never pan out.

When I first met the director of the movie we would eventually sell to HBO, it had not been calculated at all. We were connected through two production designers that I had worked with in Atlanta almost six years prior. When I worked with them building paper maché models for a gig at the aquarium those years ago, there was no way I knew that relationship would gain me my first writing employment. But it did. If I had said, "This isn't worth my time, this isn't going to help me, these guys can't do anything for me," I wouldn't be where I am today.

Keep Track & Follow Up

If you're networking properly, you're going to meet a lot of people . A single day at the Austin Film Festival would fill my pockets to the brim with business cards. And when I got home, I followed up with every single one of them.

A single day at the Austin Film Festival would fill my pockets to the brim with business cards.

How and when and what to follow up with is different for each person and situation. One trick that has helped me is to actually work it into the conversation. If you're at a conference, talking about an article you read, tell them you'll send it to them when you get back to your room. As the conversation wraps up and someone hands you their business card, tell them you'll send them an email so you can connect online. I usually give a two day buffer, so if it's Tuesday, I'll say something like, "I'll shoot you an email, you can look for it no later than Thursday." That way, they have the opportunity to say, "Actually, I'm busy this week. Can you hit me up Monday?" or "Sounds great!"

The one thing I try to do in every follow-up is...you guessed it: provide value. I try to piggyback off something from the conversation. An article, a movie, a show, anything I can provide a link or an insight to. Sometimes, it's just reiterating what was already said or offered, like a read of their script.

Your memory is not good enough to keep track of the number of people you will connect with. Whether it's an app, something in your email client, or a robust CRM tool, having something to keep track of who you've met, who you've talked to, the last time you spoke, etc. can provide useful data to see who may be slipping through the cracks.

Personally, I started off just using a spreadsheet, but now I use an app called Cloze. The free version is okay, but the paid version has features that automate a lot of the tracking work I was doing. It took a while to set up (and it costs a decent amount each month) so it is a time and financial investment, but once my career really started taking off, I just couldn't keep up and sprung for the software.

I've also had good luck in the past with the following tools:

Like any other relationship, professional connections need love and attention. The rules and expectations are a bit different, but fundamentally, it's the same. If you don't stay in touch with a friend after college, you'll drift apart. If you don't stay in touch with an exec after a great meeting, you may not be on their radar when the next OWA comes around.

Getting a Return on Your Investment

So you've done all this networking. Now what? When does the money roll in? Well, if you're asking that, you're calculating. So don't.

Once I stopped seeing my professional network as something that I did, and started seeing it as something that I had, I was able to ask myself about the relationships within it, and strengthen those (or loosen some) for their own sake. Again, you can't calculate how a connection will help you. That relationship might not provide you any significant opportunity for six years. (That's what happened to me.) Some relationships might never provide you significant opportunity, which is why I always recommend you prioritize the relationship itself.

Ask: Is this someone you want in your life? If the answer is yes, then look to provide value to them. If the answer is no, then maintain a professional working relationship, but don't necessarily push for something more just because you might be able to get something from it.

You can't calculate how a specific relationship will help you, but you can estimate the benefits of your network as a whole: the more relationships you have, and the stronger their quality, the more you will provide, and ultimately receive, value.

From Bedroom to HBO Part III: How to Make a Movie - The Job

‍

# data[].attributes.attachment_link.title
How to Network as a Screenwriter - The Industry - Arc Studio Blog

# data[].attributes.attachment_link.description
Networking as a screenwriter doesn't have to be hard. It takes time, but putting your best foot forward will have you not only making movies and television, but doing so with people you like.

# data[].attributes.attachment_link.description
So, you’re looking for a screenwriting job! How do you even get started? I’m sure you’ve been scouring the internet and googling…

# data[].attributes.attachment_link.readable_text
As a very popular medium of entertainment, film brings so much color and creativity to storytelling. Being a film intern for a semester or for the summer can be an exciting way to get some hands on experience with the profession. And while film as a larger concept can be overwhelming, there are many different parts to film you can try during your internship.

What does a film intern do?

Since there are a lot of moving parts to making a film, there are a lot of roles someone on set or behind the scenes could fill. That being said, there are many different tasks that a film intern might be concerned with. Some common tasks could include: editing videos and photos, researching a variety of topics, working lighting and sound, or taking on a more administrative role by answering calls or emails. Making a film takes a whole crew, and there are many roles you possibly fill on it that you can try out!

How do I find a film internship?

If you're wondering how to get an internship in film for summer 2021, try looking on Handshake under filtered searches like "film internships near me." Handshake allows you to really focus on sports focused employers where you might want to work and even network with past interns who might also be alumni from your school. And if you're looking for a film internship in a particular location for summer 2021, try searching for openings by using filters like "film internships Los Angeles" or "film internships NYC."

How do I get a film internship with no experience?

If you're interested in getting a film internship, but have no prior experience, it's key to play to your strengths and show that you're eager to learn. You can search for film internships on Handshake to first get a feel of the requirements that they usually list for their interns. After that, list in your resume and cover letter experiences and previous roles you've had where the skills translate over. For example, if you've taken a video production class course or have had experience in an applicable group project, mention it!

When should I start applying for film internships?

For most positions, sooner searching for your internship rather than later! If you are planning to have a summer film internship, we recommend starting to look for internship positions no later than the season prior. Many industries prefer to recruit as early as the fall, so staying up to date on fall virtual career fairs will be helpful in securing a role! Each company has different deadlines for applications, so sooner is usually better! If you're searching for a role during the school year, it's best to get on applying 3-6 months prior so you can inform your internship of your other obligations and classes.

It's also really important to keep in mind that your university's career services center will have great insight about specific recruitment periods at your school. Make sure to sign up for a meeting with your career advisor at the start of the school year for additional help in planning ahead!

How much do film interns make?

Because the industries that require film interns vary, there's no standard answer for a film internship payscale. If you're wondering how much your film internship will pay, it might be best to inquire directly with the company you're considering taking an internship with.. Some internship programs will offer only class credits, while many others are more keen to compensate their interns with an hourly rate or a set stipend.

What skills are relevant for film interns?

Strong storytelling skills

High attention to detail and organization

Great teamwork and communication skills

Knowledge of editing softwares

Where do film interns work?

Film interns can take their learnings and work into different job roles like Film & Video Editors, Directors, Actors, and Producers. They also can work for many different types of companies, like our constantly growing list of employers hiring now.

How do I write a cover letter for an internship?

Take a look at some great cover letter writing tips to boost your confidence and ace your internship application! And if you need a place to start, try our free cover letter template download here, or reach out to your school's career center for personalized cover letter guidance.

# data[].attributes.attachment_link.description
Wondering how to get film internships while still in undergrad? Check out our tips for finding and securing film internships.

# data[].attributes.attachment_link.title
Fellowship & Writing Programs for Screenwriters Masterlist — The Writers Guild Foundation

# data[].attributes.attachment_link.description
The Writers Guild Foundation celebrates the vital importance of screen storytelling and storytellers.

# data[].attributes.attachment_link.title
Looking for an internship and don't know where to start :(

# data[].attributes.attachment_link.description
Join our community of over 1,600,000 Screenwriters! From beginners to professionals, we come together to teach, learn, and share everything about Screenwriting. Please view our rules and wikis before posting. Scroll down for resources, mod and verification applications, and more.

# data[].attributes.attachment_link.description
Showing 1 to 5 of 46 Jobs Search results for ”″. Showing 1 to 5 of 46 Jobs Use the Tab key to navigate the Job List. Select to view the full details of the job.

# data[].attributes.attachment_link.readable_text
Use the search criteria below to quickly find jobs that match your interests. Don't see what you're looking for? Create job alerts using the 'Notify Me of Jobs' button. Plus, if you want to be the first to know about career news and happenings at NBCU sign up for our Talent Community below.

# data[].attributes.attachment_link.description
Use the search criteria below to quickly find jobs that match your interests. Don't see what you're looking for? Create job alerts using the 'Notify Me of Jobs' button. Plus, if you want to be the first to know about career news and happenings at NBCU sign up for our Talent Community below.

# data[].attributes.attachment_link.description
View open positions at PBS and apply now.

# data[].attributes.attachment_link.readable_text
WE ARE Paramount

We're unleashing the power of content by connecting with billions of people worldwide through television, streaming and digital content, studio production, publishing, live events, merchandise and more.

# data[].attributes.attachment_link.description
We're unleashing the power of content by connecting with billions of people worldwide through television, streaming and digital content, studio production, publishing, live events, merchandise and more.

# data[].attributes.attachment_link.description
Search for jobs near you by title, location, department, category or other relevant terms. Roku, jobs, careers, internship, streaming, TV, engineering

# data[].attributes.attachment_link.readable_text
Serving our community

Our community-focused employee volunteer program, "Unidos por los Nuestros" (United for our Own), has partnered with 37 health, education and small business community-based organizations in 20 markets to provide support for thousands of families, students and budding entrepreneurs.

# data[].attributes.attachment_link.description
Serving our community Our community-focused employee volunteer program, "Unidos por los Nuestros" (United for our Own), has partnered with 37 health, education and small business community-based organizations in 20 markets to provide support for thousands of families, students and budding entrepreneurs.

# data[].attributes.attachment_link.readable_text
Skip to Search Results Skip to Search Filters

102 Results Found

Why We Love Sony Pictures

Nadya Ichinomiya Culver City
"Through the power of imagination, we transport people to different realms, experiences, viewpoints, and moments in time, even the past or the future. Our viewers are captured by comedy, enraptured by suspense, and are victorious when their favorite characters triumph. This sharing of experience impacts every human being in every corner of the world. Each of us at Sony Pictures plays a part in the execution of that impact."

Premiere Jobs

Jobs Near You

Recently Viewed Jobs

Saved Jobs

You have not recently viewed any jobs.

You have not saved any jobs.

# data[].attributes.attachment_link.title
Search our Job Opportunities at Sony Pictures Entertainment, Inc.

# data[].attributes.attachment_link.description
Search for available job openings at Sony Pictures Entertainment, Inc.

# data[].attributes.attachment_link.description
Find jobs and career opportunities in sports, news and entertainment at FOX. Work for the world's premier portfolio of cable, broadcast, news, sports, entertainment and satellite brands.

# data[].attributes.attachment_link.description
Showing 1 to 5 of 46 Jobs Search results for ”″. Showing 1 to 5 of 46 Jobs Use the Tab key to navigate the Job List. Select to view the full details of the job.

# data[].attributes.attachment_link.description
A+E Networks® is a collection of culture brands that includes A&E®, The HISTORY® Channel, Lifetime®, LMN®, FYI®, VICE TV and BIOGRAPHY®. We are in seven out of 10 American homes and have a cumulative reach of 342 million people worldwide. We also have 500+ million digital users across our sites…

# data[].attributes.attachment_link.readable_text
Are you interested in shaping the future of entertainment? Do you want to invent, disrupt and redefine what entertainment means for fans, creators, and communities all around the globe?

As part of the Prime Video team, you'll get to work on projects that are fast-paced, challenging, and varied. Also, you'll get to experiment with new possibilities, take risks, and collaborate with remarkable people.

We'll look for you to bring your diverse perspectives, ideas, and skill-sets to make Prime Video even better for our customers. With global opportunities for talented creatives, technologists, marketing professionals and so much more, you can decide where a career with Prime Video takes you!

# data[].attributes.attachment_link.keywords[]
we're a company of pioneers. it's our job to make bold bets

# data[].attributes.attachment_link.keywords[]
and we get our energy from inventing on behalf of customers. success is measured against the possible

# data[].attributes.attachment_link.keywords[]
that’s exactly why there’s no place on earth they’d rather build than amazon.

# data[].attributes.attachment_link.description
Are you interested in shaping the future of entertainment? Do you want to invent, disrupt and redefine what entertainment means for fans, creators, and communities all around the globe? As part of the Prime Video team, you'll get to work on projects that are fast-paced, challenging, and varied.

# data[].attributes.attachment_link.description
A+E Networks® is a collection of culture brands that includes A&E®, The HISTORY® Channel, Lifetime®, LMN®, FYI®, VICE TV and BIOGRAPHY®. We are in seven out of 10 American homes and have a cumulative reach of 342 million people worldwide. We also have 500+ million digital users across our sites…

# data[].attributes.attachment_link.description
The Essential Voice in Entertainment News. The Wrap News is the leading digital news organization covering the business of entertainment and media.

# data[].attributes.attachment_link.readable_text
All The Titles Scheduled To Leave Crackle

Here is a rundown of all the titles currently scheduled to leave the streaming service Crackle.As a reminder, these dates are very fluid and can change as new content dea

First Look: 'Twisted Metal'

John Doe (Anthony Mackie) and Sweet Tooth (Will Arnett/Samoa Joe) get into a fight until Sisqó's "Thong Song" brings them together. Twisted Metal, a half-hour live

First Look: 'Anthem'

Reflecting upon "The Star-Spangled Banner," Anthem follows acclaimed composer Kris Bowers (Bridgerton, When They See Us, King Richard) and Grammy-winning music produc

First Look: 'Secret Chef'

From Executive Producer and chef David Chang, comes a sly twist and playful turn on the food competition series. Ten contestants from all walks of life - from professio

# data[].attributes.attachment_link.description
Your complete guide to everything that matters in television and the media

# data[].attributes.attachment_link.readable_text
All The Titles Scheduled To Leave Crackle

Here is a rundown of all the titles currently scheduled to leave the streaming service Crackle.As a reminder, these dates are very fluid and can change as new content dea

First Look: 'Twisted Metal'

John Doe (Anthony Mackie) and Sweet Tooth (Will Arnett/Samoa Joe) get into a fight until Sisqó's "Thong Song" brings them together. Twisted Metal, a half-hour live

First Look: 'Anthem'

Reflecting upon "The Star-Spangled Banner," Anthem follows acclaimed composer Kris Bowers (Bridgerton, When They See Us, King Richard) and Grammy-winning music produc

First Look: 'Secret Chef'

From Executive Producer and chef David Chang, comes a sly twist and playful turn on the food competition series. Ten contestants from all walks of life - from professio

# data[].attributes.attachment_link.description
Your complete guide to everything that matters in television and the media

# data[].attributes.attachment_link.readable_text
Below are the vetted partners for the Georgia Entertainment Resource Guide. This sponsored digital guide is sent to thousands of industry insiders, producers and directors twice annually. The resource is also available 24/7 here on our web site and found in Google and other search engines. These companies have gone above and beyond to provide superior services to their clients in the industry. Please review their profiles and contact them today.
The Premier Partner of the 2023 Georgia Entertainment Resource Guide is Monarch Film Credits.
Monarch Film Credits, a division of Monarch Private Capital, has placed over $1 billion of film, motion picture and digital media tax credits since 2006. The division's head, Marco Cordova, is one of the foremost film tax credit experts in the nation. See more about their services in the company's full listing below.
ACCOUNTING
Bennett Thrasher LLP (Accounting) - 770-396-2200 - Peter Stathopoulos

Bennett Thrasher, an Atlanta-based accounting and consulting firm with a national Entertainment Practice, has in-depth experience in the entertainment industry, representing clients ranging from major motion picture studios, television networks and streaming platforms to independent production companies, producers and artists. We help production companies identify and maximize entertainment-related incentives in Georgia and across the country. Additionally, our full-suite of accounting services includes financial reporting and assurance, tax return preparation and planning and wealth management.

Frazier Deeter (Accounting) - 404-253-7500

Frazier & Deeter's entertainment CPAs provide a wide range of services to support entertainment clients. Whether you're shooting a $20,000 webisode or a $100M feature, our firm can provide consulting, assurance and attestation services to fit the financial needs of your production. Our services include: Structuring of your project-specific legal entities, Budget analysis, Maximizing your investment, Helping you keep in compliance with State guidelines, Auditing of production expenditures, Applying for tax credits, Assistance with monetizing tax credits, Personal tax and financial planning.

Fricke & Associates, P.C. (Accountants) - 770-216-2226 - Contact

Georgia is now known as the Hollywood of the South. The Georgia Entertainment Industry Investment Act, which provides a tax credit of up to 30% for qualifying productions, has helped grow the filmmaking industry in the region. This tax opportunity cuts costs dramatically, making Georgia an attractive place to produce movies, television shows, commercials, and other content.

At Fricke & Associates, LLC., our CPAs work closely with both independent filmmakers and major production companies. We help clients in the film industry select and set up their proper business entity, make sure they meet all the regulatory requirements, maintain all the proper documentation, and plan for minimizing tax liabilities.

ART DIRECTION / PRODUCTION

Omar Foster - (Set Design/Art Design) - 678-777-1520

A Well Rounded designer. 5 Year Architectural degree, Associates in Architectural Drafting, Certificate in Graphic Design, Undergrad in Construction Management &Minor in Business Admin. Skilled Scaled model builder

ICP - (Audio, Production) - 404-355-7943 - Jay Rabbitt

For over 40 years, ICP has been the Southeastern United States' first source for high-end audio and

PL / Com services for broadcast, corporate, and special events. ICP also provides some of the most experienced engineers and technicians available in the Southeast to ensure a full-service familiarity on par with producers' and directors' expectations from Los Angeles, NYC, and worldwide. ICP features state-of-the-art speaker systems from d&b audiotechnik, wireless mics from Shure Axient and Sennheiser, digital consoles from Yamaha, AVID, and Digico, and specialized IFB and PL / Com from Freespeak and Riedel. Along with ICP's long-running partnership with ATK Audiotek and Versacom in Los Angeles, we can provide any audio solution required for studio-based productions.

Atlantic Capital Bank - (Banking) - 404-995-6050 - Sonny Deriso

Atlantic Capital is a publicly traded $2.9 billion bank headquartered in Atlanta, Georgia. Atlantic Capital provides lending, treasury management, and capital markets services to small and mid-size businesses, with a focus on commercial and not-for-profit enterprises, commercial real estate developers, and affluent families and individuals.

Reel Supplies - (Building Supplies) - 404-772-1956 - Matt Davis

At Reel Supplies, our vision is to connect feature film and TV production with building supplies in a way that is as dynamic as the industry itself. Our mission is to use our people and process to reinvent the pivotal role of building supplies in the feature film and production industry. Matt Davis is the CEO. He has over 14 years' experience in operations, logistics, purchasing, and sales in the film and television industry. His proven track record includes over $85MM in gross career sales in the building supply and equipment rental industries.

Hanna Brothers (Catering) - (770) 460-0280 - Contact Us

A Leading Partner with the Film & Television Industry for Over 20 Years! We believe that a great meal brings people together...and that the world could use a little more of that right now. Locally-sourced, made-from-scratch meals ensure your quality standards are met every time. We offer catering solutions to the film, production, gaming, corporate, and disaster relief industries. We feed a great meal to hundreds of thousands of people every year. Using tried & true methods and techniques, as well as our corporate commitment to sustainability, we are able to reduce waste and benefit the environment at a large scale.

Hanna Brothers is honored to have worked on over 200+ film projects, including popular television shows like Queen Sugar, DC's Doom Patrol, Are You There God? It's Me, Margret, CSI: Miami, CW's Legacies. As well as critically-acclaimed feature films such as Green Book, Crash, and High Fidelity. For more information and to view our sample menus, visit our website.

Austro Catering (Catering) - 661-645-5581 - Horst Jung

Welcome to AUSTRO Catering Services. Our company is specifically designed to provide food service on location and stage of TV, Motion Picture, and Commercial Production Companies. I am a certified Chef from the Villach Culinary Institute in Austria with thirty years of international working experience in first class hotels and restaurants. I will be on-site on a daily basis as the manager and chef. My presence will assure and guarantee that your crew will receive the very best personal and quality service. With AUSTRO CATERING SERVICES you can relax because every meal will be served with personalized care and dependability from the first day of filming through the final day of production.

Norcostco (Professional Makeup) - 470.447.1412 - Meghan Bernstein

Member of: United States Institute of Theatre Technology, National Costumers Association, Entertainment Services and Technology Association, Educational Theatre Association, Georgia Production Partnership. Professional makeup: Ben Nye, Kryolan, Mehron, Cinema Secrets, Iwata, Skin Illustrator, European Body Art, Bluebird, Reel, Temptu, Kett, Face Atelier, Danessa Myricks, WM Creations, and more. Expansive expendables selection. Set bags, actor bags, hair expendables, brushes. For production quotes and account setup, please contact: makeupatl@norcostco.com Credits: Doom Patrol, Stranger Things, Dynasty, Black Panther 2, Haunted Mansion, Shazam! 2, The Walking Dead. Additional credits available upon request.
COSTUME RENTALS, SPECIALTY CLOTHING
KaliCollection (Costume Rentals, Vintage Wardrobe) - 470-219-5058 - Deborah Cha Blevins

Atlanta's finest vintage rental house, serving productions from coast to coast. Our stock is hand selected, well maintained, and well organized. We can help make your production authentic and stylish. We now offer Made to Order services as well. Show Credits: The Tender Bar, West Side Story, Julia, Doom Patrol Season 1-4, Wanda Vision, Lovecraft Country, Hidden Figures, George and Tammy, Wonder Years, Underground Railroad
DESIGN
a pierre design (Production Design) - (404) 221-1221 - Andre Pierre

a pierre design is located in Atlanta, Georgia serving productions all over the state. Member of: IATSE 479 movies & TV shows. Credits: Ordinary Joe (season 1); Uglies; DMZ; Strongers; Promise Land; The Color Purple Musical; Unsung: Jen Carne. Additional credits available upon request. Fabrics, Draperies and Upholstery, On Set Supplies & Services, Production Support Services
EDUCATION
Savannah Technical College (Education) - Contact

Film crews prefer our graduates. The Savannah Film Academy at Savannah Tech prepares students for below-the-line careers in the film industry. The certificate program features hands-on training with the latest equipment while students attain a basic knowledge of film etiquette, protocol, and organizational structure. While they are learning, students build their resumes as they gain valuable work experience. In only three semesters, graduates will be earning a great living and doing something they love. Visit savannahtech.edu/SAV-Film to learn more.

Atlanta Technical College (Education) - 404-225-4461 - Contact

Atlanta Technical College's Continuing Education Department's mission is to develop short courses, workshops, and seminars for professional development and personal enrichment. Thanks to our partnership with the Georgia Film Academy, we proudly offer Introduction to On-Set Film Production for those students interested in obtaining skills for a career in the film industry. This 18 credit hour certification program provides students with a basic level of on-set film production skills, knowledge, and experience with film-industry standard organizational structure, professional equipment, and on-set procedures.
ELECTRICAL CONTRACTOR
Ritch Electric (Electrical) - (706) 322-6825 - Betsy Ritch

At Ritch Electric Co., Inc. we are an experienced and highly-recommended contractor serving the electrical needs of commercial and institutional properties from new wiring to electrical maintenance, and troubleshooting. We're specialists in the service and installation of electrical systems, and have a comprehensive knowledge of new technologies, as well as systems that have been installed for years.

As a woman-owned business we have plenty of experience filling government contracts including work on-base at Fort Benning. As such, we believe that we are easier to work with and better to look at than most of our counterparts! Our commitment is to get the job done safely, on time and at an affordable rate. Call us today and find out why so many people in and around Columbus rely upon Ritch Electric Co., Inc.
ENGINEERING
W&A Engineering (Engineering) - 706-310-0400 - Contact

W&A Engineering is a growing multidisciplinary engineering firm headquartered in Athens, Georgia. Known for our innovative design, efficient engineering, and professional service, W&A is the trusted partner of community leaders and developers driving sustainable growth throughout the United States. Utilizing a mix of creative and analytical engineering, along with extensive real world experience, our team efficiently moves projects from inception to completion in a wide variety of public and private sectors. W&A Engineering leads the Northeast Georgia market, provides on-call economic development services to over 35 communities, has project experience in more than 45 states, and continues to expand services and forge partnerships in the South's most dynamic cities.
FILM, CREDITS
RiseImpact Capital (Buy/Sell Tax Credits) - 470-552-0171 - Chelsea Spivey

RiseImpact Capital (formerly Sixty West TCI) is a full service tax advantaged real estate development and tax credit syndication firm focusing on federal and state tax credits in the areas of affordable housing, historic development, renewable energy and film & entertainment. Offices are located in Georgia, Louisiana, Missouri and South Carolina.

The RiseImpact team has monetized over $2 billion in federal and state tax credits and over $1 billion of film & entertainment tax credits. The firm has financed and syndicated federal and state tax credits in Alabama, Arizona, Colorado, Connecticut, District of Columbia, Georgia, Illinois, Indiana, Kentucky, Louisiana, Massachusetts, Missouri, Mississippi, Nebraska, New Jersey, North Carolina, Oklahoma, Pennsylvania, South Carolina, Texas, Virginia, West Virginia, and Wisconsin.

RiseImpact recently engaged Nicole Ameln and her firm North Star Incentives to lead RiseImpact's pursuit of film & entertainment tax credit brokerage, syndication and finance opportunities. RiseImpact is an active member of the Georgia Screen Entertainment Coalition, Georgia Production Partnership and Women in Film and Television Atlanta.

Monarch Film Credits (Buy/Sell Tax Credits) - (678) 243-8668 - Marco Cordova

Monarch Film Credits, a division of Monarch Private Capital, has placed over $1 billion of film, motion picture and digital media tax credits since 2006. Our division head, Marco Cordova, is one of the foremost film tax credit experts in the nation, previously working for a major motion picture studio and another large entertainment company. Monarch:

Helps major studios and independent productions place film tax credits generated in U.S. jurisdictions offering transferable tax credits

Assists Fortune 500 companies, private companies, and high-net-worth taxpayers to use film tax credits to offset their state tax liabilities

Works with freely transferable tax credits in states such as Georgia, Massachusetts, California, Illinois, Connecticut, Pennsylvania, Nevada, New Jersey, Rhode Island, and Montana

Has a large and experienced team of CPAs, tax attorneys, and accountants to help ensure our tax credit placement transactions are processed timely and accurately

FILM, PRODUCTION
Blue Trail Entertainment (Film, Production) - 484-201-5872 - Contact

Blue Trail Entertainment is a full-service production company since 2006, owned by husband-and-wife team Eric Bugbee (director / cinematographer / writer) and Jill Bugbee (producer / PM / writer), developing and producing feature films and TV shows, which have RIFF (redemptive, inspirational, family or faith) content. Our first feature film Heroes of Dirt (PG-13, 2015) was a coming-of-age sports drama with positive critical reviews, and promoted by ESPN, USA BMX and Big Brothers Big Sisters of America. It went out on limited theatrical release, and was listed in the 75 Movies To Watch Fall 2015 by Vulture / NY Magazine along with Star Wars: The Force Awakens, Spectre, The Martian, and other major movies.

Our company's subsidiary, Blue Trail Productions, services small to national companies with commercials, marketing media, educational videos and documentaries. Based in Fayetteville, GA, our company plans to build a 5K+ sq. ft. boutique soundstage 1 mile from Trilith Studios.
FURNITURE RENTAL
Brook Furniture Rental - (Rental) - Jeanne Milnes 818.388.1045 or jmilnes@bfr.com

We are America's leading high-end residential and office furniture rental company serving the entertainment industry. We provide high quality furniture and trustworthy and reliable service to people and companies in transition. We know that most people have not had to rent furniture before, so we aim to make the process of transition as easy and comfortable as possible. Our website will walk you through the steps to furnish your home or office with high-quality furniture and our white-glove service teams will set-up your space to be walk-in ready. In most cases, we are able to set-up your new home or office within 48 hours of a lease being signed. We are relentless in our focus on customer service and take pride in our sustainability initiatives.
HEALTH/WELLNESS
Arthroscopy (Health) - 770-565-0011 - Contact

Every member of The Center for Orthopedics and Sports Medicine are dedicated to providing each patient the best service possible. Dr. Weil and Dr. Steenlage are board certified in Orthopedic Surgery. In addition, Dr. Weil is fellowship trained in hand surgery. We have a strong commitment to listening to you and providing current, conservative and essential treatment.

Our goal is simple: identify and solve your orthopedic injury and condition. By using a holistic approach along with sports medicine principles every effort is made to reduce the anxiety and difficulty of being a patient. We strive to earn our patient loyalty every day. Each member of the COSM team works to provide the type and level of medical care that we would expect if we were a patient. Each patient becomes an active participant in their care. As with most things in medicine, a team approach that includes the patient results in the best success. We believe that your time is important and that your understanding of your condition is critical to the success of your treatment.

2UMedical (Health) - 404.847.9555 - Linda McIver

Linda McIver, is a board-certified family nurse practitioner and an American Board of Anti-Aging Health Practitioner (ABAAHP). She has a vision for simplifying healthcare delivery, and she is passionate about promoting wellness. She has enjoyed a career in healthcare for 30 years, and her background is diverse. She attended Auburn University for her bachelors in nursing, followed by Kennesaw State University for her masters degree. Since 1989, Dr. Kaufmann has been practicing internal medicine at The Kaufmann Clinic with offices in Atlanta and Woodstock. Dr. Kaufmann is a native Atlantan. He earned his medical degree at Morehouse School of Medicine, and completed his residency at the Emory School of Medicine. Dr. Kaufmann has a strong presence in the growing world of film and music in Atlanta, and his services are sought after in this community.

ProHealth (Health, Wellness) - 770-487-1931 - Karyn Staples

Welcome to ProHealth. You are in one of the nation's premier wellbeing facilities, not only seeing patients and clients from our local community, but delivering world-class training to Physical Therapists, Pilates Instructors, and other Health Improvement practitioners form around the globe. We want you to get he most out of the time and effort you are investing in Health Improvement. Of course, when it comes to your body, it is the only one you have. When you invest in Pilates or Rehabilitation, you do not want to engage in training that is not beneficial or may actually increase future injury risk. Rather, it is important to retrain and reinforce proper movement patterns efficiently in a safe manner. ProHealth is a facility certified to meet the highest healthcare standards, delivering care from certified practitioners who have comprehensive and required training and on-site supervision and guidance form one of the nation's leading wellbeing practitioners and instructors, Karyn Staples, PT, PhD-giving you the peace of mind and confidence that you are safely optimizing your health improvement outcomes and investment of time and money. We look forward to being a part of your continued wellbeing journey.
HOTEL - Savannah
The Westin, Savannah Harbor (Hotel, Savannah) - (912) 201-2000

The Westin Savannah Harbor Golf Resort & Spa, located on the Savannah River, neighboring Savannah's historic district, has been completely renovated to include the amenities you're looking for with any getaway, romantic adventure or business trip. Conveniently situated next to the Savannah Convention Center, our hotel is your ideal choice among hotels in Savannah. Our hotel includes a Heavenly Day Spa, Har-Tru tennis courts and the only PGA championship golf course in the Savannah area. Guests love our 403 rooms and suites with 55-inch LCD Smart TVs, high-speed Wi-Fi, multimedia connectivity and Westin Heavenly® Beds and Heavenly® Baths.
HOUSING - Luxury
Minty Living (Housing, Luxury) - (706) 538-3533 - Sidra Gross

Minty Living is a boutique property management company that provides impeccable service and discretion in the furnished luxury real estate market in Atlanta. We know you want to feel comfortable while working away from home and with a full time team of housekeepers, contractors and a dedicated 24/7 concierge service, we can handle the needs of the most sophisticated clientele. All our spaces equally boast professional design, loads of smart home tech, organic linens and amenity kits and fast wifi, all located in Atlanta's best neighborhoods.
INSURANCE
Sapelo Insurance (Insurance, Production) - 912-352-3800 - Rob Jones

Sapelo Insurance is a Georgia based independent insurance agency. Contact us to take advantage of the incredible Georgia Film Tax credits by working with a Georgia based agency. We work with film and tv productions to provide these insurance services, Film Production Packages, General Liability, Auto Liability, Workers Comp, Guild Travel, Producers E&O, Rental Equipment Packages.

Williams, Turner & Mathis (Insurance, Film) - 770-934-3248 - Lynn Mathis

Are you looking for insurance for yourself or your business? As a Trusted Choice and SecureRisk Agent, we are able to assist you in the complicated decisions you will need to make to make sure you are getting the coverage you need at a competitive price. Some insurance agencies work with just one insurance company. Not us. In fact, we work with many different companies which gives us the ability to find the best match for you - the coverage you need with the insurance company that can offer the best fit! We are free to do what's right for you.

Barrow Group (Insurance, Film) - 800-874-4798 - Natasha Bobbit

Barrow Group is a niche insurance broker offering comprehensive, tailored insurance solutions to the temporary staffing, PEO and film and television industries for more than 30 years. With expertise in workers' compensation, liabilities, risk management, employee benefits, and captive insurance, Barrow Group provides best-in-class insurance products that protect your business and its assets from the risks threatening your success. For more information, please call 800-874-4798.
LEGAL
Barnes & Thornburg LLP - (Legal Services) - 404-264-4038 - Steve Weizenecker

Our attorneys provide strategic advice to a wide range of U.S. and international clients in the film and television arenas. We advise venture and production funds, independent producers, distributors on film and television finance matters, including tax-advantaged financing, subsidies and co-production agreements, co-financings, output agreements and transactions involving film and media content. We also negotiate on behalf of producers, directors, screenwriters, composers, financial institutions and private equity groups in connection with their diverse endeavors in the film and television industry.

Arnall Golden Gregory - (Legal Services) - (404) 873-8500 - Matthew Wilson

Arnall Golden Gregory (AGG), an Am Law 200 law firm with 180 attorneys in Atlanta and Washington, D.C., takes a "business sensibility" approach when advising clients. We provide industry knowledge, attention to detail, transparency and value to help businesses and individuals achieve their definition of success. Our Entertainment & Sports team represents clients across the entertainment industry spectrum including film, television, radio, theater, music, visual arts, publishing, athletics, esports and e-gaming. We handle complex transactions, litigation, investment and financing, intellectual property protection and licensing, and wealth transfer and charitable planning. As the entertainment industry continues to evolve, we help our clients navigate their inevitable legal and business challenges, offering the peace of mind and confidence necessary for our clients to focus their energies on creative pursuits.

The Bowen Law Group - (Legal Services, Savannah) - 912-544-2050 - Bo Bowen

The Bowen Law Group is heavily involved with the expansion of the entertainment industry throughout the Southeast, particularly in the areas of film and television production. We understand the complex questions that routinely arise in the entertainment field and take pride in crafting innovative solutions to challenging issues. The Bowen Law Group represents individuals and companies (domestic and international) in all areas of entertainment industry, including producers, production companies, directors, talent, writers, photographers, commercial artists and other creative professionals.

Vivid IP (Legal) - 404-474-1600 - Contact

Vivid IP is a bold boutique law practice with a team that's dedicated to protecting and enforcing our clients' intellectual property. Based out of Atlanta, GA, we take an approach to IP law that's as unique and distinctive as each brand we partner with. With all the expertise of a big law firm, and a personal, passionate approach that's all our own, our work ensures that artists and innovators can create boldly, brand wisely, and advance fearlessly. We aim to be the future of IP. Our focus areas include entertainment law, trademarks and copyright enforcement, patents law, IP litigation, and IP portfolio optimization.
LIGHTING/RENTALS
- Universal Production Services (Lighting) - 404-662-4035 OR 404- 450-1968 Chad Garcia - Email - atl@universalproductionservices.com or Chad.garcia@nbcuni.com

404-609-9001 - PC&E Rentals (Lighting Grip, Rentals) - Mark Wofford
LOCATION/FILM

Jennifer Bowen
Film Augusta
1010 Broad Street, Augusta, GA 30901
jennifer@visitaugusta.com (706) 724-4067

DeKalb Entertainment Commission (Location) 404-687-2748

The DeKalb Entertainment Commission offers businesses in Georgia's fast-growing entertainment industry access to a collaborative, supportive infrastructure that stimulates the growth and success of creative ventures in film, television, music and digital entertainment for DeKalb Counties 13 cities and 20 unincorporated communities. Our Commission provides several key services that simplify the pre-production process. We offer an easy online Filming Permit Application Process and a Location Database of viable filming locations that can be classified as farm, urban, rural, and/or suburban. For DeKalb County Residents, we also offer a Film Location Registry for residents to place their homes and/or businesses within our Locations Database.

City of Decatur (Location, Film) | Contact Decatur Film Office: 404-371-8386

Decatur, Georgia, six miles east of Atlanta, is a magnet for production crews looking for a small town vibe with downtown storefronts, tree-lined streets, and historic spaces. Filming hotspots include the downtown pedestrian square (HBO's Watchmen), the marble halls of the Historic Courthouse/DeKalb History Center (Candy, The Falcon and the Winter Soldier series), Legacy Park, Decatur Cemetery (Goosebumps), Agnes Scott College (The Blind Side), and Oakhurst Elementary School. Other television and movie productions that have come here over the past three decades include Wonder Years, productions from the DC Comics multiverse and the Marvel universe, Pet Sematary, Zombieland, and Driving Miss Daisy. ( Watchmen photo via HBO).

Apply for film permits online here .

Rabun County Tourism Development Authority (Film Location) - 706-212-0241 - Contact

You'll find everything you could dream of for the perfect get away to rest, relax and renew. Whether you are an outdoor enthusiast, a student of history, a prolific shopper or collector, or a gourmet or farmer at heart, you can find it here, beckoning you, and waiting to delight you. Use this website to plan your adventure!

Savannah Regional Film Commission (Film Location) - 912-447-4159 - Beth Nelson

The Savannah Regional Film Commission, an AFCI certified Film Commission, is the central point of contact for entertainment production in our region. We promote the Savannah region as a premier destination for motion picture, television, and commercial productions. Our office functions as a liaison between film companies and various municipalities in the Savannah region. We also provide location assistance and coordination with local crew and support services. The Savannah region boasts a wealth of locations including the nation's largest historic district, an evergreen urban forest with timeless, picturesque and easily accessible coastal and rural areas. Our wealth of settings has played as Texas, Florida, London, Los Angeles, New York City, Washington D.C., Missouri, Louisiana, Southeast Asia, and "anywhere" U.S.A., to name a few. In addition to the state of Georgia's tax incentives, the Savannah Regional Film Commission offers a local entertainment production rebate available for qualified productions.
LOGISTICS
XPO Logistics (Logistics) - 470-372-7562 - Jeff B. Gagnon

XPO is a global leader in less-than-truckload transportation, and one of the largest LTL providers in North America. Our commitment to damage-free, on-time service is backed by 8,000 tractors, 25,000 trailers and more than 13,000 professional drivers, operating out of 290 service centers. Our LTL coverage in North America extends to every state, including Alaska and Hawaii, and about 99% of all US postal codes. For cross-border requirements, we have strong relationships in place for movements to and from Mexico, Puerto Rico and Canada. We're also a leader in LTL transportation in Western Europe, where we provide consistent LTL solutions for customers with multinational markets.
MARKETING / MEDIA
My Global Presence (Public Relations) - Elise Riley - Contact

My Global Presence is a leading marketing and creative agency that specializes in providing a wide range of services to help businesses in the entertainment industry elevate their brand. With a team of highly skilled, creative, and experienced marketing specialists, the agency offers digital marketing, advertising, PR, web and graphic design, social media marketing, and other solutions tailored to meet your specific business needs.

The agency's extensive experience in the entertainment industry also enables them to provide unique insights and solutions to help businesses improve their presence in this competitive industry. Founded by Elise Riley, a marketing expert with over 25 years of experience in the entertainment and television industry, My Global Presence has a proven track record of success in managing marketing initiatives for both small businesses and corporations.

Whether you are looking to expand your reach, drive sales, enhance your brand awareness, or improve your online visibility, My Global Presence has the expertise and resources to help you achieve your goals.
MUSIC / SOUNDTRACK
Planet Earth Recording Co. - Tim McCabe Productions, Inc. (Soundtrack Music) - Contact: Tim McCabe 404-264-8822

This is an invitation to hear some wonderful original music, recorded by some truly talented composers. Many are well-known, others soon will be...Some background:

By 1994, Atlanta music producer, Tim McCabe, had made a name for himself by producing music for hundreds of radio and television commercials. McCabe formed Planet Earth Recording Co. to provide an outlet for their music. The concept of "Palomino Duck" became the umbrella that would unite them all. The initial instrumental release, "First Flight," became an overnight sensation (in California). The collective studio group then released "Free Flight," a well-received followup. In the fall of 2020, McCabe and fellow music producer, Cheryl Rogers, had lunch to discuss a new project, "Smooth Flight." They brought in another force in Atlanta music, Trammell Starks. The three joined together assembling the original songs, refining and recording them in Starks' Alpharetta studio. They utilized some of Atlanta's finest musicians and composers. Each of Palomino Duck's 32 songs could fit seamlessly into a movie soundtrack. Please take a moment to listen at www.planetearthrec.com
MUSIC
Eddie Owen Presents (Music Venue, Music School) - 678-892-6373 - Contact

Eddie Owen Presents is the songwriter's best friend. It is a music venue, music school, and a home away from home for a performing songwriter and their fans. We are based in Downtown Duluth, Georgia at Red Clay Music Foundry - a 260-seat listening room that hosts the most talented musicians on the planet.

Tweed Recording (Music) - 706-204-9144 - Andrew Ratcliffe

Located in downtown Athens, Tweed Recording Audio Production School is a private audio production school offering two immersive music production certificate programs. Tweed Recording teaches how to record and produce audio and how to make a living in the audio production industry by understanding how to monetize their rights and opportunities through the operation of federal copyright law.

Mission Statement
Tweed Recording educates and trains emerging music, film, and live event industry professionals in the recording, production, and performing arts for careers in their local and regional creative economies as entrepreneurs or employees, recording artists, audio-visual engineers, technicians, and producers.

Our facility contains a music venue, a home studio space, DAW production lab with 24 workstations, 3 professional recording studios, including live, isolation, and control rooms, and offices and meeting areas for faculty, staff, and students.

Objectives

Tweed Recording provides a comprehensive, inclusive, and holistic audio engineering and production curricula including courses on hearing health, life skills, composition, entertainment business, audio engineering and production, live production, and broadcasting.

Classes are small and students have extensive access to our recording studios and production facilities.

PEST CONTROL
- High Priority Pest Control (Pest Control) - 706.434.8908 Mark Sargent

High Priority Pest Services, Inc. is a locally owned and operated Pest Management Company with 25+ years' experience in all aspects of the pest control industry. From selling, servicing & managing pest control companies to developing, manufacturing & distributing unique products for the pest management industry. Our philosophy is to give our clients a customized pest control program that meets their needs, while placing a PRIORITY on safety, health and the environment. We believe in exceeding our client's expectations by offering outstanding customer service, increased flexibility and greater value through a fresh, innovative approach to the pest management industry.
PRODUCTION
Cloud to Ground (Production Rentals) - 470-481-2276

Cloud To Ground is a full-service production rental and post house located on the Westside of Atlanta. Our team of technicians, editors, and supervisors work hard to help bring your project to life with production gear rentals , edit bay rentals , technical support , and a variety of additional services for everything from pre-pro to final delivery.
POST PRODUCTION
FilmTribe (Post Production and VFX, Production) - 678.962.7014 - Yelena Hertzberg

FilmTribe Entertainment is an award winning, full service production and post production company, headquartered in Atlanta, GA with satellite offices in Los Angeles, New York, Charlotte, Barcelona, and Madrid. With more than 30 years experience between them, co-owners Elan and Yelena Hertzberg launched the company in 2015, and have seen great success working for major global brands, clients, agencies, and networks including Lionsgate, Universal, MTV, Netflix, and YouTube Originals. Originally specializing in high-end TV commercials, branded content and music videos, FilmTribe moved to Atlanta to take advantage of its booming feature film market, and in 2016, launched their new feature/tv division which would put them in charge of development/packaging, funding, and sales/distribution.
PROPS
RJR PROPS (Props/Set Dressing) - 404-349-7600 - Rich Rappaport

Prop Rentals and Movie Props for Feature Film, Television, Commercials, Music Video, Corporate Video, Events & Advertising.

* Over 30,000 Props: many working & practical!

* Airplanes: luxury Jets, commercial planes, cockpits, helicopters

* Airport props: working X-ray baggage scanners, walk thru metal detectors

* Computers & Servers: with animated graphics & playback!

* Hospital / Medical: ER/OR, Hospital rooms, Doctor's office

* Laboratory props: medical, chemistry, physics, etc

* Exotic Electronics: industrial, sci-fi, futuristic, with playback graphics!

* News Cameras, Studio cameras, vintage cameras & A/V gear

* Microphone collection: over 150 to choose!

* Prop Money: approved in 3 Secret Service audits! Large qty avail

* Elevator Props: working control panels, buttons, direction arrows

* Podiums: over 25 to choose!

* Telephones: over 3500 to choose, many practical & working!

* TV collection: many working playback TVs to choose 1945 to present

* Still cameras: over 150 to choose, 1890 to present!

* Prison: jail beds, jail toilets, jail phones, courthouse props

* Police: belts, weapons, riot shields, helmets, badges, etc

* Bank props: working ATMs, prop money, teller terminals, money counters

* Music video props: prop money, police gear, prop drugs

* Weapons, Guns, Police, Military gear

* Hi-tech Security gear: Mag swipe card readers, Retina scanners

* POS Retail: cash registers & drawers, POS systems, receipt printers

Georgia Entertainment PR Alliance (Public Relations) - 678-701-7403 - Contact

The Georgia Entertainment PR Alliance (GEPRA) provides public relations, branding, traditional and social media, and creative services for entertainment-industry clients operating in Georgia and the Southeast. We work with clients in every facet of entertainment, including film, television, music, digital entertainment and gaming. We combine senior-level expertise with trail-blazing thinking to build brands, strengthen reputations and grow businesses. Each client creates its own "dream team" to assist with strategic, focused public relations. Our team works to generate awareness, make connections & open doors. GEPRA is a superior resource for many different entities in entertainment, from counties and cities marketing their locations, to large studios and soundstages to companies of every size in the entertainment supply chain.
REAL ESTATE
Artisan Haus (Real Estate, Commercial, Residential & Relocation) - 678-439-9346 - Andrei Leon

Artisan Haus is a boutique real estate brokerage serving the film and entertainment community with a trustworthy reputation amongst its domestic and international clients that are looking for a clear, confident, and stress free transaction process. Guiding clients based on understanding of up-to-date market trends and analysis of future market directions, Andrei Leon and his team provide comprehensive end-to-end consulting and brokerage services for individuals and companies interested in Georgia's residential and industrial real estate. Whether you're looking to buy, sell, or lease, Artisan Haus has the skills and experience to successfully realize your goals.

Debra Johnston (Real Estate) - 404-312-1959 - Contact

Debra is Atlanta's top luxury real estate agent and #1 Individual Agent at Berkshire Hathaway HomeServices Luxury Collection in Buckhead. Her extensive clientele network and relationships with entrepreneurs, Fortune 500 executives and celebrities in the entertainment and film industry make her one of the most sought after luxury real estate agents in Atlanta. With a love of architecture and a passion for design, real estate comes naturally to Debra. As a Berkshire Hathaway Chairman's Circle Diamond Member, top half of 1% of all agents worldwide, she continues to break sales records and consistent performance has earned her a place her in the industry's top prestigious ABR's Multi-Million Dollar Club, year over year. She has the negotiation skills to creatively secure a deal on her client's behalf.
REHEARSAL STUDIOS
Crossover Entertainment Group (Rehearsal Studios, Equipment Rental) - (404) 352-3716 - Billy Johnson

Crossover Entertainment Group, the Southeast's premier rehearsal studio since 1992, has always kept a steady finger on the pulse of the music industry. Initially Crossover specialized in pre-tour rehearsals with our large rehearsal studios being constantly utilized by artists including REM, TLC, Arrested Development, Toni Braxton, Keith Sweat and Peter Gabriel. Over the years, Crossover has expanded its services to include a Recording Studio, Backline Equipment Rental, Event Management, Artist Development and full production. Our clientele has expanded as well, now featuring artists such as Janet Jackson, Lindsey Buckingham, Beck, Phil Lesh & Friends, Gin Blossoms, Collective Soul, Elton John, Shawn Mullins, Indigo Girls, The Allman Brothers, Isaac Hayes and more!

Crossover's primary goal, and our commitment to our clientele, is complete service for every customer, whether it be a three hour rehearsal or a one piece rental or a full production rehearsal or complete tour support. Whatever your needs, Crossover is ready to provide and maintain your professional requirements.
RENTALS - EQUIPMENT, VEHICLES
Yancey Entertainment (Rentals, Equipment) - (770) 799-7745 - CONTACT

Yancey Rents is a Georgia-Owned Company that has been serving Georgia since 1997. The Parent Company, Yancey Bros. Co. has been serving Georgia Companies for over 105 years. We have a dedicated staff with industry experience here to take care of all of your production needs. We carry Entertainment specific products including black aerial lifts & telehandlers, deck-over trailers, studio generators & HVAC, golf carts, light towers and more.

United Rentals (Rentals, Equipment) - 404-858-9783 - Dustin Brunner

United Rentals Sports & Entertainment Specializes in Film, TV, and Live Events. The biggest rental company in the world is making any film or event happen on time with the right equipment for the job. We have a dedicated fleet of Aerial Equipment, Forklifts, UTV's, Generators and HVAC for the entertainment industry. United Rentals has the LIGHTS, CAMERA, ACTION to keep you filming every step of the way across North America!

Adventure Coast Rentals (Rentals, Equipment, Vehicles) - 770-728-5452 - Aaron Cujo Cooley

Adventure Coast is here not only to provide you with vehicles and equipment, we are here to support your whole production team. We know the grueling hours and demands of the entertainment industry and our team is here to help make things run as smoothly as possible. For over 10 years, we have been providing rentals, production services, art department services and installation solutions from Nashville to Atlanta to Los Angeles. We are committed to the highest level of service and we are competitive with pricing, available 24/7 - 365. And we will always have your back.
SECURITY
Security Associates of Coastal Georgia (Security, Event Services) - 404-731-4720 - Erica Lumpert

Security Associates of Coastal Georgia, LLC (SACG) is uniquely positioned to provide exceptional security services for companies throughout coastal Georgia. With offices in Savannah and Atlanta, SACG offers customized security solutions for your specific security needs including security officers for special events, facility management, film locations, high-value escorts, executive protection and much more. Our dedicated leadership are knowledgeable, experienced and passionate about the security industry, and SACG is a certified Women Business Enterprise. Security Associates of Coastal Georgia, keeping you Safe. Secured. Protected.
SOUND

Atlanta Sound Guy (Sound) - 770-318-1032 - Aaron "Cujo" Cooley

Buy the best. I own gear that is specially designed for film and TV production and built by companies that have decades perfecting the craft. Recorders and mixers by Sound Devices and Zaxcom. Wireless by Lectrosonics. Microphones by DPA, Schoeps, Neumann, and Sanken. Time is money. Editing eats up time like nobody's business. My team and I deliver superb location recordings and get your program on the air faster. If you change it on the fly, we handle on-set ADR as well.

Storyboards & Animatics (Storyboards) - 321-2171-254 - Mark Simon

Mark Simon counts more than 30 years of experience working in the entertainment industry as a producer and director for live-action and animation, amassing over 5,000 credits. Mark is currently storyboarding Stranger Things, The Walking Dead, Black Lightning and others. He was also animation producer for Universal/MTV's How High 2, Universal's Little Rascals and Fox's Tooth Fairy 2. Mark has also storyboarded hit shows like Council of Dads, Miracle Workers, The Flight Attendant, Filthy Rich, Creepshow, Doom Patrol, Snowfall as well as nearly 50 feature films. He wrote the industry bible, Storyboards: Motion In Art and helped develop the leading software, Storyboard Pro.
STUDIO
Ambient+Studio (Studio Space, Atlanta) - 404-436-1360 - Jason Ivany

With over 25,000 square feet of available rental space, there is more than enough space to craft the event of your dreams. Our industrial setting is more versatile than one may think. Ambient+ also offers furniture rental. Ambient+Studio is very multifaceted: a great location for film and video, photography, weddings, and events. Designed by a photographer, Ambient has over 10,000 square feet of hardwood flooring, huge industrial windows, a massive cyc wall, and roll-in access. Available 7 days a week, day and night and great for film and video productions, photo shoots, events, etc.

Laser Stream Media (Studio - On-Location Production) - 877-974-8364 - Mike Parsons

Newly renovated, Laser Stream Media is a green screen studio / sound stage facility with a purpose-built insert studio set. We are located in Marietta, GA. Our studio convenient, because it is close to Metro Atlanta, Roswell, Alpharetta, Smyrna and Kennesaw. We are only 90-seconds off I-75 at Exit 267, and surrounded by industrial exteriors, deli, restaurants and shopping. Our facilities are easily accessible because our entrance is at street level, and there is a large parking lot in front of the building. If you're looking for an Atlanta studio set, you've found us! - Daytime Talk Show Set, Late Night Talk Show Set with Desk, Interview Set, News Desk Set, Lifestyle Show Set, 2-Wall Green Screen Cyclorama, Corporate Town Hall or All Team Meeting Live Stream Set, LED Video Wall Set

STUNTS/STUNTS COORDINATION
Badger Stunts (Stunts/Stunts Coordination) - 352-408-7416 - Jennifer Badger

Jennifer Badger is an Atlanta based Stunt Coordinator with over 25 years in the industry and 250 film and television credits (600+ episodes). She is a member of the Academy of Motion Picture Arts and Sciences as well as the Television Academy. Jennifer has twice been the recipient of the Screen Actor's Guild Award in addition to multiple nominations, and is a four time nominee for the World Stunt Awards. She also won the 2012 Action Icon Awards.

Jennifer has designed the stunts for films such as "The Final Destination", "On The Come Up", "Pitch Perfect 3", "Indubious Battle", "Instant Family", and more. Additionally, Jennifer has coordinated television series such as "The Originals", both Seasons of "Raising Dion", "The First Lady", "Brockmire", "Swagger", "Greenleaf" and others for ABC, TNT, FOX, USA, Netflix, Showtime, OWN, Apple TV, and CW. Performer Credits include projects such as "Avengers: End Game", "Baby Driver", "Iron Man 3", "Captain America: The Winter Soldier", "Transformers 1 & 4", "Pirates of the Caribbean: On Stranger Tides", and "Buffy the Vampire Slayer".

Jennifer also works as a fight coordinator, underwater action specialist, high performance stunt driver, and Second Unit Director.

SPECIAL EFFECTS, VFX
Crafty Apes - (VFX, Special Effects) - 404-331-0951 - Matt Akey

Crafty Apes is a full service boutique visual effects company. At Crafty Apes, we recognize that strong 2D compositing is the backbone for stunning visual effects. We pair the most talented artists in the field with the best technology available, and pay extra attention to the detail and integration 2D work requires. The result? Faster turnaround times, less overhead, better communication with our clients, and excellence in visual effects. Crafty Apes was formed primarily to offer high-end compositing services to feature films and commercial clients.
STUDIO
Third Rail Studios (Studio) - 844-373-7245

Third Rail Studios is a purpose-built film studio in Atlanta, GA on a beautiful, secure campus consisting of 60,000 SF of state-of-the-art, soundproof stages, over 70,000 SF of mill and support space, and 27,500 SF of spacious, boutique production offices. Located inside Atlanta's I-285 perimeter just north of Buckhead and 15 mins from Midtown, Third Rail Studios is in close proximity to Hartsfield-Jackson Atlanta International Airport and is surrounded by Atlanta's finest hotels, rental properties and other production amenities.

Third Rail Studios is a full-service film studio with a simple focus in providing a first-class experience for Atlanta movie, TV, and commercial productions. Third Rail Studios is proud to be a member of the Georgia film community and to play a role in providing thousands of Georgia entertainment jobs to local and non-local industry professionals.

Tytan Pictures (Productions, Studios) - 706-991-6020 - Jim Stone

Tytan Pictures is a full-capability production house, with the experience, locations, and equipment to create deeply engaging films from pre-production to post-production and beyond. Tytan over the years has produced many highly acclaimed commercials and short films, which have collectively garnered multiple National ADDY Awards and 11 Emmy Awards. We have also produced three award-winning feature length films: Storm Soldiers, which won "Best of Fest" in the Docutah Festival, as well as an Addy award for Best of Show; Storm Soldiers II, the trailer of which was awarded an Emmy; and Love Sweat and Tears, winner of the Jury Prize in the Illuminate Film Festival Feature Competition. Our talented team of professional producers, directors, editors, cameramen, illustrators, designers, animators and more are continually working hard to take our projects to the next level. We are bringing new business and opportunity to Eatonton, Georgia and Putnam County and creating content we can be proud of along the journey.
TALENT MARKETPLACE
Productions.com (Crew/Talent/Staff) - Contact Us - 404-719-1329 - Carolyn Pitt​

Productions.com, an Atlanta-based production talent solution, connects motion picture studios, television networks, streaming platforms, and production companies to vetted local crew across the U.S. and Canada, Our team has expertise in talent placement, maximizing tax incentives, and production diversity consulting. We optimize production budgets and time-to-hire by quickly providing experienced local crew and reducing "distant hire" crew spend. Productions.com advocates for production talent of ALL backgrounds and is also proud to help level the playing field for women, professionals of color, veterans, the LGBTOIA+ community.

TAX CREDITS/BUY/SELL
State Tax Incentives (Film and Entertainment Tax Credits) - 404-451-2790 - Chrissie Merrill

State Tax Incentives brokers the sale of state entertainment tax credits from film production studios to taxpayers. These entertainment tax credits can be used to offset state income tax liabilities for individuals, corporations, partnerships, limited liability companies, trusts and insurance companies. Integrity and customer service are two of our company's core values, so we work tirelessly to make sure both seller and buyer leave the transaction satisfied. With over 30 years of our team's experience, and over $1.2 billion in transactions in the entertainment tax credit marketplace, State Tax Incentives has created deep relationships with production companies ranging from major studios to independent producers.

Ornstein-Schuler State Tax Credits (Tax Credit Placement Services - Buy/Sell) - (678) 271-0079 - Ryan Ellison​

Ornstein-Schuler State Film Tax Credits is an Atlanta based company that facilitates the sale of Georgia state entertainment tax credits from production studios to taxpayers. These entertainment tax credits can be used to offset state income tax liabilities for individuals, corporations, partnerships, limited liability companies, trusts and insurance companies. Ornstein-Schuler State Tax Credits understands the importance of timely monetization of credits to facilitate a production company's capital requirements. We have established relationships with the top CPA firms, family offices and wealth managers all representing high net worth individuals nationwide.We can help facilitate the funding of entertainment tax credits quickly and efficiently and we are dedicated to providing unparalleled customer and advisor support.
TRUCK/VAN RENTALS
C.C. Rentals - 404-855-5551 - Contact Us

C.C. Rental has been the go-to vehicle rental for the production industry in New York City since 1982 and they recently opened a branch in beautiful Atlanta! They have a brand new fleet of minivans, 15 passenger vans, cargo vans and cube trucks and are open 7 days a week for your convenience. Check-out and check-in is seamless and lightning fast- we know your time is valuable so you will be in and out in minutes. Call C.C. Rental and reserve your production vehicles today!
WARDROBE
The Style Sanctum (Wardrobe) - 770-912-7946 - Stacey Bell

The Style sanctum is a multi faceted facility serving as a resource for contemporary and designer wardrobe for women. Our clientele ranges from our private clients to costume designers and stylists. We provide a variety of services to the entertainment industry, including retail, consignment and rentals of couture, ready-to-wear, vintage pieces, shoes and accessories.
To be included in our Next Edition - contact us here.

# data[].attributes.attachment_link.title
Georgia Entertainment Resource Guide - By Category - Georgia Entertainment News

# data[].attributes.attachment_link.description
Below are the vetted partners for the Georgia Entertainment Resource Guide. This sponsored digital guide is sent to thousands of industry insiders,

# data[].attributes.attachment_link.readable_text
ABOUT US

Cinemauto is brought to you by JGL Creative, an Independent, multidisciplinary creative + strategy agency, founded by Jackie Gonzalez. We specialize in creating thoughtful, immersive screening experiences celebrating the art of storytelling through culturally relevant experiences marrying film, community, food, art & entertainment in pop-up environments. We foster inclusive programming, celebrating and amplifying diverse voices, marginalized community stories, and a new generation of filmmakers.

Each screening experience is driven by neighborhood passion points and equitably incorporates local storytellers, culinary creatives, small businesses, and the luminaries shaping culture and transforming the film, culinary, and arts industry.

2021 Season Announcement Coming Soon!

WE SEE YOU

Driven by local passion points and equitably incorporating the city's diverse people and voices, we created the "We See You" content series to shine a light on our local creatives, artists, organizations, and local small business owners.

HAVE A GREAT TIME! ?

#CINEMAUTODRIVEIN #CINEMAUTOEXPERIENCE

# data[].attributes.attachment_link.description
ABOUT US Cinemauto is brought to you by JGL Creative, an Independent, multidisciplinary creative + strategy agency, founded by Jackie Gonzalez . We specialize in creating thoughtful, immersive screening experiences celebrating the art of storytelling through culturally relevant experiences marrying film, community, food, art & entertainment in pop-up environments.

# data[].attributes.attachment_link.description
In the effort to guide and inspire the next generation of theatre writers, the Guild is actively engaging with writers ages twelve to 25 to better prepare them for a life in the theatre. We are therefore thrilled to announce the official launch of our Young Dramatists program.

# data[].attributes.attachment_link.title
Women Wednesday: Organizations and Recourses for BIPOC Writers/Directors

# data[].attributes.attachment_link.description
©2023 THE TRACKING BOARD. An Industry Arts Company. ALL RIGHTS RESERVED | TERMS OF USE | SUBSCRIBE | CONTACT

# data[].attributes.attachment_link.description
Diversify.Film is a one-stop shop for filmmakers looking to build diverse film and media crews.

# data[].attributes.attachment_link.readable_text
IMDb Dynamic List of British Black & Brown/BIPOC Behind the Camera Talent
The Hue-List (formerly sporas) Google Doc - multi-department list of crew from Black, Asian and mixed heritage diasporas

BEATS and BEAM - comprehensive listing of British East Asians working in TV and film

The Black Costume Network - a cohort creating an open and safer space for Black and Mixed race creatives in the Costume Industry in the UK (and beyond). A place for often underrepresented voices to be heard whilst focusing on positivity, progression, action and support. Contact: theblackcostumenetwork@gmail.com

Black Sound Society - sound crew database and support group made up of professionals working across all grades in production and post production film and television sound. They strive to promote and safeguard the interests of our members, keep them abreast of production methods and explore new technologies

BRIDGE - a collective of Film & TV industry professionals from across Casting, Production, Writing, Directing and Outreach. They also offer industry partnerships to help talent agencies & agents, production companies, and broadcasters to safely and equitably engage with new talent. We do this by providing training for staff and departments, offering key working during development, on set and beyond, and by providing ongoing enrichment programmes for talent to engage in.

The British Blacklist/ Blacklisted - supportive organization, information hub and database for Black talent in front of and behind the camera, also including theatre

CineSisters - female Directors

Circles - app-based talent list and job message board bringing the Film, TV and Advertising industries closer than they've ever been. Pairing productions and crew together

Comedy 50:50 - support network addressing gender imbalance in Comedy. Includes a talent database of female writers and jobs board

Creative England Crew Database - database of crew across England (not primarily focused on underrepresented groups)

Creative Future - nurture underrepresented artists in their creative development. They provide skills training, mentoring, exhibiting, promoting, and publishing opportunities

DANC Talent Finder from Triple C - talent directory and job listings for disabled, d/Deaf and neurodivergent people working in the arts/media/TV/film

Dandi (part of TriForce Creative Network) - one stop diversity and inclusion support service for the entertainment industry

Divergent Talent Group - the UK's first Talent Agency representing neurodivergent actors, writers and creatives exclusively

Diversity in Media - Google Doc for behind the camera talent

Edit Collective - list/network of women/non-binary/trans Editors working in Film & TV. Mainly UK-focused with some non-UK talent

The Equity List - crew database for people of colour. They also run a mentoring scheme for people of colour who want to get into film

Evenbreak - not-for-profit social enterprise that connects candidates with disabilities to inclusive employers, helps jobseekers find work with employers who will value their skills and promotes the business benefits of employing people with disabilities

Exceptional Individuals - talent database and support group providing consulting, recruitment and employment support to employers and individuals with dyslexia, dyspraxia, ADHD and autism

Greenhouse Animation - emerging animation talent development roster from Strange Beast and Passion Animation Studios. They also fund three short films per year and have a Director Development programme as well as offering mentoring to new talent

Gritty Talent - a trailblazing company bridging TV, talent and technology. They discover, nurture and connect talented people from under-represented groups into the media industry. They work with TV channels, production heads, casting teams and emerging talent to understand their needs and objectives, and connect the dots between the two

Iconic Steps - a training and production company who work with young people (16-25) from underprivileged backgrounds

Illuminatrix - female DOPs

Loving Your Work - private Facebook group for TV and Film employers to post paid jobs for experienced TV and Film professionals

The Melanin Agency - the first ever agency specialising in hair and makeup services for people of colour along with diverse productions on Film and TV. They also provide their services for commercials, press tours/junkets, TV appearances, major events, and red carpet occasions

Palette 16 - Instagram BAME Crew List and BAME Hair & MakeUp Artists List

POCC (People of Colour Creative) - creative network driving cultural impact. They exist to accelerate equality and equity, for culturally and ethnically diverse people in the creative industries and beyond through non-traditional ideas, creativity and activism.

Production Hive - TV and film job site

RA Agency - agency for women in camera, sound and lighting

The TV Collective - online resource dedicated to promoting the creative and commercial value that diversity adds to the British TV and film industries. Includes talent lists, jobs board, training advice and general support network

thinkBIGGER! - talent finder, trainee provider, coaching and workshop provider for d/Deaf and disabled people working in TV and film. They run a variety of online and in-person disability awareness courses

Trans+ On Screen - the first UK based directory for Trans* and non-binary professionals covering all areas of film & TV. They operate as a business model based on care and empowerment, prioritising and elevate voices that needs to be heard (and seen!)

VisABLE People - talent lists and resources for actors and other TV and film creatives with disabilities

We Are Equality - a diverse pool of talents based in London

Women Behind the Camera - talent list and member organization focused on visibility, creating a community, and up-skilling through free training

Women Who Are Sound - network of women and gender non-conforming colleagues who are working in, or studying, sound for Film, TV and Interactive Media

UK/Worldwide - Bid/Black - directory of Directors, DOPs and Editors primarily for commercials and also covering scripted TV and film
Film & TV Talent Lists for Underrepresented Groups - USA
Adcolor - champions diversity and inclusion in creative industries. Their process is twofold. First, to help individuals and organizations rise up, letting their accomplishments and ideas shine. Second, to teach these new leaders and would-be-mentors how to reach back and find others who deserve to be noticed and promoted. Their goal is to create a community of diverse professionals who are here to support and celebrate one another

Across the Cut - roster and job postings for BIPOC/ LGBTQIA+/ Disabled/ Undocumented Editors, primarily focused on documentary Editors
Amplify Database for Writers and Directors Arab American Screenwriters
Array Crew - below-the-line crew database and network to support systemic changes in the below-the-line hiring practices of the film and television industry

BIPOC Directors Collective - amplifying and connecting BIPOC Directors across industries

Black Film Space - collective of directors, screenwriters, producers, cinematographers, actors and other media makers that want to develop genuine connections and grow with fellow Black creatives

Black in Film - database that seeks to amplify the visibility of Black Filmmakers. Its specific creation is to promote the inclusion of black people in behind-the-camera crew positions

Black in Post - connecting Black creatives in post to opportunities in Hollywood and beyond

Black TV Film Crew - promotes Black filmmakers and crew members who have feature films, shorts, and/or web series or have recent promotions they want to share with the world. Exposure on the site helps Black filmmakers and crew members be found more easily.

The Black TV & Film Collective - database supporting stories told by and about Black people

Cherokee Nation Film Office - a first of its kind, all-inclusive source for productions looking to find Native American crew. Search to find experienced, diverse crew based throughout the United States.

Cinematographers XX - female-identifying professional cinematographers based in LA and NY whose work spreads across narrative, documentary, commercial and music video genres. Site also includes a list of emerging cinematographers on NuWave

Color of Change Inclusion Rider - extensive list of hiring resources for all crew levels

Composers Diversity Collective - organization of music creators who are achieving a workplace environment in the entertainment industry as diverse as our society

Editors of Color - database of Editors based in USA and Canada

Free the Work - a curated talent-discovery platform for underrepresented creators

The Handy Foundation - advocating for skilled workers and creating pathways to job opportunities for people of color in Hollywood

Here and Ready - talent database of Black female-identifying actors

Hue You Know - site that bolsters diversity, inclusion, equity, and belonging. Their mission is to build community, provide mentorship, and foster employment opportunities for BIPOC media professionals

Inevitable Foundation - funding and mentoring the next generation of disabled screenwriters

Latin Tracking Board - a community of and for young Latinx executives in Hollywood. Sharing news of Latin@s in entertainment

Latinx Directors - their mission is to bridge studios and agencies with Latinx directors in the simplest way possible with their full, searchable website that includes film, TV, and commercial filmmakers

NALIP - database for the National Association of Latino Independent Producers

Pano (formerly NYC Women Filmmakers) - talent database and job site for women filmmakers from NYCWF

Rememory - a growing directory of creatives which highlights work and experiences of black women and non-binary people of the African Diaspora doing the work needed to claim their narratives, gazes and legacies in the global media

Staff Me Up - platform for media and entertainment professionals to hire and get hired. Will be expanding into the UK and Canada in 2022. Also the home of Coded for Inclusion initiative, which includes a free concierge service to help production companies fulfill diversity and inclusion goals

Stunt People of Color - register of stunt performers of color for film and TV

Think Tank for Inclusion & Equity - extensive list of talent databases and lists of BIPOC, LGBTQIA+, Disabled, and Women writers currently working in TV

Third Eye Collective - a professional community and career hub for South Asian creatives

Ujima Entertainment Coalition - resource for jobs, support, career advancement, skills training, and a profound sense of community or Black entertainment professionals from all facets of production

Untitled Latinx Project - talent list and support group with the mission to increase Latinx representation in television, broadcast, cable, and streaming platforms through content created by Latinx writers

Visionary Justice Story Lab - a database created by VJS Of women, femmes, and gender non-conforming filmmaking professionals of color. They are for Atlanta-based above and below the line folks in every department

Women of Color Unite's JTC List - primarily LA-focused database of women of color talent in the film industry

US/Worldwide - Creative Cypher - multi-service entertainment company and creative talent directory for Black talent

US/Worldwide - NYX Horror Collective - founded by a group of diverse woman-identifying horror creators to develop, celebrate and elevate original, women-led horror content
Film & TV Talent Lists for Underrepresented Groups - Canada
BIPOC TV & Film - database and collective dedicated to increasing the representation of BIPOC both in front and behind the camera

Black Women Film - database for behind the camera and front of camera talent

Editors of Color - database of Editors based in USA and Canada

Film in Colour - talent database and job site for BIPOC crew

Racial Equity Media Collective - database of and support resource for working BIPOC creators
Film & TV Talent Lists for Underrepresented Groups - Worldwide Alliance for Women Film Composers Black Women Directors
Brown Girls Doc Mafia - an initiative advocating for women and non-binary people of color working in the documentary film industry around the world

Crewvie - empowering entertainment with diverse and inclusive crew worldwide

Diversify Film - site that directs you to databases to find qualified and experienced crew for your productions. Also has a jobs board
Hire Black Creatives Hire Black Female Creatives
Inevitable Foundation - Fund with networking events and connections for the next generation of disabled screenwriters. US-based with a global reach
International Collective of Female Cinematographers
Primetime Network - global visibility platform for women working behind the camera

Programmers of Colour Collective - comprising programmers who are POCs, women and TSLGBTQ+*, the objective of POC2 (Programmers of Colour Collective) is to advocate for a more inclusive programming pool worldwide

Shiny Network - helps new & under-represented directors worldwide get commissions and get signed

Sporas - DOPs and Film Technicians of Color

Women in Animation - international talent database of women, trans, and non-binary candidates in the animation industry

# data[].attributes.attachment_link.description
IMDb Dynamic List of British Black & Brown/BIPOC Behind the Camera Talent The Hue-List (formerly sporas) Google Doc - multi-department list of crew from Black, Asian and mixed heritage diasporas BEATS and BEAM - comprehensive listing of British East Asians working in TV and film The Black Costume Network - a cohort creating an open and safer space for Black and Mixed race creatives in the Costume Industry in the UK (and beyond).

# data[].attributes.attachment_link.readable_text
Today I'm cross-posting with my friend Jeane's blog Writing & Wellness about generals. Jeane and I are co-chairs of the Women's Committee at the WGA (yeah that basically means if you care about women in the arts you have to subscribe to my newsletter ok???). If you've never heard of generals, or you work in a different industry, imagine you always had to go on job interviews for jobs that don't exist. It's like networking on steroids! If you're missing my other content, I'll be bringing you more soon (if you want to know what's taking so long read my last post about mold! I'm moving!) But for now, one of the first things you hear about as a writer is a general meeting. So let's find out wtf that is!! What is a general?
Jeane: A general is an informational meeting, to borrow a term from the corporate world, except people don't show up in suits, like ever. In fact, writers usually dress very casually, think t-shirts, jeans sort of thing. But not too casual that they aren't taken seriously, so no clubbing clothes. Whatever the goldilocks of casual dressing is. Some writers call generals a "water bottle tour." Because back in the olden times when these meetings were in person, you used to get a water bottle or cup of water before each meeting. Now they're on zoom.

Andra: I do miss the chemistry in person, but doing them over zoom is a lot more convenient, because generals are kind of like first dates with people who may or may not even be looking for someone. I've done a few in-person lately and they seem to go a lot longer than zoom- it's way more fun to get lost in a conversation in person.
Where do you hear of general mtgs?
Jeane: Some I get on my own from networking, it could be colleagues, mentors, WGA platform (when I used to use it), or writer events. Networking is a whole other substack but yes I get a lot on my own. By the way, I was on a zoom with Starz recently and they said they still use the WGA portal so I encourage writers to use it. I also get a lot of generals from my manager and agent. Some reps think generals are useless. My old reps got me less than five a year. I switched reps and now I have like 30 something a year and it's first world problem as I've had to turn down opportunities that weren't right. Granted, most were opportunities for free work (another substack). But personally for me, I find generals super useful because I think you can totally turn it into a possible staffing thing or development sale. I've done more the latter.

Andra: Wait, how do you do that?

Jeane: I stalk executives to make them buy my pitch. Just kidding. No for original ideas I want to pitch, I'll usually send an email as a follow up. Here's a template: "I wanted to check in. I remember when we met, you guys mentioned being open to me circling back with development. I'm following up because I have this idea. (Then I'll give the logline). Let me know your thoughts. I can flesh it out more into a take." Of course I personalize it a lot more but that's the gist and we go from there back and forth, back and forth, get a one pager, then a take, then a pitch out, then it's pitching and/or possible attachments for pitching. It's a whole process.

Andra: I have a little bit of a crush on how you seem so comfortable doing that. I get so much anxiety about reach outs!! I have gotten generals from both friends and managers. Like, one time I really wanted to meet at CBS because they had a bunch of great comedies in development, so I asked a friend to ask another friend and he got me a meeting. It went so well, we really enjoyed each other, they were forwarding me on to some of the comedies in hopes they got picked up that season and then... CBS cancelled all of their comedies in development. But that's the breaks sometimes!

Jeane: It's tough out there, especially more so now.
What's the difference between a GENERAL general and a general geared towards a show or opening writing assignment (OWA)?
Andra: A general general is so vague. Like, you're literally just doing a vibe check with another person. Sometimes it feels like they're just filling up their quota of meetings to look busy, other times you get a really genuine connection, and every once and a while you're right for something they know is being developed and they pass you on for another meeting with a different person. At those meetings, you should've done the research on who you're meeting with and what kind of projects they're into, but you're also just trying to show them how rad you are. When you're meeting for an actual job or open writing assignment, then it's a little closer to a traditional job interview where you're trying to show what makes you right for the job.

Jeane: Andra brings up a good point. A general that isn't for a particular job shouldn't feel like a lot of pressure, too. It's a get to know you and making sure you aren't too crazy. I mean we're writers, we're all a little off kilter in our unique way. Think of it like a first date. A general with a possible job on the line has a little more stakes, like someone is sussing out if they want to DTR.
Is there a difference between a feature general and a TV general?
Andra: I have actually never had a feature general, so I can't say!

Jeane: I'll add, they have always been the same for me. For feature generals, they can be a GENERAL general or with a job on the line, much like in TV. And sometimes it's combined. I've met execs who cover both at smaller production companies. I'm never sure if I should push for more TV or feature things in this situation. What do you do, Andra?

Andra: I am working on a couple of features about topics I'm really passionate about, but mostly in my career I target TV work because I love the collaborative nature of TV. I love a room.
How do you prepare for a general?
Andra: I prepare so much and it hardly ever is necessary. I google, I look at imdbPro, I ask around to try and figure out what projects might be in the pipeline somewhere. But half the time the conversation just becomes about what art someone has on their wall or what weird thing I did last week. Sometimes I feel like it's better to just have a human conversation. And online research hardly ever paints the full picture of what a company is up to, so you kind of have to figure out on the fly. I do, in the time of zoom, keep a google doc next to the zoom window of things the person or company has worked on and why I would have been good on that project, and a list of all of my samples and scripts and pitches that may be close to what they're looking for to remind myself. I have ADHD so I'm much better at vibing in a meeting than I am at remembering whatever I prepared or rehearsed.

Jeane: I do a similar amount of research. My rule of thumb is to stop at the 3rd google page. If you're on their Facebook photo from the trip in Barcelona four years ago, you went too far. I usually don't take more than half an hour to research and I try to come up with 4-5 talking points, whether it's Hollywood related or I saw in my research similar fandoms about something.
What should you expect going into and after a general?
Jeane: I still stand by the first date analogy. Be chill. Don't be desperate. Even if you are.

Andra: Yeah this is the hardest part. Be genuine, treat them like you'd want to be treated if you were in their shoes. Give honest compliments if you like their work, try to talk about your work with confidence, and be specific about what you want and what you're looking for. But Jeane's right. As with everything in Hollywood, it's about seeming hungry... but not thirsty. Y'know?

Jeane: I have no notes on what Andra said.
What is the worst general you've had?
Jeane: I once had an executive think I was a different Asian. They were mortified once they realized it. And another meeting geared towards a show I was dying to staff on, I was so nervous and there were so many people in the meeting, I came off super amped up. On top of that, I also really got some negative feedback (a first for me as far as I know), that was a little racial-sized when I asked a mentor about it. It was a bummer because I wanted to be on that show but I wound up getting an offer from a room around the same time so it worked out.

Andra: I have not had a truly horrifying experience yet.
How do you recover from a bad meeting, then?
Andra: But I have had a few generals where it felt like we couldn't connect, or I was afraid I said something dumb. In that case... I talk to my husband, my friends, my therapist, my dog... anybody who I know likes me no matter what happens with my career. And I try to just move on.

Jeane: I do the exact same thing. Just kidding. No, but I usually call my reps. I'll maybe phone-a-friend if I need to vent too. It's important to have colleagues who can confirm and commiserate with you.
What is your go to question at the end of a general meeting?
Andra: I try to ask questions about the person rather than the company at the end. Because I always think of it as a relationship with that human being. The company may be temporary for them. So I ask stuff like, what are you most proud of in your career? What's your dream project to work on? What kind of writers do you like to work with most? By the end of a meeting, I want to be sincere because nobody wants to be stuck in that last question with me trying to be funny when they really just want to go eat lunch or stop staring at a dumb screen. But I do sometimes ask offbeat questions in the beginning- about their dog, their art, where they went to school, anything I know from googling that we have in common. I once wound up spending an entire general talking to someone about being former choir kids and then at the end I was like, ok we have literally 2 minutes, give me 1 minute on your company mandate and 1 minute on your dreams.

Jeane: My questions are no where as impressive as Andra's. Mine are so basic if it wasn't already covered already. Like company mandates, what the company wants to produce etc and what they want to steer clear from. Spoiler: sometimes they don't know. Also, sometimes I want to know the exec or producer's personal tastes. That's important for me. Because I'll take notes and if I ever bring them material in the future I want to make sure it's what they would like. Sometimes if I find out we have a common interest, I'll ask about that too. Sometimes I don't have questions and I'll recap with how great it is to meet them, because it was and I love meeting people in this business.
Okay, that's our general thoughts on generals. Is there anything else you'd like to see covered? Comment below.

# data[].attributes.attachment_link.description
Today I'm cross-posting with my friend Jeane's blog Writing & Wellness about generals. Jeane and I are co-chairs of the Women's Committee at the WGA (yeah that basically means if you care about women in the arts you have to subscribe to my newsletter ok???).

# data[].attributes.attachment_link.readable_text
For today's post The Letters K and Writing & Wellness are doing a cross-post collaboration on OWAs i.e. open writing assignments, which are basically potential writing jobs from a production company, studio, or network. The job can be to potentially be paid to write a pilot or feature, usually based on IP or an idea the buyer has. In some cases, it's more of an open writing pitch, where you as the writer win the chance to be the writer to develop and work on a pitch for free and then hope that it sells when you take it out into town. But we're getting ahead of ourselves, let's dive in.

Where do you hear of OWAs?

Jeane: I hear of OWAs usually from my reps via generals or sometimes material is forwarded to my reps and then forwarded again to me for consideration. Unlike staffing, I tend to get OWA info more from my reps. The only OWAs I hear of from my writer colleagues, tend to be about Asian American or Asian projects where they have struggled to find a writer. Where do you hear of them, Kristen?

Kristen: Same. My reps are sending me potential development material all the time. They hit me with a lot and it's my job to sift through and decide what I spark to. Also, every general has become me telling my origin story and the exec overviewing what they have that they want a writer to attach to.

How do you decide if you want to pursue an OWA?

Kristen: I am actually trying to get better at this decision process. As a writer, I have a huge imagination and can theoretically see a vision for almost everything I'm sent. As a former people-pleaser, I hate saying no. But I would drown if I said yes to everything. Also, it wouldn't be very good quality if I said yes to the things that I could theoretically map out, but was not emotionally interested in. Also, I've learned that emotional investment is not enough on its own to fuel the amount of work that will be required to pursue a full pitch. I have to be obsessed. It must grab me. If I can pass my day without thinking about it, or if I have any sense of fatigue or hesitation at the thought of the idea, I'm learning that that is a red flag that will haunt me when I'm deep into writing the pitch and not getting paid and wishing I was playing with my kid instead of being forced (by myself) to write this thing. I have to have as much excitement for the OWA as I would an original idea, because honestly the amount of work I end up putting into a completed pitch is the same as I put into writing a pilot, when all is said and, uh, pitched.

Jeane: Wow that is such a wonderful way to look at it.

For me, I have to be super passionate about the OWA, whether it's an arena I love, like if it's set in the world of Kpop or if it's got a concept or hook I love. If I don't care about what the OWA is about and it doesn't speak to me creatively, it doesn't matter who the auspices are or where the OWA is set up, I'm less likely to pursue it. With passion as my first litmus test, I really do take into consideration pretty heavily who's attached from POD, director, talent, sometimes showrunner etc. Right now, I usually turn down OWAs because my plate is pretty full with my own original projects and select few OWAs. If I'm on a show, I almost never consider OWAs until the room is wrapped. When I first started, I would shoot my shot at any OWA that interested me. Now I'm more selective, I would only consider an OWA if I'm passionate about it and there are talent attachments. I know that narrows down a lot of potential work but I found it a way to reclaim my time. It's a lot of unpaid work to "audition" for these OWAs, months at a time sometimes, until you get chosen as the writer they want to work with and then get paid. And in some instances, it's the "opportunity" to be the chosen writer to write a pitch for free and then it's more work then.

Real talk, how often do these OWAs actually turn out to be paid? It seems like OWAs are more like OWP, open writing pitches, which isn't a real term but should be.

Jeane: I'll tackle this. It feels like majority OWPs for me now when it used to be half and half. Of course this is anecdotal.

Kristen: I've never been paid for development in television. I've had if/come deals, which feel like a good balance of free work and paid work, because it protects me from relinquishing my actual work to someone else, but also creates firm avenues for me to get paid for my work down the line. Last year was the first year I spent 100% of my TV work developing, because I didn't pursue staffing right after having a kid. While it was flexible schedule-wise, it was really difficult because everything was unpaid. The reality of how much mental, physical, and creative energy I was expected to expend all for essentially an audition, really turned me off to the entire thing. I couldn't believe this was my life now. At least when you're an actor and you audition, it takes a day to prep and 5 minutes to read, then you can let it go. But this seemed insane and unsustainable and frankly unenticing to me - to do that much work just to win the right to pitch. Compared to projects I've had in the past where someone says 'Hey Kristen, we want you to develop this and then we'll pitch it,' and I'm not competing for a chance to win a chance to get paid... Those are much more preferable. I guess what I'm complaining about is a bake-off scenario and something about the way OWAs are set up creates the dynamic where most of them are bake-offs whether the producers realize it enough to inform the writer or not.

Jeane: I'll also add to this. I very often don't go into an OWA or more accurately an OWP if I know it's a huge bakeoff. That's also another consideration besides passion and auspices. So I will only go after an OWA if I know I am the only writer they are considering so it is mine to lose. It might sound like ego and sure everyone has an ego, even a non-fancy writer like me, but it's also a red flag for me if a producer isn't specific enough to hone on the right writer for a project for me. As much as writers need to work, something I always have to remember is that story starts with writers. As Charlie Kaufman stated at the WGA Awards recently, "They tricked us thinking that we can't do anything without them, but the truth is they cannot do anything of value without us." It bears repeating, in any space you're in as a writer, even when you're trying to get a job, you are interviewing if you want to work with someone as much as they interviewing you.

How long do you spend on an OWA? How long can the process take?

Kristen: A while. I'm a slow writer, so everything takes me longer than some of my peers, I think. I'll go off one I that had success with which began last summer - I thought about it passively for a couple weeks while working on other projects. Then when I had time to focus on it, it took me about a week, maybe 2 to finish my full first draft of the pitch. The first time that I pitched it to a small group of producers and received that first round of notes, the notes were easy and only took me a day. The second round of notes was to a bigger group with higher up execs and the notes were quite substantial. In some ways a page 1 structural rewrite. The POV character changed. I debated walking away because it felt like they didn't actually like what I presented, they wanted something else that I hadn't pitched and just wanted me to do the work. But, I stayed because 1)The core idea that drew me to the project was still intact and 2) I liked that they picked me. There was something about me and my ideas that they liked for this project more than other people, even if I didn't know exactly what that was. So that revision took me about a month - a couple of weeks of background agonizing while I worked on other things and a week to actually execute the changes. I still have another revision to do before we take it out and that will take me about a week, too, because it's not just polishing the pitch itself. It will involve character work.

Jeane: I usually spend about 1-2 weeks max coming up with a take. I've included a chart below I made because I volunteered to do a pitch workshop for some preWGA Vietnamese writers last year. Then I give it verbally to the exec or producer. Rarely do I have to do the take again. But I didn't have a situation where I did more of a pitch than a take for a book I was super passionate about. It was me and a showrunner cocreating and it was six months and numerous meetings later and we didn't get it. It was crushing.

Have you ever regretted passing on an OWA?

Jeane: Gosh, no and that's surprising for me because I'm such a people pleaser and always worried about shutting a door down. But it feels so liberating to say no and reclaim your time! Plus, it's hard to remember you should never feel bad about saying no to free work, even if there is a potential for paid work eventually. Just like any other field, you don't have to interview somewhere you are not interested in. I'd rather not waste my time and someone else's.

Kristen: I completely agree with Jeane, on the people-pleaser front and how freaking great it feels to be free of something. I had an OWA I said yes to that I got stuck on and eventually walked away from. I was so relieved to have it off my plate and to recoup that time, and to be free of the burden of chasing elusive story solutions, that I cried. That was a big reminder to me that 1) I don't have to say yes to these to be successful and 2) Like I mentioned above, even when I think I'm in love... if I'm just in like, it's not enough.

What OWA have you gone for and not gotten that you still think about?

Kristen: Hmm, I have a 2 part answer. The first wasn't an OWA, but it was an if/come deal for a book I loved that we developed and pitched all the way and just didn't sell. I think about it all the time. That's just bad luck. The only OWA I've pursued and didn't get that bothered me, wasn't because I really wanted it, in fact I think the inherent nature of OWAs, of them not being original to me, allows me a lot of distance and detachment from most of them. But I was up for one OWA that I didn't get and what bothered me was the way I found out. I wasn't told it was a bakeoff, in fact I presented my full pitch on a Friday and was told I'd get notes by Monday. I was asked to share my pages (big no no, but in this case, because I was told we'd be revising and I didn't know it was an audition, I was ok with it). 2 weeks went by of me waiting for notes before they told us they went with another take. That really bothered me because of how it was handled, more than being heartbroken over the lost opportunity to tell a certain story. I'm a writer, I can make up my own stories. But this was a wakeup call to me of how much room there is for worst practices with this structure, even though the producer was someone I'd known beforehand and trusted.

I feel like all I've done is complain. I think OWAs are great when it's a good match. But they've come to dominate the development landscape, so there's pressure to engage in a less-than-empowering relationship, and that feels out of balance and the source of a lot of strife.

Jeane: Kristen, it's awful they were not transparent with you. I 100% would not have shared materials if it was a bake off and I could easily see myself in that scenario too. So one other thing to caveat, if you're pitching a take or a pitch on an OWA that is IP you don't own, do not send in written material. It's different if you're the only writer they are working with for the IP or your original material.

Okay, time for my bad story. It would be the one with that showrunner last year. I'll call it Project X. It was a book we had tried to option ourselves first and we had a big POD interested but the studio that pod was connected to said no. Then we lost out on the rights to an actor. The POD we had interested was so lovely and mad for us, they wrote an email to the producers and the actor who won the option for the book. Then the showrunner and I competed in the OWA against other writers to adapt this book. It was two months first of us trying to convince a studio to option it for us, and then another six months competing for the book when we couldn't get the rights ourselves. I don't regret but it was tough. It was a book I really poured very vulnerable stories into, I even told of a story of an assault that happened in my family. But it's not all bad. I've also been rejected plenty of other times and don't care about it. It becomes routine and rote to deal with rejection but also allow space for bereavement because some projects you just care about more, like I did for Project X.

Thanks for reading along, everyone. We hope this has been informative. Let us know what your thoughts are on OWAs.

# data[].attributes.attachment_link.title
The Letters K and Writing & Wellness Cross Post

# data[].attributes.attachment_link.description
For today's post The Letters K and Writing & Wellness are doing a cross-post collaboration on OWAs i.e. open writing assignments, which are basically potential writing jobs from a production company, studio, or network. The job can be to potentially be paid to write a pilot or feature, usually based on IP or an idea the buyer has.

# data[].attributes.attachment_link.readable_text
Employment Opportunities

INTERNSHIP OPPORTUNITIES

For internship opportunities (college credit) please email cover letter and resume with the SUBJECT: INTERN OPPORTUNITIES to:

Los Angeles: LAopportunities@cleartalentgroup.com
New York: NYopportunities@cleartalentgroup.com

CTG Digital, Commercial & Print, Dance, and Creative & Choreography (Los Angeles) departments are currently accepting intern applicants. Seeking an energetic, self-sufficient, focused individuals to support these busy departments.

Dance/Creative & Choreography:
- Interest in dance/choreography/performing arts
- Talent coordinating
- Project and artist research and outreach
- Answering phones
- Audition calls
- General office help

*NO PHONE CALLS PLEASE*

# data[].attributes.attachment_link.description
INTERNSHIP OPPORTUNITIES For internship opportunities (college credit) please email cover letter and resume with the SUBJECT: INTERN OPPORTUNITIES to: Los Angeles: LAopportunities@cleartalentgroup.com New York: NYopportunities@cleartalentgroup.com CTG Digital, Commercial & Print, Dance, and Creative & Choreography (Los Angeles) departments are currently accepting intern applicants. Seeking an energetic, self-sufficient, focused individuals to support these busy departments.

# data[].attributes.attachment_link.description
Endeavor is a global entertainment, sports and content company, home to the world’s most dynamic and engaging storytellers, brands, live events and experiences. The company is comprised of industry leaders including entertainment agency WME; sports, fashion, events and media company IMG; and premier…

# data[].attributes.attachment_link.readable_text
Work in the mailroom

Service the company across all departments

Assist with a variety of daily administrative office tasks, distributing mail, running errands and special projects as needed

Qualifications:

Must be a junior or senior (undergrad or grad) enrolled in a 4-year accredited university or college with a GPA of 3.0 or above

We have no restrictions on declared majors, degree program, or course of study

Ability to anticipate needs and adapt to changes in a fast-paced environment

Ability to meet tight deadlines

Demonstrating accuracy in the execution of assigned tasks

Provide proof of college-credited course

Interns that will be traveling are responsible for their own transportation and housing

A passion and curiosity for the Entertainment Industry

Excellent interpersonal skills, while understanding the importance of maintaining confidentiality

Must be reliable and possess good judgment

Must be service-minded

Outstanding communication skills

Eligibility:

Applicants must be able to work part-time at 10-20 hours per week, dependent on school schedule

# data[].attributes.attachment_link.description
Work in the mailroom Service the company across all departments Assist with a variety of daily administrative office tasks, distributing mail, running errands and special projects as needed Qualifications: Must be a junior or senior (undergrad or grad) enrolled in a 4-year accredited university or college with a GPA of

# data[].attributes.attachment_link.description
CAA maintains a long-standing commitment to growing its employees' careers. Assistants, mailroom clerks, and receptionists, along with additional colleagues across the company, play a critical role in enabling our business to deliver the best results for our clients.

# data[].attributes.attachment_link.description
UTA unites ideas, opportunities and talent. The company represents some of the world's most iconic, barrier-breaking artists, creators and changemakers-from actors, athletes and musicians to writers, gamers and digital influencers. One of the most influential companies in global entertainment, UTA's business spans talent representation, content production, as well as strategic advisory and marketing work with some of the world's biggest brands.

# data[].attributes.attachment_link.title
Agency for the Performing Arts - Agency Trainee

# data[].attributes.attachment_link.description
Who We AreFounded in 1962, Agency for the Performing Arts (APA) is one of the largest diversified talent agencies in the entertainment industry with offices in Los Angeles, New York, Nashville, Atlanta, Toronto and London.

# data[].attributes.attachment_link.title
Fellowship & Writing Programs for Screenwriters Masterlist — The Writers Guild Foundation

# data[].attributes.attachment_link.description
The Writers Guild Foundation celebrates the vital importance of screen storytelling and storytellers.

# data[].attributes.attachment_link.readable_text
Below is a list of notable companies involved in the production and distribution of countless works of film and television.

Also see the list of Animation Companies and TV Networks.

"Big Five" major film studios

Sound and sound effects companies

Indie production companies

# data[].attributes.attachment_link.title
Film & TV Companies / Useful Notes - TV Tropes

# data[].attributes.attachment_link.description
Below is a list of notable companies involved in the production and distribution of countless works of film and television. Also see the list of Animation Companies and TV Networks. Disney Walt Disney Animation Units - The main unit is in ...

# data[].attributes.attachment_link.readable_text
These are closing logos or production companies you can see at the end of a different show, especially if it doesn't air on Treehouse, YTV, or any other network owned by Corus Entertainment.

This list also comes from the Closing Logo Wiki's navigation box on the left.

Family Companies and Animation Companies

20th Century Fox

4Kids Entertainment

Aardman Animations

Abrams Gentile Entertainment

Ambilimation

Bandai Visual

Caramba Estudio

CBBC

The Children's Channel

Dargaud Media

DHX Media

Don Bluth Entertainment

Dorling Kindersley Vision

Filmation Associates

Film Roman

Hallmark Hall of Fame Productions

Hasbro Inc.

Into The Void FX

The Jim Henson Company

Just Entertainment

The Rastamouse Company

J.C. Staff

Joconda Video

Laika

Ludroum

Mattel

MGM Animation

Nelvana

Nextworks S.A.

Nickelodeon

PBS Kids

Rainbow S.R.L

Random House Children's Entertainment

Sooty Ltd.

Scholastic Media

Sony Pictures Animation

Splash Entertainment

Studio Ghibli

Terrytoons

The Charlie Horse Music Pizza Production Company

The Media Merchants Productions

Threshold Entertainment

Universal Animation Studios

UPN Kids

Walt Disney Animation Studios

Warner Brothers Animation

Xilam

Co-Religious and Co-Nonprofit Companies

Breathe Motion Productions

Cedarmont Kids

Christian Television Network

Classic Entertainment

Creative Communications Network

Crossroads Christian Communications

Dean River Productions

The Evangelical-Lutheran Church In America

Everland/Word Entertainment

Faith Roots Productions

Focus on the Family

Gateway Films/Vision Video

Group Pictures

Liguori Publishing

Mainstreet Entertainment

Nada Cipta Raya Production

Pamplio Entertainment

Tommy Nelson

Vismaad

Other Family and Animation Companies

2121 Productions

2D Lab

6 Point Harness

70/30 Productions

9 Story Media Group

Aeroplane Productions

A. Film A/S

A.K.A. Cartoon

AB Productions

Abbey Home Entertainment

ABC Kids

AbsoluteDigital Pictures

Action Synthese Studio

Air Programs International

Alphanim

All Seasons Entertainment

Alpamayo Entertainment

Amberwood Entertainment

American Greetings

Amity Entertainment

Anima Estudios

Animaccord

Animated Family Films

Animax Entertainment

Anime Crash

Animation Services

AnimEigo

ArtMic

Atkinson Film-Arts

Atomic Cartoons

Augenblick Studios

BRB International

Baby Video

Bagdasarian Productions

Bakshi Productions, Inc.

Bang Zoom! Entertainment

Bardel Productions

Barnredaktionen Visar

Benny Smart

Bento Box Entertainment

Beverly Hills Film Corporation

Bill Melendez Productions

Billionfold, Inc.

Bio-Meta Team

Blue Streak

Bohbot Kids Network

Bokabi

Bones

Brentwood Kids Company

Britt Allcroft Productions

Build-A-Bear Workshop

Cake Entertainment

Calico Entertainment

Callaway Arts & Entertainment

Carbunkle Cartoons

Carerre Group

Cartoon Pizza

Catapult Productions

Cat's Pyjamas

CCI Entertainment Limited

Central Park Media

Chorion

Children's Video of America, Inc.

Cine Amiadores

CineGroupe

Cinematico

Citrus Television

Cloverway, Inc.

C Moon

Collideascope Digital Productions

Company of Kids

Corus Entertainment

Coneybeare Stories

C.O.R.E. Digital Pictures

Cosgrove Hall Fitzpatrick Entertainment

Creative Capers Entertainment

Crest Animation

Cuppa Coffee Studios

The Curiosity Company

Curious Pictures

DAM

Darby Pop Productions

D'Ocon Films Productions

DNA Productions

Danger Productions

Dark Horse Entertainment

Dave Hood Entertainment

David O'Reiley

Decode Entertainment

Desclez Productions

Dez Angel

Dingo Pictures

Discovery Kids Originals

Discreet Art Productions

Earth Creatures

Editorial Perfil

Elastic

Ellipse Programme

The Elf Factory

EM.TV & Merchandising AG

Energee Entertainment

Entara

Erin Crysdale Productions

Estudios De Animacion ICAIC

Estudios Vara

EVA Entertainment

Fairy Dust Corporation

Family Home Entertainment

Flying Gherkin

Forest City Rockers

Format Films

France Animation

Fred Wolf Films

Frederator Incorporated

Freedman/Lippert Productions

Funbag Animation Studios

Futurikon

Gainax

Galaxy7

Ginormous Madman

GKIDS

Gluk'oza Animation

Gordon 3000 Industries

Grantray-Lawrence Animation

Graz Entertainment

Green Bunny

Green Light Media

Grouper Productions

Hammer Creative

Hamtaro/Hamutaro the Movie

Happy Nest Productions

Harringtoons Productions

Helion Pictures

Hentemann Films

Hong Kong Film Services

Ilion Animation Studios

Illusion Studios

Illumination Entertainment

Imagination Factory Inc.

Imagi Studios

IMX Communications

The Ink Tank

Jam Filled Entertainment

JAM Media

Jambalaya Studio

Joe Murray Productions

John Sutherland Productions

Judgemental Films

Junior Home Video

Jumbo Pictures

JWL Entertainment

Kaboom! Entertainment

KeyFrame Digital Productions

Kid Time Video

Kideo

KidRo Productions

Kidz House Entertainment

Kievnauchfilm

King Rollo Films

KinoAtis

Kinofilm Studios

Kitty Film

Klasky-Csupo

KLASS!

The Krislin Company

L+H Films

Lacewood Productions

Lil' Whoop Productions

Lisberger Studios

Little Airplane Productions

Litton Entertainment

Livewire Communications

MVM Entertainment

The Magic Store

The Maltese Companies

Mandoo Pictures

Marc Brown Studios

Marina Productions

MarshMedia

Martin Gates Productions

Mauricio de Sousa Producoes

Max Bannah Animation

Media Blasters

Media Factory

Medialab

Media Station Company

Meeker Media

Melnitsa Animation Studio

Menitsa

Mercury Filmworks

Meridian Education Corporation

Mexopolis

MGA Entertainment

Mirage Studios

Miramar Productions

Miramax Family Films

Modern Cartoons

Moxie Turtle

Mukpuddy Animation

Mulberry Square Productions

Mult.ru

National Arts Centre / Centre National des Arts

National Film Board of Canada

NCircle Entertainment

Neptuno Films

Nest Family Entertainment

Nippon Sunrise

noitaminA

O Entertainment

Omation

Once Upon A Time

Owl Communications

Owl Television

PMT, Ltd.

Paper Kite Productions

Paul & Joe Productions

Paws, Inc.

Pelyapim

Perez-Minton Productions

Perky Pickle Studios

Philippine Animation Studio, Inc.

Phil Nibbelink Productions

Pikachu the Movie

Pilot Studio

Pirates World Pictures

Play Comic Video

Polka Dot Pictures

Portfolio Entertainment

Protocol Entertainment

Pukeko Pictures

Puny

Rabbit Ears Storybook Classics

Radical Sheep Productions

Rainmaker Animation

Rebel Entertainment

Renegade Animation

Rick Reiner Productions

RKO Cartoons

Roobarb Enterprises

Ruby-Spears Productions

Saban Brands

Sabella Dern Entertainment

Sachs Family Entertainment

Sanrio Films

Sardine Productions

Savage Studios Ltd.

Schneider's Bakery

Section23 Films

ShadowMachine Films

Shadow Projects

Shin-Ei Animation

Shogakukan Video

Shonen Jump Pictures

Sid & Marty Krofft Pictures

Silver Lining Entertainment

Silver Fox Films

Sirius Thinking Ltd.

Sitting Ducks Productions

Slam Dunk Productions

Slap Happy Cartoons

SLR Productions

Snee-Oosh

Soyuzmultfilm

Spark Plug Entertainment

Spectra Animation

Spider Eye Productions

Spiffy Pictures

Spin Master Entertainment

Splash! Productions

Sparky Animation

Spumco

Star Anim Enterprises

Star Farm Productions

Stephen Bosustow Productions

Streamline Pictures

The Story Hat

Storytime Collection

Stretch Films

Studio Ekran

Studio F.A.F./Animated Film Factory

Studios Idefix/Dogmatix Studios

Summertime Entertainment

Suzhou Hong Ying Animation Corporation Limited

Sweetpea Entertainment

Synch-Point

TM Books and Video

TMS Entertainment

Tadpole Kids

Titmouse Inc.

Toei Animation

Together Again Productions

Toho Animation

Toonbox

Topps Animation

Topstone Productions

The Tornante Company

Tremendous Entertainment

Trigger

Triggerfish Animation Studios

TLC Entertainment

Tundra Productions

TV-Loonland AG

tv4c

Tycoon Home Video

United Media Productions

United Productions of America

Urban Bision

Vangaurd Animation

Vangudardia Video Childrens

Video Brinquedo

Vitello Productions

Viz Media

(W) Holesome Products

Wild Canary Animation

Wolf Tracer Studios

Wonderland Video

Wonderwings.com Entertainment

World Events Productions

World Leaders Entertainment

Worldwide Biggies

YES! Entertainment

Young Generation Video

Zoo Lane Productions

Educational companies

AIMS Media

AKal Interaftif

American Institute for Education

Aquarian Productions

# data[].attributes.attachment_link.description
These are closing logos or production companies you can see at the end of a different show, especially if it doesn't air on Treehouse, YTV, or any other network owned by Corus Entertainment. This list also comes from the Closing Logo Wiki's navigation box on the left.

# data[].attributes.attachment_link.readable_text
List of the top television production companies in the world, listed by their prominence with corporate logos when available. This list of major television production companies includes the largest and most profitable television production businesses, corporations, agencies, vendors and firms in the world. If you are wondering what the biggest television production companies are, then this list has you covered. This list includes the most famous television production companies in the industry, so if you're thinking of working in the television production industry you might want to look to these company names for jobs. This list includes names of both small and big television production businesses.

The list you're viewing has a variety of companies, like Metro-Goldwyn-Mayer and Filmation, in it.

This list answers the questions, "What are the biggest television production companies in the world?" and "What are the most successful television production companies?"

# data[].attributes.attachment_link.description
List of the top television production companies in the world, listed by their prominence with corporate logos when available. This list of major television production companies includes the largest and most profitable television production businesses, corporations, agencies, vendors and firms in...

# data[].attributes.wish_content.attachment_props.text
My Black-owned film/tv related company thread.

# data[].attributes.wish_content.attachment_props.original_text
My Black-owned film/tv related company thread.

# data[].attributes.attachment_link.embed_code
My Black-owned film/tv related company thread.
— Ricky Tyree | (@_RickyTyree) February 5, 2023

# data[].attributes.attachment_link.metadata.attachment_props_source.data.text
My Black-owned film/tv related company thread.

# data[].attributes.attachment_link.metadata.attachment_props.original_text
My Black-owned film/tv related company thread.

# data[].attributes.attachment_link.metadata.attachment_props.text
My Black-owned film/tv related company thread.

# data[].attributes.attachment_link.readable_text
Welcome to our inaugural edition of The Essential Web Resources for Screenwriters! There's plenty of online content out there about the craft and business of screenwriting, but our Library team is here to analyze and recommend web resources that are worth your time!

To start, here are 4 web resources recommended by Lauren O'Connor, our WGF Librarian.

# data[].attributes.attachment_link.title
The Essential Web Resources for Screenwriters - The Writers Guild Foundation

# data[].attributes.attachment_link.description
Welcome to our inaugural edition of The Essential Web Resources for Screenwriters! There's plenty of online content out there about the craft and business of screenwriting, but our Library team is here to analyze and recommend web resources that are worth your time! To start, here are 4 web resources recommended by Lauren O'Connor, our WGF Librarian.

# data[].attributes.attachment_link.description
Submit your screenplay, manuscript, or prose to the best writing competitions, fellowships, and labs in the world, curated for you by Coverfly.

# data[].attributes.attachment_link.description
Coverfly helps aspiring writers get their work in front of Hollywood industry professionals through top writing programs and fellowships.

# data[].attributes.attachment_link.readable_text
Browse the Diversity Directory, an index of 100+ organizations, projects & festivals focusing on diversity in the entertainment industry.

Don't miss our comprehensive lists of active Women's Film Festivals, Workshops and Grants for Female Filmmakers.
DiscoverThe Hollycal - the calendar of feature films & TV episodes written and directed by women
More tools and resources coming soon!

# data[].attributes.attachment_link.title
The Diversity Directory - Index Of Organizations & Festivals - Hollywomen

# data[].attributes.attachment_link.description
Browse the Diversity Directory, an index of 100+ organizations, projects & festivals focusing on diversity in the entertainment industry. Don't miss our comprehensive lists of active Women's Film Festivals , Workshops and Grants for Female Filmmakers . DiscoverThe Hollycal - the calendar of feature films & TV episodes written and directed by women More tools and resources coming soon!

# data[].attributes.attachment_link.readable_text
For nearly twenty years, the NHMC Series Scriptwriters Program has helped launch the careers of more than 200 Latinx writers.

10 diverse Latinx writers nationwide are selected for a 7-week intense writers lab. At the end of the program, these writers will have either a half-hour or hourlong original series pilot, which they will pitch to Industry leaders, beginning with our partners at ABC & NBC. Over the 7-week duration writers work with a professional writing mentor, meet and speak with professional industry writers, and build a community of Latinx writers. The program is officially conducted virtually.

Our writers have worked on shows that can be viewed on Netflix, CW, NBCUniversal, HBOMax, Hulu, ViacomCBS, Amazon Prime, Disney+, and more.

# data[].attributes.attachment_link.title
NHMC's Series Scriptwriters Program - NHMC National Hispanic Media Coalition

# data[].attributes.attachment_link.description
For nearly twenty years, the NHMC Series Scriptwriters Program has helped launch the careers of more than 200 Latinx writers. 10 diverse Latinx writers nationwide are selected for a 7-week intense writers lab. At the end of the program, these writers will have either a half-hour or hourlong original series pilot, which they will pitch to Industry leaders, beginning with our partners at ABC & NBC.

# data[].attributes.attachment_link.readable_text
For over 30 years, the Disney General Entertainment Content (DGE) Writing Program has been lauded as one of the most successful writing programs in the entertainment industry. The program has launched the careers of many writers, including: Peter Saji ( Mixed-ish); Zahir McGhee ( Queens); Raamla Mohammed ( Little Fires Everywhere); Jane Espenson ( Once Upon a Time); Saladin K. Patterson ( The Wonder Years, Dave); Bryan Oh ( Chicago Fire); George Mastras ( Breaking Bad) and Veena Sud ( The Killing).

ABOUT THE WRITING PROGRAM

The DGE Writing Program is a highly selective, annual TV staffing program. The goal is to staff emerging and diverse television writers on DGE scripted series. Program Writers are contract employees of Disney for one year, or until they staff on a show, and receive mentorship, professional development, and unprecedented access to the company and its creative executives, producers, showrunners, and program alumni. One writer will receive the Eunetta T. Boone Comedy Writers Scholarship and special staffing consideration on a Disney Branded Television series.

WHEN TO APPLY

The annual submission period for the Writing Program opens during the month of May. Specific dates vary year to year. Follow us on our Facebook page to receive updates and alerts about the submission period.

HOW TO APPLY

Visit our Facebook page for updates on the application, including instructions and FAQs. Due to the high volume of submissions received, we are unable to confirm receipt of any application submitted.

NOTIFICATION

Please check our Facebook page for announcements regarding individuals selected to join the Writing Program.

# data[].attributes.attachment_link.description
For over 30 years, the Disney General Entertainment Content (DGE) Writing Program has been lauded as one of the most successful writing programs in the entertainment industry. The program has launched the careers of many writers, including: Peter Saji ( Mixed-ish); Zahir McGhee ( Queens); Raamla Mohammed ( Little Fires Everywhere); Jane Espenson ( Once Upon a Time); Saladin K.

# data[].attributes.attachment_link.description
Founded in the year 2000, the Nickelodeon Writing Program is a full-time, paid, yearlong development Program for television comedy writers with unique voices and from underrepresented communities. Join us at the studio in Burbank for classes and workshops to sharpen your skills, executive mentorship and networking to build your professional relationships, and the opportunity to work in the iconic live-action and animation writers' rooms at Nick.

# data[].attributes.attachment_link.authors[].name
Adam Montgomery, Senior Manager Programming

# data[].attributes.attachment_link.title
Film Festivals, Screenplay Contests, Submissions

# data[].attributes.attachment_link.description
Enter the world’s best film festivals and screenplay contests. FilmFreeway makes it easy to discover, submit and get tickets to thousands of events.

# data[].attributes.attachment_link.title
2022/2023 Top Tier Competition | Roadmap Writers

# data[].attributes.attachment_link.description
Roadmap Writers has helped nearly 300 screenwriters sign with industry representation in just six years. We pride ourselves on partnering with the best and brightest industry professionals the entertainment world has to offer to develop the most promising up-and-coming screenwriters.

# data[].attributes.attachment_link.readable_text
In 2022, the Athena Film Festival Writers Lab will be back in person, March 14-16, on the Barnard campus in Morningside Heights. Traditionally focused on writers for film, this year we've expanded our New York lab to include spots for television writers as well

The Writers Lab provides women and non-binary storytellers with creative feedback, pitch training, and a robust supportive network. The Lab also includes a keynote conversation from an established filmmaker as well as industry events where participants will learn how to navigate their careers in film and TV.

Applicants can either submit a screenplay or a TV pilot, and the project must include a woman (or women) in a leadership role or position at the center of the story.

Submissions are open from November 17, 2021 - January 7, 2022. We look forward to reading your scripts!

Submit to the Screenwriter Portal

Submit to the TV Portal

In partnership with

# data[].attributes.attachment_link.title
Submit to The AFF at Barnard College NY Writers Lab - Athena Film Festival

# data[].attributes.attachment_link.description
In 2022, the Athena Film Festival Writers Lab will be back in person, March 14-16, on the Barnard campus in Morningside Heights. Traditionally focused on writers for film, this year we've expanded our New York lab to include spots for television writers as well The Writers Lab provides women and non-binary storytellers with creative feedback,...

# data[].attributes.attachment_link.readable_text
In this highly competitive virtual accelerator program for TV writers, 6-8 fellows will receive three weeks of industry training before having the opportunity to pitch to major studios, production companies and producers . The entire accelerator, including training and pitching, will occur online.

The goal of this program is to launch the careers of our fellows, which could take the form of selling their TV pilot; securing follow-up meetings with executives; getting hired as a freelance writer, staff writer or writing support staff on an existing series; and/or making valuable industry contacts.

​

Fellows will be selected with the help of industry judges .

​

See below for the i timeline. If you have any questions not answered here or on our FilmFreeway page , visit our FAQ or register for our free nfo session on Nov. 1.

Who is hearing pitches

The 6-8 selected fellows will have the opportunity to pitch their pilots to an elite group of studios, production companies and producers. These pitches will happen in April over Zoom.

"The Flight Attendant," "Harley Quinn"

"Bosch"

"Normal People," "Conversations With Friends"

"Dickinson," "True Detective," "Maniac," "Mr. Robot"

"The Umbrella Academy," "Fargo

"Killing Eve," "Ragdoll"

Management and production

Here's what our past fellows had to say:

Who is judging the submissions

Semi-finalists' pilots will be read by an incredible group of judges, including showrunners, executive producers, series creators and TV writers. This panel of judges will help us select the finalists, who will then go through a virtual interview before the 6-8 fellows are selected. Even if you are not selected as a fellow, there is still a chance you might be contacted if one of these judges likes your script enough to interview or refer you for a writing position.

​

Click on the pictures to read more about these judges!

Timeline

The virtual accelerator runs from late March through mid-April. The 6-8 fellows who are accepted into this program will spend several weeks polishing their pitches through sessions with guest speakers and peer review before a week of pitching to studio executives and production companies. All sessions and pitches will take place through Zoom.

​

Fellows are required to attend every session. Here are the dates (note these dates and times are subject to change):

​

October 17, 2022 - January 4, 2023:

Late January 2023

Quarter-finalists announced. Quarter-finalists will be required to submit a 2-minute video for further consideration.

​

February 2023

Semi-finalists announced. Semi-finalists' scripts will be read and scored by industry judges.

Semi-finalists will gain access to a library of select virtual workshops from the Women's Weekend Film Challenge virtual workshop series. Plus, they'll attend an exclusive virtual networking event, where they'll meet their fellow semi-finalists.

March 2023:

Mid-March 2023:

Fellows are announced. Fellows will have assigned work to complete before the beginning of the program, including reading other fellows' scripts, watching several virtual workshops and polishing pitch materials.

​

March 30, 31, April 6, 7, 12, 13, 14, 11 a.m. - 2 p.m. PT / 2 - 5 p.m. ET:

Accelerator workshops (see below for more information). Exact times and dates are subject to change.

​

April 17-21, 2023:

Pitch week! Prior to this week, we will send the fellows' loglines to the companies and individuals signed on to hear pitches. They will each select three pitches they would like to hear based on those loglines. Fellows will be notified with the exact dates and times of their pitch meetings a few days in advance.

​

​

​

Accelerator Curriculum

Press

More questions?

# data[].attributes.attachment_link.description
In this highly competitive virtual accelerator program for TV writers, 6-8 fellows will receive three weeks of industry training before having the opportunity to pitch to major studios, production companies and producers . The entire accelerator, including training and pitching, will occur online.

# data[].attributes.attachment_link.readable_text
ONE WINNER receives:

$2,500 cash prize from the Nantucket Film Festival;

All-inclusive, month-long writer's retreat on Nantucket in October with Almanack Screenwriters;

A pass for the 2022 festival;

A reception during the festival in the winners' honor;

Custom bound copy of the winner's script;

Name inclusion in press release and on festival website as a competition winner and finalist;

EPISODIC SCREENPLAY (60 MIN) COMPETITION
ONE WINNER receives:

$1,000 cash prize from the Nantucket Film Festival;

A pass for the 2022 festival;

A reception during the festival in the winners' honor;

Custom bound copy of the winner's script;

Name inclusion on Festival website as a competition finalist and winner.

EPISODIC SCREENPLAY (30 MIN) COMPETITION
ONE WINNER receives:

$1,000 cash prize from the Nantucket Film Festival;

A pass for the 2022 festival;

A reception during the festival in the winners' honor;

Custom bound copy of the winner's script;

Name inclusion on festival website as a competition finalist and winner.

SHORT SCREENPLAY COMPETITION
ONE WINNER receives:

$500 cash prize from the Nantucket Film Festival;

A pass for the 2022 festival;

A reception during the festival in the winners' honor;

Name inclusion in press release and on festival website as a competition winner and finalist.

# data[].attributes.attachment_link.title
Tony Cox Screenplay Competitions - Nantucket Film Festival

# data[].attributes.attachment_link.description
2,500 cash prize from the Nantucket Film Festival; All-inclusive, month-long writer's retreat on Nantucket in October with Almanack Screenwriters; A pass for the 2022 festival; A reception during the festival in the winners' honor; Custom bound copy of the winner's script; Name inclusion in press release and on festival website

# data[].attributes.attachment_link.readable_text
The Native American Media Alliance provides a multi-faceted educational program for studios, networks, production companies, talent agencies and unions working in the Native space in order to promote an authentic voice in film, television and new media.

NAMA provides the following initiatives:

- Cultural Sensitivity: We offer training for industry professionals on Native American history, modern lifestyle and cultural norms to provide an accurate portrayal of Native Americans and foster a genuine connection between Native Americans and the entertainment community.

- Safe Space: We provide advocacy on behalf of Native Americans working in the entertainment industry who need a confidential, safe space to communicate and address workplace concerns.

- Native Writes: This groundbreaking initiative offers Native American writers a place to showcase and share their work through our database-a definitive collection of television and feature film scripts. Subscribers have the opportunity to share their material with the entertainment industry and receive feedback from partner production companies.

- Production Incentives: Commitment to exploring federal and state tax incentive strategies for entertainment companies that employ Native American writers for film, television and new media.

- Writer Protection: We are working to help establish protections for Native American writers who are documented American Indians, Alaskan Natives and Native Hawaiians similar to the law established for traditional artistic endeavors (Indian Arts and Crafts Act of 1990).

# data[].attributes.attachment_link.title
Native American Media Alliance | Programs

# data[].attributes.attachment_link.description
The Native American Media Alliance provides a multi-faceted educational program for studios, networks, production companies, talent agencies and unions working in the Native space in order to promote an authentic voice in film, television and new media.

# data[].attributes.attachment_link.readable_text
IN ADDITION TO FILLING OUT THE ONLINE ENTRY FORM, ENTRANTS MUST PROVIDE THE FOLLOWING:

1. A PITCH PRESENTATION DECK OUTLINING YOUR CONTENT IDEA (PDF FILES ONLY)

2. A VIDEO (MP4 FORMAT, MAX 500 MB) - THREE MINUTES, MAXIMUM - THAT DEMONSTRATES YOUR PROJECT (A SIZZLE REEL OR PERSONAL VIDEO PITCH OF THE PROJECT WHERE A SIZZLE IS NOT YET AVAILABLE)

4. A SIGNED DEVELOPMENT AGREEMENT FROM EVERYWOMAN STUDIOS, TO COME INTO EFFECT IF YOU ARE SELECTED AS THE WINNER OF THE DEVELOPMENT FUNDING. (PDF)

5. A ONE-PAGE STATEMENT EXPLAINING HOW THE ACCELERATOR WOULD BENEFIT YOU. (PDF)

6. A RESUME INDICATING YOUR WORK EXPERIENCE, INCLUDING THAT WITHIN NON-FICTION PRODUCTION (IF ANY) AS WELL AS ANY PRODUCTION CREDITS YOU HAVE. (PDF)

MATERIALS CAN BE UPLOADED BY CLICKING THE UPLOAD FILES LINK AFTER YOUR ENTRY FORM IS FILLED.

# data[].attributes.attachment_link.title
Propelle Content Accelerator for Women ★ Guidelines ★

# data[].attributes.attachment_link.description
IN ADDITION TO FILLING OUT THE ONLINE ENTRY FORM, ENTRANTS MUST PROVIDE THE FOLLOWING: 1. A PITCH PRESENTATION DECK OUTLINING YOUR CONTENT IDEA (PDF FILES ONLY) 2. A VIDEO (MP4 FORMAT, MAX 500 MB) - THREE MINUTES, MAXIMUM - THAT DEMONSTRATES YOUR PROJECT (A SIZZLE REEL OR PERSONAL VIDEO PITCH OF THE PROJECT WHERE A SIZZLE IS NOT YET AVAILABLE) 4.

# data[].attributes.attachment_link.readable_text
All Competition Deadlines & Prices (TBD)
Film Competition:
Early Bird Deadline: March 23
Regular Deadline: May 17
Late Deadline: June 22
Extended Deadline: July 7
Screenplay & Teleplay Competition
Feature Screenplay
Early Bird Deadline: March 23
Regular Deadline: April 18
Late Deadline: May 25

Short Screenplay & Teleplay
Early Bird Deadline: March 23
Regular Deadline: April 18
Late Deadline: May 25
Produced Digital Series Competition
Early Bird Deadline: March 23
Regular Deadline: April 18
Late Deadline: May 25
Extended Deadline: July 7
Scripted Digital Series Competition

Early Bird Deadline: March 23
Regular Deadline: April 18
Late Deadline: May 25
Extended Deadline: July 7
Fiction Podcast

Early Bird Deadline: April 18
Regular Deadline: April 18
Late Deadline: May 25
Extended Deadline: July 7
Playwriting Competition
Early Bird Deadline: March 23
Regular Deadline: April 18
Late Deadline: May 25

# data[].attributes.attachment_link.description
Film Competition: Early Bird Deadline: March 23 Regular Deadline: May 17 Late Deadline: June 22 Extended Deadline: July 7 Screenplay & Teleplay Competition Feature Screenplay Early Bird Deadline: March 23 Regular Deadline: April 18 Late Deadline: May 25 Short Screenplay & Teleplay Early Bird Deadline: March 23 Regular Deadline: April

# data[].attributes.attachment_link.title
Final Draft Big Break Screenwriting Contest | Final Draft

# data[].attributes.attachment_link.description
Learn about the Final Draft Big Break Screenwriting Contest. The Big Break Contest is now closed, but check out our 2020 Big Break Winners!