Index

A

Acquisitions, 61

Acting resume, 173, 175–176

Actor

agent for, 250

career path for, 108

finding, 267

Adventure, 20

Advice from experts

according to Eve, 337–340

according to everyone else, 340–347

words of wisdom, 347

Age discrimination, 26

resume and, 171

Agencies. See Temp agencies

Agency jobs

as learning experience, 67

Agent(s)

for actors and writers, 250

career path for, 108

commission for, 251

job of, 251–252

literary manager vs., 69

maintenance of contacts and, 68–69

pros and cons of, 67–68

requirements for having, 250, 251

salaries of, 68

specialists, 251

types of jobs as, 67

Alliance of Motion Picture and Television Producers (AMPTP)

work of, 51

American Association of Producers (AAP), for production team, 51

American Federation of Television and Radio Artists (AFTRA), 50

Assistant

acknowledgment of, 201–202

Associate producer, 75

Attaching talent

A-list talent for, 266

finding an actor, 267

for low-budget indie film, 266

to package project, 265–266

through actor’s agent, 266–267

Attitude, 190, 191

for success, 43

winning, 40–41

B

Bad behavior

diffusing, 309–310

ego-driven vs. project-driven, 309

handling, 308

insecurity and, 308–309

Bad language

handling, 312, 331

Benefits

nonunion workers and, 29

of union and guild membership, 21, 23, 24

Bio

uses for, 179

versions of, 179

vs. resume, 178–179

Body language

in meeting people, 235

Boundaries

accepting, 219–220

with celebrities, 221

Branding, for self-promotion, 154

Budget

bond company and, 53

in independents, 54

Unit Production Manager and, 77

Business card

company name on, 156–157

headshot on, 157

mailing address on, 157–158

Business plan, for film funding, 256–257

C

Career goal

goal setting and, 109–111

passion in, 106–107

selection of career paths for, 107–109

Career options

agent, 66–70

books on, 46

casting, 95–96

commercials, 92–93

continuity, 97–99

crew, 48–50

educator, 88–89

extras casting, 96–97

features vs. television, 55–56

freelance vs. staff, 46–48

independents vs. studio films, 52–55

international distribution, 83–85

location management, 99–101

major studios, 56–65

creative, 57–59

production, 59–61

various, 61–65

music, 89–92

new media, 103–104

post production, 81–83

reality TV, 93–95

researching and choosing, 107–108

routes to, 108–109

script doctor, 87–88

unions and guilds and, 50–52

unit publicity, 85–87

Career paths

common sense and, 108–109

entry level positions on, 107–108

Career plan. See also Plan B

keeping on track, 111–112, 113

location and timing in, 117–118

examples of, 118–119

mission statement in, 115, 116–117

opportunity in, 117–119

progress record for, 112

support system for, 111–112

time management in, 112, 114–115

vision statement in, 115–116

Career success

asking for what you want, 40

attitude in, 40–41

connections and, knowing and being known, 33–34

five “Ps” for, 43–44

ingredients for, 31–44

interview skills for, 39–40

knowledge of industry, past and current, 34

networking for, 35–36

ongoing learning for, 38

passion and, 31–32

planning and commitment for, 36–37

preparedness and, 32

reputation and, 42 rough times plan for, 43

standing out for, 37

Teflon coat for, 38

willingness and playing the game and, 41–42

Cast, 22–23

production management and, 76

Casting

description of, 61–62

of extras, 96–97

people involved in, 95

Casting director

best and worst of, 95–96

entry to, 96

qualities for, 95

CD/DVD of work, 243–244

Celebrities

working around, 220–222, 289

Chain of command, 212

production office, 282

Classes, workshops, seminars

ongoing learning and, 245

College degrees

agency jobs and, 130

Commercial producer

entry into, 93

qualities for, 92–93

responsibilities of, 92

Commercials, 92–93

Commission, agency, 251

Commitment, 36–37, 342

to goals, 111

Communication

assets in, 236–237

liabilities in, 237–238

Composer, 91

Computer software, keeping current, 247

Confidence

loss of, 323–324

mantras for, 321

Confrontation

avoiding, 310

Connections, 343

door-to-door approach to, 198–199

for getting to the top, 306

for success, 33–34

Contacts, 21

cultivation and maintenance of, 241–244

for recommendations, 151–152

staying in touch with, 242–244

variety of, 242

Continuity (script supervisor)

described, 97–98

entry to, 98–99

what it takes, 98

Conventions and trade shows, 246–247

Coordinators

music, 91

Co-producer, 73

Cover letter

addressee for, 162

appearance of, 161–162

in case something turns up, 164

close, 165–166

content of, 161

for general information meeting vs. for job, 164

introducing yourself in, 163–164

purpose of, 161

second paragraph of, 165

for specific job, 164

spell-checking, 162

Creative group

access to, 58–59

creative executive in, 57

hierarchy of titles in, 57

project greenlight in, 58

submissions to, 58

Creative people, 21, 23

noncreative people vs., 27–28

Creative Producer

job description of, 72–73

Creativity, 21–23, 190

Crew jobs

television, 56

transferable skills for, 50

Crew membership

friendships on, 49

Crews, 22–23

as family unit, 48–49

D

Deal memo

for new job, 328–329

for non-school internship, 129

Depression

do something for others, 323

get back out there for, 324

mantras for, 324

taking time off for, 322

turning to friends for, 323

Difficult people, 26

burning bridges with, 311–312

diffusing, 317

leaving or distancing yourself from, 312–313

standing up to, 310

working with, pros and cons of, 311

Director

career path for, 108

Directors Guild of America (DGA), 50, 51

Basic Qualification List, West Coast, 292

Commercials Contract Administration of, New York-based, 292

definition of production team, 292

Directors Guild–Producer Training Plan for, 290–291

getting into, 290–293

New York Assistant Directors Training Program and, 291

third area work and qualification for, 291, 292

training program of, requirements and tests for, 290–291

working as incumbent and, 292

Directors Guild–Producer Training

Plan (DGPTP)

requirements for, 290

test for, 290–291

Disappointment

getting past, 321–322

Discrimination

survival and, 332

Disillusionment

with film industry career, 351

Diversity, 21–23

Doing business as (DBA), 154

Door-to-door approach

connections through, 198–199

gatekeepers and, 197–198

theory of, 198

Dreams

back-up plan and, 345

pragmatism and, 334

Dreams and dreamers, 1

reality check, 13

E

Editors. See Script doctor

music, 91

Education

entry-level position as, 9, 10

film school vs. practical, 5–8

on-the-job-training, 12

Egos, 346

check at door, 338

dealing with, 26

in film industry, 307–311

E-mail

for maintaining contacts, 243

E-mail domain name

registration and hosting of, 155

website and, 155–156

Emma L. Bowen Foundation, 137

Entertainment attorney

film financing and, 256

Enthusiasm, 190, 191

Entry-level positions. See also New Job

basic job responsibilities, 208–209

on career path, 107–108

equipment for, 209–210

exploitation in, 222–223

hiring for, 183–184

know your supervisor and work through channels in, 212

overtime in, 222

as paying your dues, 9, 10

phone etiquette and, 210–212

production assistant, 8–9

qualities for, 184

relax and lighten up, 224

resume for, 174

target for blame in, 223

Episodic television

First Assistant Director in, 77

Extras

casting of

by agencies, 96–97

described, 96–97

what it takes, 97

non-union, 137

F

Fairness

lack of, 28–29

Family life, 24, 26

Fear

of not succeeding, 325–326

overcoming, 325

Feature films

vs. television or cable movies, 55–56

Feature Producer, job of, 73

Fees

agent’s, 251

producer’s for selling script, 275

Film, making your own

as calling card, 252

costs of, 255

as film student, 254

financing of, 255–256

as shoe string project, 254

story and script for, 257

uses for, 252

videotapes vs. DVD, 252

Film commissions

local, 138–139

as networking resource, 138

Film financing

business plan for, 256–257

entertainment attorney in, 256

information resources for, 257

raising funds for, 265

Film industry

cons from pros, 25–26, 25–28

ego and bad tempers in, 307–311

fairness and, 28–29

good news about, 20–21

having what it takes in, 2–3, 346

historical sources on, 34–35

knowing why you’re here, 13–16

knowledge of, past and current, 34–35

less glamorous aspects of, 23–25

pros and cons of, 20–21

pros from pros, 21–23

reality of, 3–5, 8–9

why you chose it, 16–17

Film industry career

decision for and early emotions, 349–350

disillusionment with, 351

magic of, 349–350

negatives in, 350

recapturing magic of, 350–351

word according to Eve, 337–340

Film Industry Network (FIN)

activities of, 228

inception of, 227

Film libraries

as learning resource, 246

Filmmaking

be true to yourself in, 338, 339

as jigsaw puzzle, 337

keeping big picture in sight, 340

prima donnas in, 338

stages in, 45–46

treatment of coworkers in, 338

word according to everyone else, 340–347

Film school

advantages of, 5–6

attendance in Los Angeles or New York, 6–7

degree from, 7

positions taught in, 45

practical experience vs., 7

First Assistant Director

job of, 77

Five “Ps,” 43–44

Follow through

on the job, 215–216, 218

Follow-up

of meetings and interviews, 201–203

to pitch, 274

of resume, 176–178

wining over the gatekeeper, 176–178

Freelance work

compensation for, 46–47

decision for, 47–48

description of, 46, 47

as independent contractor, 47

time looking for, 47

vs. staff job, 49

G

Gatekeepers

door-to-door meetings and, 197–198

wining over at follow-up, 176–178

General information meeting

advantages of, 195

follow-up to resume, 195

goal of, 194

letter requesting, 164

setting up, 153–154, 194–195

seven steps to successful, 196–197

Gifts

with thank-you note after meeting, 202

Goal(s)

setting, 36

smaller career path goals, 110, 111

ultimate career goal, 110

writing out, 111

Gossip, 339, 345

Grip, 65

Guild membership

on resume, 173

H

Handwritten notes

for maintaining contacts, 243

Headshot

on business card, 157

privacy protection resources for, 181

safeguarding, Screen Actors Guild tips for, 179–181

Helping others, 218

Hiring

qualities for, 184

Hollywood dream, 1

reality check on, 13

Home video department, 63

Human resources, 63

Humor

for survival, 333

I

Incident log, 329

Independent contractors

music producers, 90

Independents (Indies)

completion bond requirement for, 53

freedom of, 54

funding project for, 265

opportunities with, 53

pros and cons of, 54

as source of employment, 52–53

vs. studio films, 53–55

Insecurity, 25, 330

bad behavior and, 309

of co-workers, 345

Instability, 26

Insults

handling, 331, 332–333

Integrity, 190, 191, 193

stand up to challenge of, 313

International Alliance of Theatrical Stage Employees (IATSE), 50

International distribution

attributes and qualifications for, 84

best and worst of, 85

description of, 83–84

entry into, 84–85

Internship

goal of, 129

school placement, 127, 129

starting out, 126, 127–129

with NBC and CBS News, 136

Interview

common questions in, 193

follow-up of, 201–203

goal of, 183

personal pitch in, 184–185

preparing for, 188–189

skills for success, 39

Interviewer

qualities looking for, 189–193

Interviews and meetings

entry-level, 183–184

gatekeepers and, getting past, 185–188

interviewer questions in, 193

J

Job

know your reason for accepting, 14–16

Job search

asking for what you want, 153–154

finding your market, 142–144

personal pitch in, 149–151

recommendation of others, 151–152

self-promotion in, 154–158

selling yourself, 141–142, 147–149

targets, 144–147

L

Labor relations department, 62

Ladder

climb to top, 305–307

crowded at top, 305–307

as pyramid, 306

Learning, 342

about the industry, 34–35

keeping current and, 245–247

ongoing, 38, 343

opportunities for continuation of, 7–8

resources for, 245–246

Legal and business affairs jobs, 61

Legal matters, in production, 295, 296, 300

Letter(s)

query, to targets, 270–271

of recommendation, with resume, 171

to request mentor, 249

Likability

elements of, 42–43

Line Producer

career path for, 108

job responsibilities of, 73, 74

for television, 73

Literary manager

qualities of successful, 69–70

vs. agent, 69

Location management

described, 99, 100–101

entry into, 101

people skills for, 100

Log

of incidents, 329

Logline

for story pitch, 263

Los Angeles. See Tinseltown

M

Mail room

in agency, 129–130

book on, 130–131

politics in, 130

Major studios. See also Creative group; Production management

creative group in, 57–59

politics in, 56–57

production management in, 59–60

staff jobs at, 57–58

Market

research for projects, 264–265

targeting, 265

Marketing department, major

studios, 63–64

Market research

for projects, 264

Meetings. See also General

information meeting

door-to-door approach, 197–199

general information, 194–196

learning from, 245, 246

pitch, 267–268

Meetings and interviews

being available after, 204

confirmation of, 199

dress for, 199

etiquette for, 199–200

follow-up, 201–203

network expansion through, 205

reference to recommendation, 199

sense of humor in, 200

staying in touch and, 203

thanking after, 200

as warning and test, 200–201

Mentor

defined, 247–248

film commission office as source of, 249–250

professional arrangement with, 248

relationship with, 248

requesting, 249

time with, 248, 249

Mentoring, 323

Minority students

job opportunities for, 137

Mission statement, 115, 116–117

Motivation

mantras for, 321

Moving to tinseltown

advice on, 122–123

planning for, 121–122

survival basics for, 123

Music, 89–90

entry into, 91–92

positions in, 91

post production and, 83

resumes for, 173

Music coordinator, 91

Music department, 62–63

Music editor, 91

Music producer

description of, 90

Music production

preparation for, 90

Music supervisor, 91

N

National Association of Broadcast Employees and Technicians (NABET)

Nepotism, 27, 29

Network

building on, 226

expansion through meetings and interviews, 205

Networking, 23–24, 247, 344

body language and, 235

choose network, 239

communication assets and liabilities in, 236–238

ending conversation, 238–239

Film Industry Network for, 227–228

film school support in, 6

giving as part of, 232–233

groups for, 227

helping out and, 233

Jeff’s e-mail Info List, 230–231

keeping track of your network, 239–240

Marc’s e-mail network newsletter, 229–230

music production and, 90

personal referral vs. cold call, 226

power of, 226

examples of, 229–231

remembering names and, 236

research small talk for, 235–236

schmoozing and, 226–227

shyness and, 233–235

starting conversations and, 236

tag team with friend, 239

as two-way street, 228–229

understanding power of, 35–36

volunteering and, 232–233

Networking events

learning and, 245

New job

accepting boundaries on, 219

becoming indispensable in, 215–217

reliability on, 217–218

sense of urgency on, 218–219

what not to do, 214–215

what to do, 213–214

working around celebrities, 220–222

New media

defined, 103

jobs in, 103–104

platforms in, 103

writing for, 104

Next door

contacts and, 241–244

finding a mentor for, 247–250

having an agent for, 250–252

learning for, keeping up with, 244–247

making your own film, 252–258

No one’s-ever-going-to-hire-me-again syndrome, 329–330

O

Offenses

handling, 332–333

Opportunity

openness to, 344

readiness for, 117–119

Option agreement, 262

Options

finding and buying, 260–261

legal agreement for, 262

P

Packaging

attaching talent and, 265–267

smart, 266

Packaging project, 265–266

Page programs, 135–136

CBS, 136

NBC, 136

Passion, 191, 193, 342, 343

about the industry, 31–32

in agency trainees, 130

for filmmaking career, 350, 351

finding yours, 106–107

in interview, 39

in pitch meetings, 273

in self-definition, 148

Paying your dues

entry-level position as, 9, 10

examples of success with, 11–12

People, 21–23, 22

best, 311

best and worst, 20, 27, 28, 307–313

difficult, 26

extras casting and, 97

high-maintenance, 309

powerful, and your career, 312

screamers, 310

People skills

cultivation of, 344

Persistence, 344

Personal assistants

value of, 207

Personality, 190, 191, 192

Personal pitch, 147–148

for different occasions, 151

in door-to-door approach, 198

examples of, 159–151

uniqueness of, 151

Phone calls

handling on job, 211–212

for maintaining contacts, 244

Phone etiquette

answering and, 212

caller information and, 211

for entry-level job, 210–212

Phone system, 214

Pitching

book, 260–261

ideas, 260

self and project, 259–260

stories, 260–261

teaching others to, 277

Pitching and selling

to buyers, 267–273

cold call, 269–270

knowing market, 264–265

knowing your story, 262–264

material for, 260–261

odds of success, 275–276

packaging for, 265–266, 265–267

partner with established producer, 268–269

pitch fests, 271–272

as producer, 274–275

query letters to targets, 270–271

screenplay competitions, 271

scripts for, 261

story for, 262 submission on-line, websites for, 272–283

submission via agent, manager, or attorney, 268

through contacts, 269

tips for pitching, 273–274

tips on, 273–274

Pitch meeting

introduction in, 273

Plan B

back-up jobs in, 131–132, 326–327

Planning and commitment, 36–37

Playing the game

questions to ask yourself, 41–42

Politics, 27, 29

affability and, 315–316

chain of command and, 315–316

common ground and, 317

corporate type, 314

ego and, 314–315

handling difficult people and, 313

industry, 25

know your business partner, 318

liking people and, 317

in mail room, 130

people skills in, 316–317

power and, 314

respect for others and, 317–318

in studio operations and administration, 102

successful filmmakers and, 314

survival and, 13

team player vs. personal agenda, 315

Position

holding onto, 306–307

Positive attitude, 343

Positive thinking vs. negative, 320–321, 322

Post production

career path for, 108

description of, 81

entry to, 83

guide to, 83

positions in, 81–82, 83

pros and cons of, 82–83

qualities for, 82

Post production department, 62

Post Production Producer, 74–75

Post-shoot depression, 24

Power

fall from, 307

Problem-solving, 23

studio operations and administration and, 103

Producer(s)

associate, 75

career path for, 108

creative, 72

on episodic television show, 70

executive, 72

feature film, 70, 73

in independents, 54

job description for, 72–73

line, 73, 74

movement to standardize credits for, 70–71

overlapping of duties of, 70

post production, 74–75

television, 73

Producers Guild of America (PGA), 51–52

erosion of credits and, 71

movement to standardize producing credits and, 70–71

Truth in Credits campaign, 70

Production

resumes for, 173

Production Assistant

as entry-level position, 8–9

set, 288–290

support role of, 10–11

Production company

creation of yours, 274–275

packaging of, 275

Production coordinator

responsibilities of, 78–79

skills needed for, 79

Production management

activities and responsibilities of, 75–76

entry to, 60

job description for, 59–60

production executive–shooting company relationship, 60

skills needed for, 60

staff titles in, 59

Production manager

career path for, 108

Production office

accounting in, 283–284

activities and operation of, 280–281

central information center in, 282–283

first day crew members packet, 284

kitchen area in, 283

location of, 279–280

personnel and departments in, 281–282

prep for shoot, 284–285

pre-production operation, 284

reporting in, 282

shift work in, 283

shooting period, 285–286

Production resources, 62

Production Supervisor, 78

Production team

collaboration on, 294

coordination and, 300

core group, 293

defined, 51, 293

financial matters and, 295, 296, 298, 299, 300

involvement of, in film phases, 294

job responsibilities and positions on, 294–301

legal matters and, 295, 296, 300

liaisons and, 297, 300, 301

for physical production, 293

supervision, 301

Projects

choosing and turning down, 334–335

finding markets for, 264–265

R

Reality

aspirations and pragmatism in, 334–335

degree program entertainment industry-related studies, 3–4

dreams and, 345

of earnings, 3

entry-level positions, 8–9

foreign film competition, 4–5

know why you chose the industry, 16–17

loss of show business jobs, 5

questions to ask yourself, 41–42

vs. assumptions, 2

Reality check

don’t count those chickens just yet, 303–305

Reality TV

demands of, 93–95

requirements for, 94

Recommendations, 151–152.

See also Referrals

for prospective employer, 151

reference to

in cover letter, 163

in meetings and interviews, 199

with resume, 160, 171

sources of, 152

for specific job, 152

References

interviewer trust of, 190

Referrals

to individuals on likely target list, 151–152

Rehearse, 287

Rejection, 26

handling, 25, 38, 40, 345

shyness and, 233–234

Relationships

strain on personal, 24

Reliability, 190–191

Reputation

for success, 42

Research

buyers, 273

before interview, 39

market, 264–265

Research/clearances department, 62

Respect

in politics, 317

Resume Goddess, The, 157

biography of, 171

on resumes, 171–175

Resume(s)

for acting, 173, 175–176

agency submission and, 160

for agent’s representation, 251

appearance of, 166–167

bio vs., 178–179

for business end of industry, 172

as calling card, 160

CD version of, 171

common themes in, 174

e-mailed with cover letter, 166–167

entertainment-related, 171–174, 182

entry-level, 174

for established professionals, 174

filing of, 159–160, 167

follow-up, 176–178

guiding questions for, 174–175

for performers, 173

privacy protection resources, 181

for production and performance, 172–173

recommendation with, 160

safeguarding, Screen Actors Guild tips for, 179–181

sample formats for, 168–170

specialists in, 182

tips on, 170–171

title or specialty on, 167–168

updating, 170

versions of, 168

via a referral, 178

what you can bring vs. what you want on, 172

Risk management department, 63

S

Safety department, 63

Schmoozing, 23–24. See alsoNetworking

Screen Actors Guild (SAG), 50, 52

safeguarding resume and, 179–181

Screen Producers Guild (SPG), 51

Script consultant. See Script doctor

Script doctor

description of, 87

entry into, 87–88

requirements for, 87

Script editor. See Script doctor

Script reader, 58

Scripts

criteria for good, structure, format, legal right to, 262

finding for option and sale, 261

odds for production of, 276

odds of being read, 275–276

producer’s fee for selling, 275

for your own film, 257

Script writer

getting started as, 127

Second Assistant Director

mobility of, 78

work of, 77–78

Self-assessment, 36–37

Self-definition, 147–149

Self-promotion

branding in, 154

business and note cards in, 156, 157

DBA (doing business as) and, 154

e-mail domain name in, 155–156

headshot in, 157

logo in, 154–155

slogan in, 156–157

website in, 155–156, 158

Selling yourself, 23–24

personal pitch in, 147–148

self-definition in, 147–149

Set

career path to, 345

for real movie or TV show vs. student film, 286

sequence of events on, 287–288

shoot schedule for, 286

work calls for actors and stunt performers, 286

work day on, 286–287

Set production assistant tips

learn names and terminology, 288, 289

personal clothing and gear, 288

sense of urgency and, 289

supplies, 288

things you should know, 288–290

working around celebrities, 289

Sexist language

handling, 331–332

Sexual harassment

handling, 331

Shoot, 287–288

activities and management of, 285–286

schedule for, 286

time allowances for, 286

Shyness

breaking barrier with strangers, 234–235

fear of rejection, 233–234

in networking, 233–235

Skills

in back-up plan, 124–125

Sound design supervisor, 91

Stability, 341

Staff jobs, 65. See also Creative

group; Production

management

advantages and disadvantages of, 48

at major studios, 57–58, 61–65

with specialty companies, 65–66

Standing out, 37, 42

what it takes, 11

Starting out

back-up plan skills for, 124–125

big fish in small market vs. small fish in large market, 123–124

at the bottom, 345, 346

internship in, 126, 127–129

mail room, 129–131

moving to tinseltown, 121–124

networking organizations, 137–139

network opportunities, 135–136

as non-union extra, 137

temp agencies, 131–135

working for free, 126–129

Status report, 216

Story

elements of good, 262

legal right to, 262

pitching, 260–261

structure and format of, 262

Story, pitching

becoming one with, 262–263

comparative description of, 263

defend for uniqueness, 263

independent route, 265

logline for, 263

memorize pitch, 264

research market for, 264–265

time allotment for, 263

Story analysis, 58

Story editor, 57

Studio Operations and Administration, 63

described, 101–102

people skills for, 102–103

politics in, 102

Studios

departments of, 61–65

staff jobs at, 57–58

Survival, 1

accepting a stacked deck, 327–328

business affairs in writing, 328–329

dreams and reality in, 334–335

favors in writing for, 329

fear and, 325–326

game plan for, 43

getting past disappointment and depression, 321–324

huggy-kissy-touchy people and, 330–331

humor for, 333

insults and offenses and, 332–333

for move to tinseltown, 123

no one’s-ever-going-to-hire-me-again syndrome, 329–330

Plan B in, 326–327

political correctness and, 330–333

preserving you motivation and confidence, 320–321

reinventing yourself for, 325

self-acceptance for, 328

Teflon coat for, 319–320

temperament for, 13

tips for, 335

walking around the brick wall, 324–325

T

Targets

organizing information on likely, 144–146

questions for list of likely, 142–143

research sources, 143–144

Teaching

of future film makers, 88–89

requirements for, 89

Team play

to get ahead, 11

Team player, 21, 190, 192

Teflon coat, 43

for success, 38

for survival, 319–320

Television

similarity with independents, 55

Television producers, 73

Television Producers Guild (TPG), 51 Television series

working on, 55–56

Temp agencies and assignments

advantages of, 131

in back-up plan B, 131–132

common sense and, 133–134

future possibilities through, 131–132

general letter of reference through, 134

partial list of, 134–135

skills needed for, 132–133

Thank-you note

for meeting, 201

Third area

work on, 291–292

Third Area Qualification List, 291, 292

Time management

personal time in, 114–115

prioritizing in, 114, 115

scheduling in, 112

Tinseltown, moving to, 121–124

Trade papers, 245

Travel

freelance work and, 47

home base and, 124

opportunities for, 21, 22

U

Unions and guilds, 50–52

keeping current and, 246

membership requirement for, 52

Unit Production Manager

responsibilities of, 76–77

skills of, 77

Unit publicity

abilities needed for, 86

description of, 85–86

entry into, 86

pros and cons of, 86–87

V

Vacations

scheduling, 24

Vision statement, 115–116

Volunteering, 323

on the job, 217

in network building, 232–233

W

Website, 155–156, 158

Work hours, 26

Working for free, 342

advantages of, 126–127

as script writer, 127

Writer

career path for, 108

Writers Guild of America (WGA), 50, 52

story registration with, 262

Writing

for new media, 104