——— 9 ———

The Resume and Cover Letter

The Resume Pile

Studios, networks, production companies, agencies—anyone doing business in the entertainment industry collectively receives hundreds of thousands of resumes each year. And while there are times when having a well-written and professional-looking cover letter and resume is absolutely necessary, because this is unlike any other business, rarely will sending a resume to someone who doesn’t know you (or know someone who knows you) result in a job. For the most part, you’ll be lucky if submitting your resume will even elicit a form letter response politely thanking you for your interest in the company and informing you that at present, there are no openings.

Resumes and headshots arrive in droves every time a new production is announced or a new company is formed. Production office personnel will generally file incoming resumes by position or department: Production Assistants, Casting, Camera Department, Assistant Directors, Location Managers, Art Department, Editorial, etc. The assistant production coordinator or production secretary sorting the resumes will hold on to some of the PA resumes, give specific set PA resumes to the second assistant director and turn the rest over to respective department heads in charge of hiring. If a department head hasn’t yet been hired, the resumes for those positions may go to the production manager or line producer, may end up in a file cabinet or not even make it as far as the file cabinet. It’s extremely rare when individuals are hired for key positions based on their resumes alone, as producers, directors, line producers and production managers each bring with them a list of individuals they’ve worked with before and hope to bring onto their new show. Resumes submitted by agents have a slightly better chance of attracting attention, especially if the agent is known to the line producer or production manager.

Resumes that come into studios and production companies are often passed on to individual production units or filed for a while. Other industry-related offices similarly file incoming resumes for a certain period of time.

On a show, a resume will be seriously looked at only when it belongs to someone who has been recommended by a reliable source, when it’s someone the producer or director has heard of and would like to meet with or when someone’s recent credits are being reviewed. Occasionally, a resume comes in at just the exact right moment when someone with certain qualifications is needed, and the job seeker will be invited in for an interview. And every once in a while, a busy production office in need of an extra PA or two will sort through a pile of resumes when they’re desperate for extra help and have run out of people they know and people their co-workers, friends and contacts know. But no matter what the reason a resume is being considered, it won’t be given a second glance if it’s not professionally written and easy to read.

Your resume is your calling card, and it says a lot about you, in more ways than one. Whether it’s the rare occasion when it’s snatched out of a massive resume pile, pulled out of a filing cabinet, sent in upon request or presented at a meeting, it could mean the difference between you getting a job—or not.

The Cover Letter

A cover letter isn’t written for the purpose of asking for a job. Even if you’re responding to a specific opening, it’s basically an introduction to you and your resume. While your resume lists the details of your background, the cover letter is more conversational in tone. And while your resume is fact based, your cover letter can be slightly more creative and a way to inject a bit of your personality and background into the presentation. A well-written and professional-looking letter should prompt someone to want to read your resume and possibly want to meet you as well.

A cover letter should be no more than a few paragraphs, one page at the most. The people reading it are busy and won’t even bother if it’s too long. But on the other hand, it shouldn’t be too short either. Merely stating, “In response to your ad for an administrative assistant, please accept my enclosed resume” doesn’t say enough about who you are and may get passed over as quickly as one that’s too wordy. The first paragraph of your cover letter should indicate who you are and why you’re writing. (Are you writing to ask for a general information meeting, in response to an ad you saw posted for a specific job or to someone who’s about to start assembling a crew for a new show?) The second paragraph should tell the reader a bit more about you and should summarize your background, talents, special skills and goals. And a final paragraph should state something to the effect that you’re looking forward to meeting this person soon and appreciate his or her consideration (see more detail on this further ahead).

The only time it’s acceptable to not submit a cover letter is if you’re an actor/performer. Your resume and headshot says it all, and a cover letter is not necessary.

As for what a cover letter should look like, start with a simple, professional-looking font (like Times New Roman, Palatino, Arial, Helvetica or Geneva)—nothing fancy. Use decent-quality paper. Limit your paper to white or off-white. Don’t use anything too colorful or too cutesy. Next, it should be typed in proper letter format. Handwritten cover letters will almost certainly be tossed out, those with spelling errors will usually be discarded post haste and, often, those that are poorly formatted are likely to land in the recycle bin. If you’re not sure what a proper business letter looks like—the margins, the spacing, how to address someone, how to close your letter, etc.—look it up on the Internet. I’ve received cover letters (if you could call them that) written in pencil on tiny scraps of note paper and on three-hole lined paper that had been ripped out of spiral notebooks with the jagged, torn holes along the left side of the page—not a good idea. Another big no-no is not running your letter through a spell-checker. Misspelled words are grounds for instant dumping. When you consider all the cover letters and resumes being submitted each day, if you want to be taken seriously, and if you’re even going to have a chance of having yours read and considered, it needs to look professional.

If at all possible, your cover letters should be addressed to someone, not just “to whom it may concern,” but a department or the name of a show. If you’re looking for a job as a PA, for example, you would submit your resume to the production coordinator, and you would find out the name of the production coordinator before writing your letter. As an apprentice editor, you would submit your resume to the assistant editor, and the same thing—you would find out the name of the assistant editor before sending in your letter and resume. There is no guarantee, but if you address your letter to an individual, it might somehow find its way to that person’s desk instead of automatically landing in the resume heap on the floor or buried in a file cabinet. Be sure to verify the spelling of the name of the person you’re addressing your letter to and that person’s title. Also, make sure you have his or her gender correct (I know both men and women named Terry, Pat, Alex, Robin and Michel). A cover letter with a misspelled name, an incorrect title or a salutation addressing a Mr. instead of a Ms. (or vice versa) could be tossed into the trash instantly without that person ever having looked at the attached resume, because it clearly says all it needs to say about you—that you didn’t care enough to check.

Moving on to the content of your cover letter—while they’re not all going to be the same, many of the elements will remain consistent. Your first paragraph is an explanation as to who you are and why you’re writing, and this is where the most differences will occur from letter to letter.

You may have previously called in to check on employment opportunities or to set up a general information meeting and been asked to submit your resume. In this case, you might start your letter with, “As per our phone conversation of September 27th, attached please find a copy of my resume.” Or, you could write, “Thank you for taking the time to speak with me last Thursday. As per your request, attached please find . . .”

You may have an acquaintance or friend in common and may have secured a recommendation, in which case you would start with something like, “I am writing to follow up on a recent conversation you had with our mutual friend, Penelope Producer. My name is Wallace Wannabe, and as I’m sure Penelope has told you, I’m an art director and have just completed working on Gone With The Wind II–Scarlett’s Revenge” (you get the idea). Or, if this situation is more appropriate, “My name is Wallace Wannabe, and Penelope Producer suggested I contact you.”

The person you’re writing to could be someone you met at a party or event or someone who lectured at a seminar you attended, in which case you might start off like this, “My name is Wallace Wannabe, and we met at last month’s Studio City Pitch Fest.” Or, “My name is Wallace Wannabe, and I was in the audience at the seminar you spoke at yesterday evening. I was quite inspired by what you had to say and wanted you to know how much I appreciated your insight and advice.”

You may want to contact someone you worked with a long time ago. In that case, how about, “You may not remember me, but we worked together a few years back on My Right Foot. I recently read that you’re about to start a new film—congratulations! As I would very much enjoy any opportunity to work with you again, I have enclosed a copy of my updated resume.”

Another good way to introduce yourself is by letting the other person know that you have a specific skill, talent or expertise he could use. Example: “My name is Danny Diver, and my specialty is underwater cinematography. After having worked on several dozen features that have shot on, in and under water, I’m certain I’d be an asset to your upcoming production of Water World II.” Or, “My name is Nancy Newcomer, and I read in the Hollywood Reporter that you are scheduled to shoot a remake of Lassie Come Home in my hometown of Corn Stock Junction. I would very much like to be considered for a PA job on your film. Having lived here all my life and having worked on several local TV shows, I have the experience, connections and desire to assist you in securing locations, local crew, extras, equipment and services.”

If you’re applying for a specific job opening, “My name is Nancy Newcomer, and I am responding to your ad for a receptionist.” Or, “As per your listing in the most recent UTA Joblist, please accept my enclosed resume as application for the Intern position you are seeking to fill.”

If you would like to apply for a show that you’ve been told has already been staffed, give it a try anyway with something like, “I understand your production office is already fully staffed, but from past experience, I know that circumstances can change and occasionally new positions do open up. Therefore, I have enclosed a copy of my resume for your review and would very much appreciate the opportunity to come by for five minutes one day, just to introduce myself to you.”

Hearing that someone has been promoted to head a new division, or has started his or her own company is always a good reason to be submitting a resume. In situations like these, your letter might start out like, “Congratulations on your new post as head of XYZ Independent Pictures. My name is Holly Woodland, and if you have started assembling your new staff, I would appreciate the opportunity to introduce myself to you and to throw my name into the hat.”

If you’re requesting a general information meeting, make it clear—you’re not looking for a job. Here’s an example: “My name is Wallace Wannabe, and I recently moved to the Los Angeles area after graduating from film school in Boston. In an effort to learn more about how this industry truly works and the field of visual effects in particular, I am writing to request fifteen minutes of your time. I would greatly appreciate the opportunity to introduce myself to you and to ask you a few questions. I am certain the insight and advice you could provide would be of tremendous benefit to me.” Your second paragraph should be a short version of your pitch, which focuses on your experience, special talents, skills and accomplishments, what you’re passionate about and what you have to offer. It should capture the essence of who you are. If you’re responding to a specific job opening, be sure to describe your attributes in a way that best fits the qualities they’re looking for. Here are a couple of examples:

“I have wanted to work in the film industry for as long as I can remember, but two years ago I graduated from Northwestern with a degree in political science, because my family didn’t want me going into the film industry. After graduation, I got a job as an intern to a senator in D.C. I was there a year, but all I kept thinking about was how much I’d rather be working on a film. So I have come back to the Los Angeles area and am determined to make it. I’m willing to do whatever it takes and will be the best production assistant anyone’s ever had. I’m dedicated, good at resolving problems, quick to anticipate the next step and manage to stay fairly calm while others around me are freaking out. I also learned a great deal about politics during my year in Washington and am pretty good at dealing with big egos and VIPs.”

Here’s the second paragraph to a letter I helped one of my students with this past summer.

“Last year I switched professions to become a junior talent manager at ABC Management. After twenty years of experience in business, career supervision, image building, public and media relations, strategic planning and problem-solving, talent management seemed a natural next step for me.”

Okay, now for the final paragraph—the wind-up. The biggest mistake I see people make is when they write, “Looking forward to hearing back from you.” I don’t think so! If the person you’re sending your resume to doesn’t know you, don’t expect a reply. Too busy and too many resumes—it won’t happen. Instead, mention that you will call her office in a few days. Here are some examples of a final paragraph:

“Attached please find a copy of my resume. I will call your office in a few days to see if I may set up an appointment to meet with you.”

“Attached please find a copy of my updated resume. I would be happy to answer any additional questions you might have regarding my background and experience and if possible, would appreciate the opportunity to come in to introduce myself to you in person. I will therefore call your office next week in the hope of setting up an appointment.”

Here’s a final paragraph I used in one of my letters a couple of years ago (this person had met me once and already had a copy of my resume):

“I realize that at present, you have no openings, but when the time comes to expand your department, I hope you’ll remember how much I’d like to be part of your team. I can’t think of a more desirable situation than to work for a company like XYZ Entertainment and to be part of a production department headed-up by two individuals I both like and respect. I will therefore be checking in with both you and Jim from time to time and hope to be working with you in the not-too-distant future.”

It’s always a nice touch to end your letters with, “Thank you very much for your consideration.”

Resume Guidelines

Just like with a cover letter, a resume should be professional looking and typed using a simple font on good-quality paper. If you can keep it to one page, that’s great. It shouldn’t be longer than two pages. Again, the people on the receiving end are busy. If it’s too long, they won’t even bother. If it’s not easy to read, they won’t read it. If you’ve misspelled words or names, it’s in the trash. And this is not the time to be cute and creative. Just the facts—that’s all anyone wants to see.

If you plan on attaching your resume to an e-mailed cover letter, the subject of your e-mail should reflect the purpose of your letter, such as In Response To Your Ad For An Administrative Assistant, or, Film Student Seeks A 10-Minute General Information Meeting. Your resume should be in a Word or PDF format (which will make it easier for most people to download and open), and the title of the attachment should be more than just “Resume.” Make sure your name is included, such as Wallace Wannabe Resume.doc. This way it’s less likely to get lost in a sea of other downloaded resumes on your recipient’s computer.

There are many experts who can tell you how to properly format your resume, but they’ll all suggest something a little different. As someone who reads a lot of resumes and is often in a position to hire, I can tell you that specific formatting guidelines don’t matter as much as whether a resume is easy to read. I don’t like to have to search for the information I need, nor does anyone else. The order in which I prefer to see the information presented is this:

• name and contact information
• objective or job title (What do you do? Very important!)
• summary of experience (optional)
• work history (list of jobs or credits, listing the most relevant first)
• additional experience (relating to your work in other businesses or other facets of entertainment)
• education
• special skills, talents and abilities

Because incoming resumes are filed by category, department or job description, it’s important to have an unambiguous objective, specialty or job title (in large, bold letters) under your name and contact information, so at first glance, it’s obvious which department, office or file folder your resume belongs in. If it’s too hard to figure out what it is you do and what you have to offer, your resume is doomed for the old recycle bin. If you’re not sure, you can always indicate that your objective is to secure an entry-level position.

Just as important as it is to make clear exactly what it is you do, make sure you don’t list more than one job title or specialty at the top of any one resume. It’s okay, for example, if you indicate (at the top of your resume) that your specialty is post production management and then go on to list shows where you may have worked as an associate producer, post production supervisor or post production producer, because it all falls within the same area of expertise. On the other hand, you wouldn’t want to indicate (on any one resume) that you’re an editor, script supervisor and production manager, even if you’re brilliant at all those jobs. If you do, no one will take you seriously, and you’ll severely limit your employment opportunities. Take someone looking for an editor: she wants the very best and most experienced editor her budget can afford. Given the choice between someone who’s a part-time editor and another who had always wanted to be an editor and has been doing it for a while, there’s no contest. It’s okay to list “other skills” within the body of your resume, but if you want someone to consider you for a job as an editor, then the job description listed at the top of your resume has got to read: Editor. Resumes that come in from people who do multiple jobs can’t be easily categorized and are the first to get tossed or buried. You’d think that being a multifaceted “total filmmaker” would be an asset, but unfortunately, it won’t mean much unless you’re making your own film.

If you’re one of the many people who does have a fragmented body of experience, it’s perfectly acceptable for you to create more than one version of your resume, each emphasizing your background and expertise in the type of work you’re applying for. In fact, if you know exactly what they’re looking for, you can customize your resume for each company you submit it to.

Once your career and job title are established, you don’t have to list your job responsibilities, because everyone knows what a development executive does, what a literary manager does, what an art director does and what a casting director does. But when you’re starting out, it’s helpful to prospective employers to know exactly what your duties were on previous jobs. Also indicate the dates you worked for each employer and who you reported to. Here’s an example of a format I like:

This is how I’ve set up my own resume:

I list an entire page full of credits just like these in this columnar format. And my Additional Experience of being an instructor and author is listed on a second page.

You can also do it this way:

Here are some other resume tips.

• If you’re in the process of changing careers, note that in your Summary of Experience, and briefly highlight the beneficial skills you bring with you from your previous career.
• Update your resume after each job.
• Prospective employers do check facts and references, so while you may want to enhance your resume a bit, don’t out-andout lie or exaggerate too much. It could come back to haunt you.
• If you only work on a show for a day or two (as a “day player”), on reshoots or second unit, indicate that. Don’t let others assume you  worked on the entire production, because this could also come back to bite you in the butt.
• List everything—even internships. Especially when you’re just starting out, everything matters, even school productions.
• Unfortunately, age discrimination is a reality in this business, and because of that, many experts recommend that you only list the last ten years-worth of your credits. On the other hand, you may have a credit that’s more than ten years old, but is a pivotal part of your career, and you don’t want to cut it out. This is another instance when you might want to consider who you’re submitting to and customize your resume appropriately.
• It’s perfectly okay to attach a letter of recommendation to your resume, but don’t attach too many. Don’t overdo.
• In an effort to do something different and creative, consider introducing yourself and your resume via CD. Have a friend operate the camera, or set it up on a tripod. Start by introducing yourself (let your personality come through) and go through your pitch, including a brief rundown of your credits. This is an especially unique way for people who live out-of-town to apply for work.

Advice From the Resume Goddess

In the previous chapter, in the section on self promotion, I mentioned how spotting the title of The Resume Goddess led me to Vivian VanLier. I’d like to thank Vivian for her help with the next part of this chapter as well as the sample acting resume. Vivian is a certified career coach with a national reputation for providing career management and resume writing services to professionals and executives throughout the U.S. and internationally. She has earned three prestigious credentials as a career coach and resume writer and works extensively with individuals in the entertainment industry. I felt her input would be an asset to you as well as to the chapter.

The Resume

People outside of key entertainment industry markets often have misconceptions about how to write an entertainment-related resume—and misconceptions about the industry itself. The perception outside of “Hollywood” is that the entertainment industry is glamorous and high paying. While this is true when it comes to a handful of top executives and performers, for the most part, it is an industry driven more by passion for the creative arts than by working conditions or pay. Where this relates to resumes, understanding the protocols of the industry is paramount. And just like any other field, those in a position to hire are looking for your understanding of the challenges, needs and environment of the industry, specific job and work environments and how you add value. A potential employer is going to be more interested in what you can bring to his business, office or show than in what you want. Furthermore, “seeking a challenging job with growth potential” is not only a boring, overused statement to add to your resume, but again, it’s about you and what you want, not about what you can offer others. They’re also not wowed by flashy, over-the-top, glitzy presentations. Gimmicks don’t work. They’ve seen them all and are not going to be impressed.

There are three basic areas of the entertainment industry that apply to all segments, including motion pictures, television, music, theater, media, etc.: (1) the business end, (2) the creative/performance end and (3) the production end, although this is somewhat simplistic inasmuch as film and TV production alone covers the development, pre-production, production, post production, distribution and exhibition facets of “production.”

Resumes for core business-related functions, such as Accounting and Administrative Support, are basically the same as they are for any other industry with the addition of specific industry-related procedures. And as to the formatting and development, they are like any other business resumes, with the inclusion of industryspecific verbiage. At this point, it should be noted that the overwhelming majority of people in the industry must enter at an entry-level position and work their way up.

Where resumes are vastly different is in some areas of production and of course, performance. Production and performance resumes are highly structured and formulaic, not highly creative. In general (although there are exceptions), they are columnar in format, and provide succinct information about past credits. Screeners are looking for what you’ve done, what you’ve worked on, who you’ve worked with, training (as appropriate) and special skills (as appropriate).

You’ll have to know what needs to be on your resume. If you’re just getting started, you’ll have to identify your goal, how you’ve actually gained “experience” and what your “skills” are. In performance and some production areas, one might be represented by an agent, and if this is the case for you, your agent might prepare your resume or tell you how it should be structured.

Other differences on entertainment industry resumes are:

• For acting: Personal information must be included: height, weight, eye color, hair color; sometimes appropriate age ranges for parts. Format the resume so it can be cut down to 8 x 10 inches, because it’ll be stapled to the back of a headshot. Dancers and models also will affix their resumes to photos.
• Make sure that guild memberships are noted prominently, e.g., SAG, AFTRA, Musicians Union, WGA, DGA, etc. This matters!
• For actors, musicians and production personnel with agents, you’ll probably be asked to leave space for the agent’s label. Where the label goes is the agent’s preference.
• Resumes for performers and (some) production professionals are usually one page, and as new credits are added, older, less significant credits are taken off (although this is not a hard and fast rule). Personal information is not included on production or music resumes.
• If your expertise is a creative one, such as cinematography, costume design, art direction, production design, etc., your resume will be credit-based. Depending on the specific situation and your reputation, you might include summary at the top of the first page.
• Understand what’s required for the specific position you’re applying for and demonstrate your ability to excel in those areas. For example, a concert tour manager may have to be able to handle finances, coordinate travel, seek rehearsal venues, source and
• negotiate  with vendors for merchandise, act as liaison with the media, even ensure the sobriety of roadies and performers!
• Common themes that run through just about every entertainment industry position is the ability to work in a fast-paced, deadline-driven environment, interact with diverse temperaments, the ability to respond to ever-changing environments and a willingness to consistently go beyond the requirements of the job!

Once you as an artist or production crew member are established, you may no longer need a resume at all. Resumes for established professionals are typing jobs and don’t require creative writing. All that matters are your most recent credits: what you’ve worked on and with whom (directors, producers, studios, production companies, etc., depending on your specific profession).

For an entry-level resume, you’ll have to be able to identify when you’ve used the appropriate skills that are needed to succeed and what relevant experience you have, even if it’s only been in school films or plays.

Here are some questions, the answers to which will help you to create your resume and cover letter:

• Are you a member of a guild or union? Which one?
• Do you have any special training?
• What are some of your special skills or talents? (actors)
• What technical abilities do you have; what equipment do you work on (audio, photography, etc.)?
• What are your credits to date? (film, television, commercials.)
• What differentiates your work?
• Have you received any award nominations?
• Have you received any awards?
• Where have you performed? What role did you play?
• Can you demonstrate that you can perform/work effectively in a very fast-paced environment with critical deadlines?
• Are you well organized?
• Are you good with detail?
• Do you have good “people” skills?
• Can you work with diverse temperaments?
• Are you a self-starter?
• Are you good at following directions?
• Are you a team player?
• Are you energetic and willing to work long hours (for low pay!)?
• Are you an avid movie fan? Do you see a lot of new releases? Have you seen a lot of classics (which helps you to be knowledgeable about the industry)?
• Are you a good problem solver? What are some examples of when you had to “think on your feet” and solve problems quickly and effectively?
• Are you flexible in adapting to an ever-changing environment?

An Acting Resume

The basic layout of an Acting resume is shown on p. 176.

The Follow-Up

If you’ve sent in a resume, you’ll want to verify that it’s been received. If you’ve ended your cover letter with, “I’ll call your office within the next few days to see if I may set up an appointment to meet with you,” you’ve got to follow through. Call back in a few days, no longer than a week, and be prepared for what you might encounter on the other end of the phone. The people you’re calling and their assistants and receptionists get tons of these calls each day from individuals just like you seeking work, meetings and just a couple minutes of their time to see if their resumes have arrived. Most are busy and some quite quick to say, “I’m sure your resume is here, and if there’s an opening or we need extra help, we’ll be in touch.” Or, “Sorry, we’re all staffed up, but we’ll keep your resume on file.”

Although I go into this in much more detail in the next chapter, your mission is to win over the gatekeeper. You rarely (if ever) ask for the person you addressed your resume to. You ask for his assistant, and you either learn the assistant’s name before you talk to her, or you ask her name once you’re on the phone with her.

If you’re looking for a PA job on a show, you’ll want to ask for the production coordinator or assistant production coordinator. If you’re not sure who to ask for, befriend the secretary or receptionist who answers the phone, and always ask for the name of the person you’re speaking to (if they haven’t already announced it themselves upon answering the phone). Okay—so let’s just say the name of the person you want to talk to is Barbara. You’re going to call her during non-peak hours, usually before 10:00 a.m. or after 5:30 p.m. However, some offices open early (like 8:00–8:30 a.m.) and stay open long after 6:00 p.m., so if you can find out the hours she’s there, the earlier or the later you can call, the better. First thing in the morning is always a pretty good bet, because chances are, the phones won’t be ringing off the hook, and Barb won’t be frazzled yet. You’re going to be upbeat, pleasant and know what you’re going to say ahead of time, so you come across confidently and succinctly. If you sound hesitant or meek, ramble or speak too softly, you’ll lose her in a flash. In times like these, I write down what I’m going to say before I call, and then practice until I’m comfortable enough to pick up the phone.

You’ll start with, “Hi, Barbara, my name is _____________.” And then something like: “I sent a letter and resume to Robert Bluford last week, and I was wondering if you might help me by finding out if he’s received it yet.” Of course Mr. Bluford has also received fifty other resumes during the past week, and yours is undoubtedly in the pile somewhere. Not only that, but chances are, Barbara isn’t going to want to stop what she’s doing to retrieve it and may just tell you she isn’t sure if it’s there or not. But then you could say something like, “Barbara, I could really use your help. I just moved to L.A. (or just graduated film school, or am just in town for this week, or just finished another project—whatever fits your situation) and was hoping to be able to meet Mr. Bluford, even if it’s only for five minutes, and even if there are no current job openings there. It would mean a lot if you could find my resume and put it on his desk, so he’s sure to see it. And if it would be easier for you, I’d be happy to fax or e-mail you another copy. Then if it’s okay, I’d like to check back in with you tomorrow or the next day.” You’re not going to whine or sound desperate, but you are going to solicit her help. And you’re going to be so nice and so charming, she’s going to want to help you. If it’s a bad time for her or for Mr. Bluford, ask when it would be more convenient to call back. If you reach a dead end, politely ask if she’d mind if you check back in with her in another couple of weeks. Be persistently charming and charmingly persistent (contrary to popular belief, persistent doesn’t have to mean annoying). If you sense Barbara has the time and is willing to listen, give her a short version of your pitch. Turn her into your ally. The better she knows you and the more she likes you, the more she’ll want to help you.

This approach may not always work, but it’s your best bet. If you’re submitting your resume via a reliable referral, it has a good chance of seeing the light of day. If you’re submitting your resume to someone who doesn’t know you (nor anyone you know), you can never assume he’s going to respond by inviting you in for an interview. That almost never happens. But you have to at least try to keep your resume from getting buried in some heap or file cabinet. When you check in a few days after your resume’s been received, you can’t acquiesce if Barbara tells you they’ll keep it on file and call you if there’s an opening. You have to at least try to win her over and gain her help. I’ve seen this work. And at one time, I was Barbara, and being her, I did help certain individuals who knew what they wanted, asked for my help and were extremely nice. I also know a writer who was able to convince a development assistant to pull his script out of a tall submission pile (where it had been totally buried) and stick it on her boss’ desk, where it got immediate attention. It’s always worth the effort to try.

When to Use a Bio

A bio is an overview of your experience, special talents and skills, affiliations and accomplishments. It doesn’t list your employment history or credits the way a resume does, but instead, notes specific events, projects or achievements that are pivotal milestones in your career. A bio is narrative in style and is written in the second person. Some are written to reflect personal attributes and others are strictly professional in tone.

If you’re new (or even fairly new) to the business, stick with your resume. That’s what prospective employers want to see at this point. Bios are often requested only after someone has built up a body of work. They’re primarily used for publicity purposes and are common worktools for producers, directors, actors, cinematographers, production designers, costume designers, casting directors, composers and editors. If you’re going to be teaching a class, sitting on a panel, giving a seminar or writing articles or books, you’ll need a bio. If you’re putting a business plan together to attract financing for a project, applying for a job where your credits are already known, opening a new production company, agency or business or land a mid- to high-level position within a studio or any other high-profile industry-related business, you’ll need a bio.

I have a one-paragraph bio and one that’s a page long. It’s like your pitch; it’s good to have different versions for different occasions. If and when you’re requested to submit a bio, it’s a good idea to have someone else write it for you. They’ll be more objective. If nothing else, have someone who knows you and your background read it and offer notes. Agents and managers will often write bios for their clients as do publicity agents and studio publicists. You can also have a professional resume writer (like Vivian VanLier) write your bio for you. You want it to be well written and to accurately encapsulate your entire professional history.

Safeguarding Your Resume and Headshots

The following was written by the Screen Actors Guild for the purpose of providing tips for actors as to how to safeguard their privacy on resumes and headshots. And because it contains helpful suggestions that would apply to everyone, not just performers, I asked SAG for their permission to reprint the information, and they’ve consented. Here it is:

No matter how easily your resume and cover letter could get lost or buried on its way to its intended recipient, you can never underestimate the importance of well-written and professional-looking documents. They not only attest to your experience and skills, but also to your motivation, level of commitment and intelligence.

If you have further questions about preparing your cover letters and resume, make sure you seek advice from individuals who specialize in entertainment resumes, because the guidelines are different than they are in other businesses. Don’t waste your time or money on books or resume experts if they don’t know this particular industry.

My thanks again to Vivian VanLier for her help with this chapter. Vivian is the president of Advantage Resumé & Career Services and can be found on the Internet at www.CuttingEdgeResumes.com and www.CareerCoach4u.com