CHAPTER 9
Agents, Networking,
and Finding Work

Jean Ann Wright

WRITING A SAMPLE SCRIPT

Before you can write for an animated television cartoon, you have to write a sample script to submit to the story editor of that show. This is not a script that will be sold. Try surfing online to find an actual animation script in the genre you’re writing so that you can use it as a template. Write your sample script for a show that’s similar to the show you want to pitch. Or if you want to write for a specific show, ask the story editor of that show what kind of sample script he wants to see. Do not write a sample for the same show you want to pitch because the story editor will know that show too well; and he’ll see only the script’s flaws. You may be able to get work with only one sample script, but it’s better to have several: a sample for a sitcom like The Simpsons, for a half-hour action/adventure, for a seven minute squash and stretch comedy, and for any other animation genre that interests you. What’s most important is that your sample script is fresh and exciting. This is not the time to break the rules. The story editor wants to see if you know the rules. When your sample script is ready, contact the story editor you want to pitch to and ask if you can submit a sample of your writing. Be sure it’s your very best! Add a colorful script cover. You can submit a copy of your sample script to an animation agent as well, but an agent is not a must to find work.

LOOKING FOR WORK

Networking is very important in the animation industry. Because the industry is relatively small and writers must do quality work quickly, many story editors hire only writers they know. Join animation organizations like ASIFA and Women In Animation. Go to animation events where you might meet animation writers and story editors. Go to seminars and workshops and introduce yourself to the writers and story editors there. The important thing is to get your name out there and repeated over and over again. Check out animation-related Web sites. Many animation writers have their own Web site, and you can email them there. Just remember that good writers may be extremely busy with tight deadlines, so be brief and to the point when you ask for advice. A few professional writers have been forced to use pest control!

© 2010 Elsevier Inc. All rights reserved.
DOI: 10.1016/B978-0-240-81343-1.00001-7

AGENTS AND MANAGERS

There are animation agents who represent animation writers. But even if you obtain an agent, you will still need to look for work on your own. Most agents are not eager to take writer-developers with no track record. And even if they do, they prefer to spend their valuable time finding work for those who can provide a better monetary return on their time. Many working animation writers have no agents at all. Most story editors will read your sample script without an agent. However it’s difficult to get development people to look at an original project without an agent or entertainment attorney. Contact the Animation Writers Caucus of the Writers Guild of America, in west Los Angeles, for a list of agents who handle writers. This is a list of all literary agents, not just those that represent animation writers. An entertainment lawyer will submit scripts for you if you wish to hire them for that purpose, and they’ll negotiate any resulting contracts. But be sure you contact only entertainment lawyers so that they know the industry. Without either an agent or an entertainment lawyer, you may be asked to sign a release form, giving up some of your rights. Companies are in mortal fear of being sued!

OTHER SUGGESTIONS

You should be immersed in the animation medium so that you know instinctively what sounds right and what doesn’t. Watch cartoons on television, and go to see the latest animated films. Rent animation at your video store. Get to really know the current series on TV. In order to write convincingly, you need to know those characters so well that you know exactly what they would do at any given time. Read entertainment magazines like Animation Magazine, The AWN Spotlight, AWN’s Animation Flash, The Hollywood Reporter, Daily Variety, and Kidscreen so that you know what’s happening in the animation industry, who’s buying what and why, what series are popular with the kids.

When you watch cartoons on TV, make a list of the writers, story editors, and producers for each series. The story editors are the ones who will hire you. Producers can also give you an “in.” Every second Tuesday The Hollywood Reporter publishes a list of production companies and the series that are in production. This listing includes TV animation series with credits for the series’ producers and story editors. If you don’t subscribe to The Hollywood Reporter, you may be able to find it at the library. Often the listing is out of date, but this gives you a starting point in your job hunt. Call these companies and ask for the story editor you find listed. If that story editor is not available at that company, try to talk to another. Remember that today most writers and story editors in the United States are freelancers and work at home, moving often between companies.

Ask any story editor that you contact if you can send them a sample script and if they’re accepting ideas for premises (written for free) for their series. Ask them to send you a bible of the series they’re working on, a script from the series, and a few sample premises. Overworked story editors have tight deadlines, so keep it very brief. Keep a card file on each story editor. List their latest series and any other series they’ve edited. From articles you’ve read and from talking to them, list what they like and dislike and any useful personal information that will be helpful in conversation when you talk to them again.

If you’re pitching your own original projects to development people around town, keep a card file on development executives as well. You’ll eventually meet a lot of story editors and development people, and you won’t remember it all when you need it later. Then write and keep writing each day.

Take time out from your writing to promote yourself and what you’re doing. Be creative. Be funny. Be different in your promotional efforts so you stand out. Keep up these contacts, and don’t be afraid to use them; just remember to keep it brief. Make friends with the assistant who answers the call. They can often help you get through the gate. Calling once a month or every couple of months is probably okay; calling every day is definitely counterproductive. Better yet, email or write, send out funny promotional material. Eventually, story editors will start referring you to other story editors who are currently looking for material.

When you get that first assignment, write exactly what that story editor wants and needs. Ask! And always, always turn in your assignment on time.

The process sounds difficult and it is, but new writers break in all the time. You just need to be good”¦and fast”¦and most of all persistent!

Consider looking for work internationally as well. Many U.S. writers do much of their writing by email for companies overseas. Contact companies outside of the United States. There’s a huge market out there for U.S. animation writers. Send sample scripts, credits, and so on. If you don’t live in the United States, be sure to contact local networks and production companies in your search for work.

Whether your employers are around the world or down the street, keep up your contacts. Get your own Web site. List credits, a bio, awards, and make sample scripts available there. Add a photo. Send out a periodic email newsletter. Include helpful information along with the self-promotion, but keep it short. Call your contacts occasionally in order to establish a more personal relationship. Talk pets and family. Send flowers. Take them to lunch. Keep up the networking. Try to meet your international contacts at trade events or on business trips. Think of your writing as an international business. You are the person responsible for business development. For a freelance writer, taking the time to look for work is an important part of your career.

EXERCISES

1. Watch cartoons. Start an index card on each writer, story editor, and development person you find. Normally, development people are not listed in the credits. How will you find out more about them?
2. Write a sample script. Be fresh. Make it the very best you can. Write in a different genre from what you already have.
3. Research animation agents and compile the class results. Make up a directory that can be photocopied and handed out in class.
4. What are networks and production companies buying today? Do some research on the Internet or in the library.
5. Invite an animation writer or a development executive to speak to your class.
6. Join an animation organization like ASIFA (worldwide) or Women in Animation.
7. Check out AWN. Join in some of the discussion forums.
8. Conduct a class discussion about the most popular animation series in your area. Can you see international trends? Where are these programs being produced? Animation seems to cycle in employment opportunities. How is it doing currently? How can you make a living during the down cycles?