Thread by @teresapalooza

Thanks to the 400+ 😳 #WGAwriters who virtually attended the staffing panel tonight! Had a great time gabbing w/ @WalkerTVWriter @davyperez @MaybeLaurenTy @glenisemullins & @capitalWLD & sharing my thoughts & advice. #TVstaffing is HARD, y’all. If I can do it, so can you! #faith

Answering more questions from the Q&A -

Q1: What are examples of questions you ask execs/showrunners during a staffing meeting?
A1: With execs, what they like about the show, where they hope it goes, changes they wanna see, etc. Remember any stories they tell about development.

A1(pt2): With showrunners, I’ll ask show questions & questions based on my exec meeting, but also what they expect of their writers, how they like to run their room, what they think the biggest challenge of breaking the series will be, etc. Make it clear I’m ready for that work!

Q2: Do you recommend getting an agent or manager first?
A2: Either! Most important is you feel good about the partnership & on the same page about how to proceed. Writers need/want different things from their reps - script notes, general meetings, staffing help, development opps.

A2(pt2): It’s important to be specific about what you expect from them so your relationship is set up for success. Communicate & collaborate rather than command & criticize. Your reps should be the head cheerleaders on your team & you should feel good about how they cheer you on!

Q3: As someone who did not have diversity programs as an avenue, but saw people go through them, do you feel there needs to be a change?
A3: Diversity programs are valuable & vital. There are many more now that aren’t diversity-specific, so you should look for those opps!

A3(pt2): Networks & studios are learning to see these programs as entry points but not total solutions. They still need to support advancement & inclusive hiring at ALL levels. They need to make equity a priority, not a patch job. And ensure working environments are safe for all.

A3(pt3): #Inclusion & #equity efforts need to change as the biz changes. Priorities IMO: getting lower level writers to mid-level, debunking the lie that white male writers are “going extinct,” re-examining the pay discount that sets diverse writers up to be discounted. #faith

Q4: Do any of you have writers in your room who are not in LA? Wondering if Zoom makes it more acceptable to work from afar.

A4: Not on my show, though one has been at a vacation rental! 😎 I’m curious to see how Zoom changes the geography game too. NYC vs LA may become moot?

A4(pt2): I imagine the challenge will remain making connections w/ execs & showrunners to even get staffing opportunities. And meeting agents & managers who work out of LA to help you form those connections. I hope Zoom evens the playing field. Living in LA is expensive! 😳

Q5: I got my first staffing job because two white guys liked my pilot & bet two other white guys that they could get a black female writer a staff job without an interview or even meeting me. Is that typical?

A5: WHAT THE ACTUAL FUCK 😠

A5(pt2): Playing w/ diverse writers as chess pieces in some weird game is GROSS. I’m sorry they told you that’s why you were hired. I really hope that behavior is not typical & stops right the fuck now. 😡 Writers deserve to be valued as skilled professionals FFS, not pawns!

Q6: What if you want to check in w/ a writer/showrunner & haven't seen their show (& maybe wouldn't otherwise be inclined to)? Is it enough to watch the pilot or is that even more obvious?

A6: Put in the work because it adds a level of depth & respect to your communication.

A6(pt2): Watch the episodes, read the pilots, listen to the podcast interviews, read the Twitter threads. Every time I meet someone who’s done their homework on who I am & what I’ve done, it makes an impression on me. Create good impressions & good results come back to you!

Q7: Any tips for conceiving a short film project?

A7: Write strategically for locations & budget; invest in good sound, actors, & catering; treat crowdfunding as PR, not just fundraising; treat everyone as a collaborator & shower them w/ gratitude. You’re making art together! 🤗

Q8: I've heard from two network showrunners that their new shows are doing a room only of ULs because of the coronavirus ruined everything. Do you think LLs have any chance of staffing this year if they haven't already?

A8: My room is all LLs, so every show is different!

A8(pt2): Everyone has a line/excuse/scapegoat for why staffing is hard. I think staffing is just plain hard, period! We’re trying to win the showbiz lottery & the odds often feel stacked against us. Stay the course, keep your spirits up, & KEEP WRITING. There’s always more shows!

Q9: Have you had success submitting on the portal & have any tips for that?

A9: The writers I know who staffed off the portal wrote show-specific cover letters that pitched why they were perfect for the show in a concise, entertaining manner. Like an elevator pitch of yourself!

Q10: With Asian representation on TV being so low, do you think it’s better to be specific with your Asian-ness or do you think your samples should be general & show that you can write “anything”? What advice would you give to Asian writers in general?

A10: (Hi @kevinyeedotcom!)

A10(pt2): I’ve built a portfolio that reflects what I like writing & feel I can write well. For me, that’s speculative, multicultural, feminist worlds. For a other writers I know, it’s Asian-forward all the time. I think it’s useful to have one of each type you describe...

A10(pt3): Most important thing is to be excited about everything in your portfolio. I sold a pilot that was a painful slog to write & doesn’t align w/ my interests, so even though it was a sold network pilot, I never send it out. Only send scripts you can stand proudly behind!

Okay, I should probably work on my @MacGyverCBS outline now... 😬 Thanks again for attending the panel, everyone! Take care of yourselves, wear a mask, be excellent to each other. #BlackLivesMatter #RepresentationMatters #IStandWithTheWGA 😘😷🤗