Celluloid Dream Needs Some Tempering

Ah, to be in show biz. Thousands of Americans entertain this fantasy. Los Angeles resident Karmyn Lott is one of them. She’s been chasing this dream for nearly two decades. As each year goes by, she grows more frustrated.

To support herself, Lott has been toiling at clerical temp jobs. She also receives intermittent payments as conservator of a relative’s estate. Lott says she lives modestly and keeps her expenses low so she can devote time to writing.

She’s circulated scripts, and says she’s even won playwriting grants, but she hasn’t been able to break into the business.

Is it impossible, she wonders? Might she be doing something that’s hindering her chances? Career coach Laura Berman Fortgang, author of “Take Yourself to the Top” (Warner Books, 1998), offered to help Lott find out.

After reviewing Lott’s resume and interviewing her, Fortgang expressed concern that Lott, who will say only that she is over 40, has struggled for so many years without making progress in accomplishing her goals.

“We sometimes create a dream that’s unattainable to give us an excuse not to live our lives fully,” Fortgang cautioned Lott. She told Lott that, above all, she wanted to help her set realistic career goals. Only in doing so could Lott take concrete steps to achieve the goals and see results.

“You have to have a much sharper focus than you’ve had in the past,” Fortgang said. “You might not like what I’m going to say.”

Fortgang’s misgivings are bolstered by the astronomical odds against succeeding as a full-time scriptwriter. Although common mythology associates screenwriting with truckloads of cash, heady prestige and access to Hollywood stars, the reality of the trade is far less cinematic.

Fewer movies are being made today, which is bad news for writers. Of the 8,500 screenwriters in the Writers Guild of America, only 50% work in a given year. Of those, only 25% write full time, according to Charles Slocum, director of special projects. Add to this Hollywood’s documented preference for young, white, male writers. According to the 1998 Hollywood Writers Report, just 26% of Writers Guild members are female. And only 7% are members of an ethnic minority.

“Even on shows with black casts, about 60 to 65% of the writers are white,” said Zara Taylor, the Writers Guild’s executive administrator for employment diversity. “Why that is, you tell me.”

Older scribes have cause for concern too. Of 77 TV series in the 1997-98 season, none had writers over 50 on staff.

“There are tens of thousands who are seriously trying to become full-time writers,” said Slocum. Each year, the Writers Guild registers nearly 40,000 scripts, most by people who are not members. “There are more millionaires from the California lottery than from screenwriting in the last decade,” he added.

The outlook for playwriting success--a related interest of Lott’s--is even bleaker. According to dramaturge Jan Lewis, who teaches script analysis at UCLA Extension, a “successful” four-week run at a 99-seat theater might net a playwright $1,000.

“Very few people make a career of doing theater work,” Lewis said. “They teach, write for film, lecture or do articles and books. It’s not going to pay the rent for a long time, and even if it eventually does pay the rent, it won’t pay the bills.”

Lott remains unswayed.

“I’m a creative person, and I enjoy creating. That’s what I’ve been doing since I was in college, and it’s what I’d like to continue doing.” Lott told Fortgang that no matter the odds, she aspires to eventually write full time and perhaps even own a production company.

While Fortgang didn’t urge Lott to abandon her dreams, she advised her to expect a difficult road ahead. Then Fortgang offered a series of career steps.

Step 1. Find a 9-to-5 job that you love. For 20 years, Lott has labored at short-term, impersonal gigs, most of which she hasn’t enjoyed. Since it may be a long time before Lott can support herself as a writer, Fortgang suggested she find a way to earn steady income while pursuing screenwriting and playwriting.

Slocum concurs. “Most ‘overnight successes’ in this business have been writing for about 10 years,” he said.

However, Lott is unsure about this path. “I worry that if I commit to a job, I won’t be able to work on the art.” Fortgang, a former theater actress who supported herself as a waitress while acting, assured her that this is possible, emphasizing that the path has been well-traveled by others pursuing creative fields, Fortgang says.

Fortgang asked Lott to recall favorite past jobs. After some reflection, Lott said she was happiest doing secretarial work for entertainment lawyers and performing temp work at Hollywood studios. Those jobs allowed her to be a part of the Hollywood hub and observe the fast-paced industry from within.

Lott added that she’d be willing to look for similar jobs but was concerned that they’d be impossible to snag today. “I think those jobs are closed,” Lott said. “The studios must get tons and tons of resumes.”

However, according to two local employment specialists, Hollywood jobs are available for the asking--if applicants know where to find them and how to market themselves appropriately.

Maureen Beck, director of career development at Loyola Marymount University, says a veritable parade of Hollywood employers--including DreamWorks SKG, Paramount, E-TV, Fox Entertainment, Sony and CBS--have been sending representatives to her campus to find candidates for entry-level jobs in their accounting, finance and human-resources departments.

“They really do have a need for people in these types of positions,” she said.

Kimberly Preston, entertainment division director for Apple One, a temp agency with branches throughout the Southland, said many temporary workers registered with her agency have found full-time Hollywood employment. But she warned that the most coveted entry-level jobs--assistant positions in production, development, marketing or business affairs--tend to go to young “fast-track” applicants who possess impressive college backgrounds or advanced degrees. These jobs are often steppingstones to the executive suite.

She suggested that rather than entering the heated fracas for rare openings in these areas, Lott consider applying for positions that are less sought after, such as those in accounts payable and accounts receivable, to “get a start in the business.”

Fortgang also urged Lott to contact a former Hollywood boss whom Lott liked to ask if he or his colleagues had any clerical positions available. Additionally, Lott might involve herself in Hollywood-related activities, such as writers’ organizations and women’s groups, and even do volunteer work in the field to network and “show her commitment to the community.” Through these activities and by telling the people she comes in contact with about her desire for Hollywood employment, Lott might get a lead on a job she loves.

Step 2. Polish that resume. To gain attention in a highly competitive field, Lott has to present a resume that screams “Hire me!” In it, she should use action words and hard-hitting phrases, said Bobbi Moss, vice president of a Management Recruiters branch in Scottsdale, Ariz. “Spotlight the aspects of your work history that fit the job you want.”

Once Lott has carefully rewritten her resume, she should send it to people who supervise the positions Lott is most interested in. “Don’t send it to the firms’ human resources departments--they’ll just file it in the trash,” Moss said. “Submitting it to the right decision maker shows initiative.”

An attention-grabbing cover letter stressing Lott’s strengths and accomplishments will complete the mailing, Moss adds. The letter should be simple and to the point.

Step 3. Become financially secure. “Struggling financially can sap you of all your creativity,” Slocum said. “That’s why, when you plan your writing career, you should also plan how you’re going to make money during the first 10 years.”

Fortgang asked Lott to appraise her current financial situation. Is she living comfortably? Or struggling to make ends meet and racking up debt? Lott admitted to Fortgang that she wished she could be more financially secure so she could pay off debts. Her temp jobs don’t pay well, and work is sporadic. Lott estimated that she could live comfortably on a salary of $35,000 a year. Therefore, Fortgang encouraged her to target positions offering this salary or at least secure work that enhances her skills so she can later land a position with a livable wage.

“In a town where everyone wants the same thing you want, you’ve got to be on your own two feet while you’re working toward achieving this dream,” Fortgang said. “It’s not noble to be a starving artist. It’s not deep. It’s not brave. It just makes you more desperate.”

Step 4. Hone your craft. Lott submitted an original screenplay and theatrical play to The Times. With her consent, the scripts were forwarded to two writing experts for a reading and evaluation. Are Lott’s works ready for screen and stage?

The experts arrived at similar conclusions: Lott would greatly benefit by taking advanced courses in story structure, plotting and characterization before she sends her scripts out again.

John Truby, founder of Truby’s Writers Studio in Pacific Palisades, evaluated a romantic-comedy screenplay penned by Lott. He suggested that Lott study the “love story” genre in addition to learning more about plotting and structure.

“People who write professionally often specialize in certain genres,” Truby said. “She’s got to be sure she’s taking the professional approach and presenting a great screenplay. Otherwise the chances of selling her scripts are like the lottery.”

Lewis, the dramaturge, reviewed a theatrical play by Lott. While complimenting her on her experimental style and language, she encouraged Lott to take steps to improve her plotting and characterization.

According to Lewis, Lott could do this in several ways. She could pair up with a mentor who would work with her on a one-to-one basis, take playwriting classes or join a writers group to get input from peers.

Step 5. Set realistic expectations. Very few individuals see their projects reach the Hollywood screen or Broadway stage. Fortgang appealed to Lott to set realistic expectations for her budding writing career. She counseled Lott to make full-time employment and financial security her top priorities right now. Achieving these objectives would allow Lott to afford classes to improve her writing skills and enjoy peace of mind while peddling her scripts to film and stage producers.

Once Lott has completed one or more high-quality scripts, she’ll be ready to send them out. Although she should submit the scripts to agents who might consider representing her, Lott shouldn’t stop there, said Sharon Johnson, chairwoman of the Writers Guild Committee of Black Writers.

Johnson suggests that Lott collect names and addresses of “everybody she wants to have an audience with,” such as producers, actors, directors and other notables who might like her work. Then Lott should mail each one a single-page biography listing her show business experience, writing awards, theatrical work and other relevant accolades, Johnson said. Some industry experts also suggest that Lott enclose a brief synopsis of a completed script.

Lott’s mailing should be accompanied by a cover letter that introduces her and highlights her theatrical successes, Johnson added, because her playwriting background shows that she has done well in a craft related to script writing. Each mailing, when completed and assembled, should be sent via certified mail.

Step 6. Build a support system. The road to show biz success is long and arduous. Lott already knows this. Fortgang suggested that Lott build a committed “occupational support system” composed of family, friends and perhaps a professional coach or career counselor to serve as a faithful chorus that will encourage Lott to remain true to her goals.

Fortgang asked Lott to report back to her within 30 days for a progress update. Lott agreed.

“She brought up a lot of things that I really need to think about,” Lott said. “I’d like to eventually [write full time], but I realize I may need to get more steady work to make things easier on myself.”

(BEGIN TEXT OF INFOBOX / INFOGRAPHIC)

Career Make-Over

Name: Karmyn Lott

Current occupation: Temporary clerical worker

Desired occupation: Scriptwriter, producer

Quote: “I always thought that I’d be able to write full time. It hasn’t happened yet. And I’m bored to death with what I’, doing right now.”

Coach’s recommendation: Full-time position in the entertainment industry; pursue script writing after work.

Meet the Coach

Laura Berman Fortgang is a nationally know career coach who has helped more than 250 executives and entrepreneurs. She is the author of “Take Yourself to the Top” (Warner Books, 1998). (BEGIN TEXT OF INFOBOX / INFOGRAPHIC)

Where to Turn

Aspiring Hollywood writers can get tips on breaking into the business from the pros by writing to:

New Writers Packet

Employment Access

Writers Guild

7000 W. 3rd St.

Los Angeles, CA 90048

Temporary workers registered with AppleOne who would like to land Hollywood jobs can attend the company’s Wednesday night Fast Track Seminars at its Culver City offices. The seminars feature entertainment industry speakers who share tips about finding Hollywood employment. Attendees not only learn the machinations of the industry, but are given the chance to network with industry personnel, says AppleOne’s Kimberly Preston. Call (310) 839-2450 for more information.