ANIMATION WRITING RESOURCES

*If you want to break into TV Animation Writing, this is for you.

**Even if you’re at the very beginning of your writing journey, this is also for you.

Pay Survey:

How much are assistants, writers, and story editors at various studios making right now? Check out this survey curated by @MadisonBateman

https://docs.google.com/spreadsheets/d/1eTBBWgPTZhEEBsnYDUwjZz_qKnvy6uZvd5gJCpfV49s/edit?usp=sharing

*Please use this as a guide for what to negotiate per studio!

Also refer to the Animation Guild wage surveys for future information on minimums:

https://animationguild.org/contracts-wages/

For those starting on your journey, this is what script format looks like:

INDUSTRY STANDARD FORMAT

Screenwriting format comes easier with the use of software like Final Draft

Cheaper and free options:

CeltX

Writer Duet (first few scripts free and great for writing partners!)

Highland 2 -  https://quoteunquoteapps.com/highland-2/ 

Fade In (cheaper than Final Draft, but a lot of the same functions)

Here’s a list of more– https://www.scriptreaderpro.com/free-screenwriting-software/

Note* These books are a great resource to have on your desk when you come up against a sequence you’re unsure how to format or organize:

The Hollywood Standard - Christopher Riley

The Screenwriter’s Bible - David Trottier

ANIMATION PRODUCTION PIPELINE

Rise Up Animation has put together this info on the animation pipeline: https://docs.google.com/forms/d/e/1FAIpQLSczg67mOmze1F0F98b5aMW3rqf1YiG8u73Ukzlzm1Oit9WIHA/viewform

*RUA also provides advice sessions for BIPOC looking to learn more about the animation industry!

The Animation Guild (TAG) Showrunners Training Series:

https://animationguild.org/showrunner-training/

*Interviews with various roles and how they function within the animation process

Maaike Scherff’s TV Animation Zine:

https://ko-fi.com/maaike/shop

*Great and free primer to working in TV animation from the artist’s perspective

BOOKS TO READ

(Note* Buying books can add up, see if you can borrow from a library or friends!)

How to Write Animation - Jeffrey Scott

Animation Development: From Pitch to Production - David B. Levy

Animation Writing and Development: From Script Development to Pitch - Jean Ann Wright

Art of Dramatic Writing - Lajos Egri

Save the Cat - Blake Snyder

Immediate Fiction - Jerry Clever

The Writer’s Journey - Christopher Vogler

Invisible Ink - Brian McDonald

Your Screenplay Sucks! - William Akers

Screenplay: The Foundations of Screenwriting - Syd Field

Write to TV - Martie Cook

STORY - Robert McKee

Into the Woods: A Five-Act Journey Into Story - John Yorke

Elephant Bucks - Sheldon Bull

Eight Characters of Comedy - Scott Sedita

Coffee Break Screenwriter - Pilar Alessandra

The TV Writer’s Workbook - Ellen Sandler

The Comic Toolbox - John Vorhaus

The Hollywood Standard - Christopher Riley

The Screenwriter’s Bible - David Trottier

"The Tipping Point" - Malcolm Gladwell ( "The Stickiness Factor" chapter 3)

Gardner's Guide to Writing and Producing Animation - Shannon Muir

Writing for Emotional Impact - Karl Iglesias

CHILDREN DEVELOPMENT READS

Queen Bees and Wannabes - Rosalind Wiseman

Masterminds and Wingmen - Rosalind Wiseman

Preschool Clues - Angela C. Santomero

Radical Kindness - Angela C. Santomero

The Yes Brain - Daniel J. Siegel, MD, and Tina Payne Bryson, PhD

READ MORE ANIMATION (AND MORE!) SCRIPTS

https://www.simplyscripts.com/genre/animation-scripts.html

https://sites.google.com/site/tvwriting/us-animation?authuser=0

https://sites.google.com/site/tvwriting/home?authuser=0

https://screencraft.org/2019/08/12/21-series-bibles-that-every-tv-screenwriter-should-read/

https://www.shorescripts.com/tv-series-bibles/

BBC scripts: https://www.bbc.co.uk/writersroom/scripts?fbclid=IwAR1SIZ88INNkuETyTWxK69dJhWMbZI4BHcF1GlQzk3DBAeoZQmckx3TLjwk

http://okbjgm.weebly.com/downloads.html

Courtesy of Noelle Stevenson/Mattel/DW:

A script from S2 that Noelle wrote for She-Ra:

https://www.scribd.com/document/485015148/SHE218-SaveTheCat-RecordDraft?fbclid=IwAR3Is1dQAvwMWoFyZqArUy7YurzOX89znBDfctY007T6XNH6nDKDIQXkszU

Courtesy of Dan Milano and the Glitch Tech’s crew:

1st and Locked Draft Sample: https://drive.google.com/drive/folders/1HQs8Rly2iaqgr-L6qDFOFRRp--OGGcQe

Internal Guide for Writing on Glitch Techs: https://drive.google.com/file/d/1Bhg7trrjtN352nbYglPUoEydjA-662Rz/view

More resources:

https://drive.google.com/drive/folders/1W1b64wa2cztp0ymgqAsDN1d0cs2H4zI-?usp=sharing

Courtesy of Spencer Rothbell- Clarence Outline for “Lil’ Buddy”

https://issuu.com/srothbell/docs/clarence_lilbuddy_outline052014revised

PITCHING AND SERIES DEVELOPMENT

Read and learn existing show bibles -  https://www.scriptreaderpro.com/tv-show-bible-examples/

Bravest Warriors Pitch Bible-

https://www.scribd.com/document/118981476/Bravest-Warriors-Pitch-Bible

PODCASTS

Typin’ Toons - https://www.typintoons.com (ultimate animation writing podcast)

ScriptNotes - https://johnaugust.com/scriptnotes (ultimate writing for Hollywood podcast)

La Lista - https://lalistapodcast.com

The Writers Panel - https://foreverdogpodcasts.com/podcasts/the-writers-panel/

Good One (about writing comedy) - https://www.vulture.com/news/good-one-podcast/

Paper Team - http://www.paperteam.co/ 

*It's a long running TV Writing podcast (4+ years) aimed at helping aspiring writers break in, by giving practical advice about the craft and business of TV writing, as well as interviewing established writers and industry professionals about how they got their start. Paper Team has had featured panels every year at Wondercon, and recently at the Austin Film Festival as well. Also offers a 'Paper Scraps' segment like the ScriptNotes podcast 3 pg challenge where TV writers can send in teasers from their scripts for feedback on-air, and win prizes or mentorship opportunities.

(Note* The next podcasts have interviews of a variety of animation professionals, including writers!)

The Animated Journey - https://www.theanimatedjourney.com

Black n’ Animated - https://blacknanimated.podbean.com

The Animation Network Podcast - http://www.theanimationnetwork.org

Ink and Paint Folk - https://inkandpaintfolk.podbean.com

Basic Brainheart - https://soundcloud.com/user-625579819

Paper Wings - https://chrisoatley.com/all-podcasts/visual-storytelling-podcast/

Nickelodeon Animation Podcast - https://www.nickanimation.com/podcasts

Austin Film Festival At Home Series - https://austinfilmfestival.com/blog/news/aff-at-home/

Animation Guild’s Writers Craft Virtual Panel Series -

https://www.youtube.com/channel/UCaIWUezyweatxSzVzwN_fdA

JP Lecture Series, hosted by Julia Prescott- (virtual during Covid)

Email to be added to mailing list of future events, $8-10 tix: jplectureseries@gmail.com

In the Cut Talks ($15, various topics) - https://inthecutla.org/resources

Rise Up Animation YouTube channel (various animation roles interviewed): https://www.youtube.com/channel/UCwrpD2lrhekf8UKj1HJp3JA?sub_confirmation=1

Surviving Animation YouTube channel: Http://YouTube.com/survivinganimation

GREAT INTERVIEWS WITH ANIMATION WRITERS

*Cartoon Network Talk with Jeff Trammell and Kate Tsang

https://www.instagram.com/p/CFdNirZHmcs/

*writer/creator Emily Brundige - https://www.stitcher.com/podcast/cassie-soliday/ink-and-paint-girls/e/68737790

*writer Jeff Trammell - https://blacknanimated.podbean.com/e/09-jeff-trammell-writer-black-n-animated-podcast/

*creator of We Bare Bears, Daniel Chong - http://www.theanimatedjourney.com/2016/07/05/ep-020-daniel-chong-creator-and-executive-producer-of-we-bare-bears/

*writer Mercedes Valle - https://www.stitcher.com/podcast/cassie-soliday/ink-and-paint-girls/e/51653262

*writer/voice actor Haley Mancini - https://www.stitcher.com/podcast/cassie-soliday/ink-and-paint-girls/e/50293244

*writer Mia Resella - http://www.theanimatedjourney.com/2017/10/11/ep-055-mia-resella-writer-in-the-nickelodeon-writing-program/

*writer Laura Sreebny - https://podcasts.apple.com/us/podcast/35-writer-laura-sreebny-seizing-opportunities-for-creative/id1200561920?i=1000397499937

*writer Taneka Stotts -

https://blacknanimated.podbean.com/e/34-taneka-stotts-tv-and-comics-writer/

YOUTUBE CHANNELS

Film Courage - https://www.youtube.com/user/filmcourage

Lessons from the Screenplay - https://www.youtube.com/channel/UCErSSa3CaP_GJxmFpdjG9Jw

ARTICLES

VISA AND INTERNATIONAL

https://inkandpaintgirls.podbean.com/e/ipg-094-international-visas-with-yvonne-hsuan-ho-nooree-kim/

FELLOWSHIP PROGRAMS

Sesame Street Writers Room -

https://sesamewritersroom.org/

Universal Animation Writers Program - https://www.universaltalentdevelopment.com/universal-animation-writers

Nickelodeon Animation Writers Fellowship (Be sure to study the Accepted Shows list carefully) - https://www.nickanimation.com/writing-program

Walt Disney Television Writing Program - https://www.facebook.com/notes/walt-disney-television-creative-talent-development-inclusion-ctdi/application-instructions-2021-walt-disney-television-writing-program/3113764225309497/?fref=gs&dti=788811517875844&hc_location=group 

Warner Bros Writers’ Workshop - https://televisionworkshop.warnerbros.com/writers-workshop/

National Hispanic Media Coalition TV Writers Program - http://www.nhmc.org/writersprogram

NBC Writers on the Verge

http://www.nbcunitips.com/writers-on-the-verge/

HBO Access Project

https://www.hbo.com/hboaccess/writing/

Sundance Episodic Lab

http://www.sundance.org/programs/episodic-storytelling

Women in Film Blacklist Writers Program

https://womeninfilm.org/2019-wif-black-list-writing-labs/

PGA Power of Diversity Workshop

https://www.producersguild.org/page/pga_diversity 

Bodies of Work - Using art to illuminate the disability experience

https://ahs.uic.edu/disability-human-development/community-partners/bodies-of-work/

GROUPS

Women in Animation (WIA) - https://womeninanimation.org

Black n’ Animated (yes, the podcast has a community on FB & discord!) - https://www.facebook.com/groups/220490582031991/

LatinXinAnimation - https://latinxinanimation.org/ 

WGA-W Animation Writers Caucus Facebook Group - https://www.facebook.com/pg/WGA-Animation-Writers-Caucus-105893969503316/posts/

Children’s Media Association - https://www.childrensmediaassociation.org

The Creators Society - https://thecreatorssociety.org

ASIFA - https://www.asifa-hollywood.org

WGA Writers with Disabilities Committee

https://www.wga.org/members/membership-information/committees/writers-with-disabilities

*In the past, they have also partnered with The Black List, Easterseals, and Media Access Awards to create The Disability List:

https://blog.blcklst.com/the-disability-list-406853001f09

Think Tank for Inclusion & Equity:

https://www.writeinclusion.org

Black Screenwriters Initiative:

https://twitter.com/BlackScreenwri1 

PRO TIPS AND ADVICE

***Emily Brundige, writer and show creator @emilybrundige, developed Harvey Street Kids and created Pubertina ---

My advice is to remember that animation is a very visual medium, and your scripts should take advantage of that. For example, in the first Pubertina short I wrote, when Pubes sees her crush, her heart pops out of her chest and becomes a character who sings. A mistake I’ve heard live action writers make over and over again is that their scripts are too talky, and they have long scenes where characters are just talking heads, without any action or visual treats to keep things moving.

Another mistake people make is overcomplicating their stories. I think this goes for any film medium, but trying to keep things streamlined and simple tends to work to peoples’ benefit. Especially in shorter formats, like 11 min, you need to track a fairly simple story. There’s really not much time for B stories, or too much plot.

The other thing I’d suggest is reading animation scripts and becoming a student of the cartoon shows they like. Watching how stories development, typically over a 3-act story structure. A lot of beginner writers I know start by writing spec scripts of a show they like, like Bob’s Burgers, Bojack Horseman, Rick and Morty— or whatever floats their boat.

I’ve seen people hired off of really good spec scripts and/or pilots. My preference would be a good pilot, but good writing is good writing period, either way it comes.

*** Charley Feldman, (Adventure Time: Distant Lands, The Owl House and Teen Titans Go!)***

I want to focus my advice on what I’ve seen break people through to staffing positions. If you have questions please reach out @charley_feldman

 

THIS IS GOING TO GET LONG - YOU MAY NEED SNACK BREAKS

 

Short Version:

 

Apply for mentorships, make friends in your peer group, don’t be shy about asking if friends have managers looking for new clients, write/create as much as possible, your work doesn’t have to be perfect to submit for jobs/contests/internships. Board artist hopefuls just apply and apply and apply -  you will break-in as long as you keep working on your craft (I swear they won’t be keeping track of your earlier, less seasoned attempts). Less talented but more confident people break in every day.  Post your art, I know showrunners look at feeds. Support your peers!

 

Long Version:

 

1. Write (or create) in whatever spare time you have – when you get connected with the right people, they will ask you for your samples. Be ready, but don’t worry about them being perfect! First time staffers learn A LOT about the job after getting the job. Just build up your voice.

 

2. Make friends in the industry at your level. Not everyone gets in right away, but your peers will be around and I’ve had overlap on many jobs with people I started with. Animation is a VERY small world. Be kind and generous with your time and spirit. Even if you’re not very social, or have anxiety, kindness will show through. This goes SUCH a long way and people will look out for you. I have a manager, but the last two staffings were from friends recommending me for shows.

 

Many turn to improv and that networking is very strong. That was not my path but it’s one path that I know can help a little. But it’s a similar concept, making friends and bonding through your work.

 

3. On that note, create with your friends! It bonds you. You learn by the experience in immeasurable ways. And it’s fun! You’re creating what YOU want. What excites you: Fan fiction, fan films, original ideas, etc. You may never have this time again to create your vision. The rest of your career will be writing/creating for other people’s voices and your ego can’t be a part of that. Your work will be modified tremendously by network and studio notes even at the very top, showrunner, levels. Enjoy this time!

 

4. Share your work whether it’s great or not, whether anyone sees it or not. They will eventually! It will show your growth, your tenacity and your creativity. My friends and I made a fan film about an 80s cartoon and it comes up all the time in meetings and it sets me apart from others just waiting for their break. Don’t wait, create when you can, however you can!

 

5. YOU ARE NEVER TOO OLD. I DID NOT BREAK INTO ANIMATION UNTIL I WAS 30 I KNOW PEOPLE WHO BROKE IN AT 40+.

 

Here’s an abbreviated account of my own experience breaking in*:

 

-           I applied for a mentorship program through Women in Film a couple years after school and was paired with a comedy/animation writer who shared my interests. She put me in for a writer’s PA position on a SyFy show. This is different from a writer’s assistant position that puts you in a room every day to write notes. Your biggest job is getting food. Both these positions CAN lead to staffing if a show is on the air long enough.

 

-           I had to take another job because this did not pay well. A friend recommended to Smosh.com based on my writing samples (sketch, blog posts mainly). I wrote for Smosh Pit for nearly three years writing comedic articles, listicles and compiling funny galleries. I also worked part time as a personal assistant for other writers. You work many jobs sometimes. For many, this won’t be new. Whatever gets you by. Write when you can. Have compassion for yourself if that’s few and far between.

 

-           I was then hired to attempt to create a second channel for them. It never launched, but I was kept by the company and handed over as a writer to Screen Junkies (Honest Trailers).

 

-           I decided digital was my way to break in and stayed hustling for a couple years. Writing, producing and directing my own short form work with my partner, but also for other brands and companies. Honestly, by sheer force of will and networking we got random jobs. My partner worked at Machinima and she and I bullied our way into the heavily male dominated work environment from there. We created and sold a show that nobody will ever see on Verizon Go90. I assembled a group of women to create geek/gamer content and I learned a lot during this time that could fill a book on do’s and do not’s of being the best, most inclusive, leader you can be. But at this point, I wasn’t writing long form stories, and it wasn’t my dream.

 

-           Then, one day, I’m talking to a friend who isn’t in entertainment at all about taking my career to the next level and getting a manager. Her dear friend was a manager. She connected us. We got along. I wrote a new animation pilot. She shopped it around. And literally a couple months later – I was hired on Owl House…seriously. That fast. I was right for the show given my interests and what they needed (a comedy writer). It’s luck. It’s timing. But I also had done the work. I had sketch packets, samples, videos, a reel of all the work I did in digital. I was ready to show my stuff, I had a story of myself to tell people in meetings. And I tried the best I could to take care of my community and network as a friend first. I still try. I can still do better.

 

*BIG CAVEATS that I will share but DO NOT LET THEM DISCOURAGE YOU. These don’t get talked about enough. The playing field is not the same for all.  This HAS to be acknowledged. I live in Los Angeles but am also FROM Los Angeles. If I failed, I knew I could retreat to my family home and regroup without leaving the city. That means I got to swing harder. I also lost my mother, and with the money from selling her house I was able to take jobs for an entire year that didn’t pay very well and allowed me to write A LOT. I don’t have family in the industry (barring a distant cousin in effects make-up), but I was raised around kids of the industry and that network has always been around. I am college educated, white, and appear femme. These are just some of my advantages that I need to recognize. Again, do not let this discourage you if none of this sounds like you or your life. The cliché is true, there is no one-way to break in. And if your way is easier, like mine, it’s up to us to make it easier for those from other backgrounds and marginalized areas to break in. It makes our industry better, the stories we tell better. Period.

 

The old, creaky system is eroding and the people who care about making the industry a vibrant, diverse one are already reaching behind and making sure the next generation gets in. We all have to do our part. Do more and do better. I believe in you and your voice. The world needs to hear it!

*** Jake Goldman, (writer and story editor on The Powerpuff Girls)***

I had an idea for an episode once. It was brilliant, funny and without a doubt, I knew this episode was going to change the face of animation (and probably the world, or at least the continental United States) forever. I was certain of this. In many ways, I still am. So I strutted into the Writer’s Room and pitched the idea with my usual mix of giddy excitement, wild flailing arm movements and poor attempts at sound effects. The room agreed with me that the idea was good. Really good, in fact. The word genius wasn’t thrown around, but since I’m telling the story let’s say it was. Everything was certainly coming up Jake, as they say, until one of the members of the writing staff had a thought: “What if instead of the monster of the haunted amusement park really being Old Man Jenkins, we made it take place in the Old West and the villain is a talking goat?” This was not the idea they suggested as you can imagine but it might as well have been in my mind. I was furious! The very thought that they would dare sully my grand vision! What was I to do? Well, I improvised.

Or rather, I used Improv. You may have heard of the notion “Yes, And…” popularized by improv comedy theaters worldwide. Essentially, agreeing with something that was said earlier and then adding to it. This is the key to collaboration and being effective in the writer’s room. You must not only build off of other’s ideas, but also (and this is the important part so please pay attention) be comfortable with them building off of yours. It may mean making changes you didn’t see coming. Changes you would never dream of doing. If you hold onto a singular idea too tightly, you will invariably kill it. You will find, as I have many a time, that if your idea is good enough, it won’t be corrupted when you share it. In fact, it will be built into something greater than you can ever have thought of in the first place.

And if you disagree with the ideas I’ve presented in this post, I will most certainly nod and then work with you to make it better.

*** Cassie Soliday, (writer on Puppy Dog Pals, Bugs Bunny Builders)***

I’m always asking for advice, even as someone who’s writing professionally. I’m early in my career and I feel like getting other creatives’ perspectives or insight is always helpful in becoming a better animation professional, writer, and even person. Advice that I receive all the time is to “always be writing.” However, what I wish they would’ve added was to know what you want to write. Do you want to write comedy? Action? Adventure? And for what target audience do you want to write for? Pre-school? 6-11? Bridge (5-7)? Prime time animation? I’m sure there are others I’m not thinking of, but the important thing is to know specifically what you like to write and know what exists in that space already. I’ve learned that it’s ok to want to write for more than one, but the important thing is to know what you’d like to write so you can pitch yourself to people you meet and they can hopefully steer you in the right direction.

Now that you have identified the space that you want to professionally write for (personal stuff, you can write whatever you want whenever you want!), watch the shows that exist in that space and see if there’s one you’d like to write a spec script for. I’ve been following the advice to have at least one spec script and (at least) one original pilot for each space I want to work in, so that’s what I’ll recommend to you. However, I’ve heard of many people who had no animation samples and got hired based off their half-hour comedy specs. There’s no one right way!

Though these are your samples, and it’s good to be inspired by what you watch of any format or genre, also think about the things that you love to explore. What are the topics that interest you? What are the beliefs and values you hold? No matter what we do, these things will always creep into our work, and that’s great! Don’t hide it or hold back, it’s what gives excitement and personality to your voice. More than likely, what intrigues you most about the stories or characters you love are what you want to write about. Take note of those things!

Another thing I’ve learned so far is to not take notes and feedback personally. It’s not about you and it’s all about making the story better- whether it’s to be clearer in communication or push something in the story even more. If you ever find yourself not agreeing with a note, look at the note behind the note. Is there something you have in the script that they didn’t notice or pick up on? If so, push it harder so they don’t miss it on the next read. Animation writing is all about pushing and heightening! A lot of fun comes from it! Regarding getting notes on your personal work from multiple sources, don’t take notes you don’t feel help your intention for the story. However, if there’s a note you’re getting from multiple people, it may be something to consider. You are the creator of your original material and you should never take a note you don’t feel pushes your intent forward.

Breaking into Animation-- For my journey, I started in production as a coordinator. I happened to have production assistant experience on commercial sets and stage management from theatre, so I was able to start as a coordinator because the hiring producer believed the experience was applicable (working in admin/support staff/customer service roles are great experience to going into production roles, too). After a few years working in production, I moved into a script coordinator role. To make this transition, I was open and honest with my producer about my long term goals, also letting her know that I would do a good job in the role while I was in it. Always leave a position and department better than it was when you first got there! Because I had let my producer know, she was able to put in a good word to the show’s story editor when the script coordinator position came open later on. He spoke with me, liked me, and hired me. It was definitely the right place, right time, but also being prepared and letting people know what I wanted. If they don’t know, they can’t keep you in mind when opportunities arise!

I highly recommend starting in animation production because you get a great overview of the production pipeline and get to understand what happens after the script is written. You also get to meet tons of people in various positions! There are plenty of writers that don’t start in production. This is just one way, and there is no single way to break in.

Although it can sometimes feel like an impossible path, or one that’ll take forever, hard work will pay off. Be prepared for opportunity. Always be writing (keep your writing habits sustainable for your own wellbeing, too!). Always be learning. Learn more about yourself and what you like and what you wish you had seen in TV and film when you were growing up. Read more scripts, read more (overall), watch more, live more. All of this comes back to inspire you and shine through your work.

And most importantly, be good to yourself along the way. You are your most important resource on this journey. Be well. Good luck!

Have questions? Need advice? Reach out via Twitter or Instagram @cassiesoliday

*** Kara Lee Burk, (writer on Costume Quest, Hanazuki, Melissa & Joey, and others)***

GETTING YOUR FOOT IN THE DOOR

The first gig is the hardest to get. PA's hire other PA's. Assistants hire other assistants. So make friends with your peers and take any job in TV / film you can at the start. Things will snowball (though there's no timeline for that).

I got my foot in the door thanks to the Warner Bros Workshop, but I'm envious of my friends who got in as a PA, Writers' Assistant, etc, because those jobs let them get to know other writers. Other writers that would go onto showrun their own shows to hire people for. Coming out of a workshop, I only knew my co-workshoppers and my 1 writing mentor. It was awesome, but after my 1st job, it was hard to get my 2nd job since I didn't know as many people.

NETWORKING

Cringe word, right? It's not as icky as it sounds. Take it as: get out there any way you can (classes, parties, festivals, shows, etc) and find people you connect with. Be friends with people because you genuinely like them (there really are some GREAT people in the business) not because you think they can get you something.  You can -- and will -- rise the ranks together...though you most definitely rise the ranks at different times.

SAMPLES

You don't have to write animation pilots or specs to get hired in animation. All of my pilots are all live-action (and most are for adult audiences), and they get sent out as samples / get me hired just as much if not more than scripts I have as samples of produced animated shows. Many showrunners of kids shows like to read adult samples. :) Try to have different kinds of samples in your pocket I currently have -- a family-oriented one, a friend group-oriented one, a weirdo one (my fave), and a workplace-oriented one. Knowing which sample is best to send to who is an oddly big part of the job.

THE WRITING IS THE EASY PART

The business and politics are the hard part. "Reading the room" takes on more extreme definition when that room may be .

TAKE CARE OF YOURSELF

If your happiness is dependent on your 'success'...you'll always be doing either great or terrible (and usually those switch on a dime). Find things outside this business that can be your center -- your family, your friends, your faith, your hobbies, whatever! But make sure you have some life outside of the work (coming from someone who is constantly learning that)

MONEY

This business is famine or feast, and animation is one of the lower paid creative jobs in Hollywood. Live lean even when you're working and try to make that money last 'til your next gig. (Also, a heads up...animation guild pays writers way less than Writers Guild. Both of their websites have their minimums listed. Research that stuff!) I know many writers who give up not because they aren't great writers, but because they can't afford the lean times. I constantly teach just so I can keep doing that when I have lean times, even if it means I'm super busy during the times I am working.

IT'S NOT IMPOSSIBLE

I am from the Midwest, and started with NO family or friends in this business. Working in Hollywood (and a writer no-less!) was never something I was taught was an option for a career. It takes a lot of hard work, but it can be done.

Happy to answer questions: my Twitter & Instagram @burknoe

(Will also read scripts / take phone calls  as time allows)

*** Kate Moran, (writer on Mickey Mouse Funhouse!)***

 

GETTING STARTED

The only thing that is consistent about breaking into the industry is that the path to get in is inconsistent. That can be a frustrating answer to hear, but actually, it’s great news because there are many roads in.

 

I started out temping, working my way throughout the studio. I landed a permanent position in production as the Production Secretary because of the relationships I built through temping and working in other studio departments. I’m grateful for my experience as secretary because I learned the entire production pipeline, I got to work with everyone, and I was the starting point of contact for everyone - that’s exposure to executives, agents, freelance talent, etc, so I was constantly meeting new people.

 

Whatever job you start in, work hard and do it well.

 

 

BE A CONSIDERATE NETWORKER

Networking is important in the entertainment industry because it’s an incredibly small world, and even hearing about a job lead can be about who you know. Networking should be about cultivating genuine relationships, though, not just collecting names and emails to contact when you want something. Be nice to everyone, especially the administrative assistants. They know everything and everyone! :)  

 

 

BE READY TO SHOW YOUR WORK

You have to have work ready to share to show people what you can do. It doesn’t have to be perfect. It just has to show you know how to tell a story.

 

 

NOTES, NOTES, AND MORE NOTES

This may be the most jarring part of television writing for new writers. Do not take notes personally. DO NOT take notes personally.

 

Getting editorial and network notes is not like getting a teacher’s notes in class. Think of these notes as part of the collaborative process of storytelling for this medium. It’s all about the story.

 

 

SEEK MENTORS

I can’t recommend this enough. It doesn’t have to be a formal mentorship. I didn’t have a formal mentorship, but I had many mentors (and still do). There is so much to learn from other people’s journeys, and most people I’ve met in animation are very generous about sharing their experiences.  

 

 

TIMING ISN’T GUARANTEED

I was a secretary for ten years before I got my writer position. Some people are hired as a writer right off the bat. It happens when it happens. If this is what you know you want to do, stick with it.

 

Reach out to me on Twitter: @k8herself

*** Shea Fontana, (writer on DC Super Hero Girls, Batman: Overdrive, Polly Pocket, Wonder Woman, Doc McStuffins, and others)***

*taken with permission from her tweet here. @sheafontana

There aren’t a ton of kids (particularly preschool) writing resources out there so I thought I’d start a thread with some basic animation writing tips.

  • Animation is a visual medium. Your action description needs to carry the story as much as your dialogue. The general rule is no more than three pieces of dialogue without action.
  • Particularly in preschool, your characters shouldn’t do anything dangerous/violent that can be imitated by the kids at home.
  • Anything PG-ish is probably a no-no. I remember in the first script that I was actually paid to write, I had a scene where a character basically ate a tainted donut that made him go to sleep. I didn’t know any better. THAT’S A NO-NO.You can’t show characters ingesting anything that might be harmful. Real kids can imitate that. That would be very bad.  The ingesting thing generally also applies to magic potions. No swallowing magic potions.
  • But whimsical spins that can’t be imitated by kids are okay. I.E., a character could cast a sleeping spell that made the character sleep.
  • No one dies in kids TV animation.
  • Animation script length: 11 minutes = 15 pages, 22 minutes = 30 pages. (This is overly general and will depend on the show.)
  • Kids shows generally focus on kid (sometimes teen) characters. It’s pretty rare to have the main character be an adult (and when that happens, it’s usually a pre-existing character like Batman).
  • Violence/Fighting in preschool -- we’re definitely continually shifting away from showing hitting/direct contact, even with action/superhero shows.
  • Characters can’t get hit in the head (with anvils or otherwise).
  • Superheroes can hit robots or other inanimate objects.

(These are general thoughts with writing samples, specs, and your early work in animation. Specific shows will have their own rules and their own “special episodes” that do things differently.)

*** Colin Heck, (Supervising Director on Ben 10, Pilot Director on Glitch Techs, and many other credits- check it out here: colinheck.com)***

*taken with permission from his tweet here. @colinheck

**Please note while Colin isn’t a writer by trade, he has worked in development on a variety of shows and has wisdom to share for others who want to go into development!

Developing your own animated project takes so long that you have to simultaneously hold yourself in two states of being: whole-hearted belief in yourself and your project, and detached cynicism because the odds of it actually getting made as a series are so slim. If you don't believe in it enough to put your whole soul into it, the project will never survive the crucible of development. You have to convince yourself the world needs your show in order to fuel the work. However, If you don't keep some part of yourself out of it, you'll be crushed if it doesn't get picked up, and even in the best circumstances, the math is against you. I don't have a solution for the Catch-22, by the way. Maybe having a partner helps? One of you can be the dreamer and one can be the cynic? I've been developing something by myself for a while now, and it just means I have to shift between gears when necessary. And maybe it's also not universal! It's just what I've seen in my experience with creator-driven projects. I guess what I'm saying to those of you who are pitching something is just: try not to let yourself get crushed, if you can. The people I'm working with now are fantastic, generous and kind (which is definitely not universal) and it's STILL hard to both stoke enough fire in the heart to carry it through and protect myself enough to not feel crushed if it doesn't make it. Maybe you'll be better at it!

*** Dan Milano, (Creator, Executive Producer, Writer on shows like Glitch Techs, Croods, Star Wars Detours, and more)***

When asked what he looks for in writers and their specs when hiring for a show:

I really love looking for people's voices and points of view, so I read a lot of scripts and requested mostly their original show specs.   I did that because I was looking for detail oriented people who were very efficient on the page - I knew that GT was going to be VERY detail oriented and require a lot of conceptual ideas, so I was looking for folks who were used to doing a lot of creating and world building. BUT--- I found that I also should have considered looking at people's specs for existing shows. Because I underestimated the talent it requires for people to be able to pick up on other voices and adapt to them.   We had very strong characters in Miko and Mitch for example, and it was good to know the writers could learn quickly to write for their voices, rather than me need to always be polishing their dialogue. Ultimately I think no writer has to check every box and be all things.   What I think matters most is quality writing of any kind, which to me means stories that are thoughtful and have an emotional component to them.  Something that makes you relate to the characters and care about what happens to them.  I feel like no matter what, if someone has those qualities they can always learn how to write for the show they are on, or even if they do need some polish, they are more likely to be contributing well structured and thoughtful stories. It's hard to really sit down and write a great sample and try to check all those boxes.  I think the best thing to do is always be really true to the stories you want to tell, tell them well, set a bar for your own personal standard of a show you would want to see, and make the script something you are proud of.   If you always try to do that you will always be successful.    The more you do it, the more you can hone your talents at it, but all of your attempts from the first to the most recent will be genuine. At the end of my formatting document for Glitch Techs (https://drive.google.com/file/d/1Bhg7trrjtN352nbYglPUoEydjA-662Rz/view), I suggested some ways we can all polish our drafts to make them tight, to ensure the words are efficient and the characters are sharp.  

Connect with Dan on Twitter.

*** James Hamilton, (Animation Writer on The Amazing World of Gumball, UniKitty, BBC Radio 4’s Sketchorama, upcoming Netflix shows, and more)***

*taken with permission (and slightly edited for ease of read- original tweet is in response to another writers’ tweet) - see his tweet here. @jameshamilton

Yes, you should have original samples for sure. But I take a lot of issue with “should”. When it comes to this stuff, “should” is the stick I beat myself with most days. I should be writing! I should write more! I should NOT be doing something else! When I was on my last show, the demands of the job (plus the toll of the pandemic) meant I barely had time to work on new scripts. I *just about* was able to work up pitches. I mentally flagellated myself every day for not doing more. Honestly? I do that most days anyways. Should you *always be* writing, even if you’re on a full time job? Or is it okay to say, hey, I’m exhausted. Hey, I want to spend some hours of my day not writing or thinking about writing or beating myself up for feeling like I *should* be writing more.

I’m going to be honest: I never, ever feel like I write enough. The truth is, I probably don't. I love writing, but the more experienced I get and the more self-critical I become, the harder I find it. But. I think back to the times in my life when I was VERY productive, and those times usually came at a personal cost. I didn’t see friends as much. I didn’t check in with my family as much. I didn’t seek balance in my life because I *should always be writing*. Heck, sometimes I find it hard to begin watching new TV shows or read a book - even though I love doing those things! - because I feel like I SHOULD be engaging with them as a maker of stories.

“Should”, in this context, is a word that can unravel your mental health. And hey, guess what? It creates a Möbius strip of negativity that means you find it harder to write. Writing with “should” is an obligation. Do you write your own things out of obligation? Or pleasure? I agree that having original samples, rather than specs of other shows, is very valuable for this career. But to say that you should always be working on your own stuff is to say that when you AREN’T, you are failing. You are not doing what you should.

This is all something I am still working on, but one thing that is helping me lately to be more productive is trying to not make the work I *should* be doing, but make the work I genuinely *want* to be doing. Be a bit freer with my writing and my creativity.

Ask yourself what motivates you in a positive way, rather than a negative one. Try - and I know this is hard - to frame it less around what you ought to be doing, and more around things you’re actually excited to make. Even if those two things don’t overlap right now.

You don’t need to *always* be writing. You don’t need to *always* be working on your own stuff. Your value as a person - and even your value as an artist, as a writer - is more than the volume of work you produce. And when you feel like you *should* be doing something productive with your day off, and you’re not? Try forgiving yourself. Write when you can.

BTW: there are people who, somehow, have a Mary Poppins bag of creative fuel and far less self doubt than I. They are insanely productive and I am jealous of them. If you’re one of them, and you have the capacity? Great! If that’s not you? It won’t stop you having a career.

Connect with James on Twitter.

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