How can I be more outgoing at work?

How can I best approach my industry contacts about paid writing and development work?

• There's a lot of background to this question, and it kind of branches off. If you have time to read or address any of this, I really appreciate it. I've privately messaged with a few of the prolific screenwriting/movie business answerers so some of you might recognize me, but I've chosen to remain anonymous. I'm a(n aspiring) screenwriter and I've been in and out of unpaid development internships for the past two years. I'm an experienced and talented reader, and I currently intern doing development work for a company headed by some pretty powerful people. The problem is, I'm sick of unpaid work. I can't do it anymore. The previous internships I've had were at companies headed by very nasty people who had no interest in anything other than exploiting their interns, so the opportunities led nowhere. I've been working at this current internship for a couple of months and am coming to realize that this new one, while not willfully malicious, might be equally useless in helping me get paid work. Like, I said, the execs are very famous (i.e., actors/actresses). They don't have much to do with the company's operations, though, so another producer(s) operates the company. I got on board with them because I figured they'd be great people to know and work for but, for a variety of reasons, I'm coming to think that it may also be another case of exploitation. Writing is my number one goal. It's what I like to do, but I've really started to enjoy doing development work because it provides me with something to do outside of my own writing and takes some of the weight off of that. SO, How would you recommend approaching these producer(s) to ask for paid development work? I really want to just say, "Hey, I need a full time job so hire me or I'll leave" but the company isn't that secure (it's amorphous and in constant flux because the execs are so fickle), so they can't exactly throw a salary at me, which means my approach has to be a little more nuanced. As such, I'd like to find a way to get some paid gigs. They're always trying get pitches and treatments and first drafts written. What can I do have them consider me? I'm not totally clueless and am aware of some potential ways to ask them and show my worth (I've been writing very good notes for them for a while, etc.) but I have a definite fear of approaching someone the wrong (probably naive) way and accidentally burning a bridge. Do you have any other ideas as to how I can transcend this unpaid role and become a writer/reader that they'll pay for work? As a branch-off: Should I even be pursuing work within a production company? Of course, only I can really answer that, but it's worth asking. Part of the reason I've been so tied up with these companies is the hope that they'll increase my chances at selling a script. Yet, I'm constantly tinkering with my scripts and haven't even pulled that card yet (and am unsure if it'd be appropriate). The other problem is, working for the companies often just makes me disillusioned with the whole idea of movie-making. At each internship (especially the current one), the producers don't really seem to be interested in making movies. It's all business and schmoozing and bullshitting and talking about anything but movies. I'm aware that this is the way a lot of the business operates, but I really, really want to stick to the creative end of things. I'm a writer, and that's where my head's at. So, is it worth it to work my way into the business this way if I'm really looking to do creative work? All I want to do is write my scripts and do writing work (whether that's reading scripts, consulting/helping scripts, writing scripts, etc.). It seems that there's no set path for anyone, ever, in this business, so it's hard to ask someone, "What's the best way for me to X", but, here I am. Again, this is long as hell so I appreciate any of you who are willing to give me some advice.

• Answer:

  Put yourself in their place.  They're working for or partnered with a name actor or actress.  It's likely that they don't have a lot constant income because producers don't get paid to develop, they get paid to produce films, and until they have developed and packaged a film that is picked up by a studio, they aren't getting paid.  And if they are getting paid by the actor/actress, there isn't much room to pay multiple employees.  That said, they know that there are smart individuals like yourself that are willing to work for free in order for the experience.  So first look at it from that perspective.  Now, you also must not take the position your in for granted because there are others who would kill for such an internship, paid or not.  You're likely reading a lot of scripts.  That's the best way to learn how to write AND how to develop.  You learn the ins and outs.  I did the same thing at Sony.  It taught me so much about writing AND the industry side of things.  But yeah, it's been two years.  I get it.  I interned for Randall Kleiser (Director of Grease), unpaid, for a few months.  But thankfully, being able to name drop him and that experience nabbed me my reader position at Sony.  So while not being paid sucks, trust me, it leads somewhere and pays itself off.  So you have some choices here.  First off, you can go to them and say, "I've been interning for you for awhile now and I'm really interested in getting into development full time.  Any opportunities you know of?"  Their response could be anything.  Indifference.  Rejection.  Or maybe they see a go-getter and there happens to be a paid assistant job on the horizon OR they know of someone that is looking for an assistant.  Now, assistant is where the money comes in, yet you likely do the same thing you're doing now.  Add phones and gopher work if you aren't doing that already.  I mentored a young writer straight out of college that nabbed a hot internship at term deal production company at Sony.  He later became the assistant.  He now runs the production company's television department. After just a few years.  Sure, you could ask them to check out your own work, but this option is risky and there are no guarantees.  It could be awkward.  If they don't like the writing, they may think twice about you as a reader.  Silly, but true. Despite my work as a reader at Sony, they never picked up anything I wrote.  Not even my marquee script that nabbed me meetings at nearly every other studio.  In the end, it's all about networking, networking, networking.  Are you meeting people in the film industry?  Are you seeing names come in and out of the office, either on paper, on the phone, or in the office?  Are you trying your best to make a connection with them?  Are you trying your best to make a connection with their interns and assistants?  In my eyes, for your situation, the best thing to do is to find the opportunity to say, "I've been interning for you for awhile now and I'm really interested in getting into development full time.  Any opportunities you know of?" That's the best option in my eyes.  But for God's sake, don't take that position for granted.  Work around it. Use it.  When you have a few strong scripts in place, market those scripts around to contacts you've made.  Name drop the companies you've been a reader for.  Do what you can and know that an opportunity WILL present itself at the proper time. I was working as a studio liaison at Sony.  A non-creative position.  I took a chance when I was making a Sony badge for an incoming development executive and told him that I interned for Randal Kleiser and if they needed a reader, please consider me.  Two weeks later I was a paid script reader for Sony Pictures.  It'll happen brother (or sister).  It'll happen.  In any respect, message me and let me know who you work for.  Maybe I can help you or you can help me;)  Networking, baby.