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Pilot Season: The TV game has changed since Alex and I wrote this article. The business of television continues to evolve: where we watch (mobile vs. on television), when we watch (on the go vs. gathering in the living room), and who we watch (Netflix vs. everybody).

With this metamorphosis, is learning about the pilot season still relevant? In a world of more straight-to-series orders, do you have to understand the timing of pilot orders?

For now, the answer is yes. The networks (NBC, ABC, FOX, CBS, CW) are still major players and the major players still play by these rules. So you should learn them before you decide how to bend — perhaps break — them.

The general advice and structure laid out below still hold true. Sequencing and small details may have changed.

-CM

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You got an amazing idea for a television show.

You worked hard busting your ass as an assistant, climbing the ranks, often working for free.

You got it in front of the right people at the studios and networks.

Time to binge watch GAME OF THRONES or rewatch FRIENDS on Netflix, right?

Cable television, we had a good run.

The “Third Golden Age of Television” — the influx of creator-driven dramas on cable and premium channels — was spectacular. Men (it was mostly men) changed the television landscape with shows like The Wire, The Shield, The Sopranos, Mad Men, Breaking Bad, and Game Of Thrones. These were some of the best TV series to watch.

Updated: February 15 2020

Summary

If you’re starting out your career or starting in a new field, then yes,  you should work for free. Free work leads to two things: (1) Bigger, better opportunities and (2) It helps you reach the unreachable. We’ll dig into both reasons below. If you’re ready to work for free and just need some help with what to say to get free work opportunities, you can read my word-for-word scripts here. They’re free and available to be repurposed. Be sure to read this full article for the full context behind these scripts.

“Can you endorse some of my skills on LinkedIn?” my friend texted me. “I’d be happy to do the same for you. Just let me know.”

LinkedIn endorsements? I wondered. Do people look at those?

“I’m having a hard time landing full-time work, so I’m trying to boost my LinkedIn profile,” he explained. “Anything else you think I can do to stand out?”

This friend is a smart, good person. Eventually, a lucky company will snatch him up, and it’ll have nothing to do with his LinkedIn endorsements.

I told him the best way to find an awesome job that pays well was to start by working for free.

One of my favorite interviews of all time (and thanks to the handcrafted Aux Hook-up in my car, I listen to many) is Bryan Elliot’s interview of Seth Godin, for the Icarus Deception.

In the interview, Seth says — and I’m going to paraphrase here:

“The excuse that, ‘My boss doesn’t give me permission’ is a bad one. Why should he? You’re not asking for permission, what you’re saying is, ‘Can I go do this thing, and if it works, I’m going to take all the credit, and if it doesn’t, you’ll take all the blame.’ Who would agree to that?”

At the theory level, the logic is simple. But when it’s time for application, the “logic” contends with “emotion”: pride, ego, embarrassment, anger… all of which overwhelm logic in half-a-second.

Let me tell you a story of when this overwhelm happened to me…

While working for a literary management company, I met with a young man who was doing interesting work in the music space, bringing more of a performance art component to EDM, with custom built hardware and software.

He was brilliant and motivated. At the moment, there wasn’t an immediate business opportunity for either of us. I didn’t expect that, though. The meeting was about getting on each other’s radar, should an opportunity present itself.

I took the story of the meeting into a staff meeting — not as a hard sell, but a soft pitch.

Sorta a “hey, met this guy who’s doing really interesting work in this space…”

My boss at the time thought very little of the idea:

  • “That’s pie in the sky shit.”
  • “You’re wasting your time.”
  • “This is what you should be spending your time on…” citing examples of tactics he used… 20 years ago.

I can’t say I wasn’t embarrassed. And angry.

He called me out in a staff meeting… in front of everyone.

As far as I could tell, the extent of my indiscretion was meeting someone — on my own time — that may pan out to nothing (as these things often do).

My immediate gut (read: emotional) response was: “fine, he doesn’t want to ever hear any new ideas, then I will never bring in any. We’ll keep using tactics that worked in the 80s and early 90s.

Don’t Ask Permission. And Don’t Do This, Either…

Later (when I cooled off) I remembered Seth’s words: Don’t ask for permission to do interesting work.

To which I’d like to add the corollary:

Don’t seek validation, either. Seeking validation means you’re not sure if you’re working on the right problem. Without the right problem, what good is any solution you propose?

Do the work. Solve the problem. Then show them the results.

Yes, this is tricky. If you screw up, then it’s on you… which is the whole point, isn’t it?

To which I can only offer:

  • Build confidence in your choices.
  • Confidence comes with experience.
  • Fail quickly, not fatally.

Also, build reversibility into any solution you present:

  • A fleshed out story  bible — that can always be rewritten.
  • A completed website redesign — installed locally, not live on the site.
  • A new marketing strategy — that can implemented in stages.

Why Are You Here, Again?

No, no organization is going to tell you to do these things.

Why would they give you deniability?

You’re responsible for picking and choosing your own risks.

But with that said…

If you’re with a company that actively tells you: “don’t try new things, don’t take risks, toe the line, do what worked before…”

What are you still doing there?

Photo Credit: JD’na

There was a contract on my desk I could not get through.

Every time I sat down, fourth (fifth… sixth…) cup of coffee in hand, armed with a pen and true grit, distractions plagued me from every direction.

I felt like Macaulay Culkin in the movie MY GIRL, who gets attacked by the Avenging Bee Hive, stung a million times, and dies.

Oh. Spoiler alert.

I’d get through three sentences, then someone would ping me on instant messenger, asking if we were having a staff meeting. Or an assistant would make a scheduling snafu, and would urgently need to reschedule — for a meeting six weeks from tomorrow.

And of course, the daily barrage of someone else’s phones that I answer.

By the end of the day, I’m an overcaffeinated quivering mass of “leave me the fuck alone,” and I’ve made zero headway.

Riding my bike home, I thought about the distractions, and why I couldn’t clear this contract off my list of to-do’s. It wasn’t a long agreement, but I got pulled away every time I encountered a term or some language I didn’t understand.

Somewhere on Palms and Venice, the answer struck me like an oversized Fendi bag swung by an pint-sized socialite coming out of Buchon: I wasn’t pulled away by distractions when I encountered difficult language. I encountered difficult language, then I ran away, towards the distraction.

I was a freaking electron in a parallel circuit, voltage squared off against ohm-age, and I did what physics commanded of me: I chose the path of least resistance.

I didn’t understand the contract. It was a Stage Play Adaptation Agreement. While the deal terms were analogous to book deals (e.g., “option payment non-refundable but fully recoupable” – in the publishing world, this is just called “an advance.” In the book-to-film world, this is an an “applicable option payment” — same principle, wrapped in different kinds of bacon) I still encountered jargon and structure I didn’t understand. Like:

  • What is a standard royalty payment on a stage play?
  • What conditions are an option exercised?
  • What are customary ancillary rights in the live theatre industry?

These aren’t “difficult” questions. It’s not Elon Musk, hyperloop-level of thought, but it required some work. Instead of doing that, though, I let myself off the hook by allowing myself to be distracted.

In Hollywood, an industry of primarily soft skills (e.g., networking, story analysis, “connecting-the-dots” (understanding and leveraging the relationships between various elements)) any deep thought is our opportunity to learn tangible skills, but only if we pause the minutiae long enough to realize it.

To do that:

  • We can pick an environment that’s conducive for that level of work: no phones, no instant messenger, no bullshit distraction.
  • Since that place is all the way in Candyland, between 3rd and Nevergonnahappen, we have to create that environment the best we can. Turning off cell phones, signing out of our email, and picking the time of least calls to tackle this work.
  • We must have a strong enough sense of self to recognize when this is happening, so we can change our environment and/or habits, rather than beat our heads against the wall, wondering why we can’t get anything done.

Photo Credit: debschi

I’ve been thinking a lot about small failures lately.

In my experience, they’re more difficult to publicly face than large failures.

fear

 

For example, in 2008, when my father opened the first Shogun, the idea that “this might might work” didn’t cross my mind too often. I felt like:

“Of course this might not work!”

It’s a big risk. The economy is depressed. One out of 4 restaurants fail in their first year. That number rises, to three in 5, over the next 3 years.

We faced plenty of other obstacles:

  • Was there a market for Japanese food in Delmar?
  • Was the market in the Capital Region over saturated?
  • Lack of knowledge of this particular business.

There was an enormity to that task that made it okay if we didn’t succeed.

I followed the same logic with moving to Los Angeles and trying to start a career in Hollywood. There wasn’t much fear, because there were already so many challenges:

  • Didn’t know anyone in Los Angeles
  • Didn’t know anything about the entertainment industry
  • No job, or apartment lined up to serve as a safety net

If things didn’t work, there was an enormity to the task that allowed me to shrug and say, “well, if it doesn’t work out, it doesn’t work out. Let’s give it a shot.”

I say this with no brag. This isn’t unique, people do it all the time with varying degrees of success.

The Topic of Failure and Fear

Where it manifests and how to manage it, gets covered ad nauseum in the self-development world. Three techniques worth mentioning are:

  1. Regret Minimization Framework (attributed to Jeff Bezos) – in 50 years, what decision would you regret, doing it or not doing it? 
  2. Fear Setting (attributed to Tim Ferriss) – identify your fears, how to prevent, and what you’d do to recover.
  3. Understanding the Lizard Brain (attributed to Seth Godin) – fear is an artifact of our evolutionary response to life-threatening stimuli in our environment, that we continue to experience today (even though our lives aren’t actually in danger).

For endeavors or projects that’d result in a big failure, these techniques are especially helpful.

Fear On a Smaller Scale

On a smaller scale, however, it doesn’t work as well. Some examples:

  • Making Youtube videos no one watches
  • Starting blogs no one reads
  • Sending emails that don’t get responses
  • Rejection

This has been exacerbated, I feel, in part because the idea in Hollywood is that any failure is completely unacceptable. That you’re not allowed to misstep, and “assumption is the mother of all fuck ups.” When you do fail, it’s so public:

  • Hollywood is actually very small town like – everyone talks to everyone
  • The iterative approach is not widely accepted
  • They’re quick to criticize what hasn’t been done before

Which in turn, is further exacerbated by social media, where everyone naturally posts the good things in their life, and you begin to thinking everyone is doing better than you in their carefully crafted social presence. You begin to think you’ll be defined by this one failure.

So how do we overcome that?

What’s helped me is to find examples of others who faced public failure or criticism, and who have either addressed it, or moved on so quickly this was barely a blip on their radar. I make informal case studies of the “bigger names” out there, to grasp their mindset. Those are below:

Case Studies

Oprah and Arianna Huffington Ripped On in Deadline 
In an article entitled DESPERATE: HuffPo and Oprah Team Up Now that barely passes for journalism, Nikki Finke reams out Oprah and Arianna Huffington for all of Hollywood to see. As Hollywood knows, Nikki never wears kid gloves, but in this article in particular, there’s an animosity that goes regular snark:

“This pathetic pairing sounds to me like an ill-conceived partnership, and it’s interesting that no mention is made of AOL which bought HuffPo last year.”

How does Oprah respond to Nikki? She doesn’t.

First she has a nervous breakdown.

Then she gets over it. And six months later, goes back to kicking ass.

Tucker Max versus Gawker 
Tucker Max’s life has been fairly public. Posting stories and building a brand around all the women you’ve slept with and treated poorly will do that. He’s made the public very aware of his successes.

“I’m so far up the power law curve of book sales, dude,” Tucker told me. ”The very tip-top are J.K. Rowling and Stephen King, Stephanie Meyer, James Patterson, and Paulo Coelho. People who sell tens or hundreds of millions of books. That’s just a different game. That’s like, the Bible. They’re competing with the Bible. I’m not in the Bible tier.” (I can hear the religious among readers thinking: thank goodness!)

“I’m on the tier below that. But still, on the power curve, I’m all the way at the tip. I’m on the same tier as Tim Ferriss or Chelsea Handler or Jeanette Walls—we’re in the 2, 3, 4 million range.” — as told to Michael Ellsberg

Of course, this kind of publicity is a double-edged sword. For every success Tucker trumpeted, Gawker splashed his failures all over its front pages. It’s even created a special page on the site, breaking down this Tucker-Gawker feud to its individual campaigns.

Some of Tucker’s public failures:

Yet amidst the waft of all this dirty laundry, Tucker has marched on. He’s moved beyond his fratire brand, started a new blog, published on the Huffington Post, and getting his rebirth featured in Fortune.

Love him, hate him, admire him or loathe him – he’s taken his brunt of public failures.

And he’s still standing.

Blogger / Entrepreneur Tynan and His narcissism 
Blogger Tynan Smith and his lifestyle was recently featured (favorably) in the San Francisco Gate. What followed next, he describes in his blog post, was “hundreds of comments, 95% of them negative.”

“The negativity was absolutely astounding. I could hardly believe how many people spent the time to sign up and leave vitriolic comments.”

He could have ignored the article, and all the negative comments. He could have just called everyone haters. But Tynan didn’t. He addressed the fact many people felt he was a narcissist, and even owned up to it:

“I wear a silver necklace with my name on it.”

Then he went back to programming and writing. His work went on.

An Author’s Fans Vote “No”
Blogger and Science Fiction Author Jamie Todd recently put out a survey, asking his readers if they’d be interested in him putting out a newsletter. I don’t know how many readers/subscribers he has. But 50 people voted in this survey, and the response was overwhelming “no.”

Jamie could have swept this poll under the rug. He could have pretended like it never happened. Regardless of how stoic you are, that must take an emotional toll, your readers telling you, “no, we don’t want this.”

Instead, Jamie posts the results. He says, “thanks for voting. I appreciate the feedback.”

He gets back to work, posting nearly everyday, writing thousands of words a week, and continuing his Going Paperless Series.

Ramit Sethi covers “3 Crushing Fears I Had”
Best selling author and personal finance blogger Ramit Sethi covered these 3 fears to his email subscribers. They were:

  • Charging for products on his site
  • Firing people
  • Saving money in strange places

He says:

“I looked around and saw other people doing better than I was. Posting pics on FB of their fancy vacations…getting covered in the press…having more RSS readers or email subscribers or revenues…and I would start thinking, “Maybe they’re just better at this than I am.” Notice I didn’t say — they’ve practiced their skills more, or they’ve learned more strategies, or they’ve just been at it longer.  No, I made it about them being a BETTER PERSON than I was.”

He continued working though, chipping away at the fears, and growing his business. It’s not something that happened overnight — he’s been working at this “blogging thing” for 8 years now.

The Knowing-Doing Gap

That’s the clinical or academic term for the space that exists between “knowing” what you’re supposed to do, and actually taking action on it.

For me this space is a gulf when it comes to acknowledging the fear of failure and doing something about it. I still listen to self-development nearly everyday, but find myself tuning things out if I’ve heard it before.

I say, “yes, yes, I’ve heard this before, let me find a new tactic.” But the value is in actively reflecting on the fears. This is work. It’s not something that happens when you half-ass it.

Reading and learning new case studies, though, and  seeing how others approach their fear of small failure helps. It provides different lenses to see that fear, often so insidious, to spot it and face it down long enough to get back to the work we’ve set out to do.

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Photo Credit: epSos.de, Manuel Valadez Acuña

I think understanding context is crucial for education and self-development.

An example: my current employer, Intellectual Property Group is a successor to the H.N. Swanson Literary Agency, one of the greatest Hollywood Lit Agencies of all time.

Swanie represented some of the greatest literary heavyweights: F. Scott Fitzgerald, Raymond Chandler, James M. Cain, etc.

The foreword to his memoir, SPRINKLED WITH RUBY DUST, was written by client, the late great Elmore Leonard.

I got offered the opportunity to work for a show runner the other day.

Was it the right decision?

My friend asked me to call him. He said, “This position is about to open up. I can tee it up for you, but you have to tell me ‘yes’ or ‘no’ in four hours. You’re the first person I’m going to, but if you pass I need to get someone else in the room.”

It’s a gun-to-the-head situation, but fair play.

I thought it over, as I tried focusing on check letters and connecting calls and the minutia of the day’s tasks.

I passed.

Here are the metrics that went into that decision