Last updated on November 3rd, 2021 at 07:43 am

During one of my first sit-downs with Dennis, we discussed potentially what my career trajectory would look like, and how this job role would change depending on:

• If he stayed in Los Angeles
• If he lived in Boston
• If a television show went
• If he was just writing features

“What do you want to do?’ he asked.

“To get to do what you do,” I said.

“Okay.” He said if a television show gets greenlit, we’d transition into a Showrunner’s Assistant (SA) or a Writer’s Assistant (WA). “Then you go find your replacement.”

Which led me to wonder: what’s the better position?

Showrunner’s Assistant or Writer’s Assistant?

What were the pros and cons of each?

Which was better suited for the skill sets I had, and for the trajectory of my career?

I think most writers are naturally inclined to the WA position, for obvious reasons:

• “You get to be in the writer’s room!”
• “You get watch how they break story!”
• “You don’t have to answer phones all freaking day!”

The more I thought my career as a writer and its trajectory as a whole though, I started to believe the counter-intuitive choice was the better one: a SA.

As a SA, I believed:

• You’d build more relationships
• You’d get a better macro sense of the world of television production
• You could still absorb what was happening (creatively) in the room.

Plus in my case, I was working on my boss’s book business as well. That was work I wanted to continue.

There was a time that once I made up my mind, I’d leave it at that. But if eight years of reading, listening, and watching material about self-development taught me anything, it’s that: you gotta know when to ask for help.

So I started reaching out to my network, to get feedback on my questions.

Advice from an Amazon Showrunner’s Assistant and a Network Writer’s PA

A couple days later, I sat down with a SA on an Amazon show, and a Writer’s PA on a network show. Both were currently on hiatus. Here’s what they had to say:

If you had a choice, would you take a SA position or a WA?

Amazon SA: As an SA, you get this huge, macro view of how a television show is put together. You meet a lot more people on all sides of production, and you learn the etiquette of what goes on in a room. Plus, during downtime — you have the opportunity to work on your own writing as well.

However, in the writer’s room you get a look at the micro — how does the story come together?

It’s a tough question — I’m not sure which one is better.

Network Writer’s PA: I think because you’d get exposure to all those other elements of production, you’re better off starting out as a SA, then taking the next step of being a WA. If you’re a WA, sure you get to meet people, but it’s only those in the Writer’s Room. You’ll only meet writers.

Plus, as SA it’s a bit more secure since you have the opportunity to follow the Showrunner to the next job, unlike a WA where if the show gets canceled, it’s time to start sending out your resume.

What are you doing now that you’re on hiatus?

Amazon SA: I work through temp agencies. Right now I’m working with Variety Insight… but I’m probably going to quit soon. I hate it.

Network Writer’s PA: Before the Writer’s PA job I was working at a boutique agency. They’re always low on staff so I’m temping there for now. It’s not great, but it’s nice to know I can find steady work there.

Advice from an Emmy-award winning writer/producer of MAD MEN

Both my friends seemed to think SA was the better move:

• You get to meet more people.
• You see the macro world of television.
• There’s more job security.

Made sense to me.

Then I sat down with Erin Levy. Erin won her first Emmy as a writer/producer on MAD MEN…

And gave me a whole new perspective. It was easily some of the best advice I ever heard.

She shared a few tips, but most importantly, shared 3 nuggets of advice I never really considered…

Despite having spoken to other writers and working in the industry and reading hundreds of blog posts on building your career in Los Angeles.

Her advice could save you somewhere in the ball park of 2 to 3 years of your life.

Nugget 1: “You definitely want to be a writer’s assistant.”

“I’ve done both. If you have a choice, AND you want to be a writer” she said, “You should definitely be a writer’s assistant.”

“You get to be in the room when they break story. Yeah, you’re going to type a lot. And work really late. But, if they need someone to write a script, and you’ve proven yourself by carefully pitching a couple ideas… and you were there breaking story with them… who do you think is going to get that script?

That’s your goal. That’s why you’re in that room. To get a shot at writing a script.”

Nugget 2: “You want to meet the right people.”

“Okay, let’s play Devil’s Advocate for a second,” I said. “Other people told me, ‘If you’re the showrunner’s assistant, you get to meet a lot more people, you get to see how everything works, and you’re going to build a lot more connections. In the writer’s room, you only get to meet the writers.”

She nodded and said:

“You meet a lot fewer people, yes. But you meet the right people. If you want to write for TV, meet the writers who are going to run shows someday. That’s what matters.

“When it’s time to pick writers for a room, the only people who matter are: the showrunner, the network head or the studio head. And most of the time, if a showrunner wants someone in the room, they’ll get him or her.”

Nugget 3: “If you want to write, you have to be in the room breaking story.”

I explained to her how I first started working for Dennis. On top of regular assistant duties, I was working to build his brand and improving his marketing.

She smiled.

“That’s awesome that you do all that. But it’s not going to teach you how to write, and it’s never going to show him how creative you are. If you want to write, you need to be in that room breaking story and pitching ideas when you can.”

This was a major aha! moment for me.

There was a reason why I was more attracted to the SA position.

Because that’s what I already know how to do.

I know I can crush that job. I have a competitive advantage over anyone in that role.

What I don’t know is: Can I be creative in the room?

I shy away from the WA position because:

I am afraid I won’t be any good. I’m afraid I won’t bring creativity to the table.

She nodded.

“Sure, but just realize: that’s not your job. Your job as a writer’s assistant is to get all the words down, and to help them break the story. Their job is to break the story, and then teach you how to do it.

“Every staff writer who walks into that room feels the same way. They’re going to walk in and wonder: ‘God, can I do this? Can I work at the same creative level as the showrunner?’”

What do you think? If given the chance, would you take an SA position or WA position?

Resources

To learn about the ins-and-outs of being an SA, WA, and more, read Inside the Writers’ Room.

And for dozens of micro-case studies on how people broke into the writer’s room, check out: How Do You Write for TV?

Should You Be a Showrunner’s Assistant or a Writer’s Assistant?