Industry Pro: Television Writer/Producer Amanda Segel

Aspiring TV & film writers should read this Inside Scoop profile carefully because Amanda Segel’s story demonstrates what it sometimes (often?)(almost always!) takes to break in to this highly-competitve area of the industry. It’s not as easy as writing a good spec script and getting it read by the right person, though that’s certainly part of it! Try laser focus, determination and the willingness to do whatever job it takes to get her foot in the right door… read on for more…

Current position:  Producer, PAST LIFE (FBC)

College:  University of Michigan- B.A., Film and Video Studies

Internship:  None

First job:  Assistant production coordinator on a TV movie called “Country Justice” with George C. Scott and Rachel Leigh Cook.

Big break:  Getting hired to write a freelance script for “Without A Trace.”

Eureka moment:  Taking a 50% pay cut to take an assistant job on “Without A Trace”; I knew it would pay off and needed to take the leap. It was pretty scary.

Career path:  I wrote dozens of specs while I worked as an assistant to a very successful film producer, and eventually got repped at Endeavor. Getting representation is always a hurdle, so I knew my career took a big step forward. Unfortunately, that didn’t automatically mean work as a TV writer, so I took a job as the assistant to the creator/showrunner of “Without A Trace,” Hank Steinberg in the hopes that being at the right place at the right time (with the right spec sample) would pay off.

I worked for Hank for two years.  He read my stuff in year one and let me pitch ideas for episodes. Year two, I got hired to write an episode of the show, which was a great opportunity for a number of reasons.  Hank was very interested in promoting from within. The script coordinator and I were promoted to staff writer the same year.

Typical day:  The writer’s room starts around ten.  Both of the shows I’ve worked on have been room-heavy, which means being in the room most of the day when you’re not writing or producing your episode.  After you’ve turned in your writer’s draft for your episode, you get notes from the showrunner, then the studio, then the network.  Producing an episode involves everything from going to production meetings where you discuss every detail of the script (props, locations, stunts, etc.) to casting to wardrobe and then, finally, being on set.  After the episode wraps, you give notes on the cuts that come out until the show is locked.

Best day in the business:  Being on set when my first episode was shot.

Worst day in the business:  When I was an assistant, one of the people I worked for had two girlfriends. I sent him a file with photos in it and realized while it was in transit that it went to the wrong house (aka, the wrong girlfriend).  Shockingly, I didn’t get fired.

Best thing about my current job:  Helping to shape a new series from the ground floor.

Worst thing about my current job:  The commute (an hour each way).  I’ve become a big fan of audiobooks.

Brush with greatness:  I met many celebrities at my assistant job, including Sean Connery who used to call on a regular basis and would be content with just talking to me when my boss wasn’t available. I also had someone who now runs a country calling me on my cell phone when he was looking for my boss and making me call him by his first name.

Secret of your success/advice to the newbie:  Even when you don’t think you have time, never stop writing.  You’ll become a better writer and your perseverance will pay off.

Next move:  Creating my own show.

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