As you may know, one of my first jobs in Los Angeles was as a story analyst at a major production company. That experience inspired me to develop the 1-3-5 Story Structure Made Simple System that my 1-3-5 book is based on. If you’d love to spend long nights and weekends reading and analyzing the future hits (and not-so-much-a-hits) of Hollywood, here’s how you go after this fascinating, funny and frankly high burn-out entry-level gig.

THE JOB
As a story analyst, it is your job to read and summarize scripts then analyze them for structural soundness, story, dialogue, character development, creativity and more. That is called “generating coverage,” and you will do that for your creative executives (CEs) on fairly tight deadlines.

THE PROCESS
When you apply for a job as a reader, you will be handed a sample script and asked to analyze it, using the company’s coverage template, in a set period of time, FOR FREE. The company’s development team will review your work to see if it meets their needs, and may then hire you. Once you are hired, you usually work as a freelancer, being sent or picking up your “weekend pile” of scripts when they contact you. There often are scripts to cover during the week, as well. You might read only a handful of scripts a week; at big companies, you might have to analyze twenty or more a week.

THE PAY
Oh, pay is sooooooo looooooow for readers! You almost always are paid on a per-script basis, anywhere from $20 - $55 a script, usually. Given the hours you invest, it’s not much money, but it’s great experience for both writers and aspiring development types.

GETTING THE GIG
Before you go after a reading job, be sure you have a strong grasp of story structure! Take multiple classes, read multiple books, know industry terminology and expectations. That’s not just to help yourself get a job; it’s also to be fair to the writers whose scripts you are about to be responsible for vetting. As a story analyst, you are a gatekeeper for your production company, the first point of entry for screenwriters trying to get their work produced. That is a big responsibility . It is also great trench training for screenwriters who are interested in learning the buyer’s point of view of this business, as I discuss in detail in my book and seminars. Next it’s time for the job hunt. Craig’s List often has postings in the “Gigs” section of the Los Angeles region. Just do a general search for “reader” and for “story analyst.” Also, let your friends know you are looking for a story analyst gig, and put a cool gift into the mix for people who get you into the consideration pool!

Finally, reading jobs are notorious “insider” gigs, handed off from one analyst to the next, so the best way to get one of these jobs is through a contact. If you know someone who does coverage right now, ask if they can submit you for consideration as a reader for their company. If they get you in to do sample coverage, terrific – be sure to get them a gift, whether you’re hired or not.

BTW, for gifts, I love to do coffeehouse gift cards. I’ve caffeinated half of Hollywood in the past dozen years.

This is a frequent and fantastic question. If you’re starting in the business, knowing what to ask for is particularly hard, so here are some guidelines to go by.

In general, it’s very important not to sell yourself too short OR price yourself too high. What determines this is not just the “market rate” for the services you’re delivering. When you’re setting your fee for a job, take the following into consideration - every time:

RATE “CALCULATOR”

1. What the market rate range is for the gig;
2. What experience you’ll gain;
3. What contacts you bring;
4. What contacts you’ll gain;
5. What relationship(s) you’ll form with whom;
6. What credit you’ll receive;
7. Who is issuing that credit (it matters!);
8. What experience you bring to the table;
9. When you will be paid.

Seems like a lot! Believe it or not, ALL of these are monetized in the entertainment industry. So do that 9-point checklist on every offer and adjust accordingly. Let me quickly break down how to use the list:

1) Market Rate. This is your opening number. You can always start with Guild tables; for screenwriting and teleplays, for example, the Writers Guild posts a Schedule of Minimums for payments. If you AND your potential employers are novices, this quote will probably be too high for you, for the reasons on the rest of the list. So beyond the various guilds and unions for your industry, a great way to research the market rate is to ask someone who recently was promoted past the position you’re considering. They’ll be happier to quote their former rate than reveal their current one! How to find them? Get online on the industry forums and boards! Join a Yahoo! Group in your field and post away.

2) Potential Experience (”-”). If you’ll get important professional experience from the gig, this is worth lowering a quote in negotiations with someone who cannot pay much. The new work experience will help you get better jobs (and pay) as you rise. If the employer is a complete newcomer, however, be realistic about what kind of training you’ll actually receive. The key question to ask is, “What are the credits and background of the most experienced person I’ll actually be working with?” That will let you know how much you’ll learn in the process of doing the job.

3) Your Contacts (”+”). If you are bringing key industry names to the project, and that is part of what you are expected to contribute, that’s a bump for your fee.

4) Potential Contacts (”-”). There’s nothing worth more money in this business than personal contacts. If you’ll walk away with a great database of vendors, staff, crew and other industry contacts you connected with, take that into consideration as you set your price.

5) Potential Relationships (”-”). Beyond contacts, if the gig has you working closely with major players in your field, it’s worth flexibility on your fee. This isn’t just who will be on set with you. Which legitimate agents, managers, designers, network execs, bookers, casting agents, etc. will be part of the project and seeing you shine? Relationships are worth MORE than money in Hollywood.

6) Your Credit (”-”). If you have to choose between money and a better credit, in the beginning, go for the credit - as long as it is an accurate one! In other words, don’t trade a writing credit for a “co-producer” (meaningless) or “producer” credit if you actually and only wrote the script. Your producer credit will be vetted and tossed out in any credit dispute if the project goes anywhere. But if you’re working on a TV pilot, and they can’t pay well, but you can get an Associate Producer rather than a Production Assistant title, that is worth money in the bank on your next job. So work with them on your fee.

7) The Credit Source (”-”). A credit only means as much as the person who gives it to you. If a major company offers you a lesser credit, don’t dismiss it outright. That company’s good reputation and position in the industry might give you more heat when you go to your next gig - and it certainly can open that next door a lot faster.

8 ) Your Experience (”-”). If you’re new in the game, this is where you’ll potentially shave quite a bit off of your quote, and that’s a wide open range. If you’ll be working for an established company, there still are minimum expectations for rates (again, check with outside people at the level above where you’re being hired). Established companies are offsetting the lower rate with a list of career and future financial benefits. Newcomers are not. So if you are providing a real product or service to a fellow industry newbie, you must be paid for it. And not on the “back-end” (where unicorns and Bigfoot and other myths live)!

A producer who can’t shoot a film without your script…can’t shoot a film WITH your script - because they don’t have money. It costs money to make a movie, and part of that should go to compensating the writer, especially since, unlike the crew, you are getting no other tangible experience in the process, and your writing credit will be skeptically received on an indie film that never saw the light of day. But if you’ve never had a script produced or done a modeling shoot or been in a play, and a newcomer wants to hire you, don’t even think about holding fast to union minimums. Work with them on a fee or some tradeoffs, per the list above and tip that follows.

9) The Pay Date (”+”). The later someone is going to pay you for your work, the more you can bump (slightly increase) your fee. Almost everyone reading this has been approached by someone who wants them to do work for free (on “spec”), with promises of payment “on the back end.” That’s meaningless because you’re pretty much never going to see a back-end payment (it’s possible; just not likely!). So here’s a rule. If you are doing physical work for someone (writing a script, walking a runway, doing a photo shoot), you must arrange to get physical “payment,” of some sort, when you do the work.

If the employer is an established company and you are a working professional, do not do spec work for them. Once you do it for free, you will always be expected to do it for free - or at least for too little. Thank them for the offer of employment, let them know you don’t work for spec but are excited to work with them, then work out a deal memo through your lawyer, offering them an introductory fee for this first project and establishing a minimum “floor” for any projects that follow. Established companies are never shocked to talk to lawyers (that’s how we do things in Hollywood), and they are more than used to paying for people’s work.

Newbie employers can offer you “deferred payment” - but also request a guaranteed in-kind benefit you can leave that gig with (and sign that in a deal memo, too). If you’re doing a fashion show for someone, ask them if they will at least hire a professional digital photographer (or let you bring one) so you can get shots (free clothes aren’t enough - those won’t get you your next gig!). Ask the designer to alert the photographer that you’ll be bringing a laptop or memory stick to download your images before you leave, and bring a thank you note and truffle for the photographer. If you’re writing the script for someone’s film, ask them to buy a copy of professional screenwriting software and turn over one of their access codes to you. Work with strapped newbie employers to see what they can offer you in exchange for your labor - since they’re not offering you entrée to the contacts, relationships and respected credits that would otherwise make a lower rate worth it.

ONE LAST WORD. As you work more steadily in this industry, your “rate” transforms into your “quote.” Your “quote” is what you were paid on your most recent gig(s), and it’s the magic number everyone expects to pay you on your next gig. So once you begin working more steadily, you must be very protective of your quote, regardless of the additional benefits a certain gig would offer. Be particularly wary of being asked to accept a lower rate in exchange for a higher credit because that sets a ridiculously low quote for your new credit level. Sounds pretty sticky and uncomfortable? That’s why people have agents.

I very regularly hear the question: “Why should I read the trades?” Here’s the quick answer: you have to read the trades to know what’s going on in the industry you’re trying to earn work, income and respect in.

I think a better question is: “HOW should I read the trades?” That’s because once you zero in on the key information, you’ll be less overwhelmed by all of the additional stories that make reading the trades feel like such a task.

Which trades should I read? Everyone in film and television can benefit from Variety, Hollywood Reporter or TV Week. But yes, they cost quite a lot, so you might just want to subscribe to the weekly edition rather than the daily one. Even better, go online and subscribe to the e-trades - many of those are free! I’m a fan of Cynthia Turner’s Cynopsis. There is also a great mix of e-mail newsletters available through Media Week. And this just in from a colleague: TV Week has a free e-newsletter, and right now, they’re also offering free access to their extensive site to new subscribers! TV Week is a major money-where-your-mouth-is champion of diversity in television, so I’m thrilled to announce any great opportunities from them.

Almost all entertainment fields have excellent trades targeting their members’ needs and offering employment info. For actors, you should at least regularly read Backstage. In the music industry, Billboard and Vibe are king, but regional trades may be more important for local information. For example, Music Connection, an L.A.-based mag, has great articles, artist spotlights and free classified, with national news, too. Fashionistas need Women’s Wear Daily, of course, but I’ve never come across a legit trade paper for modeling. Open to hearing suggestions on this one!

What should I read in the trades?There’s so much information packed into trade papers that it can seem like too much to tackle. So rather than read nothing, here are the three things I suggest you scan for:

1) Who’s working where in your industry’s “gatekeeper” positions? This means heads of A&R in the music industry, development executives in TV and film, casting directors in acting, fashion directors for stylists and designers. Start tracking the names you need to know, where they’re being hired/fired/reassigned, and get familiar with their points of view!

2) What are the current trends in your industry? TV & film producers, find out what types of shows and films are being produced (remember when cutthroat reality shows gave way to feel-good TV? That was foreshadowed in the trades!). Singers/writers/composers/producers, read what type of artists are being signed (is this really a good time to form a new hair band? Maybe…). Fashion folks, do I need to tell you to research what colors, textures and styles are current on the runway and the streets of Tokyo? And everyone, learn how new products are being pushed. For instance, musicians, if you’d been reading the trades, you would have known last year that building a solid MySpace fanbase gave you a better shot at a record deal. Those stories were breaking back in 2005!

3) What technological changes are taking place? Right now, everyone needs to be learning as much as they can about streaming media, mobile content, RSS feeds, mpeg4 and future video formats, and more. Not just to expand your reach to your audience - but to understand the scope of the contracts that are coming your way! Are those terms all total news and a mystery to you? That’s why you need to read the trades.

I get this question a lot, so I now have published a definitive book on the process. It’s called “The Show Starter Reality TV Made Simple System, Vol. 1 - Ten Steps to Creating and Pitching a Sellable Reality Show.” It’s only $29.95 (including tax and U.S. shipping) at the Show Starter Web site - and it comes with FREE STUFF. Until your order arrives in the mail, here’s a very clean and concise explanation of what to expect from the process.

Let’s start with the “gut” answer. If you’re like most people who work in reality TV, you sell a show by working for some years in reality television, amassing good credits and production experience, building strong relationships with production companies, networks and vendors, running someone else’s shows for trench education, then pitching your concepts and your solid reputation to make your first sale(s). If that doesn’t sound like you, or even if it does, please read on.

If you’re like most people who don’t work in reality TV, you sell a show by coming up with an entertaining concept and find a personal “in” to a network exec or a production company where you can pitch. If a network exec likes the idea, s/he will partner you with a production company or show runner s/he already knows and trusts, and they will execute your concept. You will turn all of the control of your show, as well as most of whatever initial fees come in, over to the show runner or production company.

The same process happens if you approach a production company yourself to bring your idea to a network for you. Your attorney will work with the production companies to hammer out a “deal memo” that spells out what involvement, if any, you will have in the show. The company will do their best to remove you from any control over the process…because you have no idea how to run a television show. They also will take most of the money involved…because you are bringing nothing to the table but an idea that they will have to do all of the work to develop then execute, as well as use their hard-earned contacts to sell. In their eyes, you are bringing nothing to the table.

If you are still reading this blog after that stunning statement, you are ready for the road ahead as you try to pitch a show. You understand now how the industry will perceive you, and you accept your own limitations as someone who knows nothing about making a show but has an entertaining spin on a popular concept. You also understand, because I’m about to tell you, that you are not going to become rich when the show is sold.

Don’t confuse non-fiction TV with selling a movie or a sit-com or drama. “Back-end” and “created-by” fees and “residuals” are rare in this world. On your very first sale, be ready for some serious compromise if all you have is an idea. Your attorney is going to work hard enough just to keep you from being removed from the show entirely.

I’m going to write that again. YOUR ATTORNEY IS GOING TO WORK HARD ENOUGH JUST TO KEEP YOU FROM BEING REMOVED FROM THE SHOW ENTIRELY.

So how exactly do you sell your own show?

The smart way is to work in the biz and know that you are selling yourself and your experience and your reputation and your contacts far more than any concept itself. In fact, networks who have come to know you will call you and ask you to do a show for them! And you will be able control the production process and make the fees from it, because you’ve learned and earned you way into that position. Your agent is your best friend here because s/he is pitching you non-stop to the nets, setting up meet-and-greets with execs and keeping you up-to-date on how the net calls for content are shifting (and they always are shifting).

The fast way is to have a terrific concept and partner with someone else who can get it executed. You will have researched similar shows, checked out imdb.com for company and network information and approached the right people to match your genre and audience. If all goes well, you, indeed, will have sold a show, but often with limited involvement or reward! Your attorney will be your best friend here because s/he will need to be determined and creative to keep you a part of the process after the sale.

The back-door way is to know a person or property (like a popular book) that people want a piece of, develop a show with them attached to it, and have a written “option” that binds them to any sale. This is where having Paris Hilton as a close friend actually is a good thing. A hypothetical: Yes, she stole your boyfriend, but she felt so bad that she signed an option agreement allowing you to shop a makeover show with her as the host. Pretty much anyone will talk to you now, and you’ll have a lot more power keeping yourself attached since you are, at last, bringing something bankable to the table!

Whatever way you try to sell your show, remember, as always, to do an “entitlement” check before you start the process. If you are not Tyra Banks, do not expect to get a deal like Tyra Banks. If your talent is not Donald Trump, don’t expect to get a budget like Donald Trump’s. And if you have never run a television show (I didn’t say never written, produced, edited or shot, I said RUN), then don’t expect to run even your own. Not the first season, at least.

And please don’t go into reality TV to get rich. (Where are all of these Discovery Health- and Food Network-producing millionaires people think they’re joining the ranks of?) If you want to get rich, please go back for your MBA and head to Wall Street and build and protect your stock options like everyone else does. There’s way more chance you’ll get a return on your investment - and in a far shorter period of time! If you want to get rich quickly, with minimal effort, keep buying scratchers and hope for the best. But if you really want to make reality TV, while there’s no money at the start in this world, like almost everything else, working hard in this business ultimately has its own personal, professional and, yes, financial rewards. Plus sometimes, you get to make people eat bugs.