I’m a writer/producer/director showrunning a GREMLINS animated prequel premiering on HBOMax next year.

Hollywood can be extremely, even purposefully opaque. Here's the advice I usually give to screenwriters trying to break in.

*thread*

As a caveat, these are pieces of advice I wish I’d known when I was starting out. I entered Hollywood with no connections to the industry and it took me years to learn some of these things, so I’m hoping this will save you some time and answer some questions.

These are also not hard and fast rules. You have to do things the way that you feel most comfortable doing them. I’m sure some of my colleagues will disagree with these points, and if they do I hope they post what worked for them since there’s no one way to break into Hollywood.

1/ WHAT DO YOU NEED TO BREAK IN TO HOLLYWOOD? I get this question a lot. Sometimes people have a piece of material they’ve created but no connections. Some people have connections but no material they’ve created. The truth is you need both.

I’ve had a lot of conversations with people who have connections but don’t have the material to get people excited about them. And then there are talented writers who have material but no one to get it to.

If you have connections, you need to create a bulletproof sample -- a writing sample, a short film, whatever it is. Something that can be a calling card. And then you have to position yourself so you can share this with others.

A connection can come from anywhere. You could be an assistant, you could be part of a writing group and they may know an exec or agent, you could show your short film at a festival and walk up to people and introduce yourself (what I did).

Be generous with the people around you who are coming up at the same time as you are. They’ll be your strongest allies if you give as much as you receive. If you’re a giant asshole that’s not something people forget.

2/ HOW DO I GET AN AGENT OR A MANAGER? Okay, this question gets brought up all the time in every thread about writing. Again, there’s no single way but here are some suggestions.

First, you need your material. Second, you need to ask for favors wisely. Wait for your material to be ready and then send it to someone who may be able to share it with an agent or a manager who may be able to hip-pocket you.

Hip pocketing (yes, a terrible term) means an agent or a manager will work with you on a trial basis, sending out your material and seeing what the reaction from the town is. If it’s negative or neutral, they probably won’t sign you.

If it’s positive, you’ll probably still go through a weird murky time where someone is kind of your rep but the commitment will be more tangible. But, at that point, it should be more of an open dialogue where you’re talking strategy about your career.

Also, don’t sign any paperwork for long term commitment to a rep. I’ve worked for 15 years and never signed any representation contract except when I’m being paid I let the hiring company know that it’s okay for my reps to receive payment so they can take their cut.

3/ IF YOU’RE STAFFING, BE PROACTIVE. I cannot stress this enough. Agents and Managers have many, many clients. You need to make their job as easy as possible.

At the beginning of each staffing season I’ve been available for, I read every single pilot that’s in contention and then make a list of 8-10 shows I think I’d be right for.

Then I tell my reps which of my samples to send and most importantly how to explain to the show’s execs that I’m perfect for the show.

Here’s the one that I sent to my reps for GOTHAM, a show I eventually got staffed on (it didn't work the first year but it worked the second year I tried).

4/ BE KIND AND BE EMPATHETIC. This is a super simple one. And it doesn’t just apply to our industry. But, we’re in an industry where a lot of A-type personalities are jostling for space.

There were a lot of people who were kind to me early on in my career and many that were not. Guess which ones I will walk over broken glass to work with again?

5/ KNOW YOUR WORTH. It’s hard to turn down work, any work, early on. I get that more than anyone.

But at a certain point in your career after you’ve broken in, take a step back, look at what you’ve accomplished, and my guess is you’ll see the studios and networks need you more than you need them.

When you’ve gotten to that point, congratulations. You’ve made it in Hollywood. It may have taken years or decades, but you’ll have proved yourself. And there will be a world of opportunity waiting for you.

I wish you all the best of luck.