Whether thinking about getting an down the line, contemplating a career change, or about to graduate and unsure of the next path to take, it鈥檚 good to know the possibilities of what one can do with a film degree. While honing one鈥檚 craft and striving for work as a screenwriter is the likely target for most, it鈥檚 important to make sure there is value in earning the degree itself.
The path to professional screenwriter can take time and, unless you鈥檙e independently wealthy or have a Renaissance era patron with gout, putting one鈥檚 degree to work while pursing that dream is critical, not only for financial stability, but for creative freedom as well. Although we are obligated to cover the top job of screenwriter, after that we have some other, less expected job opportunities for students with an MFA in screenwriting:
- Screenwriter
- Writer’s Assistant / Showrunner’s Assistant
- Talent Agent
- Writing Coach / Editor
- Professor
Screenwriter
Okay, we have to cover this one. It鈥檚 the goal, it鈥檚 the dream, it鈥檚 the passion. Can you become a screenwriter without an MFA? Certainly. But the value of the degree, for those who do go on to work professionally, goes beyond a piece of paper and academic bona fides. While degrees from UCLA, AFI, USC, NYU, Hollins, etc. do carry some weight, the value of a screenwriting MFA rests in the chance to hone one鈥檚 craft and the body of work one generates. Not to mention the pathways a degree might open via internships, connections and access to the industry. So what does a screenwriter do? What does the job entail? Do they only write movies and TV?
鈥淎 screenwriter writes content for visual mediums. They write screenplays for feature films, short films, television, commercials, and video games. They create the dialogue, the characters and the storyline of a script. Screenwriters may start off as freelance, and write their first few screenplays 鈥渙n spec,鈥 or speculation. A spec script is a screenplay that wasn鈥檛 assigned to the writer, but is written to either be sold to a studio or as a writing sample鈥 ().
Writers鈥 Assistant/Writers鈥 Production Assistant (PA)/Executive or Showrunner鈥檚 Assistant
While slightly different in their roles, a writers鈥 assistant, writers鈥 production assistant, and executive or showrunner鈥檚 assistant are three viable opportunities for graduates. Any one of these jobs are a solid jumping off point for someone who either wants to become a TV writer, or is exploring aspects of the TV ecosystem.
Like the other roles mentioned, a writer鈥檚 PA is an entry level position on a show or series. As such, a degree from a reputable program can bolster one鈥檚 chance of landing the job. While a writer鈥檚 PA is a bit more outside of the creative process, not being inside the writer鈥檚 room, it鈥檚 still a strong point of entry. PAs are responsible for tasks such as running errands and collecting necessary supplies, supporting the writers鈥 assistant and generally making sure everyone has what they need, when they need it. The greatest advantage is that it allows 鈥渦pward mobility as the room really depends on you and getting to know the writers is really valuable. As with all jobs like this, hustle is really important in order to get to the the point where you can start exercising your creative talents鈥 (AmySuto).
Next, there鈥檚 the showrunner鈥檚 assistant or assistant to an executive producer. This role is also a good opportunity to learn the ropes, get in the game and begin to forge those essential relationships. The showrunner鈥檚 assistant role is highly variable from showrunner to showrunner. One showrunner may rely on their assistant for more executives assistant functions or even some personal assistant work. Another may develop a relationship that relies on creative feedback and support. But this job too, can lead to opportunities, such as moving into a writer鈥檚 assistant role.
Finally, a writer鈥檚 assistant, hired to support the writing staff, gets to be in the room with the writers, taking notes, helping with any possible research needs, supporting the creative process in whatever way the showrunners or executives producers require. It鈥檚 a viable way to learn how a writers鈥 room functions and a chance to observe the process.
鈥淏eing a writers’ assistant is the most desirable as you’re in the room all day with the writers, whereas the showrunner’s assistant and writers’ PA don’t usually get to sit in the room. Your main function is to be the sort of courtroom stenographer, but in a creative space. You take notes, participate in the discussion, and help with anything from research to assembling documents and outlines鈥 ().
Talent Agent/Manager
If you鈥檙e interested in a job that鈥檚 more business/production/development related, becoming a talent agent is a highly impactful role within the industry. Talent agents liaise with the industry at large on behalf of their clients, which can be writers, actors, directors and producers. Depending on what type of talent one serves, an agent can be responsible for a number tasks, such as finding great projects for actors, getting a screenwriter鈥檚 script out to the most appropriate production companies, helping attach an actor to a director鈥檚 passion project鈥nd there are also more specialized areas agents may handle, from endorsement opportunities, to researching ways to stay ahead of network trends, networking to build relationships among directors, producers, and executives, or offering legal insights pertaining to contracts. Talent agents are advocates for the interest of their client, which, if one is going to be good at it, necessitates a strong understanding of story.
鈥淎 talent agent is a seasoned navigator of the entertainment industry who represents creative talent, guiding them through career decisions and negotiations. They are the intermediaries between artists and industry opportunities, ensuring their clients secure the best possible work engagements鈥 ().
Like an agent, a talent manager also works on behalf of their clients, seeking opportunities and fostering relationships, but there are a couple distinctions. While an agent is typically laser focused on opportunities that will convert to professional/industry jobs, and can be less involved in career strategy or craft insights, a manager is specifically focuses on career strategy and generating work. A manager guides clients on pitching, offers feedback and advice on projects, such as script notes, works to establish a client鈥檚 鈥渂rand鈥, and takes a long term approach to developing one鈥檚 career. Agents may also do some of this, but it is less likely. Another, more clear distinction, revolves around producing. Agents are legally prohibited from producing to avoid a conflict of interest, but managers are able to work as producers. Because managers are not regulated by any unions, managers can be directly involved in the business and creative development of projects.
Writing Coach/Editor
While Grammarly, AI and other writing tools can aid a writer with basic writing tasks, for those seeking to hone the actual craft and develop to the level of a professional writer, a writing coach or professional editor is still very much a step above these options. And, even if the MFA one holds is in screenwriting, these roles are not solely restricted to screenwriting.
Editors work to refine and clarify written or multimedia content for accuracy and quality, acting as a bridge between the author and their audience or the publisher. Falling into a couple categories, editors can work to develop plot, structure and tone of a manuscript. They can be hired primarily for copy editing or proofreading, ensuring what a writer means to say is what comes across on the page. And they can also work in a more managerial capacity, deciding what to publish, managing deadlines and commissioning work from other writers.
Similar to editors, a writing coach may work collaboratively with novelists or authors, with the relationship centering on personalized guidance, accountability and feedback. Writing coaches can also work with technical writers, developing the skill necessary to make complex information more digestible. Or, writing coaches can work with younger writers, developing basic writing skills or helping them to level up their craft. Similar in some ways to a talent manager, who works with clients to build their skill set, a writing coach can guide writers through their specific projects, coaching them up to a new level of craft along the way.
鈥淎 writing coach then helps the writer organize his or her project, determine a schedule, and select a completion date as a goal. The writing coach discusses the stages of a writing project, including an initial outline, preliminary research, a revised outline, more extensive research (and, if necessary, interviews), another revised outline, and various drafts, followed by the editorial process (developmental or substantive editing, copyediting, and proofreading)鈥 ().
Professor
The roles for teaching with an MFA in screenwriting vary, but the different routes in teaching are endless. There鈥檚 adjunct faculty or lecturer roles, assistant professor, remote work as a professor, and teaching at a community college level. The pay rates vary for each of these positions, with adjunction offering part-time roles for anywhere from $4,000-$6,000 a month, against a full-time professor where, depending on where you might teach, could lead to a salary of $50,000 or, in some places, up to $100,000+.
However, it鈥檚 most important to remember, as stated earlier, that an MFA in screenwriting offers the large benefit of increased pay you can earn under these roles. 鈥淭eachers with a master鈥檚 degree typically earn $2,000 to $10,000 more per year than those with a bachelor鈥檚 degree, depending on state and district policies鈥 (Research.com). While it鈥檚 certainly possible to teach high school or lower-level collegiate classes with a Bachelors, the Masters will open the door for increased salary opportunities and long-term benefits.