Compared to the TV writing world, there is less concern about how the writer will get along with the staff. In many ways, if you’re over 50, you have a better chance of breaking in by writing feature film scripts, than by trying to write for television. Even if you’re “old,” try to write for (the highly prized) younger, if not the teen to young adult audiences.
Another factor is networking. There is so much more than talent involved in sustaining a career in TV or features. A really high number of TV writers come up through the production ranks. Writer’s Assistants, especially. Production Assistant’s also have a better chance.
The closer you are in a relationship to an executive who can greenlight a movie, or get a show on the air, the better your chances of success. Older writers are less likely to get these “assistant” jobs, or even apply for these jobs than younger writers.
If you’re well over fifty, a 28 year old showrunner is more likely to feel awkward around you if you work on their show as a production assistant. Imagine a 28 year old telling an older assistant what to get coffee, run scripts all over town, or take ‘to go’ orders from a writing staff of 20 to 35 year olds.
57 year old writers are also less likely to apply for assistant jobs. They have probably got higher paying day jobs and probably wouldn’t consider taking the drop in pay, or even to accept no pay in an internship.
There are a lot of older writers writing TV pilots, hoping to launch their own original TV shows, before ever working on a TV show staff.
The studios and production companies are not really looking for a pilot from a first time writer at any age. Executives watch writers’ careers closely.
If they see someone working his way up to Supervising Producer on a hit show like Homeland, they are more likely to want to hear that writer’s pilot ideas. They are looking for a writer who they are convinced can turn in a great script every week.
They are also looking for writers higher up on the production ladder, because those writers have been on a writing staff for years, and have learned to get along with everyone.
The longer you’ve been on a writing staff, the more you’ll have also learned about casting, editing, working closely with directors, camera people, and set builders.
The first time TV pilot writer generally has no track record of having that skill set. Does that mean older writers shouldn’t write pilots. No.
However, it makes more sense to TV spec scripts for hit TV shows that are already on the air, like Homeland, Game of Thrones, or Veep. Use your pilot script and your spec Veep to get a staff job on a current hit TV show.
Once you’ve spent a few years working on a TV staff, executives are going to feel better about handing you the reins to your own show.
Agents are less likely to take on older writers, because they picture the 57 year old in meetings surrounded by twentysomethings.
If you’re very lucky, you’ll be one of those older people who still looks, acts, talks and dresses younger. If you can “pass” for younger you have a big advantage.
If you’re grey, or bald, or have wrinkles, or walk with a limp, or have some other affliction, then it’s going to be harder. You have to be a really, really great writer. You can’t just be “good enough.”
If you’re struggling to come up with a great idea for a screenplay, or if you’ve started one and just can’t figure out how to finish it, call for a free phone consult from a veteran screenwriter.
Image credit: Creative Commons Type Writer old phone, 2008 by Glen Edelson, is licensed under CC By 2.0