Job Op Ad of a Lifetime – “Television Series Showrunner”

For all the unemployed animation show runners who visit this site. (Actually, we know there are quite a few:)

Television Series Showrunner
7ate9 Entertainment
Los Angeles, CA


Tell 'em TVWriter™ sent ya. Maybe they'll hire you anyway!
Tell ’em TVWriter™ sent ya. Maybe they’ll hire you anyway!

Position Summary We are seeking a fabulously creative while extremely organized Show Runner for a new kids animation series. The Show Runner is considered to be the master strategist for physical production and is responsible for the timely delivery of the TV Series, while meeting creative and budgetary goals. He/she ensures that the schedule, budget, and scope are all aligned while managing studio directives and initiatives. Is this you? Primary Function

  • Manage and partner with creative team to meet the creative and logistics goals of the series.
  • Responsible for the master schedule and budget.
  • Create and contribute to a culture that creates an environment where the crew can do their best work.
  • Manage complexity by presenting core creative group with options and allowing them to prioritize their wishes.
  • Manage the vendors working globally to collaboratively put the show together.

Creative Essential Job Responsibilities

  • Act as Head Writer while manage staff writers, and assistant writers to develop story ideas, concepts and scripts.
  • Partner with EP and Supervising Director to create proven scenarios and schedules that accomplish creative and budgetary goals, and seek appropriate approvals from studio senior leadership.
  • Responsible for getting creative inventory in the pipeline. Work with staff to ensure approved scripts are ushered through the production pipeline on schedule and on budget. Ensure that alternate plans exist in the event that changes to the production occur.
  • Ensure key creative leadership team works well together and manage them toward reaching and delivering the creative goals of each episode, and the series.
  • Facilitate the Director’s creative vision via production strategy.
  • Partner with the EP to manage priorities for the creative feed and seek appropriate studio approvals.

Budget And Schedule

  • Create and manage the overall show budget and schedule. Work closely with the Executive Producer and Production Accountant to ensure that the budget and schedules are accurate and up-to-date.
  • Meet and work with Production Accountant on a regular basis to ensure cost report is accurate and timely.
  • Develop and maintain complexity plans and their impact to the budget. Work with Director of Production on a complexity plan that works within the framework of the budget and schedule.
  • Create an approval structure and offer support and advice to Production Staff to help solve production issues as well as manage deadlines.
  • Strategize how to maintain the budget while facilitating the Director’s vision.
  • Collaborate with external partner studios to discuss options regarding scope challenges, i.e., length, creative appetite, execution, etc.


  • Supervise the key creative leadership team of the show (i.e. Storyboard Directors, Supervising Producers, Production Staff, Editorial and, for CG series, Animation Director and Comp Supervisor, many of which are in separate offices Globally).
  • Complete and deliver the reviews for the key creative leadership team of the show.
  • Ensure communication channels are open within the show and that all departments are functioning to its full potential.
  • Help liaise with the Post coordinator to ensure edits and sound mixes are on schedule.
  • Work with the EP on employee relations issues involving the key creative leadership team and other issues elevated to her.
  • Keep communications with the studio during the weekly updates meeting regarding all issues and concerns with the series.
  • Oversee the credits process.
  • Work with the Post Supervisor to manage workflow and requirements for a vigorous delivery schedule.

Tone and Culture

  • Foster an environment of “how” vs. “no.” Create “laundry lists” and options for the creative team to choose from so they are figuring out “how” to accomplish a request vs. “no” it can’t be done.
  • Ensure that the show culture is one of timely feedback, including positive and developmental.
  • Foster an environment of collaboration as opposed to one of blame.
  • Foster an environment where mistakes are an opportunity for growth.
  • Be fair and neutral in conflict management issues.
  • Manage expectations around the schedule and creative goals so the crew is not surprised.
  • Inspire and support the crew on a daily basis to get the series done.
  • Remember to start from the place, “what is best for the show” not “what is easiest for the show.”
  • We’re a happy bunch; we want you to be too. The workplace, while stressful should be enjoyable.
  • We make kids content, so if you loathe children, this may not be the place for you.

Required Skills

  • Proficient computer skills; MS Word, Excel, Movie Magic
  • Strong leadership skills
  • Solid project management skills
  • Excellent organizational skills, strong written & verbal communication skills
  • Excellent interpersonal skills, ability to interact with all personality types
  • Proven ability to work effectively in a high-pressure, fast-paced environment

Required Experience

  • 3-5 years as Executive Producer / Show Runner in animation

If the above sounds like you and an environment you’d like to work at, please cover letter, references and résumé to address below

Job Type: Contract

Job Location:

  • Los Angeles, CA 90038

Yeah, we know. There is no “address below.” Tells you something about how this job market thing works, doesn’t it? Here’s what some quick Googling found for you:

7ATE9 ENTERTAINMENT 740 N. La Brea Avenue Los Angeles CA 90038
Phone: 323.936.6789   Fax: 323.937.671
Inquiries to

LB’s Poetry: “Kid Hollywood”

kidhollywoodcovercoyoteCaptureNOTE FROM LB: A Hollywood poem by a Hollywood guy.

About what it felt like to be this particular Hollywood guy.

For those who want to know more, there’s a longer note after the main attraction.

Kid Hollywood
by Larry Brody

Kid Hollywood used the living room’s dark, the

TV tube’s glare, and the glittering stars with whom

He made friends

To hide who he was, what he wanted, and all he

Could be.

Hid because there’s no audience, not for


And no money. And no


Hid because to be was to feel,

Was to reveal,

Was to be at the

Mercy of those who found truth in the tube

And the dark, and the glitter.

Kid Hollywood stood guard, donned 60-page armor,

Brightly outfitted, perfectly formatted, immaculately conceived

Scripts that delighted, and corrupted, and spun

Truth into straw.

(Not that Kid Hollywood knew.)

Kid Hollywood wrote,

Turned out word after word, all dingy disagreements, all

Confrontations, all

Car chases and screams. He wrote and he sat in that

Living room’s black hole, and he stared at that

White-washed screen.

The Kid wrote, and he sat, and he stared,

And he bought, how many dinners for how many

Constellations, how many configurations of Sirius and

Orion and the Big Bear?

How many luminous experiences with

Luminaries who could remember

Neither their lines nor

His name?

(Not that Kid Hollywood knew.)

Kid Hollywood wrote, and he sat, and he stared, and he bought,

Because he feared. He feared that

To know him was to push, was to prod,

Was to maim and permanently impair

The talent

He’d already

Darkened from all the glare.

Or was it really the Kid’s own

Wounds Kid Hollywood so feared?

Is that why his last series

You remember, the unsold one,

The one he called, “Despair”—

Found no audience, no money, no friends?

(Not that Kid Hollywood knew.)

NOTE FROM LB: While living in Santa Fe back in the early ’90s, I got into the habit of writing at least one poem a day, starting before breakfast and ending…whenever. Over the years, various individual poems won the usual poetry awards (because prize certificates are a lot cheaper to give out than money?), and on special occasions I would compile them and make my own physical book versions to give to friends and family.

A few years ago I turned a volume I called Kid Hollywood and the Navajo Dog into a Kindle book that sold one, count ’em, one copy to someone I actually didn’t know. It’s still available on Amazon.Com, but if you want to read the contents for absolutely free! free! free! all you have to do is come here to TVWriter™ once a week because starting today I’m posting selections.

No, not to get people to buy. Just the opposite, in fact. As the Navajo Dog herself once pointed out to me, “Art has to be free. If you create it in order to get money, you always end up compromising  your artistic vision by trying to please those who are paying. If you don’t ask them to pay, you can be yourself. When you, the creator, the visionary, take that road, you automatically free yourself.

The work above is the first piece.


For, I hope the benefit of you and me. 

Diana Vacc sees OUTLANDER Ep. 13 “Dragonfly in Amber”

Outlander Season 2 2016

by Diana Vaccarelli

*If you haven’t viewed this episode yet be warned this review may contain spoilers!*

The finale of season 3 of Outlander, entitled “Dragonfly in Amber,” flashes forward to the 1960’s and finds Claire and her daughter Brianna visiting Scotland where Claire reveals the truth about Brianna’s father.


  • The performances were the best part of the finale. The Actors continue to totally inhabit their characters – or maybe it’s the other way around. Caitriona Balfe delivers her best performance to date as our heroine Claire, exhibiting all the passion and guilt Claire feels about leaving her husband Jamie so subtly yet intensely that you can’t help but feel her pain. Sam Heughn pushes himself as Jamie. As he faces the fact that he has to let her go for her safety and the safety of their unborn child, you experience his readiness to give his life for them on any kind of battlefield, real or meteaphorical. The introductions of Brianna (Sophie Skelton) and Rodger Wakefield (Richard Rankin) are perfection. Skelton and Rankin are just as they appear in the Outlander books, and as a devoted fangirl I couldn’t help but be glad of the casting.


  • As much as it pains me to say this, the writing of this finale did not live up to that of last season. Written by Matthew B. Roberts and Toni Graphia, the episode felt rushed, especially during the main emotional moment of our two leads saying goodbye to one another. The going back and forth between times was also confusing because there was no clear visual transition.
  • One of the most touching emotional parts of the book was left out of the episode. It’s when Claire and Jamie carve each others initials into their thumbs to forever remember each others touch. I really missed that part. I know I’m being a little too picky because of course scenes have to be cut (no pun intended) for time, but to me that’s a key moment in the books and I was looking forward to seeing it.


Like all shows, Outlander had its ups and downs this season, but over all I found it far more moving and emotionally complex than any other show on TV. Starz recently announced that it has given full season orders for books three and four in the Outlander series, so instead of saying a weepy goodbye to the show, I’m already excitedly preparing to say hello to all the fine episodes to come!

Happy TV Watching!

Diana Vaccarelli is the TVWriter™ Critic-at-Large and, in case you haven’t noticed, a HUGE Outlander fan. Learn more about her HERE

TVWriter™ Don’t-Miss Posts of the Week – July 18th

In case you’ve missed what’s happening at TVWriter™, the most popular blog posts during the week ending yesterday were:

Larry Brody: 10 Things That Help Me Keep on Keeping On

It’s PEOPLE’S PILOT Success Story Time!

Looking for TV Pilot Scripts?

LB: Where Did THE FALL GUY Live?

Diana Vacc sees Outlander Episode 12 “The Hail Mary”

And our most visited permanent resource pages were:

Writing the Dreaded Outline



Remembering Roddenberry

The Teleplay

Major thanks to everyone for making this such a great week. Don’t forget to click above and read what you missed. re-read what you loved, and, most importantly, come back for more soon

TVWriter™ Summer E-Newsletter 2016



As I write this, the news is coming in about the latest atrocity in our so-called civilized world – the car bomb deaths of at least 60 people celebrating Bastille Day in Nice.

As a human being living in this time in this culture, I have a lot of thoughts and feelings about the violence that has defined this month, July, 2016, so far.

As a writer, I know that I should have words to accompany the thoughts and feelings, express them not only so I can sort out the sense behind the senselessness but also so I can communicate my deliberations and conclusions to a wider audience, to help that audience deal with the situation.

That’s what writers are supposed to do, right? Plunge into the chaos and find the order that must, must, must be there and pull it out and express it so that the emotional inflamation so many others – readers, viewers, listeners, audiences all – are experiencing can be assuaged.

But I suck at that.

Writing about politics or psychology is not my thing. That’s reality, and I’m about as far from being a realist as anyone can get. I’m a dreamer, and my writing almost always has been a form of dreaming.

Fiction, springing from my imagination, expressing my dreams.

Earlier this week, Monday it was, I reached inward and posted about using my personal inner world as metaphor for life’s reality, and told of the feelings and events and memories and magical thoughts that have helped me stay strong and steady (well, kind of strong and sort of steady, if you squint) while, like everyone else, immersed in the miasma of real life’s chaos.

I didn’t realize that’s what I was doing, but that’s how it turned out.

It also turned out to be by far the most-read piece of the week at TVWriter™ – except, of course, for “Writing the Dreaded Outline” because, you know, this is a writing site.

People seem to have gotten it. To have taken from what I wrote more than I even knew I had given.

Your emails and your messages and your personal comments have been even more wonderful than the time a recently released prison inmate thanked me for writing a TV episode that he told me “saved my life.” (Actually, I didn’t really write that one, but evidently I did do a pretty good rewrite of it as producer of the show.)

You guys’ reaction has awakened me from a decade-long slumber and – uh-oh, you’re in trouble now – persuaded me to keep dreaming out loud so others can share my feelings. I’m not sure exactly how I’m going to do it, but my attempt to inspire y’all has rebounded to inspire me.

Starting next week, along with the usual TV writing fun and games and tips and tricks, I’ll also be posting some of the writing I’ve done that has meant the most to me. My poetry. And my newspaper columns from the early 2000s. And, if the synergy is right, newer musings on what goes on behind the politics and the violence. Considerations of our humanity and how it makes us while we make it.

Lots of stuff for me to look forward to, for sure. I hope you guys will as well.

And while we’re at it, don’t forget to read all the TV writing stuff. As so many recent TV shows demonstrate, there’s hope for the old medium yet. We can do glorious things for the world by putting the right words into the right mouths acting out the right stories.

And TVWriter™ intends to keep on pushing and shoving and when necessary dragging you, its visitors, into becoming expert creators of entertainment – entertainment that means something.

Words have power on their own. Images enhance the power. It’s all magic, gang. Magic that we can share.




The 2016 People’s Pilot opened for entries March 1st and will be open until the very last minute of November 1, 2016.

This year we’ve updated the PP to match recent changes in the entertainment scene and make the contest not just a “television writing” thing, but one for shows intended for any and all electronic entertainment media.

Whether the series you are creating is intended for broadcast TV, cable and satellite, TV, home entertainment/video game consoles, Big Media interweb outlets like Netflix, Amazon, and Hulu, or indie web channels and venues like YouTube, Vimeo, Funny or Die, or the show’s own website, it’s eligible for the new PEOPLE’S PILOT.

Similarly, we’re open for entries regardless of what length you envision the episodes being or how many episodes you foresee it having.

Genres also are entirely open. Whether you’ve written a drama, comedy, action, dramedy, anthology script for adults, for young adults, for children, or, what the hell, for opossums, the PEOPLE’S PILOT wants to see it. Is your pilot intended for live action? Great. And just as great if you see what you’ve written as being animated, or starring puppets, or little balls of clay, whateves. Are you hoping for your series to last forever? Envisioning it as a mini or limited series? It’s all good to us. We welcome everything you can think of.

Category-wise, we’ve expanded from two to three. These are:

1) Scripted Series 1/2 Hour or Less (no matter how much less)
2) Scripted Series Longer than 1/2 Hour (up to 1 Hour long)
3) Scripted Series Longer than 1 Hour

In other words, scripts for shows about anything. intended to be broadcast anywhere, and with a playing time from, oh, a few seconds to several hours long are cordially invited!

UPDATE!!! Especially welcome in the “Scripted Series Longer than 1 Hour category are series deliberately designed to be binge-watched. (Can any other contest say the same?)

Other changes include:


TVWriter™ is now offering over $20,000 in prizes and entry bonuses, including:


We’ve had free Feedback for awhile now and are constantly hearing how valuable it’s been. We think the Feedback alone is worth more than the price of admission and believe you’ll agree!


All entrants will receive a PDF file of Larry Brody’s Storytelling Patterns in Genre Films booklet. Available nowhere else, Storytelling Patterns is a guide to outlining your scripts by using timeless story patterns and scenes that have proven time and time again to be invaluable to successful storytelling.


The regular entry fee is $50 for each submission, with an Early Bird Special fee of only $35 for everyone entering in March and April. We also have a new Duo Discount that allows you to pay for 2 entries at the same time for a total payment of only $85 after the Early Bird Special expires. As in past years, we urge you to take advantage of the discounts even if your entry or entries won’t be ready before the discount period ends. You can upload your submissions at any time until the contest closes.

The PEOPLE’S PILOT website is HERE

The full list of Prizes is HERE

The Enter Page is HERE

Email LB personally with any questions HERE

Winners, Finalists, and Semi-Finalists of TVWriter™’s past contests are or have most recently been on the staffs of MOM, CHICAGO PD, CHICAGO FIRE, PERSON OF INTEREST, THE WALKING DEAD, RIZZOLI AND ISLES, COLONY, GREY’S ANATOMY, ONCE UPON A TIME, SMALLVILLE, ROME, THE LEFTOVERS, the upcoming WESTWORLD and recently departed THE BASTARD EXECUTIONER, to name just a few. We’d love to see you join them!


The next TVWriter™ Advanced Online Workshop, which is scheduled to start Wednesday, September 21, 2016 and considering how quickly it fills up, there’s no better time to sign up than right now.

This is the workshop for writers who already know the basics and have a specific project to workshop with LB. The Advanced Workshop is limited to 5 students, so if you’re interested in getting in on the fun, you really should have a look-see at the Advanced Workshop info and sign-up form

And if all goes according to plan Larry Brody’s next Master Class will begin in the second half of August, 2016.

The Master Class is the online workshop for professional level writers who want to spend an intense month perfecting your current work. That means you have a draft of 60 pages ready to be read and tweaked. Or revised, or, who knows, maybe thrown away, but we don’t want to scare ya. Let LB himself analyze your story, plot, and characterization just as he would if he were producing your masterpiece.

LB accepts a maximum of only 3 students at a time in this one so if you’re interested you definitely need to get more info and reserve your place ASAP

Or find out more about everything TVWriter University is currently offering HERE

That’s it for now. Our work here is done. The rest is up to you.

Team TVWriter™