Behind the scenes: Script Typist
We go behind the scenes at Shorty Street to find out
what it takes to be a script typist for the country's busiest TV
show. Meet Casey Whelan.
1. In a nutshell, what does your job entail?
Our little cupboard is responsible for the purely
functional side of the script process, i.e. we proof read, publish,
amend all scripts and check legal clearances for use in
dialogue.
We are the last port of call before a script gets to the cast and crew, so we get them into shape, try and catch any mistakes in continuity or content, and get them pretty enough to go out into the world.
2. How did you find yourself at Shortland Street?
John Callen, a former director here at Shortland Street,
was a lecturer of mine at Varsity, as was Paul Sonne, Shortland
Street's script producer.
When I graduated I e-mailed John looking for advice on how to avoid the struggling writer's condition; living in a cardboard box, eating pot noodles for a few decades.
He told me to get in touch with Paul and let him know that I was interested in working at Shortland Street.
One thing lead to another and I had a trial as a dialogue writer, and the assistant script typist role as supplementary teaching.
A year later, I'm here full time and still loving it.
3. A typical day at Shortland Street for you
involves...?
It's a bit hard to say as every day is a little
different, but in a typical week we take a block (a week's worth of
scripts) from rough edit to final script.
We get the scripts once the editing team is happy with the content,
and we format it into the Shortland Street standard.
It then goes to our Producer, Steven Zanoski; he gives his notes to
Paul who makes any last minute changes, and it comes back to us to
proof and distribute.
We usually work in a week of scripts week to week ration, but
right now is a particularly hectic time and we are juggling a few
blocks a week, so our little office is a little mad at the
moment.
4. How long have you worked at Shortland Street
now?
I've been here just over a year.
5. What do you love most about the job?
I am a writer and an English geek; working with scripts,
particularly the proofing aspect of my job, is living the
dream.
Working on a soap opera tops the cake because it's all so larger
than life; never a dull read.
6. What's the most challenging part of your job?
We do need to accommodate a lot of the other departments and unfortunately when they need scripts and when scripts are available for us to work on are not always on the same timescale, so working under pressure to keep the speed up is the main challenge.
7. What advice could you give people who would like to
pursue a career in your field?
Steven Gannaway, Executive Director of the Writer's Guild, told
me when I was fresh out of Varsity, "If you want to be seen as a
serious writer, you need to get serious about writing".
That means you need to not just write all the time, but be around
writing and around writers you can learn from as much as you
can.
Take any opportunity that comes along to get involved.
I wasn't sure if script publication was for me, but I really enjoy
it and I learn so much from the scripts, the process, and the
department.
So how do you get away from the computer and get into it?
Step one: Join the New Zealand Writer's Guild; they
are your number one resource for what's happening in the
script/screen world.
They are working hard to make opportunities for writers and you
are crazy if you don't use them.
Step Two: Apply for everything. There is no shortage of
jobs, competitions, courses, and seminars out there.
You'll never know if you don't try, and if all you get out of it
is a lesson learned; at least it's a plus.
Step Three: Don't be afraid to ask for help. John
Callen and Paul Sonne have done so much for me, and without them
I'd probably still work part time in childcare hell.
If I hadn't bitten the bullet and sent the first e-mail, it never
would have happened.
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