Computer Graphics World

When I started my career as an anima- tion writer in 1983, it was a very diff erent time. Studios were smaller, more accessible places, often run by people who themselves had advanced through the ranks as artists and directors. at same year, at the tender age of 23, I literally got my foot through the door of Hanna-Barbera by… well, literally getting my foot through the door. I waltzed into the studio with a spec script in hand and asked the receptionist (Hanna-Barbera's only gate- keeper) if I could meet somebody who was in charge. She smiled…and actually intro- duced me to one of the facility's top devel- opment executives. Who then introduced me to a story editor. Who then let me pitch and taught me how to write my fi rst show. I like to think that talent gave me longev- ity in this business, but let's face it, this kind of break would almost never happen in to- day's corporate world. When I was asked to write this article, I really had to sit down and think: If I were starting out and trying to sell a show or land my fi rst job in the animation industry, how would I go about it now? e good news is, the more things have changed, the more they've stayed the same. Knowing how to professionally conduct yourself and take advantage of an opportuni- ty (no matter how slim), plus genuine talent and passion for your craft, can still be your ticket in. You just have to understand how to use the skills I just mentioned to your advan- tage—an art in itself that is as important as whatever schooling you will receive. Do Your Homework Most studios have established cultures that are as unique as their names. Like a desper- ate person at midnight in a singles bar, they are always on the lookout for somebody who is "their type." at old cliché about the entertainment business still holds true—it really is all about relationships. So, and I cannot stress this enough, learn as much about the studio of your choice and the people who work there as you can, be- fore you start looking for work there. And then network, network, network! What do I mean by "network?" Establish relationships, and then be able to deliver. If you have trouble dealing with people, you will need to fi nd a way to perfect your skills. Maybe a public-speaking or acting class for the shy, shrink visits for those with issues (de rigueur for creative types), and Suck-Up 101 (usually acquired by taking a politically successful pal out to lunch and begging for pointers) for the stunted in this area. Networking will have that much of an impact on your career. Also, always have an answer to the ques- tion, "What do you bring to the table that others do not?" And, don't wait for that question to be asked. Your fi rst assignment for creating a successful networking moment will be to strategize and fi gure out a way to artfully bring up this topic during the course of a conversation. While the art of network- ing also includes self-promotion, nothing turns people off faster than someone who is inept at it or who is a blatant user. roughout my career I was friendly to everyone I met, not just those who I thought could do something for me. You never know who can help you, or when. I've seen PAs rise to own their own studios, so never overlook or backstab anyone. Plus, you can never have too many friends, right? To-Do List I also developed a willingness to learn. Mentors are everything in this business, and I was lucky to have my share, not only in what they did for me, but even more so for how generous they were with their time and talent. Don't overlook the old guy Networking in Animation Establishing relationships is key when seeking employment By Evelyn Gabai September 2009 45 Career ■ ■ ■ ■

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