Blanketing employers with generic CVs is, we're regularly told, about as effective as chucking a stack of applications from the top of a building in the vague hope they'll land in the hands of the right people. Come to think of it, we've not come across anybody who's tried that yet - we reckon it might actually be more effective though, going by the dismal success rate of the scattergun approach. Although you'll probably find yourself slapped with a large littering fine...
Anyway, when it comes to job-seeking in the TV industry, these same words of warning apply to your showreel. Sending out a generic effort to everyone just isn't a good idea, says digital film-making lecturer Dan Ashman. If you are creating a showreel for a job at a production company specialising in music videos, it should be different from what you'd send for, say, a community-led documentary. The golden rules of CV-writing apply here as well - research the company and you'll be able to tailor your work to their needs, he says.
Don't be instantly disheartened, though, if your efforts don't yield immediate results. Paul Siegert from the NUJ advises TV wannabes to be persistent, and to develop a thick skin. Paul, who's also a BBC news correspondent, says: "I had 49 rejection letters before I got my first job. I put them up all over my bedroom wall to try and inspire me. The reason TV is so tough and competitive is because it's such a great job once you do crack it."
So, there's some tips and encouragement on how to approach broadcasters. But what else do you need to know if you are determined to make your name in television? Whether you want to be a producer, screenwriter or you'd like to get your foot on the ladder as a runner, ask our experts for advice about TV jobs in a live Q&A on Thursday 22 March. Advance questions are welcome in the comments section below.
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Our panel:
Roddy Gibson is course leader and senior lecturer for television production at Middlesex University
He co-founded Emerald Productions, was director of Joose TV, and since 2005 he has been lecturing in TV production in addition to working as a freelance consultant.
Leon Minas is manager of creative media college SAE Institute Liverpool
He has 12 years experience as a dubbing mixer and sound designer. Credits include TV productions Footballers Wives, Trial and Retribution, Peak Practice, Jonathan Creek and Dr Jekyll and Mr Hyde. Film credits include Star Wars and Lord of the Rings.
Mat Appleton has been head of client services at post production house Envy
Mat set up and runs the Envy Academy, which aims to bridge the gap between education and the industry. Mat has lectured at universities and conferences internationally and frequently runs masterclasses for people looking to learn about the post production industry.
Ruth Pitt is an executive producer with Tiger Aspect Productions
Ruth covers most aspects of factual TV production, including content creation and multimedia campaigning. Ruth is a former executive director of Screen England.
Michael Rosenblum founded and owns a number of international media companies
These include a TV production company, a media consulting company and a number of training companies.
Caroline Meaby is director of the Media Guardian Edinburgh International Television Festival (MGEITF) talent schemes
The schemes are run to identify and reward emerging TV industry talent. Prior to joining MGEITF, Caroline ran the BBC Academy trainee scheme Step Up, and before that worked in TV production.
As Twofour's head of development, Matt Pritchard is responsible for developing and pitching the company's new slate of programme ideas to the broadcasters
Recent Twofour programmes include Harry's Arctic Heroes (BBC One), Educating Essex (Channel 4), Paddy's 2011 Show & Telly (ITV1), My Hoarder Mum and Me (BBC One) and New Look's Style the Nation (Channel 4).
Josh Cole is development producer at Big Talk Productions
Big Talk Productions is a film and television production company whose credits include Rev, Him & Her, Spaced and Shaun of the Dead. Josh specialises predominantly in comedy.
