Which PA job actually suits you?

Buckle up! This week, we’re diving into the world of the Production Assistant position, and the countless types that exist today. Trust me, there’s so much more out there in the world, beyond the Set PA or Office PA role you commonly hear about.

When you’re searching for an entry-level position in the entertainment industry, you’re likely on the hunt for a PA job. And that typically translates to one of two jobs: Set PA or Office PA. That's the shorthand everyone uses, and it's why most new PAs think those are the only two doors in. That’s not true.

I took a Set PA job when I started out because it was the one I could obtain the quickest, not because I had a clue what the days actually looked like. Nobody told me that a production also needs Production Assistance in other departments such as Locations, Costumes, Post Production, Cast / Talent, Art Department, Stunts, Payroll and more. I stumbled on most of these years later, as my experience grew. I wish I had known about them on day one.

So that's what this week is. Highlighting the varying assistant positions that exist in our industry, most of which you might not even be aware of. You’ll learn about what these PA roles demand of you, what a typical day looks like, how to excel in the role and what type of personality best fits the gig.

Read them all anyway...you might be surprised which one grabs you. First job matters, so pick with your eyes open rather than just taking whatever came up first.

The Showrunner’s Assistant: A Front-Row Seat

Every time we post a showrunner's assistant job, the inbox lights up. Everyone wants it. Almost nobody knows what it actually involves, or how it differs from the two jobs sitting right next to it. So let's fix that.

What the job really is

The showrunner's assistant supports one person across the whole life of a show or series, from development through distribution. Scheduling, phones, email, travel, keeping grids and documents current, and generally making the showrunner's day work. SoCreate and Indeed both lay this out, and Brittany Horn, a showrunner's assistant on She-Hulk and Agatha All Along, walks through a real day in this From Fade In To Fade Out interview.

The part people get wrong

Showrunner's assistant is not writers' assistant. Screenwriter Amy Suto, who has done these jobs, spells out the difference: the writers' assistant sits in the writer’s room all day, essentially a stenographer in a creative space. The showrunner's assistant and the writers' PA usually don't. Whether you get room access depends on your boss and whether the show is network, cable, or streaming.

For context on the room job: there's typically one writers' assistant for six to twelve writers, and their notes get turned into a 15 to 20 page email circulated to the whole room, per Wikipedia's breakdown. Fast typing and clean written English aren't nice-to-haves there. They're the job.

Why it's worth fighting for anyway

You get the widest view of any starting role. Development to delivery. One former assistant, quoted by SoCreate as "Ria," learned craft just by watching writers break beats, move to outline, then workshop the script. That's why aspiring writers, producers, casting directors and future showrunners all chase the same desk.

The usual path runs writers' PA, then showrunner's assistant, then writers' assistant, then staff writer. Suto is honest that it's not rigid, and that going straight to writers' assistant with no experience is "possible... but fairly unlikely." Script Anatomy is worth reading on how uneven that ladder is.

On the money, honestly

Glassdoor lists an average of around $81,194 a year for an Assistant to Showrunner in Los Angeles. Ignore that. Their national page is built on two self-reported salaries, and individual reports swing from $39K–$45K to $74K–$86K. A real posted job is more useful: Allen Media Group in Culver City advertised an Executive Assistant to Showrunner/EP on daytime court shows at $28–$38.50 an hour, full-time. Of course, there isn’t a scale rate.. Every Showrunner’s asst gig pays differently, depending on the project type, the budget, the time-frame, etc.

Do this when you get the opportunity

In the interview, ask three things: will I be in the room, is this network, cable or streaming, and have your assistants moved up in the past? Negotiate for proximity, not a rate. Then read Yeon Jin Lee's survival guide before day one.

If you have questions about these opportunities or would like to discuss your career goals, please feel free to reach out at any time. We’re here to support you!

All the Best,

Liv
olivia@myfirstjobinfilm.com