Hi everyone! I recently completed a course on "Producing Audio-Video Content for Film Using Artificial Intelligence" from the Film and Television Institute of India (FTII), and as I explore opportunities in the industry, I'd love to get some insight from working professionals here.
With AI tools becoming more prevalent, I'm curious how writers' rooms are adapting. Are any of you incorporating AI into your workflow for tasks like outlining, punch-up, or research? More importantly, how are showrunners and producers viewing writers who use AI as part of their process? Is it seen as a valuable skill or a red flag?
Any advice for emerging writers trying to break into writers' rooms would be greatly appreciated. Thanks in advance!
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AI is a tool that, like the automobile, the steam engine, the airplane, TV (which didn't replace movies until they merged into streamers) amd a host of other gadgets in our homes we take for granted, will be an inevitable tool in writing. But it cannot replace people unless people want to be forcefed formulaic watered-down, unimaginative stories, which they usually succumb to, succeeding generations so used to it as the only thing that they don't even care.
I use AI to market my work because I don't have a clue, but AI hasn't gotten me a contract so it's clearly not shown itself to be better than me.
I never use it to write scripts even though ChatGPT like a whining boy keeps saying, "Would you like me to write a better version of that for you now?" and they answer always is no.
But--I've shared this before here in astage 32--one day, I overwrote or oversaveda later version with an earlier version cause I write on both my phone and computer I was so scatter by it that I refused to rewrite it. But one morning after the dust had settled on my self-hatred, I asked either it or--I think it was Copilot-- to resurrect it from the dead because I had heard that deleted files still exist in the ether zone somewhere.
Unfortunately, what I got back was a totally new script. AI ain't that good, at least for espionage work.
But I gave the rewrite a chance. Most of it wouldn't work anyway because Amanda and Samantha are not girlfriends. Amanda is Josh’s girlfriend, Samantha’s brother. But she and Samantha have moments because Amanda is supersexual and loves Samantha as a friend (they already "did it" once, at least that's what the loose blouses are meant to suggest when I wrote that.) But I did learn something that enhanced my script: If you go to a show, there's "slightline" where you see the singer from a balcony (I wouldn't suggest it at MSG unless you have a good pair of binoculars and perfect eyesight) and mosh pitthe floor, where you go crazy with all the other moshers. In my hands, the girls want sightline but since Josh’s is the one hacking up the tickets for his sister and his girlfriend, he insists on mosh pit . Fun story, eh? because he's hiding from the police.
Use AI but find where that line is, as we do with children and pets. Use it as the tool to enhance but never replace your work. and keep writing better scripts than the industry can churn out one after the other like an assembly line of fast food. there'll always be a market for art But just look around you at the art out there. Can you afford to live on the money your art will net?
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This is a minefield topic right now, so I'll be direct: mentioning AI skills in writers' room contexts is currently more likely to hurt than help you.
The WGA strike partially centered on AI protections, and most working writers view AI tools with deep suspicion or outright hostility. Showrunners hiring for rooms want writers who bring human creativity, unique voice, and collaborative energy. Not efficiency through automation. Much like how Michelin chefs don't use microwaves. Sure it's faster and gives a modicum of heat, but there's no craftsmanship, care, or soul. There's nothing that makes it special or standout.
Where AI might be acceptable:
- Personal pre-writing research or organization (privately, not discussed)
- Production-side tasks (VFX, editing workflows) where you mentioned your course focuses
- Post-production audio/video work. For DIY filmmakers, there are thankfully some AI tools that can clean up audio somewhat
Where it's a red flag:
- Outlining, dialogue, character development, or any creative writing tasks
- Anything that suggests replacing human writers' contributions
- Positioning yourself as "the AI guy" in creative contexts
Honest advice for breaking into rooms:
Focus entirely on demonstrating exceptional spec writing, understanding of story structure, ability to collaborate, and knowledge of how rooms function. Your FTII course might be valuable for production roles, but lead with traditional writing skills when pursuing writers' room positions.
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Well said.
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What Pat Alexander said is spot on! If you want to be in a writers room, you must demonstrate your ability with a body of work! That will help open doors. Having no scripts will not open the door.
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Thank you so much to everyone for sharing your valuable insights and opinions! Your perspectives and advice are incredibly helpful and much appreciated. It's wonderful to learn from all of you!