Advice on Submitting Packets from Someone Who Has Read a Lot of Packets

So, you have the chance to submit a sketch packet! What a dream! The opportunity to be possibly considered (maybe) for a professional writing job (hopefully).

But what are people actually looking for when they read a packet? How can you be sure you’re turning in the best stuff? I obviously can’t answer for every show/platform, but in my time at CollegeHumor I read through hundreds of packets over several hiring periods when we were looking for new cast members. Here are some tips from the hiring side of the packet process.

Be currently, actively making things for public consumption

You need to do this to refine your personal voice anyway, but on a more practical level, you will likely never even hear about packet submissions unless you’re actively engaged with a local comedy scene. We want to see people who are driven to make things on their own, and you’ll need to do this to get connected to the three places you hear about packets: (1) agents & managers, (2) established comedy theaters, (3) friends with connections.

Put your strongest sketch first

Readers have a lot of packets to review. They’re trying to make decisions as quickly as possible and the first impression carries a lot of weight. If you start with a bad sketch, people might pay less attention to the rest of your packet, or not even finish it. On the other hand, reading a great sketch after slogging through a ton of mediocre ones elicits a feeling of deep gratitude in the reader. They now want to like you, and will be rooting for you for the rest of the packet. Let confirmation bias help you; start strong.

Make your pitches short

If the packet asks for pitches, make ‘em snappy. Short pitches prove you know why something is funny because you have to understand the core of the comedic idea to explain it succinctly. Short pitches are also faster to read and easier to understand, which will make the reader’s time easier, and make you seem smarter.

Make your pitches casual

The pitches are a place to let your personality come through, which is important because packets aren’t important by themselves — they’re a tool to help hire a person. If your pitches read like an instruction manual, you will seem dull. If your pitches read like a story from a funny friend, you’ll seem like someone the readers will want to hang out with… and hanging out together is a big part of the job.

But don’t make your pitches an afterthought

Pitches reveal as much about a writer as scripts do. Can you come up with a lot of ideas. Can you express yourself well? What do you think is funny? Pitches are scrutinized as closely as scripts, so give them appropriate attention, even if they are much shorter.

Have one sketch that feels true to our voice

It shows you’re already familiar with the place you want to write for, and presumably excited to write for a place you know so much about. We want to work with people who want to work with us.

But don’t get the voice wrong

Sometimes we’d get packets that felt artificially bro-y or just vaguely internet-y. These were things that might have been at home on the channel years ago, or on some other website. These felt like someone doing a bad impression, a cringey performance that someone feels inordinately proud of. Be sure you’re writing for the voice of today, or, even better, the likely voice of tomorrow. An

Have one sketch that’s true to your voice

Again, we’re hiring a person, not commissioning work. We’re looking for someone who will regularly contribute new and exciting ideas. Don’t hide who you are; we want to see it! It’s good to know you can write like us, but we also want to see you write like you.

Take risks

Put slightly rule-breaking jokes in your sketches. Include a weird pitch, or a non-traditional sketch. There are probably hundreds of people competing for one open position. A risk might backfire, but playing it safe will guarantee you’re forgotten. The only way to succeed is to take a risk that pays off.

Show You Care

Avoid spelling and grammar errors. Follow the directions for packet submission. These are small things, and one or two mistakes can be overlooked, but an abundance suggests apathy. If you don’t seem to care about us, we’ll be less inclined to care about you.

Treat an Interview as a Date

In most packet submissions, I’d say only about 10% were immediately rejected. Another 80% were varying degrees of “competent” — people who clearly have some experience, but just didn’t “wow.” Nothing specifically wrong, but also nothing noteworthy. The last 10% were exceptionally good. Any of these people would be a great addition. Unfortunately, 10% of a submission pool could mean as many as thirty people. We could reasonably plan to interview 5-10. And usually only one or two are getting the job in the end. This tells you two things: (1) being “good enough” is not good enough to get the job. (2) These final decisions were incredibly difficult. Lots of talented people didn’t get offers. How do we make this final decision?

The interview is a combination vibe check and personnel puzzle. How do you feel about us? How do we feel about you? What hidden strengths do you have that couldn’t be communicated with the packet? And most importantly, how will you fit into the existing group? It’s sort of like filling out the roster on [insert sport of your choice] team. We want someone who will bring their own strengths and new skills while still complementing the rest of the group.

If you don’t get the job, don’t despair

As mentioned above, there were never enough available positions for all the qualified candidates… but we did remember them. If a cast member left a new position would suddenly open up that would have to be filled quickly. New shows and projects would pop up. Other people might ask for recommendations. Interviewing for one job can sometimes be interviewing for an unknown future job at the same time

In Summary: Put yourself in the reader’s position

It’s easy to submit a packet thinking only of yourself, looking at the long odds and imagining a job offer like winning the lottery — an unlikely stroke of good luck. Remember that the people hiring are people too. Tired, overworked people who are currently understaffed. They are desperate to find a qualified, good human as quickly and easily as possible. They are opening every packet wishing for your success, hoping you will be the answer to their problems. So, be their salvation. Consider what creative direction the show/platform is headed and show that you’re going there too. Show that you know what you’re talking about, and you take care in your work. Prove you’re the kind of person they’ll want to see at a 5 AM shoot in the middle of winter. Do all that and even if you don’t get the job, they won’t forget you.