very once in a while I’ll glance out of my office window out  on to Broadway just a few blocks north of Times Square, and take the time to appreciate it more than usual. Aside from a really great view of the Winter Garden Theater—home to the long-running musical based on Swedish pop legends ABBA, “Mamma Mia,” which I hear is ABBA-riffic—this moment gives me a feeling of accomplishment, even seven-plus years after moving to New York.

In fact, sometimes it’s hard to believe I’m here, working as a senior writer at VH1 in New York, a city that when I was at Saint Rose always seemed way too intimidating to me. It took me a while to get here—about eight years after I graduated—but I’m glad I did it. In fact, it’s probably the smartest thing I’ve ever done.

(By the way, to save you from doing the math, I graduated 15 years ago, so I am officially “old.”)

Of all the things I learned at Saint Rose, there’s one that I think about the most. It was some advice from Fred Antico:  Don’t be intimidated by celebrities, or someone with a major reputation. These are just people. They put their obscenely expensive Armani pants on one leg at a time, just like you and me. (OK, I added that last part myself for effect.)

That has stayed with me for a long time, and I think it’s partly why I’ve been able to hack it here so far. Not that this is a super high-powered TV environment. Things are actually pretty relaxed here. It’s not network. Not many people are making six-figure salaries. And I don’t really come into contact with celebrities and such that often. The point is, I’m not intimidated when I do. Unless it’s Carrot Top. He frightens me.

So here’s what I do every day. I basically serve as the head writer for all production coming out of VH1’s New York office, except the department that’s developing new shows. (I can get involved with them if I have a show idea, but I don’t oversee anything they do.) I oversee a staff of two to four other writers, just managing workloads for the more senior ones, but more closely supervising the newer people. I just have to make sure their writing is fitting in with the voice of the channel. And also that they don’t steal anything.

I also do a lot of scriptwriting myself. At any given time, I’ve probably got about three or four shows I’m doing. The job here is mostly focused on writing and fixing voiceover copy. You know, like when the narrator says, “But no one’s had more skanktastic moments in 2004 than . . Miss Lindsay Lohan.” Or something like that. We’re really dealing with the weighty issues of the day here.

My day is mostly spent working on scripts that producers have written, but need to be punched up, as well as production meetings and brainstorming sessions to come up with new shows. This is a pretty open environment for new ideas. I actually created a show in 2003 called “Supersecret TV Formulas.” It was your basic talking-heads-making-fun-of-TV show, but I have to say, I think it was pretty funny. Problem was it didn’t quite have the right feel for VH1. The ratings were good to start, but they fell off quickly, and we only did six episodes.

I’ve also played a role in establishing the tone of our “I Love the 80s” (and 70s, and 90s) series, and the tone of the channel overall. We’ve gone from being a channel that didn’t really do funny to a place where most things at least have a comedy tinge to them. Since comedy is what I really love—and will hopefully do exclusively at some point—I’m pretty happy about that.

After seven years here, I’m certainly not at the upper echelon of the business, but I’m making progress, and I’ve learned enough to offer you some advice. If you’re at all interested in television—and really, working in any communication medium—it’s a great idea to come to New York. You may already be very familiar with the city, maybe you’re even from here, but this advice is more for those who aren’t.

I remember when I was still living in Albany (where I grew up, by the way), I finagled a meeting with an executive at Comedy Central down here. He liked my writing, but he said no matter how good it was, when he’s looking for a writer, he looks in whatever city he’s in at the time (New York or LA). Physically being in a market like this makes all the difference.

If you’re a creative type, the environment here will fuel that creativity. If you’re more interested in the technical end, there’s no place that offers more opportunity (except perhaps LA). If you’re so inclined, learn how to use the AVID editing system, and get down here. Editors are always in demand, and they can make a ton of money. In fact, many producers here say “forget producing”—they become editors, a job in which they don’t have to deal with the day-to-day headaches of producing, and often make more money, while also having the freedom to take time off and work on their own projects, things that are creatively closer to their hearts. Also, people start out here at the bottom as production assistants, take an AVID class, and first begin working nights as junior editors, mostly just loading footage into the system. From there it’s very possible to start filling in on bona fide editing jobs and eventually to do it full-time.

As for TV writing specifically, there’s no doubt that being down here or in LA is essential. It’s necessary to do the networking that leads to someone giving you a chance. I take samples from people all the time, and their backgrounds totally run the gamut. Some have TV experience, some come from print, some work mostly in live comedy, some have agents, most don’t. Other writing jobs—say, working on “Late Night with Conan O’Brien,” for instance—may have a more specific track. But whatever segment of TV you want to get into, you need to be here, be making contacts with people, and be writing, even if it’s just on your own. If you want to contact me with specific questions about writing, my email’s at the bottom of this article.

You may say: Well, it’s easy to tell everyone “just come to New York.” I know it’s easier said than done. It’s expensive. Just finding an apartment is a big pain. But every day I see people just out of college, often from small towns or small cities, starting out on the lowest rung here, which is production assistant, rooming with two or three other people in an outer borough apartment, and making it work. Use any foothold you have—friends, relatives—to physically get here. It will suck a little at first, perhaps, but you can move up quickly. Specifically, the MTV Networks (which includes VH1) are a good place to start. They’ve always been a great place for young people to break in. 

Mike Goudreau '94