The Number Two in the Room Dashboard Dashboard

Upper-level writers discuss tips for thriving as a showrunner’s second-in-command.

(5/7/2021)

What does it mean to be designated “number two” by a showrunner? Whether it’s an official designation, or an unofficial role, one thing is for certain: it’s a lot of work!

Last month, the WGAW Member Organizing Department and Board member Deric Hughes (Legacies, Arrow) brought together a panel of upper-level writers to talk about their experiences in the role and how they have managed the incredible responsibilities. Moderated by writer Javier Grillo-Marxuach (Lost, The Dark Crystal: Age of Resistance), the panel featured writers Akela Cooper (Marvel's Luke Cage, Star Trek: Strange New Worlds), Patti Carr (The Good Doctor, Reign), Eric Haywood (Empire, Manifest), Benjamin Raab (Legacies, Arrow), Charles Murray (Sons of Anarchy, Marvel's Luke Cage), and Emilia Serrano (Mixed-ish, High School Musical: The Musical: The Series).

Connect listened in to hear their advice. While there were a multitude of things discussed, here are the bigger takeaways of what we heard:

1. Be flexible.
   As the number two, you want to make yourself as useful as possible. Since many showrunners will not sit down and specifically delegate, ask your showrunner what they want to focus on the most and how you can free up their time to focus on those priorities. Would they like help with rewrites, production, or editing? What responsibilities do they like the least? Is it going to set, running the room day-to-day, or doing the first pass of editing? Consider the range of responsibilities on your showrunner’s plate, fill in the gaps, and be where they can’t be.

   As one panelist said, in the words of Bruce Lee, be “formless, like water.”

2. ...but get clarity on your role and the showrunner’s expectations.
   Whatever level you’re staffing at, it’s critical to do your research. Ask your reps whether the showrunner has already explicitly stated what they're looking for. Do they want an official number two, or do they just delegate as the room gets underway? How does the showrunner run the room? Will they expect you to be available 24/7? Get a sense of what you're walking into before you even take the meeting with a showrunner, then once you do, drill down and get more into specifics.

   Depending on the culture of the room, consider asking the showrunner to announce your role as number two to the entire staff, to help avoid confusion and tension down the road. If you’re an upper-level writer, see if you are assumed to be the number two so you’re not blindsided with unexpected responsibilities once the room starts. One panelist suggests simply asking the showrunner, “Who is your number two?” to make sure it’s not you.

3. Remember, you’re not the number one.
   One of the main responsibilities of the number two is to run the room in the showrunner’s absence, and it’s critical that your showrunner returns to the story they wanted to hear. Make sure the room understands that it must go in that direction. The room can point out problems in the story, solutions, and develop alternates, but it must keep things going the way the showrunner wanted to hear it.

   If the room is really stuck, determine whether you can or should interrupt your showrunner. Explain the issues clearly and succinctly, then propose a fix, because the clock is ticking!

4. Don’t just manage the work, manage the emotions too.
   Part of your role as number two is to manage the emotions in the room—those of the showrunner above you and the mid- and lower-level writers below you. Read the body language in the room. If a writer is upset by a heavy rewrite or an idea that was cut, pull them aside for a chat and help them keep it in perspective by reminding them that it’s part of the business. Establish regular check-ins with the staff, where you can give one-on-one feedback, name what they do well, and underscore the value they bring to the room.

   Do your best to diffuse interpersonal issues before they escalate and be thoughtful about what you bring to your showrunner’s attention. Ask yourself if an issue is minor and can be resolved in the room, or is a possible HR concern. Consult the WGAW Community Standards, which establishes a framework for creating an inclusive and respectful work environment among writers.

5. Protect yourself from burnout.
   As many panelists said, it’s important to set boundaries to protect your own mental and physical health. Find people in the room you can delegate to and ask for help, whether you need a co-writer on an episode or a “number three” to run the room when you and the showrunner cannot be there.

   While you’re managing emotions in the room, you may need emotional support yourself. Build a close-knit group of peers outside of the show who you can go to for confidential advice or just to vent.