We recently connected with Sydney Smith and have shared our conversation below.
Sydney, appreciate you joining us today. We’d love to start by getting your thoughts on what you are seeing as some the biggest trends emerging in your industry.
I am a career changer – prior to working in the entertainment industry, I did marketing and communications for a nonprofit network, specializing in representation of marginalized groups. Our network was small but mighty, and we had to figure out how to finance a lot of our projects in advance.
When I switched careers to start anew in TV just before the pandemic, it seemed the world was the oyster of the content creator. Everyone wanted to hear new voices and new ideas. Then, between the pandemic and the strikes, it seems the industry has changed for good. Gone are the days of creators being recognized for creativity, and back are the days of creators being recognized for their monetization abilities. In other words, if it’s not IP, it’s not gonna sell.
During unprecedented shutdown after unprecedented shutdown, I realized that TV was returning to its former self – like it existed in the 1950s – with brands sponsoring the shows. We have returned to the time where we need to figure out how to finance/sponsor our own projects. Though it’s sad when you lament on the state of the industry, it is fortuitous for those who have backgrounds in financing their own projects, because that’s the way we need to be creative now.
In addition to writing and producing shows, I now work with an entertainment agency that’s focused on integrations and sponsorships for TV shows and live experiential events. I’m learning all about what appeals to advertisers as we move into this brave new world of sponsored content.
As always, we appreciate you sharing your insights and we’ve got a few more questions for you, but before we get to all of that can you take a minute to introduce yourself and give our readers some of your back background and context?
I am a bit of a jack of all trades in the entertainment industry. In addition to pitching my own projects, I work with creators to get their concepts pitch-ready, as well as write and design pitch materials.
I work with Brian Gartland Entertainment who represents beloved brands for licensing like Peanuts and Crayola, and provides opportunities for brands to integrate into TV shows across networks and streamers. I love creating custom opportunities for brands to do clever and classy integrations.
I also produce and write for game shows! I’ve worked on classics like “You Bet Your Life” with Jay Leno, “Pictionary” with Jerry O’Connell for FOX and I was the head writer for a music-themed reboot of the beloved “Ca$h Cab” franchise for AXS-TV.
On the scripted side of TV, I’ve worked in development (both with production companies and in writers rooms) on sitcoms and animated series. I love reading scripts and working with writers to develop their concepts.
I love meeting new people and learning about what they are creating to see how I can best help get it made.
Alright – let’s talk about marketing or sales – do you have any fun stories about a risk you’ve taken or something else exciting on the sales and marketing side?
This is going to make me sound old, but when I was working in nonprofit marketing, it was the heyday of Facebook. It was still used by young people, and had yet to be been taken over by aggressive aunties.
I had an idea for nonprofits to have a contest to decorate for the holidays in December. Each location across the region posted their pictures on Facebook, and the post with the most likes won the contest.
The Board of Directors at our network was furious and had no interest in using this new “Facebook” for business. I asked the Board to trust me and they begrudgingly agreed.
The contest instantly went viral and my phone was exploding night and day. Traditional media outlets covered the contest and the brand’s recognition skyrocketed – we got a thousand times the value of an ad campaign and it cost $0 to create.
I was asked to speak at several conferences after the success of the campaign and we were never able to recreate anything like it again. But it goes to show – the contest wasn’t just about being in the right time and place – it was about trying something NEW. No matter what we tried after that, it wasn’t new.
We’re in a state of flux right now, the whole world is, and we’re all eagerly awaiting the next big thing. My advice is to get in on the ground floor of whatever comes next. Don’t wait for success to prove itself by chasing what’s already in demand, go with your gut and make your own success. Then know when it’s time to move on to the next thing, because none of it lasts forever.
Is there something you think non-creatives will struggle to understand about your journey as a creative? Maybe you can provide some insight – you never know who might benefit from the enlightenment.
The hardest thing to explain to civilians, so to speak, is the lack of consistency in the industry. The thrills of the highs and the depression of the lows are not felt by people who people play it safe and stay in the middle. Nothing feels better than seeing your idea become a reality. But nothing feels worse than when the people who you look up to as mentors are struggling to get work alongside you.
Everything is changing at the speed of light right now. It’s not just the entertainment industry that’s contracting, all industries are, thanks to AI. It’s important to stay innovative, but don’t sell yourself short. AI doesn’t have better ideas than you – but it is an incredible tool to help humans thrive creatively. It’s all about taking the shape of water and flowing – adaptability is as important as creativity in this era of change we’re living in.
Contact Info:
- Instagram: @sydneysmithsk
- Facebook: https://www.facebook.com/sydneysmithsk
- Linkedin: https://www.linkedin.com/in/sydneymesmith/
Image Credits
Andrew Levy