From COM to Career: Q&A With Nesa Huda, MFA Screenwriting

COM: What are some of the shows you’ve worked on?

Nesa Huda: My first show as script coordinator was The Company You Keep on ABC, which starred Milo Ventimiglia. More recently, I worked on Deli Boys, a show about two Pakistani brothers discovering their deceased father was a drug lord, which is a comedy with an all-brown cast portrayed authentically—not as the typical model minority. As a Pakistani myself, it’s really cool to see that representation onscreen.

COM: What does a script coordinator do?

Nesa Huda: A script coordinator is kind of the last person in between the writers and the distribution of the script. Writers may submit outlines, story areas—rough two- or three-pagers—or actual scripts. The coordinator goes line by line to make sure everything is grammatically correct, characters are doing what they’re supposed to, and story logic makes sense. For example, you have to check slug lines: is the scene interior or exterior, or is it shot in the day or night? That impacts how the crew shoots it. So you have to communicate properly with the crew, cast, producers, and everyone involved.

It might sound chill, but one small typo or mistake (like marking a scene wrong as interior when it’s exterior) can throw off the entire crew, so it’s very detail-oriented but rewarding. You get to work directly with writers, become the series encyclopedia, and help keep everything on track.

COM: How did you get your start in the industry after graduating?

Nesa Huda: I started with an internship at Atomic Monster, a company known for horror content like The Conjuring series. There I did script coverage—reading scripts and providing feedback, which applied directly what I learned in the program. Then a friend connected me with the reboot of the Canadian show Degrassi on HBO Max. That led to my first position as a writer’s PA (production assistant), where I did a variety of tasks — running errands, managing the lunchroom, handling expense reports, basically making sure writers were ready to create. From there, I did about a month as a writer’s PA on The Company You Keep before getting promoted to script coordinator.

COM: What drew you to the COM program at Boston University?

Nesa Huda: I’m from outside Toronto and had freelanced in production, moving toward production coordinator roles. But I felt I wasn’t scratching my creative itch, so I talked to a friend who had success in screenwriting and recommended applying for grants and coming to LA for a master’s degree to help structure my writing. I was looking at programs focused on screenwriting specifically, and Boston University stood out not only for its program but also because they offered me a better scholarship than other schools. Boston was also a city I’d always been intrigued by, and they had the BU in LA program which was exactly what I needed for the path I wanted.

COM: What was memorable about your time at COM?

Nesa Huda: Our cohort was just 10 people, which was really important. We got to know each other intimately through our writing — more than personal conversations, it was like seeing each other through our writing styles and supporting each other with honest feedback. Even now, years later, I still talk with classmates about scripts we worked on together.

COM: What specific skills did you gain from the program that helped you professionally?

Nesa Huda: The biggest skill was learning to think critically about writing. Sometimes, it’s a bit of a curse — like when I watch movies socially and find myself nitpicking the script! But it helps me give clear, concise feedback about characters, structure, and story. Senior writers and colleagues often still ask me to read their personal scripts for opinion, which shows the trust I’ve built. I definitely wouldn’t have that critical eye without COM.

COM: Was there a professor or instructor at COM who made a big impact on you?

Nesa Huda: Yes, definitely Scott Thompson. He believed in us more than anyone else, and that was really important. Even though I doubted myself at times, Scott would go through our scripts with handwritten notes and make us feel confident in our work. His passion was contagious — sometimes, I think he cared even more about our stories than we did. I wish we had more time with him.

COM: Did you have a moment when you thought, “This is the right place for me”?

Nesa Huda: Boston felt like a home away from home. I’m from near Toronto, so the culture and climate were similar. I didn’t feel like a fish out of water. I loved exploring New England, Boston’s culture, and places like the North End. It was less of a culture shock than LA was — my first year in LA was really tough, but Boston felt comfortable and inspiring.

The academic atmosphere, surrounded by people devoted to their education, made me feel motivated to do better as well.

COM: What’s one piece of career advice you’d give to someone considering studying screenwriting at Boston University or entering the field?

Nesa Huda: Be regimented with your writing. Set aside specific times weekly or every few days to write. It doesn’t have to be a big project — sometimes free writing or expressing thoughts is enough. Writing regularly creates a safe space for creativity and keeps it joyful. If you only approach writing as work or a way to make money, it can get stressful and cause blocks. Keeping the process fun and enjoyable is when your best work comes out.