Kelly Jo Brick: Takeaways from the Austin Film Festival & Screenwriting Conference

TVWriter.Com’s  Kelly Jo Brick was a panelist at the Austin Film Festival this year and returns to this very site bringing some of the insights she gathered while attending the event.

In the words of Larry Brody, “Welcome back, Kelly Jo! Boy, do we ever hope you’re going to stay.”


AFF Executive Director Barbara Morgan with screenwriters Shane Black (LETHAL WEAPON) and Scott Rosenberg (VENOM). Photo by: Arnold Wells

by Kelly Jo Brick

Every year the Austin Film Festival and Screenwriting Conference puts together a jam-packed event, filled with films, panels and parties as writers gather to celebrate a shared love for story.

From television to film, playwriting to podcasting and scripted digital to young filmmakers programs, the festival offers an atmosphere rich in education, information and inspiration like these:

DEVELOPING YOUR CRAFT

  • Writing is understanding how you process the world and learning to work within that. – ED SOLOMON, BILL & TED’S EXCELLENT ADVENTURE
  • We can only judge our work with the skills we have. It takes people pushing you and telling you the hard truth for you to grow.
  • Put forward the thing you love the most with the spec you’re writing. – LAURA EASON, THE LOUDEST VOICE
  • Get hold of scripts that you like. Read, learn, be inspired.
  • Find a writers group. Help each other out. Rise up together.

CHARACTER FORMATION

  • Look to trauma and personal connection as a driving force when you build characters.
  • Identify your characters’ fears, what shuts them down emotionally. – JAMES V. HART, HOOK, BRAM STOKER’S DRACULA
  • Fear can point to your nemesis. Put that power into that character.
  • Go as deep as you can with backstory. It doesn’t need to be on the page, but you need to know it to better inform your writing.
  • If you don’t believe your characters are real, no one else will. – BEN CORY JONES, BOOMERANG, INSECURE
  • The name is super important. It’s your first introduction to a character. – ERIKA L. JOHNSON, THE VILLAGE, QUEEN SUGAR
  • When writing real life people, there’s an added pressure to get the story right, but at some point you do need to treat them as characters. You can’t be so reverent that you lose the storytelling. – CARLY WRAY, WESTWORLD, MAD MEN

ON WRITING DIALOGUE

  • Dialogue can be used to both reveal and conceal.
  • What you don’t say is just as important as what is said.
  • Some of the best things can come from a small exchange. – TESS MORRIS, MAN UP, CASUAL
  • Read your dialogue out loud to make sure it works.
  • All your characters in a scene want something slightly different, use dialogue to express the thoughts behind their thoughts.
  • Feeling stuck? Listen to the speech patterns of others. Observe their rhythms and expressions.
  • Give yourself the freedom to be dialogue heavy in your first draft and streamline it in later drafts. – TESS MORRIS

YOUR FIRST DRAFT

  • First drafts, they all suck. – MEG LeFAUVE, INSIDE OUT, CAPTAIN MARVEL
  • There’s no excuse to not start writing, it doesn’t have to be good from the beginning. Just sit down and write.
  • If you struggle to get started, find the thing you love the most, like dialogue or action, and begin there.
  • Look at problems in your script as disease versus symptoms. You’ll tend to see symptoms in acts two and three, but the real problem is often in act one.
  • You’ve got to finish. Then you can rewrite, but it can’t happen if you don’t first finish.
  • I’m still terrified every single time before I start a script. You fight your way through it. – SCOTT ROSENBERG, VENOM, CON AIR

STRUCTURING A SERIES

  • People tune in for characters and relationships. There needs to be road built to drive that, challenges that put characters through an emotional journey.
  • How many episodes will be in each season? This sets a guide for shaping the overall season.
  • What is the question that’s central to your season?
  • Who is your big bad for the season?
  • Try not to box yourself in as you start to brainstorm and break episodes. Let the beats grow and evolve.

THE BUSINESS OF WRITING

  • If you find yourself viewed as one type of writer, you can write yourself out of that impression by stepping out of that wheelhouse with a new spec script in a new genre.
  • If you write in partnership with someone, never get off a point without you both being happy. – RON BASS, RAIN MAN
  • Writers don’t really have power, you have to persuade.

GROWING YOUR WRITING CAREER

  • The role of failure isn’t discussed enough. There are erasers on pencils for a reason. – NICOLE PERLMAN, GUARDIANS OF THE GALAXY, CAPTAIN MARVEL
  • Don’t use judgment as a hammer to knock yourself down. – MEG LeFAUVE
  • Try to find ways to make writing fun. – ROCHÉE JEFFREY, BEVERLY HILLS 90210, SMILF
  • Don’t feel guilty for protecting your writing time. Whether it’s putting a snooze on your email, having to pass on an event or coffee with a friend, you’ve got to prioritize your writing.
  • If you’re having a hard time sitting down and getting things done, find an accountability buddy, someone with whom you communicate regularly to keep you on task and on schedule.
  • The genius is in the mistake, the failure. That’s where the great ideas are from. You’re digging and excavating. You are on the hero’s journey as you write.

    Kelly Jo Brick is a TVWriter™ Contributing Editor. She’s a television and documentary writer and producer, as well as a winner of Scriptapalooza TV and a Sundance Fellow. Read more about her HERE.

 

 

 

 

 

 

 

 

 

 

 

 

 

Kelly Jo Brick: Highlights from the Austin Film Festival & Screenwriting Conference

Austin Film Festival’s Matt Dy with writers Daniel Petrie, Jr., our own Kelly Jo Brick & Jimmy Mosqueda. Photo by Arnold Wells.

by Kelly Jo Brick

With days packed with panels, workshops and roundtables and evenings jammed with films and parties, the Austin Film Festival and Screenwriting Conference brings professional and aspiring writers and filmmakers together in a celebration of the art, craft, and business of writing.

In this, the event’s 24th year, attendees found a slate of educational, informative and inspirational panels on screenwriting, television writing, playwriting, and podcasting. TVWriter.com’s own contributing editor, Kelly Jo Brick, was in Austin as a panelist this year and she brings us highlights from the festival.

STARTING OUT

  • You have to be bad before you can be good and you’ll never get in the game if you haven’t written anything.
  • If you want this to be your job, you have to treat it like a real job. Give it your good hours, not your tired hours. — Dana Fox (COUPLES RETREAT, creator/showrunner BEN AND KATE)
  • Distinguish between what you love and what you are good at. Don’t just listen to your interests, but also to what comes out when you write. — Michael Green (co-creator/executive producer AMERICAN GODS, writer BLADE RUNNER 2049)
  • Don’t be discouraged if you’re coming to writing later in your career. People who come with experience from outside the entertainment industry have soared, because they often have great discipline, as they’re happy to not be in their old profession.
  • Have a community around you who supports you. Find your crew, including your fellow writers, family and friends.
  • You don’t have to wait for someone else to empower you as creators. You can make your own projects. — Gale Anne Hurd (executive producer, THE WALKING DEAD, co-writer/producer, THE TERMINATOR)
  • Remember to take time to have a life.

WRITING THE SCRIPT THAT GETS YOU NOTICED

  • Write about something specific that you are passionate about, an interesting world, a story never told, a hobby you know a ton about. — Megan Amram (writer/producer, THE GOOD PLACE, SILICON VALLEY)
  • People are getting hired off of short stories and plays, as well as TV and feature samples.
  • Character is key. Writers who can bring unique, diverse characters to life on the page stand out.
  • Many readers judge your script on the first ten pages alone. Make those first ten to fifteen pages as solid and interesting as you can. — Raamla Mohamed (writer/supervising producer, SCANDAL)
  • If you try to write something for the marketplace, it won’t sell. You succeed when you write something that personally connects with you. — Eric Heisserer (ARRIVAL, THE THING, FINAL DESTINATION 5)

COMMON CHALLENGES

  • Procrastination is a problem for many. Find an accountability partner, someone with whom you can check in regularly to keep you on schedule.
  • Set tiny, achievable goals and deadlines. If you feel overburdened, think only of the next thing you have to get done. Accomplish that then move on down your to do list.
  • Just finish your first draft. Nobody will see the script until you are ready to share it so don’t hold back. Write quickly. The fun comes when you can go back and build on that foundation you’ve set.
  • Recognize where your own internal resistance comes from. Don’t fight who you are naturally. Find a way that works for who you are. If that means writing early in the morning, late at night, in a coffee shop, at your dining room table, go with it. That’s how you’ll do your best work.
  • Imposter syndrome, don’t let it get in your head. You are in that meeting or in that room or working on that project because you are you. You deserve it. You earned it. Keep reaching for what’s next and be focused on where you want to be.
  • Get rid of the negative voices around you. That includes silencing your own inner critic.

WRITER/AGENT RELATIONSHIP

  • When first meeting with prospective representatives, listen closely to their thoughts and approaches toward your career. Do they talk exclusively about working on just one project? Are they talking more about their business goals and successes than you and your writing? Are they forward-looking, concentrating on your career?
  • You want someone who has a vision for you and your career and is dedicated to putting a plan together on how to get there.
  • As a writer, your job is to write. Focus, be creative and productive. Be the artist first and let your reps concentrate on the business side.
  • Always talk with your representation before writing a project. It’s not bugging them. They want to be involved from the idea stage. Agents and managers have a better beat on what has legs and what doesn’t.
  • A perfect client is someone who appreciates the craft, takes it seriously and understands the business. You are the CEO of your own company. Always be writing. — David Boxerbaum (literary agent, Verve Talent and Literary Agency)
  • The more people you have on your team, the more contacts and connections you have behind you, the further you can get. — Alisha Brophy (LICENSE TO DRIVE, WHITE GIRL PROBLEMS, SWIPED)

STAFFING

  • Be able to talk about who you are and your own story. What shows do you watch? Why did you get into TV?
  • Be yourself. Be likable. — Bradley Paul (LODGE 49, BETTER CALL SAUL)
  • If you get a staffing meeting, that means the showrunner likes your script. He or she meets with you to find out if the like you and want to hang out with you day after day.
  • For a good meeting, follow the flow of the conversation. It’s okay to veer off target and talk about other things if that’s where the meeting leads. That’s how you bond and develop the relationship. — LaToya Morgan (INTO THE BADLANDS, TURN: WASHINGTON’S SPIES)

PODCASTING

  • In a podcast, your primary job is to design a story that will serve the sound and vice versa.
  • Podcasts are very intimately consumed. It lets you tell a story as a fly on the wall.
  • Many make the mistake by thinking if they can’t make their film, they’ll just make it into a podcast. To be successful, you really need to lean in and take the medium seriously.
  • Actors do a lot of heavy lifting with their voices. Podcast scripts often contain more parenthetical instructions for actors as there’s a greater reliance on tone and inflection to convey the story.
  • Keep things simple. In an audio medium, less can be much more. More can confuse your listeners.
  • Bringing aboard name talent can draw advertisers. It can also bring its own set of complications, which can be challenging for first-time podcasters.

Kelly Jo Brick is a TVWriter™ Contributing Editor. She’s a television and documentary writer and producer, as well as a winner of Scriptapalooza TV and a Sundance Fellow. Read more about her HERE.

HIGHLIGHTS OF THE AUSTIN FILM FESTIVAL & SCREENWRITING CONFERENCE

2016 Awardees panel with Paul Feig, Nancy Meyers, Marta Kauffman during the Austin Film Festival. (Photo by Jack Plunkett)
2016 Awardees panel with Paul Feig, Nancy Meyers, Marta Kauffman during the Austin Film Festival. (Photo by Jack Plunkett)

by Kelly Jo Brick

The Annual Austin Film Festival and Screenwriting Conference gathers professional and aspiring writers together in the celebration of the contribution writers make to film and television.

Attendees had the opportunity to see a jam packed slate of films as well as choose from a variety of panels on the craft, art and business of writing for television and film. TVWriter.com’s own Contributing Editor Kelly Jo Brick, was in Austin as a panelist this year and she brings some top takeaways from the event.

BREAKING IN 

  • Breaking in through the assistant ranks is a great way to show your personality to the people who are making staffing decisions. Getting a writing job is 50% personality, 50% writing. – Raamla Mohamed, SCANDAL, STILL STAR-CROSSED
  • Whatever entry-level job you’re doing, show up with a smile every day. – Jono Matt, DOCTOR DOLITTLE
  • Age isn’t a big deal as long as you don’t make a big deal about it yourself. – VJ Boyd, JUSTIFIED, THE PLAYER
  • For features, the toe in the door assistant route doesn’t work as well. There’s not a natural path in film. It becomes a question of do you find a job in the industry. This avenue helps with meeting people and morale, but it’s often hard to find time to write. The other choice is to take a non-brain taxing job. You’ll have time to write, but it’s hard on your morale. Whatever you decide, the most important thing is that your work is good. – Michael H. Weber, THE FAULT IN OUR STARS, 500 DAYS OF SUMMER
  • Embrace failure. It’s all part of the process. A great baseball batter fails two-thirds of the time. – Kent Alterman, President, Comedy Central
  • You just have to write. Don’t obsess over details, just keep writing. Get out, network, get to as many people as possible. – Mark Johnson, Executive Producer BETTER CALL SAUL, BREAKING BAD
  • Try to make something. Doing that can help you break through. – Pamela Ribon, MOANA, SMURFS: THE LOST VILLAGE
  • Leap frog forward with your peer group. Find yourself a writers’ group. Find a like-minded group so you’re not alone. Shane Black, LETHAL WEAPON, IRON MAN 3
  • If you’re aiming for features, look for a reading job or get a job that gives you regular hours so that you can leave work at work and have more time to work on your own writing. – Christina Hodson, SHUT IN, UNFORGETTABLE

CHOOSING WHAT TO WRITE 

  • Think about what’s not on. Where is there a void, then write an original with a clear vision that is clever, emotional and relatable. We look for specific shows with specific visions. – Jennifer Salke, President, NBC Entertainment
  • Your first script will be your calling card. Just write what you want, don’t restrict yourself to a budget, get a script that people want to read. – Shane Black
  • Find a story that says something to you and write it in a specific life-filled way. You should absolutely write what you want to write. You can only go where your heart goes. – Michelle Ashford, Creator/Executive Producer, MASTERS OF SEX
  • Your point of view is the most important thing you have. Don’t tell people what you think they want to hear. – Kent Alterman
  • Write that weird idea you have that’s unique to you. – Amy Talkington, THE ICE QUEENS

PITCHING

  • When pitching, start from a relatable human character dynamic, that is what will pull people in. Who is in this world? Why do I care? – Jennifer Salke
  • Love and know your pitch. Find a personal attachment to it and set the visual and world right away.
  • Pitch the show as if you’re describing your favorite show to a friend. – VJ Boyd
  • Be ready with an answer if they ask what else you’re working on. Have a few ideas in your pocket.
  • Go in with confidence. Pretend you already have the yes. Know your story throughout and have a clear vision for it.

WRITING GREAT BAD GUYS

  • When creating a strong villain, be thinking of what specifically does he or she want and why do they want it now.
  • Stress your bad guys out as much as your leads. Give them their own ticking clock.
  • Characters reveal themselves through the lies they tell and expose themselves through the things they keep secret.
  • Use your own fears as inspiration.
  • Villains should be delicious and fun to write. They are the heroes of their own stories.
  • Art should make you look at monsters and see the evil inside. – Tom Szentgyorgyi, Executive Producer, BATES MOTEL

GETTING NOTES

  • Be wary of any writer who accepts all the notes. – Mark Johnson
  • Be easy to work with during the notes process. Even a bad note can hit on an issue. Be ready to educate/inform others on the notes you didn’t take. – Christina Hodson
  • Bathe in the notes. Let them wash over you. Take them. Listen. Deal with most and pick your battles over the choices you made and why. – Amy Talkington
  • Look at notes as an opportunity to make your projects better. – Pamela Robin

WHAT DECISION MAKERS LOOK FOR WHEN HIRING WRITERS

  • A clear and interesting voice, hearing a particular kind of voice and way with language and understanding of characters, that stands out. – Michelle Ashford
  • A room filled with unique voices. People with facile brains who write well. – Stephen Falk, Creator/Executive Producer YOU’RE THE WORST
  • Complementary personalities and skills, making a good balance in the room. – Kent Alterman
  • Imagination and the ability to translate it. Sheer uncontained talent over process and discipline, that can be learned. – Mark Johnson

    Kelly Jo Brick is a TVWriter™ Contributing Editor. She’s a television and documentary writer and producer, as well as a winner of Scriptapalooza TV and a Sundance Fellow. Read more about her HERE

Kelly Jo Brick: The Write Path with VJ Boyd

A series of interviews with hard-working writers –
by another hard-working writer!

by Kelly Jo Brick

Photo courtesy of the Austin Film Festival
Photo courtesy of the Austin Film Festival

Aspiring writers often wonder how the pros got where they are. The truth is, everyone’s story is different, but there are some common elements: dedication, persistence and hard work.

VJ Boyd came up through the assistant ranks before breaking in as staff writer on JUSTIFIED. He’s gone on to write for THE PLAYER and is producing his pilot THE JURY for ABC. He, along with writer Mark Bianculli and producer Carol Mendelsohn, recently sold the drama DOOMSDAY to ABC.

WHEN DID YOU FIRST KNOW YOU WANTED TO BE A WRITER?

I started writing when I was eleven. I wrote a story that I thought was going to be a novel, but it ended up being 21 pages, which was a lot for me. It was basically just a rip-off of CHRONICLES OF NARNIA, but I thought from then on that I wanted to be some kind of writer and so I wrote a screenplay when I was 16. I started reading all the books at the library about how to write fiction, short fiction, how to write screenplays and kind of advanced from there.

EARLY ON, WERE THERE ANY TV SHOWS OR MOVIES THAT GOT YOU EXCITED ABOUT WRITING?

I can’t really remember what movies made me want to write movies when I was 16. I know there were a lot of movies I hadn’t seen, so I would read the screenplays, like I read the screenplay for THE USUAL SUSPECTS, PULP FICTION, RESERVOIR DOGS and also SHAWSHANK.

When I was much younger, STAR WARS was a huge thing for me. I knew I wanted to do something with movies and so for a long time I was like, “I’m going to do special effects.” Then what I realized was I just wanted to tell stories. In grad school, when I started leaning toward writing for movies and TV more heavily, THE SHIELD was a big inspiration. That’s probably the show that made me want to write for TV. Watching the behind the scenes stuff on their DVDs on how they broke story, I was like, “Oh, I can do that. I can write these kind of stories.”

WHAT ADVICE DID YOU GET ALONG THE WAY THAT REALLY HELPED YOU AS YOU WERE STARTING OUT?

Someone said, “If you can think of anything else you can do that you’d be happy doing other than writing, then you should go do that, because it’s so difficult to succeed at and there’s no guarantee you will succeed, even if you’re good and even if you do all the right things.” You may be a great writer and a great person, but you just don’t get the opportunity, so you have to really love it. I made the decision to move out to L.A. and do it and to stick with it because I couldn’t think of anything else that I’d be happy doing.

Also always be writing. If you’re a writer, you should be writing. If you haven’t written anything this year, maybe you’re not a writer or maybe you need to try to write something and see if you really love it as much as you thought you did.

When I was assistant for Graham Yost, season one of JUSTIFIED and then also on FALLING SKIES season one, when Graham had a script he needed to write, he went in his office and he wrote it and then he came out and it was done. It was a job. It’s important to remember to treat it like a job. It’s not always going to be perfect. You can’t sit around waiting for inspiration. You gotta set a timeframe and get it done.

WHAT WAS YOUR FIRST INDUSTRY JOB?

I was a writers’ P.A. on the show THE BEAST, the Patrick Swayze show. I got that about a month after moving to L.A., which is a pretty quick timeframe. I was very lucky. This doesn’t work for everybody; in fact I don’t know anybody else who it’s worked for. For me, I cold called production companies when I saw that shows were getting picked up to series and I asked, “Hey, I’m looking for an assistant job, can I send my resume?” I ended up being able to send my resume to THE BEAST and they interviewed me and hired me.

WHAT WAS YOUR FIRST OPPORTUNITY TO WRITE FOR A SHOW?

I was an assistant season one of JUSTIFIED. Then season two, one of the staff writers left to go work on another show and so I asked my boss if he’d read my stuff. I really wasn’t thinking he’d actually staff me, but I thought maybe I’d get a freelance, which is much more realistic. He did read a couple of my scripts. He liked one of them and he actually hired me as a staff writer. It was a huge opportunity. It was very good timing and again I was lucky, but I was also prepared for the opportunity.

WHAT’S THE MOST COMMON QUESTION YOU GET FROM ASPIRING WRITERS?

I get a lot of questions about how important is it to have a manager. Getting a manager isn’t that important. I’ve never gotten jobs through my representation really. They’ve set up meetings for me, but I got my first job through coming up as an assistant. Networking and making contacts on your own is more important than desperately trying to get a manager.

WHAT OTHER ADVICE DO YOU HAVE FOR UP-AND-COMING WRITERS?

Keep writing. Write something new all the time. I would also say don’t be afraid of networking. There are a lot of people, especially if they’re not from New York or L.A., who see networking as this transactional thing, as being a fake friend. I’m pretending to be your friend so I can get something from you, but you know what it is, it’s mutually beneficial for both of you. Like you both are trying to do the same thing. We’re both trying to be TV writers. We’re both trying to get assistant jobs, whatever it is. We’re not pretending to be best friends, but we’re like, hey, we’ll keep in touch, maybe we’ll get drinks and keep up with each other’s career every month or so. If I’ve got a job and I hear about one, I’ll tell you and vice versa.

It’s not being fake. Networking is a thing and it’s okay. You kinda have to get over the fact that Hollywood is all about relationships and networking is a thing. Don’t take it personally when people want to give you their card for networking and you’re like, oh, I thought we were friends. You can still be friends, but everyone is trying to do the same thing and trying to get that advantage and if you have a problem with that you might want to write novels.


Kelly Jo Brick is a TVWriter™ Contributing Editor. She’s a television and documentary writer and producer, as well as a winner of Scriptapalooza TV and a Sundance Fellow. Read more about her HERE.

Kelly Jo Brick: The Write Path with Michael Peterson

A series of interviews with hard-working writers – by another hard-working writer!

by Kelly Jo Brick

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Aspiring writers often wonder how the pros got where they are. The truth is, everyone’s story is different, but there are some common elements: dedication, persistence and hard work.

Michael Peterson moved to L.A. with the goal of being involved in film, initially leaning toward directing. Once in California, he began writing features with his brother. Although several projects sold, none were ever made. At his wife’s suggestion, he transitioned to television and found the collaboration and camaraderie of the writers’ room more suited for him. Michael’s first TV show was BONES where through the years he has risen from staff writer to showrunner.

WHAT ARE THE MOST COMMON QUESTIONS YOU’RE ASKED BY ASPIRING WRITERS?

How do I do it? How do I break in? What will lead to that break? What will get me an agent, a manager? I’m a big believer in the Malcolm Gladwell 10,000 hour theory. You need to have many ideas. Don’t be precious with your ideas. I’ve met people who’ve written just one script over the course of five years. You can’t do that. You’re holding it too dear. Just write all the time. Don’t find an excuse to not write.

WERE THERE ANY TV SHOWS OR MOVIES THAT INSPIRED YOU AS A WRITER?

I was a child of Spielberg. That was a huge influence to me. Also my dad was always good at finding interesting things that most people didn’t watch and introducing me to stuff.

In college I changed my schedule around because I found out the library had these places where you could just sit down, put on earphones and watch a movie. So I would schedule my classes and have two to three hour breaks in between each class so that I could watch a movie in between classes. I worked my way through every list I could find. The top 100 movies of all time. Every single one. I wanted to know everything. That’s been great. Not everybody has a real encyclopedic knowledge of their own medium, so it’s useful. I would recommend to everybody. Just see everything you possibly can. It helps.

WHAT WAS THE BEST ADVICE YOU RECEIVED WHEN YOU WERE STARTING OUT?

The first time in the writers’ room I was basically told that you have two times to pitch it and you gotta shut up the third time. Two strikes and you’re out. The person running the room at the time told me very bluntly, she said, “Michael, shut the #%@! up.” It was the best advice I was ever given. Because there are times where you just have to give up or come at it from a different angle. You can’t just beat people down into submission.

WHAT WAS YOUR FIRST JOB IN THE INDUSTRY?

I didn’t know anybody. At the time my brother was living in San Francisco doing video games and he knew one person. This guy had been a producer on one of the STAR WARS films. I went up and met with this guy and asked if he had any advice for me. He said, “Offer your services for free. Someone will hire you and then once you prove yourself, you’ll start to get paid.”

So I came down to L.A. and basically went around offering my services. I met at this company, Valdoro Entertainment which is Steven de Souza’s company, he wrote 48 HOURS, DIE HARD, DIE HARD 2. He was pretty much the hottest writer in town.

It was very funny, I was waiting for the interview and the woman in charge of the office had to get up and take care of another candidate. The phone started ringing. I had seen her answering the phone, “Valdoro Entertainment.” So I just picked up the phone myself, I’m like, “Valdoro Entertainment,” and it was Steven on the line. We talked for a minute and I took down the message. The office manager came back and I go, “By the way Steven called, here’s the message.” She got a kick out of that and the next thing you know, I was hired.

That was my first real foray. I felt great. I wasn’t getting paid, but I’d been in L.A. for four days and I got a job working for a big writer and learned a ton. I was there for like 2 ½ years.

TELL US ABOUT YOUR TRANSITION FROM FEATURES TO TV.

The transition was inspired by my wife who just said, “Let’s go get a steady job, that seems like a nice way to go.”

I was actually feverish and sitting there watching MONK one day and I was mad. I go, “This is an idea I would have come up with, the obsessive-compulsive detective. It’s as obvious as the criminal who solves crimes because he knows everything.” Then I’m like, all right and I started typing at that moment. So that’s what I wrote. It was basically WHITE COLLAR before WHITE COLLAR came out. WHITE COLLAR actually sold two weeks after mine. We had different takes, but it sold, so it was great. That was my big break.

It was the best month of my life. I got married. I was in Bora Bora and my agent sent me an email saying you have a meeting the day you come back. I flew back and went to 20th that afternoon then went to the movies, by the time we came out, it had sold, but it never got made.

20th wanted me to write one more thing for them so they introduced me to a bunch of different showrunners including Hart Hanson. We hit it off, but it was just really for him to mentor me. We were working back and forth and he was like, I’d offer you a job if I could, but I can’t. It’s the middle of the season. It’s impossible.

I was ready to quit. I was done with the business. I was really at the point where I had enough sales that it felt decent. I wanted a family. I wanted a house, a mortgage. I wanted to feel like an adult. I was really just done and my wife told me to stick it out a little bit longer. We stuck it out a little bit longer and I got the call from Hart saying, “You start Monday.” I don’t know how they found budget or whatever else. They brought me in and just threw me in immediately. I’m the weird example of I started as a staff writer and now I’m the showrunner.

ANY OTHER ADVICE FOR WRITERS LOOKING TO BREAK IN?

My big thing is find a good editor. Someone you can trust. Someone who can look at your material and give you good advice. I’ve met people who had a writers’ group where it was a great group and every single one of those people got staffed because it was that good.

Find somebody who doesn’t really need to be encouraging and can just give you the harsh notes. You’re not doing them any favor if you give them too many congratulations.

The tough thing is when you’re starting out; your script doesn’t have to be as good as a staff writer’s script who is already on a show. It needs to be better. Just keep making it until it’s absolutely fantastic, it stands out and it’s got a voice. Then go to the next script immediately, because you need a lot. You need a lot of ships; one of them will get to port, but send out a lot.