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


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.


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.


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.


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.


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.


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.


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.

Herbie J Pilato: No “Bones” About It: Actors Should Interpret the Words of the Writer – Not Change Them To Suit Their Needs

We have it on good authority that all the Barrymores said what was in the script!
We have it on good authority that all the Barrymores said what was in the script (?!)

by Herbie J Pilato

A few years back, reported how actor David Boreanaz, star of the Fox forensic drama Bones (and former lead vampire on Angel and Buffy, the Vampire Slayer) found it was acceptable to improvise the lines of dialogue he’s given to perform.

However, Boreanaz wasn’t allowed to do that on Angel and Buffy, as Joss Whedon, the creator, producer and periodic director of both shows, forbade such acting antics.  “That became very frustrating,” Boreanaz said at the time.  “For an actor to be able to create and also have a sense of freedom, you have to be able to revolve around those words and create around those words. Now, you can take the written word and have your subtext tell more than is written on the page, which is always fun and challenging too. But it’s always great to revolve around the words and improvise and change things, because that comes from the character’s perspective and point of view.”

Oh, pluueeze! Dude, this isn’t Whose Line Is It Anyway, and you’re not Drew Carey.  You’re an actor and, as any true thespian will tell you, that, when it comes to your craft, one is ultimately and ideally supposed to interpret the given lines that a writer (be they William Shakespeare or Aaron Spelling) has written, word for word.

That’s what you call acting!

Improvisation is cute and funny, and it may help one to finally arrive at the correct interpretation of the given character.  But to actually employ improvisation in a final performance on what is supposed to be a scripted fiction show?

Ah – no.

You don’t win Emmys and Oscars for that.

Or at least you shouldn’t.

So to all you actors out there, just stick to the script.  If you have problems with the writing, that’s a different story.  Talk to your producers, and then maybe…just maybe…you’ll have a chance to together with the writer, come up with improved teleplays (not improvised) – and adhere to what’s written.

If you don’t, it’s kinda’ like parking in a handicap space, when you’re perfectly capable of walking.

Or something like that.

Either way, for an actor to improvise his way out of a given script upon which a writer worked diligently, probably for weeks…well, it’s just plain wrong.

In fact, it’s more than wrong.

It’s cheating.

You can act your way through life all you want.

But nobody likes a cheater.

Especially in Hollywood.