Kelly Jo Brick: The Write Path With LaToya Morgan, Part 2

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.

A commitment to hard work combined with a desire to always become better at her craft, helped drive the success of television writer LaToya Morgan (TURN, SHAMELESS, COMPLICATIONS). She shares with her advice about breaking in, taking meetings and always striving to learn and improve as a writer.


The biggest hurdle was getting that first shot, like getting someone to say yes. And so once that yes came from the Warner Bros. Workshop, I think that was what opened a lot of doors. So I’m always incredibly grateful to the Warner Bros. Workshop and Chris Mack especially, for seeing the potential I had as a writer and giving me the opportunity to show it.


When I was in film school at AFI, one of my teachers was a man named Leonard Schrader, he wrote Kiss of the Spider Woman. His brother Paul Schrader wrote Taxi Driver. A great writer. Hardcore, I loved him. He would always say to me, “Why are you making me read this shit?” Literally that is what he would say. I’d be like, oh my God. But what the note behind the note was, was to get into the story faster. Grab you reader immediately. And that’s what I took away from that.

And I think all the teachers I had at AFI were really great at getting you to get to what the core and the heart of the story is. That’s probably the thing that I hear most often in the back of my head when I’m writing. Yeah, like why are you making me read this shit so stop meandering and talking about the flowers and all this other stuff, get to the core of it. It goes to this old quote from Billy Wilder that I love, which is, “Grab the reader by the throat and never let them go.”


As far as prep, I always try to know who I’m meeting with. Especially in this day and age, there’s no excuse not to Google someone before you meet with them. If you’re meeting with a network executive, try to find out what shows that person covers and then also what shows for that network that you would be good for. Know that ahead of time. Don’t wait for them to tell you, you tell them.

And my best piece of advice for interviewing is really simple, which is to be yourself. I know that sounds sort of cliché, but to me, the only time I’ve ever truly been nervous in a meeting is when I was trying to guess what I thought that person wanted me to say instead of me just saying what I think and who I am.

It’s so much easier and it just cuts down on the anxiety. You’re always going to have butterflies before you go in, but just know that the person sitting across the desk from you, they want to have a good meeting too, so engage with them, talk to them.

I just spoke to someone the other day who asked a similar question because they were going to be up for the Warner Bros. Fellowship and I think it sounds really simple or like you should know this, but don’t be afraid to go with the flow of the conversation. So if you’re talking and you find out they like a show you also like, don’t be afraid to go on that tangent for a little bit before getting back to the business of whatever you are there to talk about.


My favorite writer is John Steinbeck.   Grapes of Wrath is my favorite book, just because it’s a family story. It’s a journey. Tom Joad is one of my favorite characters. So I love that.

I am not a snob when it comes to storytelling, so whatever the genre or medium I love it. I love all kinds of sci-fi stuff like Battlestar, X-Files and then I love something gritty like Sons of Anarchy, Game of Thrones, fantasy stuff. I’m a big comic book person so I read a lot of comics. Cross genres I have a lot of influences, so I would say drink it all in. All of it. Plays. All that good stuff.


The most common question I get is how do you break in. And I can say as a person who has thought that myself, like when I was at AFI, people would come in and talk on a panel and I would be like, just tell me the secret of how you broke in. Just tell it to me. I know you’re keeping it from me somehow. Just tell me where the secret door is so that I can get in.

My breaking in story is so much different from the other person’s breaking in story. It’s just right place, right time. Luck. All that. I never really truly understood that until I was sitting on the opposite side of the table. I think that the answer for that particular person’s story will be different from mine, but what you can do is always be prepared for the moment.

So before I broke in, I was always writing a lot of material. I wrote several TV specs, a couple of features, plays. I wrote short stories. I just loved telling stories so it didn’t feel like work to me. It was so much fun. So when the time came for me to have that meeting with my manager, he was like you have all this material you haven’t shown anyone and I was like, yeah. And he was like; I love you, because I just had this arsenal of stuff. So I would recommend that you just write whatever strikes you, whatever interests you, in whatever medium that is. So if it’s a short story do that, if it’s a play, do that. Just keep writing.

You have to be prepared and it also helps you become better as a writer, so that was my obsession. I always want to be better as a writer.  It’s like the 10,000 Hour Rule from Malcolm Gladwell. I felt like hopefully I’ve passed the 10,000 hours by now. Ever since I was a little kid, I was always writing. After AFI I continued to write more and more and more and just get better every time I wrote something.


Watch a lot of TV if you want to be in television. I’ve heard people say they want to write TV, but they don’t really watch it. It doesn’t make sense to me. So I think that immersing yourself in the shows that you love and then sometimes watching a show that you don’t love and trying figure out why you don’t like it is a good way just to prepare yourself.

Writers are always about output, output, output. You still also have to have some input. What books have you read? What movies have you seen? It’s important to write and continue to write. Always be writing, but you also have to be reading and you also have to be watching television and inputing as much as you output.

Kelly Jo Brick is a Contributing Editor at TVWriter™. 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 Image Award Winner Sterling Anderson

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

sterling pic

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.

From a start as a wine and food critic to becoming an Emmy-nominated writer, Sterling Anderson’s dedication and drive led him to being an author, writing one of the most highly rated TV movies ever (CBS’s THE SIMPLE LIFE OF NOAH DEARBORN, starring Sidney Poitier), as well as writing for The Unit, Medium and writing screenplays for Disney, HBO and Columbia Pictures.


I volunteered for the first writing gig I could get and that was in the wine and food industry. I did restaurant and wine reviews for the St. Helena Star.

They ended up giving me a byline and I started doing some things on my own, like I decided I would interview the 10 top chefs in America and did an article like, “What do the 10 top chefs in America have in their refrigerator?” It was interesting because I did like Jeremiah Tower, Patrick Terrail, this little known guy named Wolfgang Puck, Mark Peel, Jonathan Waxman.

All the while I was studying film. I was reading film magazines and my goal was to write something about my experiences in the wine and food business in a novel.


I was in the middle of starting a winery that basically began in my garage with 50 cases and I think we went up to 1,500 cases, to 3,000 cases in less than 3 years.  I took my severance pay and went to L.A., not knowing how it was going to turn out.

I had a lot at stake, I was a divorced father, I had children. It wasn’t like I could go down there and dabble. This had to work. I know that sounds small, but really, in the grand scheme of things, I did not have the option to fail. I had children to raise, child support to pay. So I couldn’t live the life of the starving artist for very long.


I actually did something very bold. I joined what’s called Sports L.A.  At the time it was a 100,000 square foot gym on Sepulveda, it was where all the stars and celebrities went to work out like Magic Johnson to Don Johnson. Everyone worked out at this place. The membership was steep. It was like $2,500 a year. But I knew if I was going to do this I was gonna put myself right in the middle of the action.

I had a couple of friends, really successful actors and I looked them up. I sort of was feeling my way around. Running out of time and running out of money and options. I ended up going to an acting school to audit this legendary acting coach named Roy London. I wanted to put myself in the center of things and I ended up being in this class that had people like Sharon Stone, Gary Shandling, Hank Azaria, Brad Pitt and my friend Michael Woods actually took me over there. I started just networking with people.


I wrote a screenplay and I had a friend that was in the industry who was an agent and I sent it to him and I said, “What do you think?” And he said, “It was the worst screenplay I ever read in my life.” So I threw that screenplay out and I wrote another one and I sent it to him. And he said, “It’s very good.”

That script got in the hands of a literary manager, one of the first at the time, her name was Sharona Fae. Sharona started taking that screenplay around town and I got 4 or 5 really big agencies wanting to sign me. I got an agent. I started getting meetings right away. I went into what’s called development hell. My agents and my manager wanted to introduce me to as many people as possible. I remember I had 53 meetings in 2 months.


I had gotten a meeting with an executive at Columbia Pictures, and he said, “I read your screenplay. It’s fantastic. I’d like to get into business with you. Is there a book you’d want to work on?” And I just pitched this idea to him and he said, “Ok, here’s $40,000, the Guild minimum and go write it.”  That was my first job. The script was called Gus. And it never got made.


More jobs. My next big jump was I got hired by an executive at Warner Bros.  I got hired to write the Louis Armstrong story. Then I got hired to write the Dance Theater Harlem story. So I started working.

I developed a reputation of being able to fix scripts so I did a lot of rewriting. I don’t know why I had a knack for that, maybe because I was trying to fix my own screenplay and save it.


With the advent of 9/11 and reality TV, movies of the week went up in smoke, disappeared. I had to reinvent myself. It was really hard because I had to go from a very successful mid-six figure writer to nothing.

My agent kept telling me, “Write a pilot, write a pilot.” And I didn’t know anything about pilots. He kept encouraging me to write a pilot and I said, “No, leave me alone.”

And then a friend of mine had created a very successful animated series called the Rugrats. Her name is Arlene Klasky and I called her and said, “Look, I’m unemployed, I’m a writer and I don’t know anything about animation, but do you have any openings for writers?” Arlene, bless her heart, she gave me some work to help me get through that really, really rough patch. She paid me to develop 3 or 4 shows for her.

In the meantime, I wrote a pilot for television and my agent sent that pilot that I wrote to a showrunner and in two weeks I was getting interviewed for a new TV show called The Unit. David Mamet.


The one thing I discovered was television was a writers’ medium, and film was the directors’ medium. I learned in a hurry that as a writer you have a lot more clout in television and you don’t have any clout in film.


So the thing that I would say now is one, be a great writer. Do all that you can to find out how good your writing is, don’t send your work out based on your grandmother read the script and liked it. Do the work.

Agents will find you. They will find you once you’re on their radar, but to get on their radar, it’s like a party that you’re not invited to. But that doesn’t mean your friend’s not invited. You can go to that party with a friend. You can go to that party because you know someone who’s catering the party. And once you get into the party, then absolutely you’re going to network and spread your wings and people are going to ask questions who you are.

You can find out more about Sterling Anderson and his new book, “Go To Script: Screenwriting Tips from a Pro” at

Kelly Jo Brick: The Write Path with Jacque Edmonds Cofer

Jacque Edmonds Cofer

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.

Writer Jacque Edmonds Cofer was living in Detroit when she heard about The Disney-ABC Writers Program. Her spec for A Different World, won her a place in the program and was the starting point for her writing career that includes writing for Martin, Living Single, Moesha and creating Let’s Stay Together


So my first job, I guess was as part of the Walt Disney – ABC Writers Program. It was only the second year of the program. I was living in Detroit at the time. I just heard about it sort of through a fluke and applied. So I didn’t know it was competitive. I kinda thought I might be the only one applying for this thing. I wrote my first spec script and got in. It was a spec for A Different World about a student who was HIV-positive.

That was 91, something like that. There was still a lot of fear around that issue, a lot of confusion about what it really meant and the difference between HIV-positive and actually having AIDS. So the message, if there was a message, was that people don’t change just because of their health. If he’s a great guy, he’s still a great guy.


There were four of us on the TV side and I think about 11 feature writers. We had seminars at the Disney studio where different feature and TV writers would come and speak, a Q&A or screenings, that sort of thing.

There were a lot of pilot screenings. The sort of self-directed part of it was that you pretty much had access to the lot. And I really took advantage of that. Every day I was at a taping or a screening or something that was going on. You know, there are a lot of resources there.

So in addition to the sort of formal training in outlining and pitching and developing a script and all of that, there was the informal access to the industry. Which I think was very important because of the four of us, two of us were from the Midwest. None of us really had that insight into how things work. In addition to just sitting at your computer writing a script there’s a lot that goes on in terms of how to meet people, how to get a job, what the trends are.


I really started working on spec material in preparation for staffing. I did get an agent and I got my first staff job on Martin the year after the fellowship.


I was there 3 years and had a great showrunner that first year. There were no boundaries there according to your level of writer. So from staff writer I was going to edit sessions, mix session and all that. He was like if you want to come, come. If you want to hang out while I do the first cut, come sit in my office. So that was great experience.

It allowed me to move up really quickly. I started as a staff writer, in 3 years I was supervising producer and then the next season went on to Living Single as co-exec. So it was very fast.


For me, I’m always going to look at personality; how well I think that they’re going to blend in our writers’ room with the other people. They can’t be easily offended. Sitcom writers are a very offensive bunch of people. So you gotta let it go.

They can’t be too defensive or protective of their work which is pretty much a new writer issue in general. I mean, I remember being in tears over my first couple of scripts. Not because of changes per say, but because of the way it was being changed. Now with hindsight, I still of course think I was right, but I guess I now know how to write so things aren’t misinterpreted.

So personality, ability to blend in and then if they’re bringing anything unique. A unique perspective, particularly one that relates to the show.  It’s what life experience they bring to the show and this is all on top of me having read the script and saying that they’re a really good writer.

I read a script recently that was passed on to me, someone who’s just a very, very beginning writer and the script it’s kind of interesting, the characters are kind of interesting, it kind of fell apart about half-way through. But what really came through for me in the script was this writer had a really good sense of fun.

The script was very playful. It was very upbeat. She was really going for laughs. And I really like that, even though she’s not there yet, but I can see  in her writing that with some training and some experience she’ll get there. The fact that it fell apart when it did, she took a couple shortcuts. Those are rookie mistakes and those are things that can be addressed as opposed to reading a comedy script that’s just not funny, doesn’t have the laughs or just doesn’t have that spirit of fun.


I’ll read specs of current shows, although if you’re a fan of the show, you’re a harsher judge. I would maybe be more critical. It’s kind of a double-edged sword.   If I have the opportunity, I want to see both, because if I’m hiring you, you will be doing my show and that’s really what I want to see, how they adapt to my voice.


One thing that I did have to learn is to not take it personally. You know your jokes are going to get killed, your stories are going to get changed. You can’t hold on too tightly. If you’re smart, you just put it in the file and it will show up in another script and it won’t get cut that time.

The second one was to read, write and watch as much as you can. Because particularly now, as there are so many, many different forms of entertainment and ways to deliver it.

Kelly Jo Brick is a Contributing Editor to TVWriter™. Find out more about her HERE.

Kelly Jo Brick: The Write Path With EMPIRE’s Wendy Calhoun

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, hard work and not giving up.

DedWendy-Calhoun-200x300ication and persistence were the keys for writer Wendy Calhoun as she made the transition from documentary and reality to scripted drama with stops at Justified, Revenge and Nashville on her way to becoming the Co-Executive Producer at Empire.


I first knew when I was a sophomore in high school. I attended a performing arts high school in Dallas, TX. At that high school we had a playwriting class and my sophomore year I signed up for the class, wrote a play and it got produced. I got to see my words come to life on stage and I was hooked.


The first industry job came many years before the first writing job. I assisted a television agent and a feature film literary agent. I thought it was a great way just to be exposed to a lot of scripts. That’s what everyone told me. You want to read a lot, get on a lit agent desk, you’ll learn the whole lay of the land in Hollywood.

That led to about five years of being a Hollywood assistant. I skipped all around town. I went from there to working in development over at Disney. I worked at Sony Pictures for many years. Then I ended up working for Tim Burton.

I went on and got a job as an assistant to two executives at Village Roadshow Pictures. I ran the meetings and was in charge of all the scripts, kind of like a story coordinator. And finally they promoted me, so I became the Director of Creative Affairs there and I actually got to be the one giving the notes to the writers, which was interesting.


It was the guys at Village who knew I was a writer, that offered me my first job.  They made me the head writer of a 52 half-hour series they had for Animal Planet. That was in 1999, that was my first television writing job. And from there, that led to like 7 years of writing documentaries and reality, but you know, that long path to get to that point actually paid off.


It took about five years to make the transition. So while I was doing all the documentary shows and stuff, I was writing scripts when I wasn’t working. I was going out on meetings after meetings after meetings, dying of encouragement. People telling me, “Oh, your script’s really good,” and then not hiring me.

It was hard because there was a stigma, especially when I started doing reality stuff. When I was just, Animal Planet, Discovery, people are kinda cool about that but when you start telling them you’re doing some TLC and Hell’s Kitchen, they’re suddenly like that’s the end. Especially at that time, that was the enemy because so many scripted programs were getting replaced. Scripted people were angry and they saw the reality stuff as trash and they didn’t think you’re a real storyteller. There was a stigma for sure.

For some reason the executives that I used to meet with didn’t really carry that stigma, they sort of judged me by my written words which was nice, but it was a hard jump. I know a lot of people have tried to make it and weren’t able. It was by the grace of God that I made it. I think , for me, it was just a matter of persistence.

And honestly, when I had my interview that got me my first scripted job, I didn’t care anymore. I was done. I had been through the wringer. Five years of getting so close and not getting it.  And I was very happy at Hell’s Kitchen. I was doing good work, I was directing in the field. I was having a blast.

This meeting came along and I was in the middle of working on the finale and the last thing I wanted to do was leave the edit room and go do yet another meeting for disappointment. Sure enough I got the job offer, and I remember the guy who hired me is Peter Noah. He’s a great guy. This was called Raines and it starred Jeff Goldblum and that’s where I met Graham Yost and Peter Noah was on it.

Really, really great group of writers, actually Moira Walley-Beckett, who won the Emmy for Breaking Bad and Jennifer Cecil, who’s got a go pilot right now at ABC, and Bruce Rasmussen, who had done tons of comedy and was last on Dallas. I mean it was just a fine group of writers.


I’m a bit of a dabbler. Like I’m that person that goes to the buffet and wants a little taste of everything, but not a full plate of anything. So as a writer when I was first starting out, especially while I was still doing documentary stuff, I was trying to be the jack-of-all-trades. I wanted to have every type of spec you could imagine so I could show everyone I could do it all.

But you really are a master of none. That’s the truth, so the piece of advice that was given to me was master something. Be an expert at something and in television writing that means within a genre.

So I started thinking about well, what do I really like. I happened to be doing a reality series for TLC called Ballroom Bootcamp where I spent about 6 weeks following a woman who was a real life CSI. And I always liked cops and I always like reading books about criminals and law enforcement and you know, I took a class and they were talking about the staples of television, that’s medical, legal and cop drama. So I thought well, okay, I’m going to focus on just writing cops.

And then I started doing a lot of research on cops so that I could tailor my spec and I just kept doing it and digging in and digging in, trying to make myself an expert in that field. So by the time I did go into that Raines room, I was the one taking people down to the lab because I had my friend there. I had already shot there.


Go sign yourself up for UCB, go sign yourself up for Second City, go sign yourself up for Groundlings, go take a class and make yourself get up and tell story in a way that requires you to listen and interact and it’s going to scare the pants out of you, but you need that. That way when you get ready to walk in that room for that job that you know you want more than anything in the world, you don’t care, you’ve been swinging without a net because you’re been taking these classes.

I’m telling you, it’s some of the best training and most writers need to do it. It gets you out of your head. I swear by it.

Kelly Jo Brick is a Contributing Editor to TVWriter™. Find out more about her HERE.

Kelly Jo Brick: The Write Path With Kellie Griffin

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, Kellie Griffin photopersistence, hard work and not giving up.

A one day gig as an audience page started writer Kellie Griffin’s path that took her from receptionist to writers’ assistant to writing for House of Payne and Reed Between the Lines.


An audience page, but that was for a day.  I moved out here in March of 2000. My sister came out to visit me and we got tickets in front of Mann’s Chinese Theater to go to a show taping. Once we went to the taping, I asked the audience page if they were hiring, they said no but you can send your resume. I saw that somebody from the actual show came up and sat in the audience and I tapped them and I asked if they were hiring and they said no, but you can send your resume. That night I sent my resume to both places.

I didn’t hear anything for a couple of months and then the audience people called first. They were hiring but it was like $8 an hour.   I turned it down. And then some friends were like, “No you gotta call them back and take the job because then you’ll at least be in the building. “

While I was there, I ran into the same person I tapped on the shoulder a couple months before with the show. And they said, “Well, we didn’t call you because we didn’t have anything, but if you want to send your resume again, you can.” So I sent it again. And the next day they called. I ended up the receptionist by that Thursday and that was the Parkers on UPN.


I completed the whole second season at the Parkers and then a writers’ assistant didn’t return the next season and they asked me if I was interested in being a writers’ assistant. I didn’t know what a writers’ assistant did, but I was like, “Okay.”

I was a writers’ assistant for two seasons. Which was the best job I’ve ever had because you sit in the room with the writers and you get to hear how the stories are being broken down. When people are pitching jokes, you hear the execs say why they like it or why they don’t like it. So I’m just in there typing and just absorbing it all. It was an awesome experience.


The Parkers got the announcement the show was going to be cancelled in the 5th season. The creator let all the assistants write an episode. That was it, I wrote my first episode. That put me in the Writers Guild. And then the show was cancelled and then I just went on from there being a writers’ assistant on different shows.


One day, clocking into work, I got a random phone call from Reuben Cannon. Reuben Cannon is a casting director turned producer. So he says that Tyler Perry was looking to do a TV show and was looking for writers and he had gotten my name from Ralph Farquhar. Ralph Farquhar was Executive Producer of The Parkers and Second Time Around, the two shows I worked on when I first started in the business.

They asked me to send something that Tyler could read and it had to be Tyler’s stuff. He had a whole bunch of stage plays that he had done that were on DVD. So I watched all his DVDs in like a day. One of them, Meet the Browns, at the end of the play, there’s a funeral. So I decided to write a script that starts with the reading of the will. I put jokes in there that I would never, ever put in my own stuff, because it was going to him and based on what I saw of his plays, what he likes. I got a phone call within a week, that Tyler wants to meet me. He loved it, said I captured his voice.

He asked me if I had any other friends that wrote and he said, “Well, can you get some people and meet me at my house?” So I gathered some people. We went out to his house in Malibu and sat there and talked about his idea and basically in his living room came up with the idea for House of Payne. He asked me if me and my friends could write him 10 episodes and just get them to him. I was like, “Sure.”

He started this new model, called the 10/90 model now. So he presented the 10 episodes. They had shot them and everything. He presented the ten episodes and basically said I guarantee your ratings will hit this number. If it doesn’t, I walk away, if it does, you’ll owe me 90 more. That’s kinda how it started.

It surpassed the number so they gave him 90 episodes.  He asked me could I come to Atlanta. So I basically relocated to Atlanta for like 3 years back and forth. We hired some local writers in Atlanta and then the writers I was already working with here stayed here and then we did this speakerphone thing all day long.

So I was literally running a room simultaneously on two different coasts on the speakerphone, asking people in L.A. if they had any feedback and asking people in Atlanta what they wanted to say. And that’s how we went over every single script.


Just recognize that everybody’s journey is different. There is no formula to it. And you can’t compare yourself to this person that came in and got a job in a month and this other person that’s been here for 3 years and is still trying.

Don’t say I’m too old to do this. I think I was 32. I mean I had a Masters Degree. I had a whole other career up until this point. I had to humble myself and get coffee for people, and do things and type. It worked out. My mom was initially upset because she was like, “What are you doing? Why are you answering phones? You have a master’s degree.” But cut two years later when I sold a show and paid for the house and all that stuff and she was like, “Oh, okay.”

Be a sponge. That’s what I did. Sit in the writers’ room and just listen, absorb everything. If anybody can get a job as a writers’ assistant as your first job if you want to be a writer, it’s the best job to have.