Who Inspires You: TV Writers Share Their Creative Inspirations

by Kelly Jo Brick

Whether a beginning writer or an experienced veteran, admiration helps fuel our creative endeavors. Writers from film and television share who has inspired them through the years.

JASON RICHMAN (LUCKY 7, DETROIT 1-8-7) – I always admired Lawrence Kasdan. First of all, as a viewer, as a fan of movies, but he was an inspiration because he did all kinds of different things. He wrote THE BIG CHILL, he wrote THE EMPIRE STRIKES BACK. I admire that, someone who has an idea that interests them, a world that interests them and then just goes where their creativity takes them. I think that he’s sort of the model to me of that person who just won’t be pigeonholed. To be so good in so many different genres is a real feat and to direct and do all those things is pretty cool.

DANIEL KNAUF (THE BLACKLIST, CARNIVALE) – Rod Serling inspires me. Harlan Ellison, and Ray Bradbury, Ernest Hemingway, John Steinbeck, Charles Bukowski, a lot of prose writers. I think today, I love Joss Whedon’s work. I love Vince Gilligan’s work.

There’s some peers. John Eisendrath, is a terrific writer. Steven DeKnight, I worked with him on SPARTACUS and he’s a wonderful writer and showrunner. I just try to work with people I’m going to learn stuff from. I’m still a sponge.

STERLING ANDERSON (THE GABBY DOUGLAS STORY, THE UNIT) When I first started, Horton Foote inspired me, the movie that made me want to become a writer was TENDER MERCIES.

I liked those movies that didn’t have shoot ‘em up and helicopter crashes. I like character driven films like ORDINARY PEOPLE. One of my first really super favorite films was SHE’S GOTTA HAVE IT, Spike Lee. He inspired me. Probably those two were the biggest inspirations I had.

CRAIG SILVERSTEIN (TURN, NIKITA) – I remember really being impressed with Shane Black, his screenplays. A lot of people talk about his writing, like he comments on the page or he comments to the reader and stuff like that and it’s actually not that. What it is, is that he is very effectively giving you the feeling in the right amount of words of exactly how this moment feels and looks.

That’s something that’s sort of where screenwriting crosses the transom between prose and poetry. Are you able to break the rules of grammar and exposition and this proper stuff to say exactly, oh, I know exactly how that’s going to feel on screen? He does that.

LIZ TIGELAAR (CASUAL, LIFE UNEXPECTED) – As a TV writer, I am very inspired by other TV writers. I love when people kind of embrace TV and embrace what being a TV writer means and embrace that type of storytelling.

Certainly Winnie Holzman is an inspiration. Winnie’s such an iconic voice, a wonderful person and someone who really is able to infuse herself in everything she does.

Jill Soloway really inspires me because I feel like she took great control of her career. She kind of made it exactly what she wanted it to be and did it well, infusing a really personal story into it that also was incredibly timely, relevant, political and provocative.

So many of the women writers that are my peers really inspire me with what they do. There are so many great people, like Lisa Zwerling is someone I worked with and I found her very inspiring. Kerry Ehrin, I love how her mind works. She approaches everything in this really sideways, interesting, unexpected way. A lot of the women I work with are peers and mentors and writers I that would like to emulate and take certain skills that they have and incorporate them into my own writing.

LaTOYA MORGAN (TURN, INTO THE BADLANDS) – My favorite writer is John Steinbeck. The 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.

I am not a snob when it comes to storytelling, so whatever the genre or medium, I love it, so I love all kinds of sci-fi stuff like BATTLESTAR, THE X-FILES and then I love something gritty like SONS OF ANARCHY, GAME OF THRONES, fantasy stuff.

MARK GOFFMAN (BULL, LIMITLESS, SLEEPY HOLLOW) – John August is just brilliant and so inventive and a great spirit too. Aaron Sorkin was an early influence and somebody I’ve always looked up to even before I got the opportunity to work with him.

Tom Stoppard also, early on I really tended to gravitate towards both playwrights and people with a knack for dialogue. As a former speechwriter, I just love words and wordplay and people who are inventive with their language.

RAAMLA MOHAMED (SCANDAL, STILL STAR-CROSSED) – Who inspires me are people like Donald Glover, Issa Rae, Lena Dunham. People who have an idea, they act in it, they write, they have a vision. It’s not always perfect, but they go for it and they push the envelope. They have a clear point of view. I find that so cool.

I’m always impressed when I watch something and I’m like how did they come up with that. How did they think of that? I think there is a really cool new wave of people coming in who are in some ways like TV auteurs who are making such great TV.

WENDY CALHOUN (EMPIRE, JUSTIFIED)- Alan Ball, his work on SIX FEET UNDER I thought was fabulous. Elmore Leonard, only because I had to read so much Elmore getting ready for JUSTIFIED, and while I was doing JUSTIFIED, that I just fell in love with him. It wasn’t work at all. It was just fabulous, fun pop writing that the world needs more of.

I love The Autobiography of Malcolm X. I read Roots as well and I really enjoyed Alex Haley. I’m so glad that his works were made for the screen as well, because I wouldn’t have been introduced to them, same as Alice Walker and The Color Purple.

ROB EDWARDS (THE PRINCESS AND THE FROG, A DIFFERENT WORLD) – Mel Brooks, Neil Simon, Larry Gelbart, Woody Allen, they’re all guys who had started as stand-ups and then wrote for some variety, some sitcom, then wrote movies and then wrote and directed movies and I thought it’s just a great way to always be confident in your comedy, your sense of storytelling.

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 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 sterlingandersonwriter.com.