Kaia Alexander - empowering writers

As a champion of diverse voices and own voices, Kaia Alexander knows representation matters. She is bi and queer writer and would love to see more LGBTQ stories told and made. She's on a mission to help more writers who have been kept out of the industry get their stories out there. 

When did you first start writing? 

Kaia explains, she was always writing. As a child, she took comfort and solace in it. She started writing books at 7-years-old. She was the first writer in the family at that time, but then everyone in her family followed her lead. Her Mom and Step-Dad started writing when she was in her 20's. A cousin is now a children's book author and an Aunt is writing essays about southern living. She found out a Great Grandmother was an editor for a newspaper she owned and ran, at the turn of the century. That side of the family were alcoholics, so Great Grandma did what she had to and took over the paper to keep things running. After that, her Grandmother studied journalism and writing was passed down through generations. 

When did you start writing screenplays? 

Apparently screenplays came before she wrote novels. When she started writing them, there wasn't even software for writing screenplays. Because it was such an early part of her writing career, an early reader didn't give her the best praise and it scared her off writing completely. She even says, this reader should have been more kind and given her guidance and at least seen her talent in her writing. Something like, "yes you're green, but keep going". Luckily, she kept going even without that. At the time when she started writing, she only saw men writing TV, so she felt she didn't belong in that medium. Growing up in LA, if she would tell someone she was a writer, people would say, "Oh you mean an actor". So that made it hard for her to take her writing seriously. 

Writing her first novel 

As luck would have it, she met author Tom Robbins, author of Even Cowgirls Get The Blues, which was later turned into a movie with Uma Thurman. After meeting in Hawaii, he started mentoring her. When she told him she wanted to write a novel when she was in her early 20's, he told her to write it long-hand in pen, said it would actually force her to finish it. He told her, "start with a title and write yourself into corners and it will force you to write yourself out of the corners". So with that advice, she starting writing what would become her novels in journals. Sadly, one was stolen from a coffee shop. Luckily, her mom Xeroxed it. Yay mom! But then it was time to transcribe the whole thing into her computer. At this point, she didn't even know how to type. So she had to teach herself how to type while she was transcribing. It wasn't pretty! In fact, she still has a weird typing style that she admits is very wrong. She says people who see her type are very confused. 

Is it up to the writer to make things happen? 

Kaia tells me that her first novel was published by Harper Collins. She did that deal herself, without a rep. She brought a rep into that deal because she networked and met the Senior VP of Harper Collins, and read her novel and she said, we want your book. There's nothing more powerful than the subject line of your email you're sending to say, "deal in hand" as you go to get a rep. There's a lot you can do if you have an Entertainment Attorney who is willing to help you, because they can go through unsolicited. They can help you if you don't have a rep. 

Do managers work for you or themselves? 

Most managers will have possibly hundreds of clients because they're making a percentage off of each client. They need a lot of sales to keep their lights on. They're constantly like, "squirrel" by each project. They have to be opportunistic by what the buyers want. They have to look at what the buyer's want in their network and think what do they want? 

Went she back to writing screenplays

She found herself back in Los Angeles and astrologers kept telling her she had a destiny in film and TV. But she had no interest. She was interested in yoga and writing books! That was the life she planned for herself. But then in one of her yoga classes, she became friends with the owner of a production company. When he found out she was a committed novelist, he told her, "I need a Development Executive, come work for me". He explained her job would be to read scripts and help find stories. So apparently the astrologists were right! 

Being a Development Exec 

The first script she read and gave notes on was Just Friends which was cast with Ryan Reynolds, Anna Faris and Amy Smart. This was when Anna Faris' career was launched, so she really enjoyed seeing this film put to life, and she got to see Anna's career born. Then after this film, she worked on The Good Night with Gwyneth Paltrow, Danny Devito, Simon Pegg, Penelope Cruz and Martin Freeman. Kaia calls it the greatest movie you never heard of. Her boss even put $1 million of his own money into this movie, he believed in it so much. After this, she worked on Peaceful Warrior. She had read the book in high school, so when her boss asked what should we do, she told him, "we should do Peaceful Warrior". So he told her to find out who had the rights to the book, which turned out was Nick Nolte. Her boss said, "I want to work with Nick Nolte"! That's why this movie got made. 

What's the difference between a Development Exec and Producer 

For those of you wondering, a Development Exec is in-house in a studio, a Network, or a Production Company. They get paid a salary. Kaia did this job for a production company. The Development Exec is the buyer. They're looking at the attachments, saying, oh this script has Ryan Reynolds, we read it, it's high concept, we love it, New Line has put in X amount of money, and we'll bring in finishing funds. They bring in the financing, the attachments, like actor or director, and then they decide with their slate, does this align with our brand? Does it fill a slot on our slate that we want to do? And will it ultimately grow our brand? Will this movie be a hit and make us more successful? Kaia said she probably read 1000 to 2000 scripts. When you read this many scripts, even with big movie stars attached, you read stuff where you say, this is terrible. She would read scripts and her creative mind would come alive, thinking, you could do this or that to this script. So her job was to give notes as Development Exec to help the project succeed. 

That's when she had ideas for scripts

The first script she wrote got lost with a computer crash. The next movie she wrote was called Small Talk. She got a producer attached to that one. Now has three scripts written. But then as projects happen, Small Talk lost its producer, because he quit the industry. But she kept going, kept having ideas. Now she has what she calls a boneyard. That's because every time she writes ideas, she keeps them in the boneyard. It's a keeper of awesome things that she can always go back to. She may use parts of them in other projects. If she overhears dialogue she likes, she puts them in her boneyard; she will write it down and have it as a resource for later. 

Current scripts 

She has a pilot out now with an A-list actress. She has an adaptation of her favorite memoir and is buttoning up the option now. She's also written a couple features she needs to get into the right hands. The Enchantment of Cary Grant she feels is the closest. She writes mostly comedy, or dramedy. 

How Garry Shandling came into her life 

Her friend Frank owned a shop called, Natural High, all bamboo and hemp clothing, on Main Street in Santa Monica and he needed someone to help. She loved retail, loved getting an eye on the world, she figured why not! So she worked a few Sundays. One day, she was folding shirts and sees a guy trying on a shirt and she can see him from behind and she sees an Enso tattoo. She blurts out, "you have an Enso tattoo on your neck"! So Garry whips around and looks at her, and says, "I've had this tattoo for years and no one knows what this is". He asks, "Who are you? Do you work here? What are you doing?" Her first thoughts are, did I do something wrong? Because he was intense. 

How their friendship grew 

Garry ends up hanging around the store and buying a few things. Then he invites her out to dinner with a friend, and gives her his number. But she feels a real connection to him. Even watching him on TV she felt he was talking to her. So seeing him in real life it felt like he was already her friend, and now here he is in person, and it still feels that way. It just really flowed for her. He tells her, "call me, come up to the house and teach me yoga". But she didn't think he really meant it. She put his card on her desk, and her roommate at the time was a bit crazy and coked out and the roommate throws the card away. So she figured, oh well, guess she won't call him. A week or so later, Garry calls her and he's like, "Kaia why haven't you called me? I need yoga! Can you come today?" That's how the friendship formed. She was so enthralled by everything between them that she kept notes while she was hanging out with him,hanging out all the time. Even Kevin Nealon said about Garry Shandling in the documentary, "He really changed my fabric" and Kaia couldn't agree more. She was seeing the world differently with him. She starts understanding the entertainment industry in a different way because he was really opening up to her about his experiences and letting himself be vulnerable. 

Garry on manifestation 

At the time they became friends, the book, The Secret was very big. So she asked him his thoughts on the book. If any of you know anything about Garry, you know he was a Buddhist and very zen, and big on manifestation. Kaia reads me an email from Garry, about that very thing. "Keep the mind empty, know your intention. Integrate it into every cell of your body and commit. And you can do anything. Remain unresult oriented but live moment by moment in process and what you are in this goalless unspeakable focused path will result in what you want. Thinking about what you want, and then acting like you're committed to getting it, to the degree of already getting it, is just a confusing way of twisting people around. Quantum mechanics and the field of energy that exists transmits on a frequency far deeper than thought. Sure thoughts will create reactions. Empty mind, pure heart, will result in being right where you're supposed to be. The Secret will get people to think about consciousness on a simple slightly distorted way but at least thinking about it. It's not a secret you can be whatever you want and make your life what you want. But it comes from a still place. Not the mind, thought, acting out place. Clear the mind and get out of your own way and be. You will automatically find natural action and discipline in which to find peace. Create the life and people you want around "forcing" is not the secret. One must be quiet and grateful for where they are before forward movement happens and then it will happen organically." Wow, some very wise words from a deeply spiritual man. Make of it what you want, but we all know Garry was a very successful man, so if you don't believe in manifestation, explain why he did and was so successful. 

Living in LA

Kaia believes all these experiences happened for her because she lived in LA. She believes if you want to be in the industry and you live in the area where the industry happens, it helps to live and sleep in that area. Because you run into it everywhere in an area that you won't. 

Does she believe you need to move to LA? 

She knows writers who have gotten reps and don't live in Los Angeles. Yes you can write features and other things and not live in LA. Things have changed and people can succeed outside of LA. But once you get in, the industry stays hard. Your competition is the people you see on TV. So to stay top of mind, get those meetings because the hustle never stops. You also have to love the hustle. Kaia loves to make things happen. She is only an hour away from LA. She can get to LA quickly. She does have one TV sample so if it gets made she'd have to move to LA. And she would. But she's also not relying on the entertainment business to pay for all her bills. She also has her own business, to pay for the bills. But if she was relying on the entertainment business to pay her bills as a writer, she wouldn't take that risk by not living in LA. If you look at the stats of the Writers Guild she says a third of the writers are unemployed at a given time. So whatever you can do to improve your odds, do it. A writer friend of hers who is a showrunner with four shows, met her manager at the WGA office. She would go there to work in their space and met him there. Just being in the world of LA, being out, going to Margaret Herrick Library or the DGA, and being able to be immersed in it if you're committing to making this your career. 

How Garry got his rep

He wrote a spec script for a show called Sampson and Son. He writes it and has a friend whose uncle is running the show, so he asks his friend if he can give it to him. The guy liked it, says this is pretty funny, and gave him notes. Garry integrates the notes, turns it back in on time, and he says we're going to use it, and buys it from Garry. So Garry is now in the writer's room, which is across the hallway from Welcome Back Kotter. So the lead of Welcome Back Kotter sees him and goes, who are you? Garry says, I'm writing for this show. They say, we need another writer. You write comedy? Suddenly, he's writing for two of the biggest comedy shows on TV at this time. His friend tells him, you should probably get an agent. He tells Garry, I'll introduce you to one and tell him what you're working on. Garry calls the agent and says where he's working. But the agent misunderstands him and thinks he says, he wants to write on those shows. Garry says, no I'm already writing on these shows. So the agent hangs up on him because he thinks he's lying. So the agent does some research and finds out he is working on those shows. The agent calls back 15 minutes later, and has 30 meetings set up for Garry all over town. He tells Garry, you're my next client, you're the next big thing, and he helps his career take off. That's what Kaia calls possibility thinking. Somebody needs you. You just have to figure out who that is. 

Find your wolfpack 

This is something Kaia talk about often in her Entertainment Business School. You have to find your Wolfpack. You have to link elbows. When she does her podcast, Entertainment Business Wisdom, she asks guests like, Mike Medavoy, Scott Gardenhour, and Debbie Liebling, "who's your Wolfpack?" they instantly say, "It's my wife" "it's my agent" "It's my manager". They know who is in their wolfpack. Who circles them and helps them and who they lean on. If you loan wolf, you will starve in this industry. You won't make it. 

What is the Entertainment Business School? 

Kaia realized she was meeting so many talented and amazing creatives. But they were having trouble with their deals, they didn't know if they needed to start their own company, and what to do with to do with their taxes. These are all things that make up the business of entertainment. But writers and creatives don't know the business side, or negotiating, so then they find they were trusting blindly people on their team, hoping their team was doing things right. That's a very unempowered place to be stuck and Kaia wanted to do something about it. She even saw it happen to Garry Shandling, who got screwed horribly by his manager Brad Gray. Even Garry said, he didn't know what Brad was doing because he was his manager, and trusted him, and it hurt him. That blind trust became a massive lawsuit. These are things that inspired Kaia to form the Entertainment Business School. 

Things you'll learn in Entertainment Business School

Kaia even teaches if your manager or rep is good for you, or if they're a sociopath or narcissist. Are you dealing with someone who has a personality disorder and can hide it? Kaia explains, there are plenty of sharks in the industry and you have to double-check everything. You have to read a contract and also understand it. It's the biggest mistake creatives make. They lose money because they walk away from deals or won't negotiate deals or they won't encourage reps to negotiate deals. In her first cohort of students she taught them how to negotiate. They ended up with so much more money. They realized there was more money than they thought. This is something every creative should know how to do. 

How long is the Entertainment Business School 

There's the main flagship school which is 12 weeks that has live coaching with Kaia. It's 4 hours a week. Monday night mixer. Tuesday night teaching with slides. Wednesday sometimes guest speakers. Thursday is group coaching, hotseats to work on your career, your bio, emails you need to compose. This for all creatives, women and men, all stages of their career. Some students may have just graduated with MFAs and others will have had 5 movies produced. But all got something out of it. There will also be an evergreen course for a mastery that is a paired down version of the business. Whatever works for your lifestyle and budget, it's there. To find out more and sign up, visit https://entertainmentbusinessleague.com/ She also has scholarship spots in each cohort. 

Does your yoga help your writing? 

She's been practicing yoga for 25 years but 5 years ago she traded her yoga mat for her surfboard. So that's where she gets her mental health. That's her new church and religion. She still meditates and stretches but no longer does her daily yoga like she used to. She teaches inner guide meditation and uses it, and feels meditation is very meaningful. But she feels like our western culture that's always on the go, is hard for people to all of a sudden sit still. But she's a big proponent on spending time in nature. Whether it's a park, or morning walk, or a beach, it heals the soul and she recommends time in nature even over meditation. 

What's one thing you would tell new writers interested in writing screenplays? 

Pick subjects and genres to write about that you're madly in love with. Because to get a great script done, we're all in love with a first draft. But we have to marry that script and be in multiple drafts and notes. Will you love this five years from now? Your love and passion is where to put your attention. If you love horror, or romcoms, then throw yourself into what you love the most. Don't write a genre you don't love. Also work backwards. Ask yourself what kind of stories you want to tell, and that's your brand. When you focus on what you love it becomes organic. Look at Shonda Rhimes, of someone who focused on what she loves, and does it so well. We all identify her and know who she is. It helps your career if you focus on what you love. 

So that's Kaia Alexander. Be sure to look up her business school if you're ready to move forward in your career https://entertainmentbusinessleague.com/ 

David Wappel - the talented writer with many stories to tell

Back when people went to bars, I first "met" David Wappel on Twitter. Then he and his co-partner-in-crime, Sam Thompson, hosted a writer's gathering at a bar in North Hollywood and I thought, get your butt off that couch, put that script away, and go meet these people you've only seen on Twitter. And luckily, I listened to myself. I finally met Sam and David, in person! After following David's career and his tweets since, you can tell he's a nice guy with a lot of talent. So recently, I finally got the chance to zoom with him and see what makes David tick and hear more about his writing career. Before we did, I was sure to watch his movie Long Gone By on HBO Max. Something you should do too. It's a gorgeous movie with such airy storytelling and while powerful at the same time, I know David has a long career ahead of him. 

How he got into screenwriting

David went to film school at the University of Carolina in Wilmington, where he studied film and philosophy. There was a big film industry in Carolina at the time, because in the 90's Screen Gems studios were built up, plus Dawson Creek and One Tree Hill filmed there. At first thinking he wanted to be in production, his plans were to be a cinematographer. He moved to Atlanta after he graduated to get into production, commercials, music videos, short films, etc. While working in commercials, he kept getting more assignments in development with their clients, where he was getting asked to write more things, along with helping to conceptualize music videos. He continued to get more and more narrative and emotional-driven assignments. That's when he realized he was feeling most fulfilled with writing projects. 

He was always driven to authorship  

In college, as a senior film major, he had to do his senior thesis and had to write something he could direct. He co-wrote it with someone else, but even once it was done, he continued to rewrite it on his own. That's when he realized he was always gravitating towards authorship. He just didn't realize writing would be where he would have the most ability to do that. Once he realized he was most fulfilled as a writer, that's when it clicked that was the path for him. So, in 2015 he started writing screenplays and two years later he moved to Los Angeles to pursue writing. 

His writing career journey 

After college, in 2013, was when the writing really started. But it wasn't until a year later, in 2014, when he got Final Draft and started writing the way he thought true screenwriters wrote. It wasn't for five more years, when he got his first writing assignment, through connections he had met in production in Atlanta. This is why it's important to realize, networking is so important. Because you never know when those connections will turn into paid assignments. What happened for David, was he had given his Atlanta production friends notes on a doc they were working on, and they were really impressed with how he knew story. So they asked for feedback on another project. When he moved to LA a couple years later, they told him to meet up with their friend in LA, just to chat. Little did David know, this would turn into something more special.

His first big break 

David met their friend, director and writer, Andrew Morgan, for coffee. They hit it off right away, chatting about movies. Andrew was telling him about his movie in pre-production. But he was having issues with the opening. David gave him his ideas on what Andrew was talking about, not thinking anything about it more than just two film guys chatting. A couple days later, Andrew called him and said, "I really liked what you were thinking about for my movie, would you be interested in rewriting it?" Which David said, yes, of course. David ended up rewriting the screenplay, which was Long Gone By, currently playing on HBO Max. He wrote it in the late spring of 2018, at a point he felt nothing was happening with his writing, well before he realized it would go onto being on HBO. 

Don't give up hope 

Just remember that things can look like nothing is happening. Even if you aren't seeing things work out for you writing-wise, just know you may be planting seeds that may sprout when you least expect it. That's what happened to David. He wrote the script for Andrew in late spring of 2018, but nothing happened for him writing-wise that year and even into 2019. So he felt like nothing was happening for him and he was getting down about his writing. 

When things happened 

In 2019, Long Gone By did well in the Latino Film Festival in New York. Then he found out it got featured in HBO's festival. On top of that, a spec he wrote advanced in Austin and he won a partial scholarship in Stowe Story labs. Talk about success! The year or two before, it seemed like nothing was happening for him. It just took time. All that work was done in 2018, but didn't hit till late in 2019. 

Have your successes resulted in other successes?

Doors that he was knocking on before seem to be opening up easier now. But he can't trace a domino effect just yet. He thinks it will pay off eventually though, but similarly to the way, past production friends helped pay off successes later. And it has opened up other introductions. Being able to say, "Watch my movie on HBO Max" is surely an impressive thing to say. 

Script services 

David isn't just a writer, he also has script services to help writers tell the story they are trying to tell. He obsesses over critical thinking, and the way stories are constructed, so when it comes to stories it's very helpful. It's a lens through which he sees the world. The more he writes, the more he's about to deconstruct why something isn't working on the page. And that's what he brings to the writers that he works with. When he reads something he can analyze why he's not feeling a certain way, or why he isn't feeling the way the writer wants him to feel. 

What his services are like 

His sessions are video calls so he can work with the writer in real-time, and that way he can ask, what do you want at this moment? This way they can address it together. It's less prescriptive and he can get in and under and all through the story. Then he becomes a resource to go in whatever direction they want, helping the writer tell the story that's their vision. Being a writer affords him the benefit of the dead-ends he's familiar with and actively encountering himself every day. Maybe some services come from the development standpoint or reader standpoint, which are valuable, but what he brings uniquely is you get him as a reader and a writer. 

What mistake do you see new writers do often? 

The biggest thing he thinks writers don't do enough of is self-reflection on why they're writing what they're writing. As a writer, he thinks they need to know, what are they interested in exploring? What do they want to say about this character? What is their artistic intention? Once they have self-reflection, they can leverage the tools and crafts to realize what they're actually trying to say in the piece they're writing. If they're not clear about that artistic intent, they can feel rudderless. Writers need to know what story they are really trying to write. 

What's your advice to writers who have written one and only one screenplay?

Immediately move onto another. A writer gets perspective by moving onto another script. They may see a problem in a first script that doesn't come up in the second script at all. Now they have two scripts to judge as a writer and not just one. You don't see yourself as an artist yet with one script, because you'll see what world you're interested in, what you're good at, what you're bad at, what problems you had in the first script, then maybe in your next script. Sometimes if you keep rewriting the same script, maybe it's not connecting with the people who are reading it yet. Or artistically it's not resonating. Maybe the script doesn't need rewrites. Some people keep rewriting a script to find a home, but sometimes rewriting won't solve that. Think of how many movies if they didn't find the right home, rewriting wasn't going to fix that, it just had to find the right home. 

Writers without a rep 

David is without a rep at the moment but has friends that open doors for him. So for those who don't have reps and are looking, he'd suggest for writers to look to connect with other people that you artistically and professionally gel with. Even if their taste is different than yours if you like their attitude, their work ethic, people you want to be friends with, and people you want to hang out with, look for those people. Not to pursue people or avenues you're not genuinely thinking about. Continue to pursue the things you want to pursue and connect with the people you like. Long Gone By came from people he enjoyed working with and they got him in touch with people they enjoyed working with. That movie came about and it was the least calculated thing he's done in his life. 

If you'd like to find out more about David's writing or his writing services, here's his website https://www.davidwappel.com/ and you can find him on Twitter at @davidwappel

Your own progress is what matters

I always do a year-end review just to check in with myself, keep myself writing, and inspire myself to keep going. We writers all need that from time-to-time, don't we?

Well, this year has been my most successful year thus far. But it doesn't mean I'm supporting myself with my screenwriting career just yet. I have a new writing partner and together we got a huge production company interested in our comedy that they've attached themselves to. They've sent it to a big director and we're waiting to hear if he's attaching himself. We also finished a WW2 drama that I'm co-producing with two really big producers. And I finished a third comedy feature that when it's ready, I'm getting to a really huge producer. Plus, I gained a manager for the first time because of my comedy that has interest.

But even though I have a lot to be thankful for, I'm still not where I want to be with my career. But I'm definitely on my way. And like I've done in previous year-end reviews, it's important for us writers to relish the positive. We writers tend to compare ourselves to others that are reaching more success, whether financially, screen credits, meetings, the list is endless! But we have to remember that every writer has their own path. What might be a success for one writer one year, could be the success another writer sees the next year. When one writer wins in a contest one year, another screenwriter can see success a couple years later in a different contest. So what I'm saying, is do not compare yourself to anyone but yourself!

Did you do better in a contest this year than last?

Did you write more scripts this year than last?

Did you have more meetings this year than last?

Or even did you just get your butt in front of the computer more this year than last?

Whatever looks like success for you, is what matters! Sometimes our success can look small when we compare ourselves to other writers. But if we compare each writing year from one to the next we can see how far we've come. And that's all that really matters.

So what did your success look like this year? Whatever it was,  use it to have a successful 2020! You got this!

5 Things I Learned Writing This Movie, #4

So tomorrow night 5 Weddings opens worldwide in 52 countries. You'd think that would be exciting right? Well, as a writer, I have to say, there's nothing scarier for me. See, what I love about writing is writing. But whenever people see my work, I know I'm putting myself and my hard work out for the world to see and to judge. And that is not really fun for me. So what's a writer to do?

Well, one producer friend suggested, just enjoy that I got a film made. That's no easy thing. With all the movies we see get made, you'd think maybe that's not a big deal. But really, with all the screenwriters, there really are a lot of very successful writers that don't even get a film made. So that's a really big deal and something to be happy about.

Then, that producer also suggested, my friends and family are all coming to see the movie and all excited for me. Enjoy that! What we writers forget with each step is to enjoy those moments. What's the point if we don't let ourselves enjoy these moments? So no matter what I'm thinking about people seeing it and wondering what they'll think, I have to let myself enjoy the whole experience. Enjoy that friends are there, they are happy for me. That's something!

Also, I'm listening to a book on tape, by Brene Brown, Rising Strong. And she has done a lot of Ted Talks and had talks on youtube and her suggestion is about the fact that a lot of people have opinions. But they personally don't put work out there to be judged, they just judge others. So her opinion is if your opinion on my work matters, then you have to put your work out there too. If you're just judging and not putting work out there, then your opinion DOES NOT matter. I love that! So this goes for movie critics and reviewers. It's sure easy to sit in the comfort of your home and judge someone else's screenwriting and film directing. But are those same people actually writing and directing? Nope. So even though I worry about being judged. I'm at least in the game. And that isn't something every person can say. And for that, I deserve a pat on the back!

So sure, other people might be super excited for me that my film is out tomorrow. And I promise I will try to enjoy it, every nerve-wracking moment.

Nothing Shines Like Dirt - My guest spot on a podcast

So a couple weeks back I recorded a podcast for Nothing Shines Like Dirt. The two gals that interviewed me were Elise Sievert and Lesley Shannon, both do everything in the biz it seems: Actresses, producers, directors, you name it! They're as adorable in person as they are in their photos and made me feel comfortable right away. I was a tad nervous before we started speaking even though this is the 2nd podcast I've done so far. Luckily, each one seems to get easier to do. What I will say about speaking with Elise and Lesley is they were easy to chat with and so sweet that I felt like I'd known them for ages. And what I loved about how they did the podcast is they set me up in front of the microphone and we started talking about normal things and before I knew it we were actually in the middle of the interview/podcast. Eventually, I thought, hey, I think we've started! It's an awesome way to do a podcast, if I do say so myself. They interviewed me about my upcoming movie, 5 Weddings, that opens worldwide October 26, plus a whole other bunch of things about my writing path and writing advice. So without further ado, here is a selfie we took after the podcast and the podcast itself. Hope you enjoy!

Itunes:https://geo.itunes.apple.com/us/podcast/nothing-shines-like-dirt/id1114955249?mt=2

Soundcloud: https://soundcloud.com/nothingshineslikedirt

Website: https://www.nothingshineslikedirt.com/podcast-guests-1/denisecruz-castino

The rewrite has happened!

So the writer and I took the notes that the Exec Producer gave us. We were able to turn a rewrite around in under a week. So sent that to the director who's also creating the show with us. He liked it. So now it's on to the Exec Producer. If he likes it, and if he thinks he can pitch this along with his other shows, then, he'll pitch it with us. So we're waiting. Again. Half of the writing process right? But it sure would be exciting to have this Exec Producer team up with us. He has lots of connections in this biz.

So what do I do in the meantime? Well, what I'll say to you too. Work on other things! Luckily I'm working on a new TV script outline and another script for a feature. So I have enough things to keep my mind off that script. It's definitely why you want to work on more than one project at a time. Because the more you work on, the more you can throw out into the world. So if one thing doesn't happen, then you have plenty more options. Hopefully! Well, that's at least the plan.

So, I'm back to my outline now. I hope you're keeping busy on all your project too!

Well that was a good meeting

So I've been creating a show with another writer I've been recently working with. I met him through my neighbor who was a director on a family sitcom. My friend said hey, you need to partner up with this guy who works as hard as you to become a full-time writer, see if you guys want to work together! So we met, we clicked, and thought, okay let's try to write together! We wrote, liked each others' style of writing, had fun working together - this team was working! We had different styles of approaching the writing, but like any good partnership, you allow the other writer to do what they need to, if in the end, you wind up with something good. And, we thought we just might have that!

So today, the director and writer met with their executive producer friend to get notes back from him. (I couldn't make it as I was on another gig). We had already heard that the exec prod. really liked it too! So we knew it would be at least a fun lunch, not painful with, "This sucks!" kind of lunch. So they got notes and they were all very positive and helpful. And now looks like he might be interested in partnering with us! So, he's going to let us know for sure in a week! We're all overjoyed. This is someone with lots of connections and really could make this happen. We're going to tackle his notes in this week and plan to have it rewritten to him before he makes his decision. We're thinking maybe it will help him say yes to us! We sure hope so!

On a side note, the reason this is even happening is the director is my neighbor I've known for years, just as a nice neighbor. He hasn't always been a director but I knew he produced different shows, not sitcoms but more event shows. We've always chatted about what we were working on, but really never thought I'd be pitching a show with him! Till one day he suggested I team up with him and the other writer. And here we are! So it just goes to show, you never know where a friendship will lead to. So make friends in LA! It can't hurt.

Ready for a script consultation with Pilar?

I've always wanted to use a script doctor or have a script consultation from someone professional in the industry. I've been in many writing groups and also have many trusted writer friends to give me feedback. But this time, I have a certain really great producer that's waiting on my current script. So even though my talented writer friends helped me get my script to where it is now, I just felt I needed one more special set of eyes to take me the final way.

So, I listen on a regular bases to On The Page, the podcast with Pilar Alessandra. If you don't know her podcast and you're a writer or anything in the business, you need to listen to her podcasts asap. I've been listening to them for a year or so now. She's had the podcast much longer than that. But I listen to them daily, sometimes a few a day. She records them weekly, so I'm slowly catching up! But what I can say is that everyone in the industry seems to have used her writing guidance at one point or another. Her guests and those that have used her services are professional TV writers, film writers, directors producers, and everything in-between. Every time I listen to her podcasts, I've learned something so invaluable.

So when it was time for me to decide who I would hire to look over my latest draft, I knew it had to be Pilar. You can either pay for rush feature notes at $500 or regular turnaround at $400. Sitcom notes are $350. I had a feature. You can also meet her at her office, on skype or on the phone. I wanted to meet in person because I've been a fan for so long that I wanted to meet the gal behind the podcast. And all I can say, is she's as sweet as she seems on the podcast. Not fair! lol No, really it was such a pleasure meeting her. Of course, then I was thinking, what if she rips my script apart? I'll be so excited to meet her and have my hopes dashed in the same instance. Luckily for all my hard work, even though she had notes throughout, there weren't any, "Start from page 1 rewrite" notes. Phew!

And all her notes were amazing and I agreed and saw how they were going to punch up and improve what I already had. That's exactly why I wanted to her hire. On one of her podcasts she even said how friends usually try to give notes based on what they want your script to be, not based on the script you already have. (By the way, I never do that). But, I will say, most writers I know do that. And so even with good intentions, you sometimes get lead astray. But with Pilar, she only gave me notes that I knew would improve my script.

I'm so super excited. I am half way done with my rewrite from her notes. And after the holidays I will get my script to the producer ready to read this. With her notes, I feel really confident to get my script to him. Before her notes, I'm not sure if I would have. Of course, as writers, we always hope we've turned out something great. But can we always be so certain? But Pilar really gave me a lot of confidence in what I wrote. And now I can't wait to finish my latest rewrite! I will definitely use her on future scripts.

Here's her website for classes and consultation if you're interested too. I highly recommend! http://www.onthepage.tv/script-consultations/script-consultations/

And then it happened

So, I was hired over 10 years ago by a producer to write a script idea of hers. She had me write the script in two weeks. That was hell. Two weeks?! But she needed it, so I got it done. Here we are, over 10 years later, many, many rewrites later, many writers brought on and left, and it finally got made! So what did I learn from all of this?

First, when you're done writing a script, forget about it and start something new. I heard that many times from professional writers. It's true! I've written so many scripts since and thank god. Because if I waited for this to get made, I would have pulled my hair out.

Second, things can take time in this business. When I went to a WGA event with some big wig writer speaking, he said it took him over 10 years for his career to blossom. I was like, oh hell no, it better not take me that long! It's taken me longer. But if you're in this for the right reason, which is because you love to write, then just keep writing and stay in for the long haul.

Third, it was fun seeing my movie get made! I only went to one of the days on the set. They filmed three days in LA. I stayed as long as I was allowed. Then they go to India to film the rest. I'm not going. I was on sets years ago when I was in college and before I knew I was interested in being a writer. Back then I used to think being on a set was boring. Now that I love screenwriting, seeing my film was the coolest thing ever! Hearing actors read your piece, very cool. Seeing crew set up to film your movie, cool! Seeing craft services set up, for your movie, even cooler! Those are donuts, for my movie. Those are chips, for my movie. Those are apples, for my movie!

Fourth, seeing actor's faces and names in your movie imdb is really fun! I keep looking. Like wow, people!

Fifth, meeting the stars of your movie is pretty fun! Knowing people signed up because they liked your story and want to be in it, pretty darn cool! Okay, I've said cool a lot, I get it. But what else says that?

Sixth, waiting for the final piece is scary as hell. I have no idea what the movie will turn out to be. As a writer it sure is scary trusting that others will see your vision. You hope it's in the script. But directors and editors might have something else in mind. But, it's getting made. And everyone keeps telling me, that's all that matters. I hope! So in the meantime, I trust the others. And in the meantime, I keep working on all the other scripts I'm writing. Because...I'm in it for the long haul.

Wow! It's happening! Or is it?

I wrote a script for an indie producer maybe ten years ago. And now, it's finally getting made! It's here. That moment we all wait for! There are about four actors cast in roles on the imdb site. One really well known. Another that was in a very famous movie. And other really strong actors. So why am I scared out of my mind?! Because it's! Getting! Made! What if I don't like it? What if people have negative things to say about it? Of course as a writer, we know once we write it, then it's out of our hands. Sure, I've had some say in the many different rewrite phases. But even then, only sometimes was I listened to. The movie is 90% getting made out of the country, so I won't be there to help with any last minute changes. So what could go wrong? A lot!

I had a horror movie made by an indie director a few years back. I saw some of his previous films and thought they were pretty good. But once I saw the horror film made, there were things I think he could have done differently, that I think would have made it better. So as a writer, it's really scary when someone else takes your vision and doesn't do with it what you think they should.

Alas, I'm not a writer/director nor do I feel the need be just yet. So all I can do is hope for the best! It's at least getting made. Hopefully more doors will open for me once the movie comes out. Hopefully if it's not as good as I think it could be, people will know that wasn't up to me. So all I can do is enjoy this moment as the movie gets cast. And someday, I'll see my words up on the big screen, spoken by very talented and capable actors. and my name will be up on the screen too. That can't be too bad, right?

Is it going to come all together?

So I'm getting a short produced that I wrote. I'm producing it with one of the actresses who has produced shorts before. So I'm learning from her. I'm really excited to be learning the producing side, because as a writer, I get tired of waiting for other people to produce my stuff. So hopefully for future projects I can just go ahead and get it produced myself after this experience.

But in the mean time, our shoot date is fast approaching. We have the director attached. She's a talented director that has a Broadway play touring the country. She was referred to me from a talented and successful actor friend of mine. She really knows her stuff and I'm really excited to have her involved. We have all the actors, but we're still trying to get some of the crew. The clock is ticking and I'm really hoping it's like plays I was in when I was a child. Sure, the dress rehearsal might not have been so great. But wait till the actual night of, we'll knock it out of the park. Oh, I sure hope that's what's going to happen with this! Fingers crossed. I'll keep you updated.

Watch out for that tree!

So my friend sends me this story today, that was sent to her. We had been talking about focusing on the things you're grateful for, because if you do, then more of that comes into your life. Then she gets this story sent to her that says that exact thing. It's a story about a parachuter and as he's heading towards the ground, he sees a big tree right in his way, he keeps focusing on that huge tree, wishing he wouldn't hit it, but of course he lands right in the tree! The instructor tells him once he's on the ground, do you know why you landed in the tree? The guy answers, yes, it was right there, I was heading right for it! The instructor goes on to say, no, you were focusing on it, so that's why you hit it. If you focus on a tree, then yes, you'll land in it, there was plenty of open land for you, but you focused on the tree.

And the story goes on to say that this works for life too. So if you focus on all the lack of success or how hard it is for your writing career to take off, or all the contests you're not winning, and no director emails me back after my queries, well, guess what's going to happen? Yup! Exactly what you're focusing on!

So focus on your successes, no matter how small. And set your sights for what's on its way, things that you want to come into your life. Success! Eye that open land ahead of you instead of that big tree you're about to hit. Just remember, you're only getting snagged in your career if that's what you focus on. Happy landings!

It's your vision dummy

I'm sort of being Steve Brule when I say it that way. If you haven't seen Steve Brule, you're missing out. Funny stuff! He always calls people, "dummy". Any way, my post isn't about being a dummy, it's about telling your own story. See, we've all chosen the story we want to write. We all have a passion for it. But sometimes what gets in the way is that we worry, what if it's not good? What if people judge us harshly by it? But guess what, you can't possibly write with that kind of pressure on yourself. You have to allow yourself to get the story on the page. And the only way to do that is to trust that you have a story to tell. So tell it!

A director/writer friend of mine right now is finishing up a really cool documentary of his. I know it will be good when he's done because the idea is great. But, he's starting to put pressure on himself about how good it might not be. But you can't work like that! So after I got him off the creative ledge, I reminded him, you are telling YOUR story. Don't worry what someone else would tell. Tell YOUR story. Your story will be great. Because it's your vision. If we as writers and directors worry about what other people would tell, we'll end up with crap. That's it. We will. You have to tell your version of your story. That's why you're inspired to tell it! So trust in your vision. Get it on the page. Get it edited. The worst thing, what if it's not as great as you hoped? Then edit it some more! What if it's still not? Okay, worse case scenario it's not your best. Okay, we all have those scripts. But they get us to be better writers. There's never a script that was a waste of time. We learn and grow with each pass. But you have to get it on the page or you'll never be finished. You have to give yourself permission to get in on the page by NOT worrying about the final piece.

So do what you know how to do, which is write. I bet it ends up better than you ever imagined. And if not, there's always the next script.

Looking back. Looking ahead.

Every year I do a "where has my career flourished" kind of list and what I can be thankful for. It reminds me that even if my career isn't where I want it to be, it's definitely on its way. So here we go! The reason I do this is because every year, I focus on the positives and I can see the strides I have taken. I ask that you do the same. Because although you might not have an Academy Award yet, or a huge sale, you might have successes that you don't even realize. And those successes you should use to propel you further ahead. Each success, no matter how large or how small, will get you to the successes you want someday. If we ignore these successes, then we give up. And that's just not something I want any writer to do. Ever! So here is my 2014:

1. Still working with really high profile producer. This year he could win a few Oscars himself.
2. Working with a new producer that also has a few actors and movies being nominated for some big awards. Met him from working with #1 producer. Just goes to show why each success can open doors to others.
3. Going to contact another producer that I was working with from #1 producer. He left that company and went to a new company that is also getting Oscar buzz. Again, one door open leads to another open door.
4. Still have a script in development. Not sure what's happening with it. But, it did get me an imdb!
5. Have several big management companies reading my scripts, that have been involved in Black List scripts. So that's kind of exciting to be working with those level managers.
6. Going to get my script to a huge A-list comedy actor because turns out a good friend of mine knows their producer. Who knew!
7. Recently contacted by production company that wants to read several of my scripts. They are looking to produce films in 2015. Hello!
8. Contacted by another director/writer who also has money to produce in 2015. Hello again!
9. One of my scripts is with a huge casting agent that's looking to get an A-list actress interested in my latest feature. Got that same script to so many big industry people, the most I ever have in my career thus far. That was exciting!
10. Finished three feature scripts this last year.
11. Finished the outline to my latest spec TV script.
12. Just finished before New Years Eve, the outline to my next feature script. What timing! So excited about that!

There's probably even more successes I'm not even thinking about because these ones are so big the smaller ones start to not seem as big. But if you were to even look in my previous years, you'd see that every year the successes lead to new successes in the coming years. So sure, I don't have a script in the theaters just yet. But things are happening. It's a momentum that I can feel. It's exciting. People that can get my scripts made are talking to me and wanting to work with me. I am loving it! I can feel 2015 will be a great year. So take a look at your successes. Write them down. Be thankful for them. You have had them whether you know it or not. Don't dismiss them! You're on your way I promise you. Just. Keep. At. It! Happy and successful 2015!

As High As The Sky

No, not me. It's the title of a little film that needs to get attention. I happen to know the writer, director, Nikki Braendlin, but hadn't been in touch in years. I saw on her Facebook that she started to film said movie and was excited for her and wondered what kind of movie it would be. Well as luck would have it, she posted this week that it was free on Hulu, with commercials. So I thought, sure, why not! I thought I'd watch it in two days because what writer has time to watch a movie in one sitting. Not me at least because I'm always writing something.

Well, I loved it so darn much I sat and watched the whole thing all the way through. I didn't just love it a little, or love it because I knew her. I looooved it! It was really well written, the characters were done so wonderfully, the story was heart-warming and sweet. From start to finish, Nikki just hit it out of the park. I have since gotten back in touch with her and we're going to catch up, because I was so darn impressed. But now it's your turn. You must watch this great little film. The message was great. I loved the casting. Really could have watched more of these characters even beyond this movie, and that's a rare thing to say. I won't give away any plot points or ending, but I'll just say it really touched me. I had never been more proud to say I know a fellow writer.

Just as I was writing this blog, I opened an email from Sundance touting "4 movies you must watch online right now". Well, I'm going to make it 5. Add As High As The Sky to your list. You'll be happy you did.

IFFCA short film festival

So this writer actually got out of the house and stopped writing long enough to see a night of short films at the 2nd IFFCA short film festival. I'd recently become "online" screenwriting friends with a director, Amir Masud from Stage 32 connections. His friend was the creator of the IFFCA film festival and Amir was nice enough to invite me. It was held at the quaint ACME theater on La Brea. Being that that was my old neighborhood post-college for many years, I was more than thrilled to head back for a night on the town. I dragged along my talented ex writing partner, Andy Glickman, and he too was pleasantly surprised at the films we saw. I guess surprised might be the wrong word, because that connotes we didn't expect good films. But the thing is, you just never know what you'll see at a film festival. But this one had some really nice pieces. From humor, to horror, to sci-fi, to drama, to documentaries.

We made it to the last night of the film festival and since they were all really well done, I'm sorry now that I didn't make it to more. Amir swears I'll be invited every year and I'm hoping he sticks to that.

I think I owe it to each filmmaker to give a new post about each film, so tonight I'll post about one that I actually saw the next day, today. See, someone else I met from a film group on linkedin, William Hellmuth, got one of his short films into Thursday night's showings. When I saw his name on the festival lists I had to email him and say hey, maybe I'll see you there. But turned out we didn't get to go on the same nights.

William was nice enough to send "Attic" to me to watch after the festival was over. "Attic", a horror short about a young girl who hears noises in, yes, you guessed it, her attic. I don't want to give it away because you should watch it for yourself. But I will post the link in here so you can decide on your own what you think. But I'll give you my opinion, and let's just say, I was scared! I felt he had the right paces and tension to keep me wondering what was just around the corner and on the edge of my seat. I have since watched another short of his and I think he does a great job with casting and imagery to be a director I look forward to working with in the future. We've talked about it, but we haven't quite found the right project. Someday! http://www.youtube.com/watch?v=Kkeo4gtzPmA&feature=youtu.be

Batman??? Really?

So yes, I know, there's been tons said on why Ben Affleck should or shouldn't be Batman. And yes, it's probably all been said to death. But I have my own opinion and here it is. But before I do, let's start at the beginning. First off, of course I was a Ben Affleck fan after he and Matt Damon won their first Oscar for Good Will Hunting. They were a true Hollywood story of kids seeming to come out of nowhere to go on to win an Oscar for their very first movie they wrote, plus starred-in. They had me at "I'd like to thank the Oscars".

Then Affleck goes on to do other movies, where I wasn't so fond of his acting. Shakespeare In Love, wasn't a fan of him, even if I loved the movie. Many other movies he was in, I chose not to see him, because I just wasn't sure acting was his forte. Maybe the Oscar was a fluke? I like many, I wasn't on his side. Then of course the years of where "Hollywood and its fans truly gave up on him"period. I was in that crowd too.

But then came the rumblings of how he was writing and directing and how great his movies were. Gone Baby Gone. Definitely impressed. But still, I was wary. Could this really be Affleck? Did he really have the talent we all thought he did? Or was it just a fluke? Then Argo happened. I went to see it willingly, happily, thinking, this movie is going to be good, and maybe yes, Affleck was a power to be reckoned with. I saw Argo and was hooked from the moment the movie started till the end. Yes, he was good, he was very, very good. When it won Best Movie, I was glad, and I knew it deserved it.

Then word comes of him wanting to play Batman. A role that many think is left for only the super stars of Hollywood. But the superhero fans think, nope not him. How dare he! Some stand behind him, but I doubt as many as the naysayers. But, you know what? I'm going to stand behind him too. Because you know why? Hollywood loves an underdog. And although he's proven himself as a director and producer, he still has yet to prove himself as a power house actor. At least when it comes to the fans. Because if he had proven himself, there weren't be grumblings of him being able to pull this off. I bet you he does it though, and surprises all those non-believers. Because this is his chance as an actor to redeem himself. And although he has redeemed himself as a producer, writer and director, he still wants to do it in acting too. I'm there, I'm behind him, and I want to see him pull it off. And something I never thought I'd find myself saying, but I'm on team Ben.

Combining a producer's notes with your writing

When you're finally working for someone else, there's going to be those times where they have what they want and that doesn't mean it's what you want. Of course you don't want to be difficult, so you have to do your best to please them and yourself. So how do you mesh the producer's notes with your own? As I'm doing a rewrite of a script I've had several passes on, plus another writer came in after me and before this last pass, I'm wondering who do I please most? Me? or the Producer? I've combined both versions in the way the producer asked me, so I got that down. But now I have to go over the script and make sure it's the best script that it can possibly be. I've done everything the producer asked. I definitely got rid of some things that I felt really did not belong, even if the producer thought they did. My feeling is that if I provide a really strong script, then that's what matters. I didn't do anything crazy to it, so it's not like there's anything jarring. But it's so hard to know if I've truly made it the best script possible. Sometimes when you're so close to it, when you've read it so many times, how can we tell? Well, I guess only time can. I think I'll sit with it, really go over everything I've written. Everything I've taken out. And hope for the best. I almost wish I was more cocky, because then I'd probably just cut more of the other writer's stuff with ease. But I'm not like that. I felt he was a good writer and well, perhaps some of his stuff does belong as is. It's a weird thing writing over another writer, at least for me. When I read another good writer, I don't feel envy, I feel inspired. So I read it and I go oh, okay, I can see what they were going for, and it's cool! But I think that actually might be a detriment to me as a writer if I'm keeping stuff that possibly doesn't belong there. I think I have to come in it with a clear idea of what the script needs. Come into it fresh and be willing to cut anything that can be. I hope I have that in me. And I guess if not, hopefully when the producer comes in, she will be the one who can. If not, there's always the director or the editor!