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/ 

Everything you've ever wanted to know about Development

For newbie and emerging writers, there are words and phrases you may hear but don't know exactly what they mean.  "Development" is one of those words. Maybe you've heard of "development hell" or heard a writer saying, they're "in development". But it's one of those words you've heard about and maybe always wondered what it really means. 

So I sat down with one of my really good friends who not only worked in development at one of Hollywood's biggest studios but now is a TV producer/development person for one of Hollywood's biggest TV writers. The writers she works with are A-list writers. They're Academy Award-winning and Emmy-winning writers. So these are goals for all of us writers to aspire to but definitely heads and shoulders above us preWGA writers. So I knew she would be the perfect person to explain exactly what you as a writer, need to know about development and how to do well when you get to work with your first development person. 

How she got into development: 

She worked for many years for FOX in the research department. Through that job she had access to the creative side and organically started going to table reads and giving feedback on scripts and meeting creators and because she was kind of doing a small portion of development through that she got moved into development. This is not the typical path to development. Usually, they start as an assistant at a talent agency and move up the ranks to get a job at a studio or network or platform. 

What her job does in development: 

Her job is to put together packages and work with writers and take it out and sell it. Putting together the package, when working at a studio, you have overall deals with writers or pods. As a studio executive, you cover those pods. Part of the job is to help those writers or pods, take their own ideas and execute them or help those writers find ideas. There are also independent writers or pitches that come your way. You could find writers you like that you want to take out. You could also find IPs; you see a book you really love or an article and you option that and then find a writer after. Basically, you're part of the process and put all the moving pieces together. Sometimes that means finding attachments, whether it be a director, or a talent attachment and you work on a pitch with the parties involved. Then you take it out to the marketplace, which could be cable, broadcast, streaming, and you try and sell it.

Once it's sold, then what? 

Once a project is sold, you work on the development process through all the materials, from story doc, to outline, to draft, and if successful, it gets picked up to series and then you stay on the project and help produce it. Some departments are different though and handle that differently. When she was at 20th, they had a current department. So once you did a few episodes, you hand it off to the current department. So she handled new projects only. 

What does it mean to have an overall deal? 

That means the company has paid for exclusive services. It's usually a TV deal. It can be a first look versus an exclusive deal. If you're a writer, and you have a deal with a company, it means you can only produce shows for that company. The deal is usually for a couple years. There is the expectation you will deliver and make numerous shows. It's usually people that have a certain level of success. And they want that exclusive right to their work. 

What's expected from these big writers? 

Depending on the level of success and how big their pods, if it's a prolific writer, if it's a Shonda Rhimes or Ryan Murphy, or someone that has a large deal, the expectation is bigger. If you're doing a writer-only deal, if they have a show on the air, their bandwidth might not be that great. Maybe they are concentrating on the show that they have. It can vary. People would like to do as many projects as they can handle. There's always the urge to hustle. But you do want quality over quantity if you want to go the distance. 

What it's like being a pod executive? 

She works for one writer now who has a deal with one studio. She's a producer now and works with the development person over at the studio. That means she's on the creative side whereas before she wasn't. She now works closely with the studio executives. So she's finding IP, finding writers, finding ideas; and sometimes writers will come to her with pitches. 

How do ideas get to her in development?

Sometimes someone will bring a spec script someone is taking out and she can say yes we love it, we want to develop it. If that's the case, then she's giving notes on it and developing it to the level she wants to see this project. Or maybe the writer thinks her team will be additive to the project., maybe an area of expertise. Sometimes IP will come without the writer. Maybe they found the book on their own, or agents are taking it around town, or other producers are taking it around, or the studio has found it or the networks have. It could be a podcast, a book, an article, those are all IPs. So someone would then bring it to her or anyone in development and ask, is this something you like? If they like it, then they option it, then they look for a writer after. This is what is called the Open Writing Assignments you've probably heard of, or also known as OWAs. 

What are OWAs?

An OWA is a piece of IP that they've optioned through the studio. Or it could be a self-generated idea that they're trying to find a writer for. Then the producers take meetings with writers they want to be in business with. Then as a producer/development person, they can say to that writer, "these are the OWA we have, and are any of them appealing to you?" Many times they work with a writer they already have worked with or know their material. The initial conversation with the writer about an OWA is, "are you interested in this project, let's talk about it," and then eventually the writers come up with ideas. As a producer they work on it together with the writer, and help craft the pitch. Eventually they take the pitch to the studio, where they're based, and they decide if they want to continue with it. The writer does NOT write the script until the idea is sold to a buyer. Once it sells, then it goes into the writing stage. 

If the studio likes the pitch

The studio will decide, do we like this idea and do we want to proceed? If they do like it and want to proceed, then they give additional notes on the idea. They will help craft the pitch the way they like it. Then the producers take the idea/pitch to a bunch of buyers, and of course hopefully sell it. Once it gets sold, then they go through the traditional writing steps. 

How is a TV producer different from being in development?

It's almost the same. The difference is as a producer she's more in the trenches with the writer, than she was as a studio executive. As the producer, she's with the writer, every step of the way. She's seen every draft numerous times, maybe 30 drafts, but at the network maybe she saw 1 draft. Also in production, she will be more involved on set, more involved with those decisions. In development it would be to a lesser extent. 

What is her goal as a producer when she gives notes? 

Just to be additive. To be an extra set of eyes. An extra opinion, to help guide it through the process, especially to be a mediator between the writer and the studio partners, the network partners, to help cut through it if there's a debate about what needs to be done, or how it needs to be done. To try and be as helpful as possible, to be the advocate for the writer, to try to fight the fight when there needs to be one, to also help massage things when it's the right note that needs to happen to help it go the distance. She believes for notes, it's really subjective, that it's just an opinion. Even when she worked in research and did focus groups, she never felt feedback had to happen, like it was a mandate, like this was the right way. She doesn't feel that way as a producer still. When she reads a script, she looks to see if something is confusing for her, or is there a part that will make it land in a more emotional way, or they keep hearing what's important to the buyer, then maybe that's where they should lean in, because that might be the deciding factor on it getting picked up. She just wants to be part of the team. 

Has she seen a writer not take her note and it still work? 

She has and she encourages it. She thinks if someone feels really strongly about something and are passionate, she likes having a conversation about why do you feel that way, what is the meaning for it? A lot of times when you hear that, it helps her as a producer, it helps her understand why. She believes no one is right necessarily, and if the writer feels strongly about it, they should keep it. She feels as a producer the worst thing you can ever do is to have a writer turn in something they don't feel good about, that they don't love. Because everyone wants to feel they delivered something that is representative of the story they wanted to tell. She believes part of her job is to protect the writer so that what they ultimately they see on air is something they feel good about. She hopes that going through the process, even with changes, will make the final script stronger. 

What mistakes in writers do you see? 

Sometimes taking every note and being too much of a people pleaser isn't necessarily the right way to go, because you have to feel you're writing your vision. But on the flip side you don't want to be so rigid you're not taking any notes, because the buyer knows what they're looking for, what their needs are, what gaps are in their schedule. She's seen both of these. But it could be a writer's style and maybe the next thing this writer does, will hit the mark. Does she believe it's good to be somewhere in the middle of these? Yes. She does believe a compromise of some sorts is always the best way. A little bit of flexibility never hurts. When it comes to making TV, there are lots of cooks in the kitchen and lots of people to please. So being able to roll with the punches is an important skill set, but also it's a balance to sticking to your guns. 

What is something writers do well?

She believes it's just being really passionate about what you want to write, about having a strong point of view. (How many times have we heard this, writers?) It's important to have strong relationships with the teams surrounding you. When your team loves your project and they want it to go all the way, that's the best possible situation to get in. 

WeScreenplay zoom: Embracing the Nuanced Latinx Experience

So I have not been publishing my blog at all lately. There has seemed to be a more toxic writer's universe on Twitter. I know you've seen it. It kind of scared me off I guess. But I created this blog for newer writers and I have to remember that I have things to help them grow as writers. If you're an Academy Award writer, this blog may not be for you. Everyone else, see if you get something out of it. 

So recently WeScreenplay hosted a zoom on Latinx showrunners and I was so inspired I had to post. First off, if you haven't been attending their zooms, they've been great. So keep your eye out for more. I've attended a couple so far and have loved them all. 

So this one was hosted by Joshua Noble and had showrunners Jenny Lorenzo, Latinx actress and writer, from things like Victor & Valentino and Gentefied, Javier Grillo-Marxuach, producer, director, writer of shows like Lost and The Dark Crystal, and Evangeline Ordaz, producer, actress and writer of things like Queen Sugar, Vida and 13 Reasons Why. 

They were all so passionate about what's going on with Latinx in TV and movies and had so many great things to say. So in no special order, here are some of the key things I took away from it. Mind you, I'm paraphrasing: 

Jenny Lorenzo (JL) grew up Cuban in Miami and said she didn't fit in growing up there. Even when she'd go to casting, they didn't know what to do with her. So when she'd write about her Cuban Abuela (Grandma) then those details are what formed a unique character. Tip: Use those unique characteristics to create unique and diverse characters in your pieces. 

Javier Grillo-Marxuach (JGM), from Puerto Rico, talked about when he wrote The Middle Man in 1998 he had to fight not to make a character more Latinx in a role. He didn't want a character to break out in Spanish or have Salsa music when his character walked. Because he himself is Latinx but doesn't like Salsa music. Every Latinx is different and has different experiences. They're all coming from different backgrounds and traditions. Tip: When writing a diverse character, make them complex then give them a Latinx name. Make them competent at their job and that's enough. That stays away from stereotypes. 

They all spoke about how inclusivity is important so when other people see people like them on TV or in movies, then they stop feeling like the "other". 

Plus, how it's their job to educate the execs. That they need to advocate for more people of color in those positions. Once we get to those positions, we do too! 

JGM mentioned he was a product of a diversity program. And how execs have biases for diverse people. And in the past 10 years, there have been more execs of color. It's slow, but it's happening. 

They all mentioned how networks want inclusivity but then they pitch to them and they all say, tone it down, it's too Latino. So it's mixed messages. But let's hope as more Latinx get in the exec roles, the less we will hear this. 

JGM brought up how in TV, mentorships are missing. How important it is that when you sell a show, to find a Showrunner who will help your vision end up as the final product. Tip: Find a Showrunner who doesn't want to take over your show, but teach you how to run it. That way the Showruner can get it up and running, teach you everything, and then they can go off and run other shows and your show succeeds. 

Evangeline Ordaz (EO) talked about how refreshing it is when she's in a room of all Latinx. She called it putting her "white brain on". When you're in an all Latinx room, you don't have to speak in different words or jargon because people all come from similar backgrounds. 

JL moved from Miami 5 years ago and talked about how there were so many Latinx out there. But when she came to LA it wasn't like that. So she decided to create the content she wanted to see and wasn't seeing. Tip: Create what you want to see. There are obviously other diverse people who want to see that too! If it's a universal theme, a larger audience will too. 

JGM mentions he writes any character as you normally would, and then suggests, making them Latinx. He tries to make at least one lead Latinx. Why not all of us? 

EO says we're not just one thing, all Latinx people. We're many things! Basically, you can't lump Latinx into one category. When you do, again, you end up with stereotypes. 

Even recently in my own writing group, I shared my Latinx sitcom. I have an amazing writing group of talented female writers. I based all my Latinx characters after my real relatives. But one non-Latinx writer gave me a note and said, 'Oh such and such would never happen so don't do this." Uh, what? I literally based this off my cousin! So, tip: If you are not a diverse writer, be careful when you tell a diverse writer, "such and such can never happen." Yes, it can! That's what makes diverse characters real! And not stereotypes! If you're not a diverse writer, tread lightly on "can never happen" notes. 

So that's basically the Latinx zoom. I hope you found it as interesting as I did. And hope it helps you write better diverse characters. I look forward to seeing them on the screen someday! 

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.

5 Things I Learned Writing This Movie, #3

I'm back! I'm doing a series of blogs in honor of my movie 5 Weddings, that comes out this month worldwide, on October 26. I'm writing about 5 Things I Learned Writing This Movie. So onto:

#3 - Getting a movie produced can take a long, long time. I wrote the first draft of this movie about 13 years ago. Yes, 13 years! So what's a writer to do to not drive the producer crazy while you wait? You get started on another script, and then another, and then another, and then another. Well, you get the idea. Any script you write, you put in the past. And if it gets produced, great! And if not, you've got so many other scripts you won't care. And when it does get produced, like 5 Weddings did, then yay that's just icing on the cake. Even when the producer Namrata Singh Gujral finally told me about it two years ago that we were going to bring on Andy Glickman, a good friend of mine and talented writer to get the script ready for production, I almost didn't believe her! It had been sitting around for so long I really thought it would never get produced! But true to her word, one day, it was in production! I even have a blog post about being on the set for one of the days. And then next thing I knew, it premiered at Cannes! And now here we are, about to see the movie released worldwide. So, the moral of the story, is don't sit around waiting for a script to get produced, always move on to the next project. 

Okay, check in next for #4! 

5 Things I Learned Writing This Movie, #2

So I started a series of blog posts, 5 Things I Learned Writing This Movie, to honor my first produced movie that comes out this month, 5 Weddings. So, today let's hear it from:

#2 - When you write a script, you may think that what you have, is what it will always be. But for us, that was definitely not the case. And maybe not the case on many scripts. So what I learned is that when you write a script, it will change, and change, and change, and then change some more. At first when we started this script, it was a straight-up comedy. But after I finished the script in two weeks, the producer decided to add some dramatic elements. I don't want to say what they are as to not give anything away about the movie. I do think they add a lot of depth to the story, so I'm glad she suggested it. It ends up being the B story, in fact. But that meant there would be a lot of rewrites. So it went from a comedy to a dramedy. I also wrote the first script about 13 years ago, so that means a lot of rewrites over those 13 years. So as a writer you just have to be fine with changes. Because changes are what makes a better story. I think the basic elements are there from the start, but we added a lot over that time frame. So what I'm saying is, don't be afraid to let your script evolve! That's what scripts are made for.

Okay, be sure to be on the lookout for #3 tip next time!

In honor of 5 Weddings: 5 Things I Learned Writing This Movie

So my first produced movie comes out this month, October 26, to be exact, called 5 Weddings. So in honor of that, I have decided to write posts called, 5 Things I Learned Writing This Movie. Get it? 5 Weddings? 5 things I learned? So drum roll, here is:

#1 - That I can write a script in 2 weeks! Before I wrote this script, I had never written a script that quickly. But when the producer told me about the project, she said can you write this in two weeks? And of course, I said yes, even though I'd never done it before. Because if someone has a deadline, then I meet it. I looked at it as a challenge that I would happily take on.

So I set myself a schedule in order to meet that deadline. I remember I had the weekend to write the whole outline and character studies. Then I had to pound out 5 pages every day, no matter what, during the week, for both weeks. And then on weekends, I wrote about 10 pages. For anyone who's written 5-10 pages in a day, it can be pretty exhausting. And doing that for two weeks? I was spent. Plus I had a one-year-old child at the time, so wasn't getting much sleep on top of it and didn't have a nanny so was really spending all day with my child and then writing at night. But anything can be done for two weeks. I remember being spent mentally at the end, but you know what? I had a complete script done in two weeks. And now, I know, if it needs to be done, I can do it.

So check back next time for What I Learned Writing This Movie #2.

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

Writing while mom

So recently I met a new writer. She's also a mom. We chatted about how we fit in writing and life and being a mom, being a wife. It's hard to juggle it all. There were times where she was a full-time producer and then had little time for writing let alone enough time to do things with her kids she wanted. So she's decided to put off on the producer jobs. But I can relate, because I have a lot of freelance advertising work right now, but then squeezing in my screenwriting isn't easy. Which is why I rarely find time to write my blog. There's only so many hours in the day. So what's a writing mom to do?

I'm hardly saying dads who work don't feel the same way. So if you're a writing working dad, please don't feel dissed. And I'd love to hear your challenges too. But for some reason, it seems like even the extra mom stuff falls on us. Or maybe it's just that we moms let it fall our way and we don't release it to the dad. Stuff like filling out the school papers, doing the back-to-school nights, parent-teacher conferences. As the years go on, I have tried to release some of that to my husband. The more I send his way, the more he seems fine with doing it. Maybe sometimes all it takes is asking them to do it.

Since I rarely have time to read, I'm listening to an awesome audible book right now, Daring Greatly by Brene Brown. I'm enjoying it so much that I will surely mention her in other posts. But she was a busy working mom and an author. And she says how women guilt other women by judging what kind of mom they are. Of course when I hear her say that, in my mind I think, how awful, who does that? But then she goes on to say, "And if you miss your child's school play, it doesn't make you less of a good mom." But inside I'm thinking, yes it does! How awful is that? I went straight to, "No way would I ever do that." Okay, I'm not judging another mom, but I am judging myself harshly. And maybe driving myself crazy trying to meet impossible mom goals!

So what's a working writing mom to do? Of course, we have to make our writing a priority or we'd never get any done. But with so many priorities how do we choose which one comes first? Grocery shopping? Feeding the kids? Taking them to school? Writing? Like I said, I've given some important chores over to my husband. But even then, there still is very little time to find for writing.

I definitely have learned not to get upset if the house isn't perfectly clean, mostly clean has become more the norm. Clean laundry? Okay, so it's on the couch and not put away a few days before it gets put away. Home-cooked meals that don't have much variety from week-to-week? Okay, but at least we're eating together and it's home-cooked. I'm not sure what your level of doing the best you can is, but I really think as a working writing mom or dad, we're all doing the best we can. And before we know it, our kids will be out of the house. But our writing will always be our passion and if we're lucky, a full-time career.

So maybe all we can do is find the time when we have it. Squeeze in an hour a day, 15 minutes on other days, three hours on a weekend if the kids are at a friend's if we're lucky. And before we know it, it all adds up. But making ourselves feel guilty over what we're not doing as parents? Who really has time for that? I'm definitely trying to learn to forgive myself when I can't do it all. I mean, is anyone really doing it all? I bet not.

Keep in touch with those contacts

So you know how you meet people that work in the industry?  Maybe through a friend. Maybe at a networking event. Maybe you email them and hear from then once, or meet them again and then not much happens except an email back. So you think, well, this really isn't going anywhere. Well, guess what? Keep in touch with them! Let them know every little thing you're doing. Because you never know what will come of it. Here's why:

So I met this really big producer through my step-dad years ago. They played golf together, as big producers do. I asked my step-dad to ask him if someone in his office could read a script of mine. A guy this big, I'd never ask to read it. But he insisted he'd read it. OMG! Okay,  if you insist. So he read it, liked it, but nothing came of it. So that started a friendship/mentorship. We'd keep in touch, me doing the reaching out. Him always responding and happy to read stuff. He even offered to meet for breakfast one time when I was visiting my parents. He was super nice and we talked about our love of movies. But I thought okay, this guy is just a mentor of sorts and that's cool. But I always let him know new scripts I was working on, always let him know new producers I was working with. He pretty much always wrote back, but not even always.

So fast forward to a book I wanted to option. I wasn't sure if the price would be too steep for me. So a friend at ICM said, email producers and tell them what you want to do with the story and you want to partner with them to produce it. Okay sounds easy enough. So I reached out to this producer and told him that. He said yeah, send me the book. Hmmm...okay, still didn't think much about it since nothing really came of it over the years. But lo and behold, he starts emailing me several times a week saying how much he loves it! I couldn't believe it! And then he asks, can I bring in my Academy Award winning producer friend. Uh...gee, let me think about it! You know what my answer was! Uh, yes! So next thing I know, his producer friend is in town and he suggests we meet for lunch to discuss the project. Wow, is this really happening? So we set up a date and place to meet, and we do! It really happens! They ask me my take on this story and next thing I know, we've decided to produce this thing, together! I still can't believe it.

Of course there are many steps before this becomes a movie. But it just goes to show, keep in touch with your contacts! You just never know where it will lead. You just never know!

What kind of writers to ask for help from

So at some point in your career you might have friends that have agents or managers or know producers. And perhaps you're thinking, well, I need one or both or all of those, so surely I should ask my friend to refer me! But hold on there buckaroo! Just when you think it's time to ask a friend to help you out, there are a few things to consider.

First, did your friend JUST get this agent/manager/producer? If so, then put on those brakes. If they're at that point, then they're trying to establish a relationship themselves. And for you to ask them to help you is a bit like asking a pregnant mom what it's like to have a baby. It's too soon to ask! So let that relationship they have with their agent, etc percolate.

Then, if a friend has had this agent/manger/producer for quite some time, still ask yourself what kind of relationship they have with that person. When I first became a writer, I knew a really big producer. A writer I had in a writing group asked if I could get a script to them. I hadn't even gotten a script to this person! I was still working on the relationship we had and if even I felt comfortable asking this producer to read something of mine. So I surely couldn't ask him for a friend! That's just odd and it put me in a weird position with the writer. Don't do that to friends! If you're a good writer, I promise your friend will help you out. I surely would have helped this friend out if I had built up the relationship. But instead she was mad I didn't help her and we lost touch.

If you're certain your friend is in a good place with said agent, etc, and I'm sure they see you making your own efforts to make things happen in your writing career, your friend will offer to help. If you really don't see them offering, then yes, go ahead and ask. But even then, they could say no. Some people just aren't willing to take risks on other writers. And if that's the case, there will be other opportunities.

There was even a time when I had a friend who had several really big contacts. It was years before she offered to get one of my scripts to her big producer contact. When she finally did, it turned out the producer had a script like mine, so passed. I was hoping my friend would ask to get another script to her producer friend because this was a really big opportunity for me. She didn't ask though. It really bummed me out. But I put it behind me and knew if it was the right time or situation she would. Well guess what? Now years later I'm working on something with this friend that we're getting to her producer friend! If I had gotten mad that my friend didn't help me out, I surely would have lost that friendship.

So plant the seeds with your writing, work hard, and in time, those friends will help you. But sometimes it just takes patience. And lots of hard work.

Sample scripts - always a good time to write more

I heard from a female actress/producer this weekend who needs a writer to help her and some friends who look like they'll be getting funding for a sitcom they're writing. From what I can tell they're more like comicedians and need a sitcom writer who gets the ins and outs of writing an entire sitcom, along with a series. They wanted to see samples that represented their idea to find the right writer.

As I was gathering samples to show I could write what would fit their show, I realized, I actually had a lot of samples with female comedy leads. Who knew! It's funny when you write piece after piece that eventually you actually have a lot of things that fit in the same category. I think because I wrote so many guy pieces at times, I didn't realize how many female pieces I really had.

So I sent them along to her and her partners and now I wait. But it just goes to show, keep writing. Because you never know when those things you're writing can actually turn into a gig!

Whenever I see a contest that asks for a certain sample piece, if I don't have it, I try to write it, especially if it's for a short film. It doesn't take much time to write something that if it doesn't win you the contest, could at least be a sample piece later on. So, compile those samples! You never know when you'll use them next.

And maybe, just maybe, you'll get hired from them. Fingers crossed!

You win some, you lose some

First the good news. I heard from a producer that's been involved in some decently sized movies and he emailed to ask if one of my shorts was available because he might be interested in producing it next year. That's great news, right? I was excited to hear, of course. But...

Then minutes later, I get an email from an even bigger producer who I've been working on a few projects with over the years, and he says, he loves my new draft, it's really funny, loves the setup, but the comedy is out of his wheelhouse and he's so busy on movies going into production next year he won't be able to work on this with me. What??? No! This has been a relationship I've literally been developing, writing scripts, pitching ideas, meeting. I thought for sure, this was going to happen! And now, nothing? Ooh boy. Not what I wanted to hear. That's a huge blow for sure.

So of course I'm bummed. It's part of this business, I'm sure. I get it. But no one wants it to be them when it happens. So, instead of remaining bummed, which would be an easy thing to focus on, here's what I'm going to do to get out of this funk.

1. I'm going to focus on the first great news of the day, that the other producer is interested in producing my short! Yay! That's great news! Let me enjoy that for some time! It's not a definite, but it looks likely. And even if god forbid it didn't happen, this producer still did email me that he's interested. That's good no matter what happens.

2. If I wasn't working with the other producer, maybe I wouldn't have gotten this script into the awesome shape it's in. I plan to get it out to whomever I can next year. So who knows what great things can come from this.

3. I worked with Pilar Alessandra, story analyst, like I wrote in a previous blog, and she is getting me on one of her podcasts. If I hadn't been getting my script to that producer, maybe I wouldn't have hired her. And then that great thing of being on her show wouldn't have been an opportunity.

4. And let's not forget, the really big producer really did love my script and found it very funny. Funny! That's huge! I can't let that pass me up. He works with huge writers, and yet, he still did love my script. sigh. And even though it might not happen with him, I'm not going to ignore the compliment.

I'm sure there are more great things too I'm not quite ready to see. So, instead of sulking. I'm going to work on the outline for my newest script that a huge production company has already said they want to see the script for. Because one of the most important things about being a writer is to always work on the next thing. So that's exactly what I'm going to do instead. On to the next great thing!

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.

He said, she said

So I've got a few projects in the works. They're all pretty exciting. One, if it works out, will be getting to one of my favorite comedian actor's production company. That same project will also be getting to one of the biggest agencies in Hollywood. "IF" it works out. See, the other two people involved in creating the story with me, there have been issues with making an agreement. I don't have an agent, so that's really the problem. If I had an agent, none of this would be a problem. That agent would say, here's your contract. End of story. So meanwhile you have me, the only writer, and two people who aren't in the business who are working on the story with me.

So what you find out when there's the possibility of a movie getting made, money happening, things get interesting fast. Nothing bad. No one meant any harm. But trying to get three people to agree on who should get what credit and what % if and when it sells/made. Is not that easy. Tensions get high. People's feelings get hurt. Oh the drama!

For me, I just keep trying to get everyone to talk. Keep trying to make everyone happy and make sure everyone felt like they were getting what they wanted. I was even willing to give people more than maybe they deserved, if it meant the script would get made and to the right people. For me, as a writer, getting it to these big Hollywood people was the brass ring I wanted to grab. A lot of our conversations happened through texts and emails, and I can say, that I learned that was a mistake. So yesterday, I got on the phone with one of the people, and amazingly, that seemed to be the trick. It didn't happen immediately. At one point, maybe many times even, I felt the project was going to be dead in the water. But by the end of the conversation, we actually found a way to make everyone happy. For the first time in weeks, it seemed things were moving and back on the table.

Then he spoke to the other person today. Yes, talked to her on the phone today. And he texted me after. And now, guess what, I think we agreed on a deal we can all be happy with! It's amazing what a phone call can do. Sometimes, picking up the phone is just what needs to happen. Graham Bell knew what he was doing, I guess!

So I also have a movie getting made this month, and just today more drama with one of the writers. I don't think it was anything he said intentionally that caused problems with the producer. I tried to gently let the producer know this. But she's not hearing it. Oh, again, the drama! I talked to the writer later and let him know I'll see what I can do to iron things out. I'm not sure I can. I'm not sure how or why I seem to be ending up the mediator in all these situations? All I can say, and if this helps you, is through all this, just remain calm. Try to see it from the other person's side. Be the one that's the calm in all of the mayhem. But boy, all of this is exhausting me. I may be calm on the outside. But I sure look forward to having an agent do all this for me someday!

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?

After the meeting

So I went it to meet with the producer on a script I was writing for him. I thought I'd have to pitch it to him, but turns out, he actually wants to read another script of mine now. He thinks that one might be closer to being ready. I'm on a 3rd rewrite. So I should be happy right? For some reason I'm feeling kind of panicked over the whole thing. Maybe because this whole script has been sort of tricky. It's a comedy, so you'd think it would be easy. But I guess if comedies were easy, everyone would be writing them. I'm at the midpoint and solved a huge issue I had with it. Now, to write it. The easy part. Not!

My writer friend gave me advice to go in to the meeting with ideas to pitch. So luckily I brought in a couple ideas with me. If he hadn't told me I don't know if I would have known to do that. So if you have a meeting, always bring in other ideas! The producer is interested in a new idea of mine that I pitched. So who knows, could end up working with him on other ideas. That's what these meetings are all about. Working with people you want to work with. And so far, he seems willing to work with me. And definitely, I him.

So there you have it. Always bring in other ideas to any meeting. Now, to finish my rewrite. Wish me luck!

Pitch after the rewrite

So I have a meeting coming up with the producer I've been working with. It's very exciting because he's a big guy in the biz. But, preparing for a pitch isn't always my favorite thing. Not really sure why. So instead, I'll write my blog!

So, to get ready for this meeting. I wasn't really sure what to expect. It's a little different than what I've been through before, so I called a screenwriter friend with more experience than me and thank god I did. He told me things I was not prepared for! He let me know that since this is a rewrite of an idea he's read a first draft for and that he's busy, he may not have even read the rewrite. Wow. Not at all! So he said I have to basically pitch him the new draft! Okay, that was not what I thought was going to happen. Thank goodness my first meeting with him was rescheduled, so that gave me time to be ready for this meeting. He also said to go in with two new ideas to pitch, because you never know. Which I also wasn't expecting.

So I had to spend a lot of time rewriting my whole pitch on this story, since it's a page 1 rewrite. This is because his development guy gave me new notes, totally different than what the producer had me start with. I am loving this script even more now though, so that's good. It just meant a lot of work to get ready for the meeting.

So there you have it, if you're ever in this boat, which I hope you will be someday too, that's what you need to be ready for. I'll write you after my meeting and let you know if I learned anything once I'm actually in the meeting too. Okay, back to learning my pitch. Happy writing.