Pursuing a career as a working screenwriter is challenging at best. And maintaining an existing one is no walk in the park either. More like a walk through broken glass (while also eating it).
There can be days – years even – when it seems like my professional writing is on life support.
At this point I’m all too aware of what burnout feels like.
So how do you find hope or optimism in your writing journey during the dark days? How do you feel thankful when you’re pretty damn sure there’s nothing to be thankful for?
Back in the day, before he was creepy (other than the standard self-help-guru hucksterism weirdness), Tony Robbins had an exercise in his Personal Power tape series that addressed this.
(yes, after enthusiastic recommendations from my roommates at the time, I actually ordered a set of tapes off late night television and found them about 80% helpful and only 20% nonsense).
In this exercise, Robbins instructed the listener to look around the room they were in and find and remember everything that was brown. Then he asked us to close our eyes and name everything in the room that was red (a tricky redirect as you might imagine).
After that, he had listeners open their eyes and actively look for everything red. Naturally, this time around, significantly more red objects were found.
The idea being that you tend to only see the things you’re looking for, leaving you blind to the things outside that adopted point of view.
Whatever you focus on is what you’ll see.
So that’s the essence here, really. If you only dwell on the things that make you miserable, that’s all you’re pretty much going to think is there.
On the other hand, if you devote some time and energy to direct your attention to the more positive things in your life – and career – you’ll tend to find them.
The seasonal point, of course, is to stop focusing on the brown parts of your career, and focus on the red instead. Metaphorically speaking.
What are you thankful for this year, screenwriting warriors? Here’s my list (with another month still to come)…
Did a small “test run” of Rhonda and my graphic novel, Blowback, while searching for a publisher Looks awesome (we even sold a few).
Got a script read by a production company thanks to the WGA submission portal (created as a result of their Agency Campaign). It ended up not being a fit for their mandate, but they liked the writing and it generated a new industry relationship.
Most audiences are onto the fact that much of the sound they hear in movies and television isn’t made on set while the cameras are rolling.
The gunshot wasn’t actually recorded live. The song at the High School dance wasn’t coming through the on-screen speakers. Even something as straightforward as the footsteps of people walking down a hallway wasn’t likely captured at the actors’ feet.
Instead, most sounds are carefully selected from a sound effects library or recorded on a foley stage and then painstakingly placed by a SFX Editor during post production.
This is the world of make-believe, after all.
The sonic smoke and mirrors are even more prevalent in animation, where every bit of audio you hear, from dialogue to fist fights, to birds chirping in the distance is chosen and assembled on an edit system or audio software timeline.
With that in mind, the question is: can a stock sound effect become legendary?
It can. It has.
Through the decades, a particular sound effect – a scream, to be specific – has come to find its way into an endless series of films.
This effect, known as The Wilhelm Scream, has been in even more shows and movies than Michael Caine!
Hard to believe.
According to Wikipedia, The Wilhelm Scream first appeared in the 1951 movie, Distant Drums. Oddly enough, it wasn’t screamed by the character Wilhelm until the Western, The Charge at Feather River, a couple of years later.
Life is complicated.
From there, Wilhelm’s scream has gone on to show up in over 425 more productions, from Reservoir Dogs to Toy Story to Terminator: Dark Fate.
Although a viable (though perhaps melodramatic) sound effect, its popularity is not quite by happenstance. At least, not at this point.
Iconic sound designer, Ben Burtt, first used it in the original Star Wars, and went on to popularize it throughout his career.
In short, it’s now become a bit of an “inside joke” among filmmakers. Though today, with everyone knowing the ins and outs of all things pop culture, it’s not nearly the secret it once was.
One of the things about this that fascinates me most, is that the actor behind this cinematic gem – reportedly Sheb Wooley – is still “alive” and well and performing in new movies all the time, despite being dead since 2003.
That’s no mean feat.
In short, I raise a glass to the immortal Wilhelm. Few have experienced more frequent and varied suffering on the silver screen merely for our entertainment.
If you weren’t already, be sure to keep an ear out and see if you can find it in the next movie you watch. Granted, if it’s a story about collecting butterflies, it’s probably not going to pop up. But anything a with a little action, and you’re likely to strike gold.
I think the primary question for most impending college graduates is: What now?
That was in the forefront of my mind as a senior in the film and television department at NYU.
I had a couple of thoughts.
There was a student I knew whose aunt coordinated parking for film shoots in the New York area. Maybe I’d start my professional career as a parking P.A. A few of my friends had done it over the previous summer break and ended up on Goodfellas. Not too shabby.
I’d also acted in a PSA during high school for a small production company on Long Island, and thought I might be able to get a job there. Maybe an internship. Something industry-related until I could sell my million dollar spec.
Thankfully, there were then (and still are today) lots of entry-level industry positions to be had if you’re already in a city with media and entertainment companies.
Places like New York and Los Angeles are the obvious epicenters. But there are plenty of others throughout the country, to varying degrees. You just have to do some research on what’s in your particular area (or the area you’re going to. Particularly).
The types of industry jobs available just out of school are a bit of a smorgasbord as well, as my NYU peers illustrated quite nicely.
One friend started out as an assistant at a production company. Another friend, a camera operator on low-budget features. Still another started by doing script coverage for a producer. Beyond that there are P.A.s, personal assistants, receptionists, and coordinators, to name a few more. None of those jobs are going to get you a Tesla right out of the gate, but you’ve gotta start somewhere.
Before I pursued any of the local jobs I was thinking of, I got an offer from my friend, Tim, who had left school after the previous semester. He was in Los Angeles, working in development at a company called Franklin/Waterman Entertainment and there was a job to be had on one of their shows.
(Note to everyone in every industry: Your friends are your network, and you are theirs).
The show was Night Flight, a weekly two-hour block of music videos, film shorts, and other odd odds and ends. It had originally been an overnight block on the USA Network, but this version aired nationally in late-night syndication.
My job was as a Segment Producer, which sounds mighty highfalutin for a kid fresh from college. What it really meant, though, was that I wasn’t on salary. Instead, it was my job to conceive of and pitch segments. With the approved ones, it would be up to me to edit them for airing on the show. Then I got to invoice.
Most of my segments were cobbled together from music videos, electronic press kits, public domain movies, and assorted other video weirdness from the show’s vast tape library.
My favorite piece was a dance montage called Hip Hop ‘Til Ya Drop, set to (and including) MC Hammer’sU Can’t Touch This, which was painstakingly stitched together to the beat from more than 25 music videos on a linear editing system. Please hold your applause until the end…
When Night Flight finally invested in a professional grade Hi8 camera, I got to shoot bumpers, band interviews (The Sisters of Mercy, The Godfathers), and eventually even a short “film” of my own for the show (to be entailed in a future post).
In short, it was a great start for me – A reason to move to L.A., a landing place with an “endorsement, ” and a gig on a “brand name” series.
Granted, it’s been a roller coaster ever since, but it was a welcome entry point
The main thing to remember, is that you shouldn’t think of your first job as a life-and-death decision that will define the rest of your career. Not that you should take just anything. But primarily, it’s a place to start working, develop your network, and then figure out the best path to your ultimate goal.
Mine is to be cartoonishly wealthy and get anything I dream of produced.
If you thought this post was going be R rated, I’m afraid you’ll be disappointed. Instead, it will be very much a G, since it’s about the preschool series, The Stinky & Dirty Show.
This happens to actually be my third post about this pair of animated trucks (there was this one, and that was followed up by this one). But it’s relevant once more, since August 23rd marked the latest drop of episodes on Amazon Prime.
The two episodes I wrote with Rhonda Smiley in this batch feature another pair of notable performers (I know it really shouldn’t matter, but I do love writing for performers of note).
In “Monster Breakthrough,” Tom Kenny (SpongeBob SquarePants, 3 Below: Tales of Arcadia) plays the fun-loving, but easily-frightened, Monster Truck.
In “A Case of the Sputters,” Andy Richter (Conan, Madagascar) voices the heroic Fire Engine, Brave.
The truth is, in addition to the thrill of having performers I admire actually speaking dialogue I’ve written, it’s helpful in self-promotion. While it might feel a little weird… maybe vain… probably narcissistic… self-promotion has become an essential part of the modern writer’s toolbox.
Don’t shy away from it, if possible. Highlight your work, your network, and especially any recognizable names involved.
Employers and fans alike should be able to easily find these things online. For prospective employers, the more impressive things they see, the more appealing a candidate you become (good writing is the primary attribute, of course, but everything helps. Everything. It’s a competitive field).
I didn’t write a post last month and was on the verge of missing my June deadline too.
It’s so easy to get buried by life sometimes.
For me it was a flurry of little things. Not all of them negative, but still… Enough of them and it can really take a toll on your schedule.
There was the push to get a publisher for Blowback, my day-job fluctuation, possible interest in a script, a friend’s injury, the death of a refrigerator, surgery on my dog’s paw, a Sisyphean attempt to clean the garage, and – of course – a trip to Batuu.
As the oft-repeated saying goes, a career is a Marathon, not a sprint.
But really, pretty much everything – other than a sprint – isn’t a sprint.
In the same vein, the most obvious marathon is an actual 26.2 mile marathon itself, no analogy needed.
Well, 20 years after my previous actual marathon, I once again “ran” (read: traveled by foot) the Los Angeles Marathon at the end of last month.
It may take another 20 years to recover, but I did cross the finish line under my own power. It was hard. It was stressful. It was long. But more than anything, determination and perseverance are what got me through.
Similarly, I’ve been running my screenwriting career marathon for quite a few years now. As with the literal version, determination and perseverance are the primary forces getting me through.
So lets milk these metaphors dry.
To have a chance of building your own screenwriting career, you need to push past the exhaustion of working a day job while still putting in the hours for your creative work. Writers have to write.
You have to block out the pain of dry spells when paying gigs are nowhere to be be found. Be prepared when the opportunities arise.
You must embrace every bit of encouragement from the sidelines to soldier on in the face of impossible odds. No kind word is too insignificant, no motivation too small.
You need to lance the blisters of rejection to… er… well…
Ah, hell, you get the idea.
If you just keep putting one metaphorical foot in front of the other, you’ll eventually get to the metaphorical finish line.
Which, in this analogy, is success. Start stretching.
This particular release includes “The Neverending Race,” which is the first of three episodes Rhonda and I wrote for the series.
Although it’s always great to get an assignment for a show, it’s even cooler when you find out that the words you type will ultimately come out of the mouths of some amazing actors. “Name-brands,” even!
Featured performers in our episode include Joan Cusack (Shameless, Toy Story 2, 3, & 4) as Red, and Academy Award Winner, Whoopi Goldberg (Ghost, Sister Act) as Meg.
The moment we got the offer from longtime friend, Guy Toubes (Executive Producer on the show), we jumped at the opportunity. To begin with, we never turn down legitimate writing work. We’re not crazy (not that kind of crazy, anyway). But beyond that, it was our first chance to work on a show produced specifically for a streaming service.
Unlike a lot of freelance writing work, where pitches and notes are primarily done via email, Stinky & Dirty also involved a meeting with real human beings in a brick and mortar structure known as an “office.”
This particular office was a conference room at Amazon Studios in Santa Monica. A word about Amazon Studios. Several, actually. They don’t kid around over there with security. It felt somewhat reminiscent of trying to break into – or perhaps out of – a high-security military facility in a sci-fi movie.
It’s all a bit of a blur at this point, but I think it might’ve involved a DNA sample, retina scan… possibly a body cavity search. On the other hand, we got breakfast. So that’s a net positive.
Once safely inside, we broke the story with Guy and Story Editor, Rick Suvalle, along with the help of assistant (and writer) Zac. Also, a whiteboard.
As a group, coming up with ideas on the spot allows you to feed off all the creative minds in the room. You can build on each other’s pitches, finding the best solutions to problems that crop up. It’s also kinda fun.
On top of all that, they even paid us for it. Good times.
So if you’ve got any preschool kids who love them some talking trucks, you know where to turn… The Stinky & Dirty Show!
So if you have the internet, you’ve probably seen this “challenge” over the past few months (years?) on Facebook. Maybe participated yourself.
I was twice “nominated” (thanks Charlie Unger and Tim Bogart), but hadn’t taken the bait. Yet. The task is overwhelming.
The directive itself varies a bit, but here’s the couple I was invited to:
Post an image from 10 favorite movies with no explanation and pin the challenge on another person each day.
10 films that made an impact on you the first time you saw them and are still on your watch list, even if only now and then. Post the poster, no need to explain and nominate a person each day to do the same.
Let’s get this out the way right up front… I’m not doing that. I can’t do that. When you’ve been around for a few decades, and seen more than your share of movies, I don’t know how the hell you could possibly whittle down your favorites to a mere ten.
Sorry, Marie Kondo. A lot more than that have sparked joy.
Instead, I’ll be doing multiples of ten. Along with titles. And a bit of explanation. Clearly I’m not great at following rules.
So maybe grab something to eat. A coffee. Two. I’ve tried to at least minimize the volume by doing some bundling on theme. You’ll see.
(It’ll be pretty clear my formative years were in the 80’s, though I assume the lists for any movie fan will primarily reflect the same for them)
Here we go…
The first title that pops into my head is always STAR WARS. This will forever be at the top of the list. I was just a kid when it came out, and I couldn’t have loved it more.
It was different than the more “serious” science fiction around at the time, like Star Trek and Space: 1999.
ACE VENTURA: PET DETECTIVE is my favorite over-the-top comedy. Jim Carrey’s relentless commitment to his character was pure gold. Similar, in regards to being relentlessly over-the-top, is AIRPLANE! A movie unlike any I’d seen before. Silly, parodyic, absurdist. Fantastic.
For my John Belushi picks, ANIMAL HOUSE definitely takes the giant rolling cake, with a great ensemble and moments galore. Meanwhile, THE BLUES BROTHERS brings along a series of legendary musical cameos and an awesome soundtrack.
War is hell, of course, but it makes a compelling viewing experience.
As a big fan of Eddie Murphy on SNL, it was a thrill when he burst onto the film scene with an early string of instant classics, like 48 HRS., TRADING PLACES, and the best of his best, BEVERLY HILLS COP.
I didn’t really discover Albert Brooks until BROADCAST NEWS, but he was the best part of an already amazing movie. Despite wanting him be with Holly Hunter at the end, I knew it probably wasn’t going to happen.
Thankfully, I got to see him finally get the girl in DEFENDING YOUR LIFE just a few years later. Too bad they were both already dead.
The reaction to the WHEN HARRY MET SALLY… fake orgasm scene was a bit overblown, but it still didn’t detract from the great dialogue and chemistry between Billy Crystal and Meg Ryan.
In the Billy Crystal non-romantic comedy category, CITY SLICKERS will definitely help you find your smile. As I think about it, though, I saw an early test screening, so I’m not even sure what the final product looked like…
I saw DO THE RIGHT THING in Times Square while I was at college, and the entire experience was just electric.
MO’ BETTER BLUES was where my friend, Mike, had his religious experience, but I was pretty enthralled as well.
My favorite Bill Murry is Peter Venkman Bill Murray in GHOSTBUSTERS. True, he’s a bit of a dick, but in a charming, funny way. And what an ensemble alongside him. Close runner ups here are GROUNDHOG DAY and STRIPES (where I first witnessed the deft Ramis/Murray rapport).
In the adventure department, RAIDERS OF THE LOST ARK was an entirely unique experience for me (despite being an homage to old serials), driven by the ever-charismatic Harrison Ford. And a whip. Also, some snakes.
On a much more intense, bleak, and violent front was the post-apocalyptic THE ROAD WARRIOR. Back then it wasn’t controversial to be mad for Max.
DIE HARD was so good, it spawned its very own action sub-genre, and brought Moonlighting’s David Addison to the big screen in a big way. Odd couple cops were at their peak in LETHAL WEAPON and LETHAL WEAPON 2 (despite Mel Gibson’s glaring character flaws subsequently tarnishing a lot of the shine).
I became a rock and roll vampire myself after watching the THE LOST BOYS, while the same year’s ROBOCOP swirled together a dizzying concoction of violence, satire, and action in New Detroit.
The comedy chemistry between Charles Grodin and Robert DeNiro was off the charts (Travis Bickle, who knew?!). And with it came an abundance of quotable dialogue and some of the best supporting characters around.
Meanwhile, Wanda gave us Kevin Kline’s comic tour-de-force, and a reunion of my favorite Pythons, Cleese and Palin.
Speaking of which, MONTY PYTHON AND THE HOLY GRAIL was a thrilling find for me in mid-high school and served as an introduction to the much wider Python world beyond. TIME BANDITS also brought together a trio of Pythons to tell the time-travelling tale of a marauding group of rogue tree designers hunted by the brilliantly hilarious David Warner.
Back before Michael Keaton became drawn to dramas, his fearless comedy parts were the thrill, with MR. MOM and the darker NIGHT SHIFT my personal top two. Tim Burton’s BATMAN may have set him on the track to more serious fare, but he remains my favorite dark knight.
Turning Shakespeare from a chore to a draw was MUCH ADO ABOUT NOTHING, as Kenneth Branagh and Emma Thompson executed a sparkling comic duel.
I found the joys of the classic road picture in both THE MUPPET MOVIE and PLANES, TRAINS & AUTOMOBILES. The Muppets proved that Jim Henson and company could imbue a piece of felt with a heart and soul, while Planes, Trains showed John Hughes had what it took to make a “grown-up” movie every bit as great as his high school flicks.
In the indie category, PULP FICTION stands head and shoulders (and maybe even a clavicle or two) above the rest. Crazy, time-shifting, violent, and funny. DOWN BY LAW was an unexpected charmer. Small, offbeat, and wonderful.
ROXANNE is probably most people’s favorite Steve Martin flick. Mine as well, but there was something special about the little taste of magic in L.A. STORY. Living in Southern California at the time may have intensified my connection, but it still comes in a close second. Oh, and THE JERK, of course. Can’t forget The Jerk.
I don’t think a lot of people have seen SLAM DANCE, but it really struck me. Beautiful photography. Wonderfully odd characters and darkly comedic moments. Not to mention an epic performance by Tom Hulce playing a reckless cartoonist accused of murder. What’s not to love?
Speaking of comic actors who got serious (see Keaton, Michael, above), the John Cusack I first became a fan of, was the affable loser of the funny and romantic THE SURE THING and the cartoonishly quirky BETTER OFF DEAD… I miss that guy.
Before getting lost in in Pandora, James Cameron took us on a wild ride in THE TERMINATOR. His bad guy-gone-good turnaround of TERMINATOR II: JUDGEMENT DAY was an excellent twist, spawning another iconic villain in a sequel that more than held its own.
Although I was never a huge fan of horror films, a few manged to bring something special enough to draw me in and leave a mark.
It’s still January. If barely. What are you gonna do about it?
The New Year traditionally brings with it high hopes and bold resolutions (some that might border on the delusional).
I’m not really the resolutions type, personally (just ask my waistline). But I do think the turn of the calendar is a great time to set some goals.
Obviously you want to survive. Pay your bills. Maybe eat.
But what are your creative goals? Your writing goals? What do you want to have achieved when 2020 finally rolls around?
LONG TERM GOALS
These are the big ones. The ones that cover a twelve month span. Regardless, they still need to be realistic, or you’re just going to disappoint yourself.
Do you think you can finish a novel in a year? Maybe a couple of spec screenplays. How about a pilot script and treatment for a television show?
If you’re thinking this is the year you get involved in production, maybe you shoot a couple of short films and submit to festivals.
While you’re putting together that to-do list, simultaneously do a little self examination as to what you’re honestly capable of. Don’t plan on achieving everything you could possibly achieve in the best case scenario.
Very few people find themselves even best case scenario-adjacent.
SHORT TERM GOALS
These are the steps you’ll take to reach your long term goals.
What do you need to get done every month to hit your year-end targets? Three chapters of prose? Twenty pages of dialogue? Ten minutes of storyboards?
Again, realistic goals are the key. That isn’t to say you make having a sandwich your ambition. You’re trying to get things done. Challenge yourself, but don’t kill yourself.
Every week or even every day, what are you going to do to hit your short term goals? Is there a time or a place where you’re more productive? Are you an early bird or a night owl? Maybe a third type of bird? Do you like the quiet of your bedroom or the bustle of a coffee house? Race track?
What are you doing to make sure you stay recharged and excited about creating?
MOVE THE GOALPOSTS (IN A GOOD WAY)
Halfway through the year, re-evaluate. How far did you get? What was harder than you thought it would be, and what was easier?
Now re-set your goals based on what you’ve learned about yourself and your output.
Above all, remember that you’re not a machine. It’s not only okay, but essential that you’re simultaneously living your life, learning new things, and sharing laughs with people whose company brings out the best in you.
Okay, that’s all for now. It’s time to make some plans.
3Below, the second chapter in Guillermo del Toro’s animated Tales of Arcadia, dropped on Netflix this December 21st, to glowing reviews (pun intended).
AC Bradley, 3Below’s Head Writer, is no stranger to accolades. In addition to her work on the CW’sArrow, she’s been knee-deep in Arcadia since the connected universe first bloomed to series life with the critically acclaimed Trollhunters in 2016.
Her three seasons on staff there culminated in the team picking up an Emmy Award for Outstanding Writing in an Animated Program earlier this year.
She took time out of her holiday to answer a few questions about her experiences in the business in general and in the Arcadia universe in particular…
What’s your writing “origin story?” Do you remember the first thing you wrote that wasn’t a school assignment?
I was born and raised in the Bronx, New York. I had an amazing childhood, but about as far from the glamour of Hollywood as one can get. As for “origin moments” go, nothing can beat watching Die Hard for the first time. I was only 6 years old. I had a nightmare while staying at my aunt’s house, so I snuck into my cousin’s bedroom. Daniel was 10 and therefore my idol. He should’ve been sleeping, but instead he was watching Die Hard on an illegal HBO hook-up. That was it. Die Hard was my gateway drug. After that, Indiana Jones, Star Wars, Lethal Weapon… I loved them all.
What do you consider your professional “big break,” and how did it come about?
Every writer has about a dozen “small” breaks that you just pray will snowball into a career. To pick one, I’d say my friendship with Marc Guggenheim. 3Below is probably the fifth project we’ve worked on together in almost eight years. Marc and his wife, Tara Butters (a showrunner in her own right), have been amazing and generous friends and mentors to not only me, but other writers. They’re the best people.
What were the biggest changes for you when you “graduated” from Staff Writer on “Trollhunters” to Head Writer on “3 Below?”
By the final season of Trollhunters, I was handling all revisions and rewriting entire episodes, so there wasn’t a huge change between Trollhunters and 3Below. The biggest difference was that I was now a de facto showrunner having to deal with budget, schedule, and production issues.
What episode of “Trollhunters” or “3 Below” was your favorite to write?
On Trollhunters, “Where Is My Mind” was the most fun to write. Come on? Nightmare-inducing Tinkerbelles, what’s not to love? But I’m most proud of “House Divided.” I wrote that in the weeks after Anton Yelchin’s death. I had only met him twice, but he was and will forever be my Jim Lake Jr. I was grateful to have a creative outlet during that time.
As for 3Below… The dirty secret of being a head writer is that you write a bit on every script. My favorite moments were Steve and Aja’s budding romance, and Aja and Krel’s relationship. My sister is my best friend, but we’ve been known to pull each other’s hair. To explore that sibling dynamic was a blast.
I’ve read a lot of raves online about both Aja and Zadra in “3 Below.” How important is it to have strong female characters, especially in the world today?
Great question! Let me unpack it a bit. Yes. It seems like the world and Hollywood have finally realized that “hey, women like genre films too!” We’re finally getting female and people of color as the leads in tentpole movies. Wonder Woman. Black Panther. It’s both fantastic and about damn time.
Now when it comes to writing strong female characters, it’s not about the ass kicking. A strong character, whether they are male or female, is multi-faceted with their own point of view. Their choices and opinions should affect the story. Kelly Sue DeConnick’s “sexy lamp test” sums up the issue best: if you can replace your female character with a sexy lamp and the story stays the same… well, then that’s not a strong character and your story can use another draft.
Aja and Zadra are definite bad-asses, but hopefully they are strong characters due to their drives and arcs. Aja was a rebel princess constantly running from her crown, but she becomes a young warrior eager to fight for her home and people. Zadra was a career soldier who becomes a spy and rebel. Credit must also go to the character designer, Linda Chen, and the actors, Tatiana Maslany and Hayley Atwell, for fully bringing those women to life.
3Below tackles quite a few current social issues – racism, ageism, xenophobia, etc. Is it a struggle to incorporate those ideas without coming across as preachy or didactic?
The writers room officially opened in November 2016, days after the Trump election. So yes, I shared many conversations with Marc Guggenheim and Guillermo del Toro about how best to discuss immigration and racism. You want to encourage conversation and social change, but keep it light hearted. We’re here to entertain children (and adults). Like the first episodes of Trollhunters, we kept 3Below light in tone, but dark thematically.
For the writers, 3Below became our outlet. Instead of
screaming at the news or on Twitter, we would write. Arcadia represents the
world that we want our kids to live in – where immigrants can build new homes,
where the cops are your friends and neighbors, and where school is always a
safe haven (until extraterrestrial lightning bugs attack).
Is there a story or existing property you’ve always dreamed of being a part of? Rebooting, Restarting, or Reinventing?
Oh, boy. Well, I love comic books, and am a huge fan of Marvel movies. But if I had to choose… well, my sister gave me DC’s Under The Red Hood a few years ago, and I fell in love. So if anyone at WB is reading…
What movie or television show do you consider your guilty pleasure?
Season 7 of the West Wing. I know the first four seasons are the best, but that last season is my happy place.
What kind of advice would you give to writers looking to follow in your footsteps?
Wear flats because the path is hella rocky. Also read. Never stop reading. My career has gone up in flames like poop-in-a-paper-bag on a doorstep, but it was always reading that saved me and will continue to save me. We show up at the keyboard because we want to tell a good story.
SHORT ATTENTION SPAN ROUND
Starbucks or Dunkin Donuts?
Do you prefer your margaritas frozen or over ice?
Over ice with salt
Chocolate Chip or Oatmeal Raisin?
Raisins are the gerbil poop of the fruit world. Chocolate
Chip all the way