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The Next Thing I Write


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We agree on that, which is basically what I said. It's possible that Tank and I could have the same level of natural talent, but he's worked hard on building it and I haven't. Hence, he is a better writer.

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Now that I am working maybe I will come back to this thread to keep myself accountable... or at the very least prove to myself I am not wasting away.   I am currently on TWO paying jobs. I mentioned i

Already talked to one of the Amazon execs. It's a loooong way out at this point for a writer's room, and for all we know they'll just bring on the Westworld team. But, I'm at lest on the radar.

The truth is, Seth has absolutely no talent at all. We've all seen his posts these last 20 years--he can barely construct a coherent sentence without several typos. It's time to reveal the truth: I've

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  • 3 weeks later...

Update...

 

The Disney/Amblin pilot has been turned in, we have a call for notes early next week, but it's pretty much done. Then it's just a waiting game as they decide if they will go to series or not. The number of pilots written then make it to series varies. If you're looking at the entire industry, it's probably 500 to 1. If you look at just Disney, and specifically just the sub/brand I am doing this for (Freeform) the odds get better, but it's still tough.

 

My other pilot is also turned in and I am pitching it to Hulu next week. I'm stressed about what I will do if they both go-- because despite those astronomical odds, I have this weird feeling it's going to happen.

 

My movie has been pushed to spring, we're trying to lock Seth Green in for the dad role. His "camp" is up on it, but he's busy with his own movie and Robot Chicken's 10th season, so we're giving him a minute.

 

I've pitched on a couple rewrites to close out the year, but havent heard anything. Have one other script that we have a big pitch for, but after that it looks like I am done with paying work for the Rest of the year. things slow down in the industry in the fourth quarter.

 

So I think in the next couple weeks I can get back to this script.

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Logically, I know Seth Green is in his 40s now, but I just have such a hard time actually picturing that.

That's kinda what I am going for. I realized parents in horror films are always square, and when I wrote this thing I realized I was old enough to be the parent. So I wrote the parents as cool.

 

I want to cast kids from 90s teen horror films as the cool parents. I almost had SMG and Freddie Prinze, but they want to keep their home and work lives separate.

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  • 2 weeks later...

Got the word this morning that LAAF isn't getting a third season. Kinda bummed, but I was prepared for it. Lower budget streaming shows are not cost prohibitive past 2-3 seasons. The budget is low enough that no one was locked into a multi-season contract, which means everyone above the line (actors, writers, exec producers) get title and/or pay bumps each season. In the case of the actors, they can bend you over a barrel if the show hinges on them and they aren't secure.

 

On top of that, LAAF was in development for ever, with different companies, and it is based on a book, so there is an army of do-nothing EPs that take a ton of money. We got 26 episodes, I was an integral part of it and can own in and be proud of it. We did pretty good for a show that Hulu but hardly any marketing behind when compared to all their other originals.

 

Pitched pilot one to Hulu last week. Got notes on pilot 2 yesterday so I am off to polish that.

 

So I am in this weird limbo. If neither of these shows is picked up, I am pretty much jobless. I could be unemployed right now and not even know it. If the Hulu show gets picked up, I'll likely be able to run it myself. If the Disney show gets picked up, I don't know if they will let me have it, but it would financially be a windfall. So I could go either way.

 

If both are picked up I will have the most first world problem ever of having to produce two shows for Halloween 2020. That might be physically impossible.

 

My movie is still a thing, but it is a slow process, and I only get paid once we go into production. So just being mercenary at the moment, I technically have enough money owed to me, and in the bank that if I can cover the salary I pay to myself for a couple years, and I have worked enough to be vested with the union to have my health insurance for that long as well... but if this strike happens and goes for any length of time, I could still end up screwed.

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That sounds really scary. I’m glad to have a job with a regular paycheck, but it’s also good that you’re being smart about your money and not just blowing through it. It sounds like you’re set up to live comfortably for a while in case of emergency.

 

At this point, is the strike almost definitely going to happen, or is there a real chance it could be avoided?

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I am pretty sure, it will happen, just a question of how long.

 

Also, just got word Hulu is passing on the show I pitched them. A bummer, but the upside is that we went to them as the studio I am with has a first-look with them. Not that they passed, we are free to go to out wider. It also means it won't conflict with the other show should it get picked up.

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Youre the second friend who just found out they lost their gig. She already has something better lined up. And I get the word this week if I got the job thatll get me out of the hellhole I work in now. I feel like things will pick up for all of us.

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Gigs being temporary is part of this business. I actually sort of measure my success by the level of my failures.

 

Not selling a pilot sucks-- but I pitched to the Hulu originals execs. My other pilot has freaking Spielberg attached. I sold it in the room to Disney. I was paid to write it. If it doesn't get picked up to series, just doing that much has earned me a shit ton of cache.

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  • 3 weeks later...

Okay-- Amblin/Disney second draft has been turned it. Technically I have one more draft as part of the deal, but given how long it takes us to get calls on the books, and also that the industry pretty much shuts down for year at the end of this week, I am guessing I won't get notes for the next draft until the New Year.

 

So I COULD jump back on to the script I was documenting here. My brain doesn't like going back and forth between projects, but I may have enough time I can recalibrate and try to finish it off.

 

Shudder has expressed interest in the show Hulu passed on, so I need to rework the pitch a little and do my song and dance for them next week. That will probably be the last thing I have before the town goes dark for the holidays.

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  • 3 weeks later...

As it turns out, they got back to me quick with notes, so I had to turn around my final contracted draft quick before the break started on Friday. So as of today I am a free agent-- maybe? I am on the line for several projects, but have no idea which way they could go.

 

I think I will take this week off... and maybe next week and see where the new year finds me. This is what I have going on as of the beginning of the year:

 

1. The just turned in TV project with Amblin/Disney. This is still the big one, and they will be making a decision about whether they are picking it up in the New Year. If it goes, it will be a great win for my resume and pocketbook. It will be a high profile show and open a lot of doors— downside is, it will be very stressful and there are way too many cooks in the kitchen to the point I know at some point I will become very frustrated and stressed.

 

2. The second TV project I am still pitching around. I think last I mentioned it, I was off to Hulu. They ended up passing, but I just pitched it to Shudder, which makes for very limited audience. (Shudder is Netflix for horror fans)/where not many people will see it.) Upside, I’ll likely have full creative control, which is the dream of course.

 

3. My feature. Still getting pushed. We have some well-known horror producers maybe coming aboard which would put it in a higher gear. I worry it won’t ever come together, but I do have a lot of people on the team already who are amped for it. I also don't get paid until we go into pre-production.

 

Those are the big three that I am energetically and emotionally invested in. That saidm over the last few weeks I have been asked to pitch on the following:

 

4. a book adaption

5. a Korean TV show adaption

6. a decent sized video game

7. a big studio horror film based on something Hasbro makes

8. A reality TV show

 

I am excited about all of these and hope I can land at least one of them. The video game and reality show might be a nice get given that they would be strike proof if come spring I am forced to join a picket line. The video game is a seuqle to a game I really like and is kind of high profile, so that would be awesome. I would love to work more in the gaming world.

Then there's the script I started in this thread. I hope I have time to get back to it. Coming up with pitches is time consuming and I have several of them now. They are a lot of work, I don't get paid for them,. but it's how you get jobs. Those are going to eat up a lot of time.

 

Though, again-- if the Ambin show goes, that means I won't be doing anything else.

 

For now-- I am going to not work too hard, and play the video game I am up for the sequel for all day every day and say it's "research."

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My first guess would have been Ouija if they hadn't already put out a few of those recently.....really, though, that should just make me expect it would be Ouija.

 

But The Game of Life would be a great horror mov—oh, it isn't escapism, is it?

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