So ever since the TV miniseries my writing partner Jen Enfield-Kane and I created went into production, I’ve been living that executive producer life again.

Which sounds glamorous, but in reality it’s more paperwork, scheduling, emailing, and budgeting then I ever thought I’d do in a lifetime.

except instead of bread being thrown at my face, it’s endless call sheets and budget invoices

The show itself is a thriller following two con artists, Iris, a lone wolf, and Jonah, the architect with a god complex, who team up to get what they need from their marks.

Jen and I split up the episodes and each wrote our own before rewriting the season as a whole, and I remember when I wrote the first episode, I was anticipating a much darker show (especially since poison and murder is my jam.) But when we were casting our Iris and Jonah, Jen and I realized that what we wrote skewed more to a buddy-cop with con artists instead of a dark drama.

We’ve still got dark elements to our show and in the classic Shakespearean genres CON is considered a tragedy, but we’ve also embraced the lighter side of our story. Like sandwich making as a contact sport and the unruly laws of grammar, or taking mysterious phone calls in dark alleyways:

I don’t know about you but I’m writing this from a dark alleyway right now [Read more…]