TV writer who eats danger for breakfast
Every artist should have a code, a set of rules, to keep them sane in a city with more traffic than trees and way overpriced lattes.
I have three rules that I set for myself ever since I came out to LA, and they’ve governed every decision I’ve made out here. Here they are:
Daily practice will keep you sharp, so keep a notebook or a journal of daily ideas, freewriting, and inspiration on top of your script pages and other projects. [Read more…]
It’s a Friday and I’m going to meet up with another writer at his office like I do almost every Friday, mainly because I want to steal all of the butterscotch from the reception candy bowl (I’m not twelve, I promise you). I’m carrying a container of the very real, very ridiculous pizza flavored nuts brand Dee’s Nuts — I kid you not — that is integral to our plot. Okay, maybe not integral but like there is a sophisticated, layered inside joke throughout the script about this container of nuts and our main character just happens to be nicknamed Dee (like I said, I’m not twelve.)
We’re working on a pilot that, if you’ve had drinks with me in the past three months, you’ve probably heard me pitch to you in the same breathless tone of voice that I get when I describe why I love Pirates of the Caribbean: Curse of the Black Pearl. (But don’t talk to me about any of the sequels. Just don’t.)
I’ve written some of my favorite projects with others: Jen Enfield-Kane and I wrote and were co-showrunners on CON at USC. Noah Suarez-Sikes and I have had a litany of never-produced yet incredibly lovely writing projects that we’ve worked on together (and hopefully will have another soon!) I’m working with Sandy Valles (an actress known for her role in CON oh and also QUEEN OF THE SOUTH) on a pitch based on an awesome idea her and her brother came up with.
I love television writing in part because of how collaborative it is: you get to play make-believe with other talented creatives. Together, you make something cool that people will hopefully turn into GIFs and needlessly complex Fanfiction for years to come.
However, this doesn’t mean that the writing process is a dream. Writing with a partner or in a television room means there are a lot of different perspectives and approaches to story — which can be great at certain times and a roadblocks at others!
So if you’re starting in a television writers’ room or are about to embark on writing a script with a writing partner, here are some things you should keep in mind so that you get along with other creatives and homicide stays on the page: [Read more…]
welcome to amy’s blog, a phrase which here means “pretty photos of organized desks”
I have a quote on my wall that reads “fall seven, rise eight.” It’s a Japanese proverb I love because it’s the best advice on how to survive in this industry. It doesn’t matter how many times you fail as long as you keep going.
We can’t control a lot of aspects of writing in television, but what we can control is our own mindset and how we approach our work. By investing in a sense of humor, a positive perspective, and some organizational habits, we can re-route ourselves and get back on track no matter the setback.
So, here are three ways I reset myself and my goals after a setback:
I keep two journals, one in which I reflect about my day, and a second where I track habits, write down what I’m grateful for, and check in on my goals. Because life can get hectic, I need a space to record my progress and to plan what’s next. Here’s what I keep track of: [Read more…]
Hey there readers, it’s Amy. Before you read this post, I just want to let you know that my outlook on the current state of the industry has changed, and I can’t in good conscience continue to advocate for the assistant path for writers. It’s part COVID, part an inherent sense of classism in the industry. For more, read my new blog post here about my advice for new grads and why I think writers shouldn’t go the assistant path anymore. I’m keeping these posts up just in case you disagree with me and still want to go this path, but I just wanted to be fully transparent and give you the best advice I know how.
-Amy
…
I’m incredibly lucky to be working in an amazing writers’ room as a showrunner’s assistant, which even just a year ago seemed like a near-impossible job to get. As a graduate of USC’s screenwriting program, I knew I wanted to get into a writers’ room as an assistant but didn’t know how, nor did I understand the differences and subtleties between each of the roles.
So, just thought I’d do a quick post about these television assistant jobs and how to get them — things I wish I’d known a year ago. [Read more…]
Hey there readers, it’s Amy. Before you read this post, I just want to let you know that my outlook on the current state of the industry has changed, and I can’t in good conscience continue to advocate for the assistant path for writers. It’s part COVID, part an inherent sense of classism in the industry. For more, read my new blog post here about my advice for new grads and why I think writers shouldn’t go the assistant path anymore. I’m keeping these posts up just in case you disagree with me and still want to go this path, but I just wanted to be fully transparent and give you the best advice I know how.
-Amy
…
The other day I was lucky enough to return to USC and speak on a panel at the film school about how to survive senior exit programs like First Pitch and the realities of the post-grad world.
As someone who is just a year out of school and have found employment in the industry as still making time to write while at my agency job, I’m qualified to Pretend to Know What I’m Doing (TM).
So here’s a short guide on how to overcome the struggles of learning how to adult as a writer in post-grad life: from expanding your culinary know-how beyond three flavors of ramen to finding some sort of deeper happiness in the chaos of surviving in Los Angeles while pursuing more creative endeavors. [Read more…]
