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The original post for this episode can now be found [here](https://johnaugust.com/2020/collapsing-scenes).

**John August:** Hello and welcome. My name is John August.

**Craig Mazin:** My name is Craig Mazin.

**John:** And this is Episode 458 of Scriptnotes. It’s a podcast about screenwriting and things that are interesting to screenwriters.

Today on this podcast we’re going to talk about why and how screenwriters find themselves collapsing and combining scenes. We also have a bunch of listener follow up about returning to production, portrayals of police on screen, and issues faced by Black writers. And in our bonus segment for Premium members we will talk about the return of professional sports.

**Craig:** Your favorite. I know you’ve just been on the edge of your seat.

**John:** I am weirdly excited about the return of professional sports.

**Craig:** Oh wow.

**John:** A lot to get into.

**Craig:** If there was ever a reason for somebody to quickly subscribe to the Premium member feed it’s this. Because even I’m–

**John:** What is John excited about with the NBA?

**Craig:** I couldn’t possibly–

**John:** Only the Premium members will know.

**Craig:** I mean, I cannot wait to hear this.

**John:** But professional sports are not the only thing going back into production. So, on previous episodes we’ve talked about how actors are likely to be the deciding factors about when shows and movies go back into production with COVID-19 precautions. And we also noted the power imbalance between stars on the top of the call sheet and those listed lower.

But Joe wrote in. Craig, do you want to talk about what Joe–?

**Craig:** Sure. Joe says, “I’m an actor and a member of SAG/AFTRA and the truth is that virtually no actors make a consistent living from performing. The overwhelming majority of actors book one or two day-player gigs a year. That’s if they’re lucky. And then they have a regular job that pays the bills. So the question that actors in this situation, which is most of them, have to ask themselves now is do I risk my life for a non-life-changing role? Because getting COVID for an occasional day-player gig that pays a thousand bucks can cost them the job that actually pays their bills.

“Actors are so desperate to land that life-changing role. So my hunch is that they’ll continue to risk their lives for the day-player gigs just to stay somewhat relevant. It’s a sad F’ed up situation because the odds of deriving a livelihood just from acting are slim to none.”

**John:** Well that’s more depressing with each paragraph.

**Craig:** Yeah.

**John:** But let’s do talk about that, because I think it’s important to acknowledge that WGA writers who are working in Hollywood, some are working a lot, some are not working as often. But if you’re a working writer you’re a working writer and that can be your main source of income.

With actors there’s a lot more variability and there are a lot of actors who are a member of the union who really are in the situation that Joe describes where you’re booking one or two jobs a year. And so for them, god, do they take the risk of going to a set that they don’t feel safe on? It’s a hard calculation.

**Craig:** Well, go a little further. Because Joe stops his calculus at day player. So for those of you who don’t know what that phrase is, actors are hired usually week to week. That’s how your general cast is employed, either on an episode basis or a week to week on a feature basis. Day players are people that are hired for one day. So that’s the role of the waiter who comes by and says, “Sorry sir, we don’t have what you asked for.” That’s a one-day job. They’re paid one day.

But what about background? So extras. Extras are already working kind of in tough conditions. They’re not particularly well cared for by productions. They are often smooshed together under tents. And they eat separately from everybody. I wonder about them as well, particularly because extras are the ones that are in crowd scenes. So when you see a big crowded room and you think to yourself in our post-COVID mentality, oh good lord, everyone is going to get COVID in that room, almost all of those people are background.

**John:** Yeah. So all the precautions we’re talking about in terms of like, oh, maybe we can shoot two parts of a scene separately so the actors aren’t actually as close as they seem. Or we’ll do things, when we talk about not having crowd scenes, well in some cases you’re still going to have to have some background players moving through there. Even in a show like Brooklyn 99 there are people who move through the backgrounds of those scenes and those people wouldn’t be masked.

And so it’s tough. And it’s tough for those people to decide, OK, I feel comfortable being in this situation without a mask while this is happening. It’s a lot.

**Craig:** I’m afraid that Joe is right though that a lot of people want to be in show business. And not only will day players show up at risk to themselves to make as he says a thousand bucks, but background artists and extras will show up to make a couple of hundred bucks. Therefore it is kind of incumbent upon our business to figure out how to keep these sets safe because people will show up.

**John:** Yeah. And we should also stipulate that everyone working on a set, like everyone working overall, is taking some risk by showing up. It’s just that the precautions that a grip or a gaffer can have about masking up and other safety equipment, a background player may not be able to have those because they’re literally on camera. So that’s what we’re talking about here.

The same way that we see news people having to make the decision of are they taking off their mask when they’re on a camera shot or are they leaving their mask on, those are tough calls. And people are having to make those decisions in real time.

**Craig:** Exactly.

**John:** Yeah. Another thing we’ve been talking about a lot on the show is portrayals of the justice system. And we’ve speculated that networks and showrunners will be looking at shows that portray policing and the justice system more realistically or in different ways than they classically have. Bob Shane wrote in to say, “I’d like to call your attention to a really good series that was on ABC for two years and it got canceled this year called For the People. In it a group of young lawyers who recently passed the bar exam are hired. Some by the federal prosecutors’ office and others by the federal public defenders’ office in New York. The show cuts back and forth between the cases. It never pandered to the police or authoritarian law and order agenda. And it did a great job exposing the flaws in the system. It was created by Paul William Davis and produced by Shonda Rhimes’ company.

“I suspect that this would be the moment for fans of that show to ask ABC to bring it back, or for Shonda Land to get Netflix to pick it up.”

And so this was a show that I had in my head and I could not remember the name of it as we were talking about it. Because Paul Davies is actually a friend. His daughter and my daughter went to school together and I knew when he was actually just starting his career as a TV writer. He’s a lawyer who transitioned to that. And so he’s always been on my list of like, oh, I have to have Paul on the show to talk about transitioning from another career in your 30s. Because he made that transition and got to run a show really early in his writing life.

So, yes, I think that’s the kind of show I can imagining happening more often. But even in the description that Bob puts here I can see why it’s a harder show to program than the other 19 police procedurals.

**Craig:** Yeah. I mean, the thing about police procedurals and we’ll also call them justice procedurals, like Law & Order, which was built around trials, which don’t exist, is that they’re easy to do. It’s built-in drama. I mean, trials are dramatic. They have an incredibly narrative-friendly structure. You make an argument. You make an argument. You cross-examine. There’s banging of gavels and objections and moments of drama. And then people go and decide. Who wins?

Well, that’s just perfect.

**John:** Yeah. It’s like sports. There’s a clear outcome. There’s a winner and a loser.

**Craig:** Right.

**John:** In ways that reality doesn’t have winners and losers.

**Craig:** That’s exactly right. Most of the time people are losers when they end up in the justice system and their loss is some kind of brokered loss that’s done a bit bloodlessly.

So, I agree with you. That does sound like a hard one. But I’m sure that, you know, look, if it got on the air, it was on for two seasons. So it was obviously doable. I think that will ABC bring it back? It’s unlikely. And I don’t think this is the time where we should be looking backwards and sort of dusting things off. Everything has changed quite a bit. It’s time we write new things. So it would be interesting to see what somebody like Paul Davies would do now if he continued working with Shonda Land or purely for himself or anything.

**John:** Yeah. Well on that topic of what we do now and do forward, do you want to read what Ryan in Florida wrote?

**Craig:** Ryan writes that “Episode 456 forced me to take a closer look at one of my characters, a sheriff, and to rethink his role in my story, which I believe was your intent. It occurred to me that the sheriff is a ‘the end justifies the means’ sort of guy. Where did this thinking, the end justifies the means, come from? And why is it so pervasive in a country founded on the principles of freedom, equality, and justice for all? Your podcast reminded me that the means is the end. Separation of the two concepts exists only in our mind. Here’s to hoping that America will rediscover the passion of its principles and pursue the ideals that changed the world.”

Here, here, Ryan.

**John:** Yeah. So I want to unpack a little of that because America was founded on the idea of justice for all and freedom, but it was also founded on this idea of like the frontier and the going your own way and sort of the lone wolf thing. So, it’s interesting that our sheriff mentality tends to be towards the hero/lone wolf person. And other parts of our justice system are more about the teamwork and justice for all. America has always been built on that duality of like we’re all in this together, oh it’s every man for himself.

**Craig:** Yeah. I mean, this was a debate that was going on when they were coming over in the Mayflower. Literally they were having this debate. Because we are a nation of what we’ll call sort of progressive liberal thinkers, a guy like Roger Williams who founded Rhode Island among other things and who believed in the equality of all peoples, including Native Americans, with whom – he learned their language and he had good relationships.

And then you had the true hardcore puritan Calvinists who believed that people were born either good or bad, as babies. It had been predetermined by god. And so, of course, if that’s your point of view and you believe someone is evil, why in god’s name would you allow the means to disrupt what must be divine justice?

Similarly, if you believe that you are good then you should be able to take whatever you want. Hence, manifest destiny. This is the American duality. And it’s interesting to see writers starting to at the very least recognize the duality is there. And once you know it’s there you have choices to make.

**John:** Also this week I saw a discussion that Brooklyn 99 was talking about it needed to throw out the first four scripts they have written for this next season to shoot, because they just don’t make sense given the environment. And that is a thing that you’re going to see in every writer’s room. Those initial weeks’ discussions will be really challenging to figure out what is our show in 2021. What makes sense?

**Craig:** Right.

**John:** And it’s tough to see. But I think it does come back to some of these fundamental American principles that are in conflict with each other. That we are a nation born of people who sought freedom who also enslaved people.

**Craig:** Mm-hmm.

**John:** We’re always going to be grappling with that. I think it’s just much more obvious that we’re grappling with it as we come up with this next batch of series.

**Craig:** Yeah. And, look, a lot of people are going to accuse Hollywood of virtue signaling. And I think it’s important to recognize the difference between virtue signaling and evidence of virtue. Because virtue signaling is a cynical act. You’re not virtuous. You’re not trying to be virtuous. You don’t even understand the virtue of the virtue you’re signaling. You’re just putting on a show in the hopes that people will praise you, or not attack you.

Evidence of virtue is just that. If you are making an effort because of the right reasons to be a more equitable employer, to be a writer who is more aware of other perspectives, to be listening, to be changing, evolving, including, then people will see evidence of what I would consider to be virtue. And the cynical tarring of all evidence of virtue as virtue signaling is also something dangerous that we need to keep aware of.

Not saying that we shouldn’t also be – because, look, there’s a lot of virtue signaling. So let’s not pretend. Even if 90% of it is virtue signaling, at least 10% of it is evidence of actual virtue. And so be brave enough to do that and hopefully you don’t get hit with that accusation.

**John:** Yup. Widening our clock back further, we started this year talking about assistant pay and assistant pay cuts. Nick wrote in this week a suggestion which I found really interesting. So it’s kind of long but I want to read through it because it’s systematic and it speaks to systemic ways of thinking about it that might be helpful.

**Craig:** Great.

**John:** So Nick writes, “I’m an officer in the air force and I’ve lived in a few different countries over the last few years. Pay in the military is rank-based, meaning no matter what your position is if you’re X rank with Y years of service you get Z pay. It’s a very simple formula and you can even look it up in military pay charts to figure out what that pay is because it’s public knowledge.

“But because the military is spread across the world it would be unfair to give everyone the exact same wage because being stationed in Los Angeles would obviously be extremely more expensive than living in Oklahoma. That’s where BAH, or basic allowance for housing, comes into play. Every zip code in the US has a certain BAH based on different factors that the Department of Defense updates regularly. If you Google BAH calculator you can input a zip code and find out how much the government would pay you on top of your base pay if you were stationed there.

“This is something our government already does and is supposed to represent the amount of money you need just for housing in order to live decently in that area. The studios could easily start using this data to determine what is fair to pay their assistants on top of whatever the minimum wage type salary they’re trying to pay their assistants.

“For example, using LA zip code 90038 and a pay grade of E2, air man, normally a high school graduate with no college education, and brand new to the service, the monthly BAH would be $2,079. Using the rank of O1, a second lieutenant, the minimum requirement for which is a Bachelor’s degree and probably more closely aligned with the education level of an assistant, the BAH gets raised to $2,430.

“Do you think this is something the studios could use as a starting off point when determining what is a fair wage for their assistants? I feel like it’s as impartial as you can get and ensures that assistants are getting paid enough money to live comfortably.”

**Craig:** Interesting. Well, double-edged sword there. So always have to look at the law of unintended consequences. If you rigorously format payment then what you end up with is a situation similar to what we do when we’re negotiating union minimums. The minimum becomes the maximum. So, the deal is we only have to pay you – this is what the chart says, so that’s what you’re getting paid. And, yeah, we’ll pay you a little bit extra for living there. But there isn’t going to be as much upward variability.

Now, people could argue that it’s the downward variability that’s been crushing everybody. And I think that’s reasonable. The thought experiment is what happens if we firm up the floor, what happens to the ceiling? And that’s an interesting economic question. I don’t quite know the answer. But I think that since everyone who is an assistant in LA is living somewhere in incredibly expensive LA, this is probably not as impactful as it is for the military where as Nick writes people could be living in vastly different kinds of environments in terms of cost of living.

**John:** Yeah. So what I think your analogy with scale is absolutely appropriate. It is setting a floor. And so when unions negotiate scale it’s to set a floor so nothing goes below that. And for assistants we’ve talked a lot about sort of like what is the minimum sort of livable wage in Los Angeles. And so we talk about for a 40-hour week is it $25/hour? For a 60-week is it $20/hour? Is there some basis for which a person can make enough to live? And something like this calculator is helpful for figuring out what is the actual expense of living in Los Angeles, or the expense of living in New York.

What I do wonder is if this variability based on location could be helpful in thinking about how much we’re paying crews who are living and working outside of Los Angeles. Because some markets are a lot more expensive than Los Angeles and some are a lot less expensive. And so we’d be thinking about how much does a gaffer who is working in Atlanta need to be paid versus a gaffer who is living in Los Angeles? What are actual livable wages in those places? That might be interesting.

But because each of those productions is sort of working as a one-off I don’t know that you’re going to have a bigger impact or the range of impact that you would hope to have by using this kind of calculation.

**Craig:** You start to feel bad for people who move to stretch their salary further and then the company says, oh you’ve moved, we’re cutting your salary.

**John:** And that does happen. I have friends who moved from Los Angeles to cheaper places and the companies they’re working for are like, “That’s fantastic. You had an allowance for living in London and now you’re not living in London.”

**Craig:** Right.

**John:** Not easy answers there.

**Craig:** Nope.

**John:** I also want to point our attention to – this wasn’t written directly towards us, but a lot of people mentioned us in it. Nicole French had a Twitter thread from this past week.

**Craig:** Yeah, I saw this.

**John:** She writes, “Today a Black film editor posted in a Facebook group for Hollywood editors looking to connect with other Black editors as they’re severe under-representation in post-production and they can be hard to find. What ensued is a slew of white editors who immediately objected to the post, asked for it to be taken down by moderators, and accused the poster of breaking the law, discriminating against whites, fanning ‘anti-white racism’ against them. And insulted Black editors and white editors speaking up for diversity.”

And this just felt like a giant Yikes to me.

**Craig:** Yeah. [laughs] I mean, I saw it. I went through it. I looked at it. I’m not on Facebook, but because the link was there I could kind of go through or somebody had maybe just sort of copy and screen shot it. Is that the past tense of screen shot? It’s not screen shut?

**John:** Yeah.

**Craig:** Screen-shotted those things. And so first of all there’s just a question is that illegal and the answer is no.

**John:** No.

**Craig:** I mean, if somebody said, “Hi, I’m looking to hire people and I will only hire” and then lists a group, there are employment issues. There’s employment law and things like that. But saying, yeah, I’m looking to just have a discussion group or meet up with or talk to, I mean, what? Of course it’s not illegal. That’s the dumbest thing I’ve ever heard.

**John:** Yeah. An affinity group for underrepresented population, yes, that’s not illegal.

**Craig:** No. It’s not illegal. And then there was just stupidity. Look, there’s all sorts of levels of racism. This was not quality racism. I don’t know how else to put it. It was like dumb-dumb racism. It wasn’t like, oh, I don’t know, when some sort of super thinky person writes this very long essay that disguises their racism in rather thought-provoking terms. No. This was just dumb-dumb racism. Like, “What? That’s not…bah.”

And I just thought, well, this makes white editors look awful. It was every single one of those. I just want – I’m going to say this, because I can. Because this isn’t illegal. I would never, never – I will never – hire any of those editors. Not because they’re white. I’ve hired white editors before and I’ll hire white editors again, no question. And not because they’re men. I’ve hired male editors and I’ve hired female editors. I won’t hire them because they’re dumb. How about that?

**John:** Yeah.

**Craig:** So, anyway, you’re not working for me anymore. And I hope other people look at those names and go, yeah, I don’t want to work with you either. Because you’re a dick. There you go. And I want a new group that’s for not dicks. Is that OK? Is that illegal?

**John:** Now, Craig, it struck me that I was seeing these Facebook messages, these screen shots, and it’s like I can’t imagine writers who do that. And maybe it’s just because we’ve been in this a little bit longer, but I don’t see the same things happening among screenwriters. And I’ve definitely seen concern about, you know, you and I have both talked to young white men who are trying to get staff writer jobs and feel like it’s really hard for them to get a staff writer job. And I’ve heard that. I’ve listened to that. And I’ve also been able to sort of talk them through that. None of them would be so stupid as these people who are replying in this thread, how they were replying.

**Craig:** I mean, these people seemed like editors who had jobs. So it was like they were eating in a restaurant and someone came in and said, “Hey, for those of you who have not yet been served do you want to come have a discussion?” And they said, what, you’re excluding us because we’re already eating? No! We get to talk to anybody.

And you’re like, goddammit. No, writers tend to not be this absurd. Or at least, no, let me take it back. There have been writers who have been this absurd, but not in a cluster like that. It was this weird cluster. It was like a herd of dopes.

**John:** I also felt like that a lot of those things happened like 10 years ago, or five years ago. I think we went through that wave and those people got culled a little bit. So, there just wasn’t a culling yet in this ring.

**Craig:** It’s not really praise for writers as much as just more damning evidence of these guys. I just – it was just like, ugh, they were just dumb-dumbs.

**John:** Dumb-dumbs. All right, Craig, now this is a thing I don’t think you’ve read ahead in the outline, but I feel like it’s important that you probably read this message from Tyler because I want to see how you respond.

**Craig:** Sure. This is going to go great. Tyler from Bellingham writes, “I just became a Premium subscriber and I’m listening through the back catalog. I just listened to Episode 7 and made a horrifying discovery. Not only is John withholding from Craig the riches he’s acquired through the podcast, he owes him potentially millions of dollars for coming up with the very idea of Highland.” This is great so far. I like you, Tyler.

“Toward the end of the episode John and Craig discuss screenwriting software. This is prior to John creating Highland. As they’re wrapping up the conversation Craig says he believes there is an opportunity in the market for a mid-priced screenwriting software to compete against Final Draft and other smaller players. Shortly thereafter John released Highland.”

All right, Tyler, your argument is falling apart quickly. “If I’ve learned anything from Scriptnotes it’s that an offhanded comment in an informal setting is 100% copyrightable and stands as a legally binding contract. Thus, John owes Craig bigly. I look forward to hearing how John plans to right this wrong.”

Tyler, this is one of the best things anyone has ever written in. You’re great. [laughs] You’re great. And you’re right. An offhanded comment, and certainly an idea as we all know, is property. John owes me what I think is probably millions of dollars.

**John:** Yeah. Probably [unintelligible]. Tyler, it shows a good understanding of the entire dynamic of Scriptnotes to be able to retroactively apply to that conversation we had way back then. And probably Highland was in the works back then. I just may not have said anything about it. But we can figure out in the timeline when we actually – when I started talking about Highland. Because there was a public beta for like a year before we released it. So, who knows?

**Craig:** Well, yeah, I guess I probably am owed money for that as well. I’m a saint. That’s what I think. Eventually people are going to understand that–

**John:** Saint Craig.

**Craig:** I’m a Saint.

**John:** He’s a Jewish Saint.

**Craig:** Yup. I’m a Jewish Saint. We have those now.

**John:** All right. I want to propose a craft topic. So this was something that I was encountering this week. And Craig I feel like you probably encounter this too.

**Craig:** Oh, of course.

**John:** If you have not encountered this I will be so angry.

**Craig:** Oh, no, no. All the time.

**John:** All right. So the project I’m working on I have a detailed outline and have really good understanding of what all the scenes and sequences were and I felt really good about it. But then I still encountered a thing that I’ve encountered in most of the scripts I’ve written is that – and it often happens in the third act, but it can happen sort of anywhere is that there are two or three story beats that I intended to be separate scenes or sequences and in looking at it and looking at the overall length of things and how stuff was working I was like, crap, I need to compress these down to become one thing. These can’t be separate scenes. They need to be shrunk down into one scene. And I feel like I’ve done that in nearly every screenplay I’ve written. And yet I don’t remember us ever talking about that as a topic on this podcast. Have you done this?

**Craig:** Yeah, of course. Of course. Usually I think when I’ve been doing this it’s not as a result of the creative process within but as you point out it’s when we’re going through budget and the practicalities of shooting.

**John:** Yeah.

**Craig:** So there was quite a budget battle on Chernobyl. It was a prolonged slog. It was a WWI trench warfare battle. And thank god I had Jane Featherstone and Carolyn Strauss and Sanne Wohlenberg to fight that fight and I never had to get on the phone to do that, thank god. Sooner or later they had to come to me and say, OK, well we have a list of things. We’ve gotten a bunch more but we have to make some concessions. We have a list of things that we could compress. So, let’s talk through them. And then my job – and this is almost I think every writer faces this at some point or another in production is you are the one who knows the difference between hitting an artery and hitting a capillary.

And so your job is to guide people away from the arteries and figure out how to kind of squish the capillaries back into other things.

**John:** Yup. So, let me talk through an example of this and offer some of the choices that a screenwriter might make. So here’s the example. Let’s say you have – this is the middle of a script. You have two characters. You have Denise and Alfonso and they notice a strange smell in their house. That’s one beat. Second beat. They search the house and eventually discover that a family of raccoons is living in the attic. That’s the second beat. Third beat is the animal removal guy hits on Denise in front of Alfonso. So that’s a third beat, which should hopefully be a surprise.

So those three beats, they might be fine. They might work really well. They could be funny. They could build on each other. They could be effective just as it is. But if for reasons of length or budget or just a sense like I can’t have these three beats you need to compress or collapse these. You have a couple of choices. And so let’s talk through what those choices might be.

You could move the first and second beat together. So scene, we’ll call it A and B, could be combined. So we might come into the scene with Denise and Alfonso already searching for the source of the smell. So we don’t see the discovery of it. We don’t see the realization that there is a smell. We come into the scene and they’re already looking and we just set up within the already looking that they smell something. So that’s a choice to compress and combine those two.

Second choice. You could move B into C. So it’s basically cutting out the discovery of the raccoons and going from I smell something to there’s the animal control guy who is getting the raccoons out of the attic. So within C you’d have to explain that there is a family of raccoons up there, but you can get rid of B.

Third choice. You cut A and B and you just do – if the important thing is C, like the animal control guy hitting on Denise, you just do C and you sort of build the setup into the start of C.

Or, if the raccoons were more important than the animal control guy you might cut C and just do A and B.

Craig, can you think of any more choices you might make in terms of getting through those three beats if you had to lose and compress stuff?

**Craig:** No, I mean, those – you’ve got the permutations. And the fact that you’re using A, B, and C kind of, that’s the giveaway that what we’re talking about here is essentially the multiple scenes being reimagined as multiple beats in one scene. Right?

So, setup a conflict, a reversal, a complication, and payoff. This is roughly how these things go. So, what we’re saying here is if someone comes to you and says we have to squish this down your job is to analyze these three beats and say what is actually the purpose of all of this. What am I trying to do here? Is my purpose to show that Denise and Alfonso are a stronger couple than they realized? Well then I need to see the guy hit on Denise in front of him and I need to see probably them already mid-search, freaking out over something together that maybe somebody insists isn’t there. So four people are searching but only Denise and Alfonso smell it. It’s the thing that binds them together. See what I mean? The point of all this can’t be the plot.

The point has to be, well, probably relationship of some sort or even if not a relationship some sort of internal character growth, that’s the part you need. And so now your job is to figure out what is the most essential other bit required to get that part to work.

**John:** Yup.

**Craig:** And a lot of times what you find when you do this exercise is you’ve made things better. Because you’re essentially pre-editing with a good editor, not a dumb-dumb. And we don’t necessarily need to see lots of things. This happens all the time in the editing room where we’re not making these cuts or compressions to save money, we’ve already shot it. We’re making them to tell the story better.

**John:** Yeah. And if you were able to do this in the writing phase versus when it’s on the nonlinear editor in front of you can do a better job. I mean, you can do amazing things in the editing room, but you can do much more cogent and clever things if you do it while you’re writing. I should have said another option is you cut A, B, and C and just find a different way to achieve those same ends. Maybe there’s going to be too much shoe leather to get you through all those beats if you are trying to do this. Maybe you don’t need the animal removal guy and there’s a different way to achieve what you’re trying to achieve by that whole sequence that can be done as a scene.

**Craig:** Right.

**John:** A reason why I often find myself doing this in scripts as I sort of think retrospectively about stuff I’ve written is the too many endings problem. Is that a lot of times when I’m compressing and collapsing things it’s because the movie wants to be over and I’m not letting it be over. And so if there’s stuff to pay off rather than have multiple scenes that are paying off one thing I need to get those all to sort of be part of one movement, as part of one action. Because the reader and the audience get tired of things just closing and ending. And they want to be done. And so sometimes you need to compress those moments down.

I’ll often find those beats though in the first act, too, where it’s like I know why I’m setting these things up, but if it feels like we’re just setting stuff up it’s not going to work. So I need to find ways to compress those beats and combine those beats into a single scene rather than have multiple scenes stacked up one after the next.

**Craig:** Yeah. The flow of this stuff wants to be concise. I think it’s a fairly common syndrome for people to want to stretch out. Maybe because some of the movies that turn them on initially are movies that feel very dialogue-y. Many people have remarked that Pulp Fiction gave birth to a million terrible scripts because it seemed like they were Shaggy Dog scenes that would just go on and on and people were talking. And some of them were. But the dialogue was fantastic. And things that were happening as it turned out were pieces of a fairly intricate clockwork mechanism.

A lot of times your instinct is to stretch out and just play through moments and find what matters and find what’s impactful. But ultimately things want to compress. You want less. And so you are going to start collapsing. Even as you’re writing inside of moments you’re going to start collapsing.

**John:** Oh yeah.

**Craig:** Until what you thought was a sequence of A, B, C, D, and E you realize is really just a sequence of A and B. That’s all it is. It’s just two things. So let’s just two-thing it, not five-thing it.

**John:** Yeah. Great. So that is collapsing scenes. Let us do a big transition to our special guests for this episode. So, about two weeks ago on June 12 the WGA Committee of Black Writers put out an open letter to the town calling for systemic change on a host of issues. To talk about those concerns let’s welcome the co-chairs of this committee. Michelle Amor, Hilliard Guess, and Bianca Sams. Now, we’re all talking on Zoom so we can see each other, but it’s challenging when we have five voices on a podcast. So, Michelle, can you introduce yourself so we can hear your voice and know who is talking?

**Michelle Amor:** Yes. Hi, I am Michelle Amor.

**John:** And Michelle, where are you from and how long have you been writing in Los Angeles?

**Michelle:** Oh, I’m from Chicago. I moved to LA in 2010 to attend UCLA to get my MFA. And I have been writing professionally since just right before that, but also I’m a fulltime professor of screenwriting over at Loyola Marymount University.

**John:** Fantastic. Hilliard Guess, talk us through how long you’ve been in Los Angeles and how long you’ve been a writer. What’s your background here?

**Hilliard Guess:** I’ve been in LA since ’96. I’m a former actor turned writer and producer. And I’ve been writing since about 2000/2001.

**John:** Excellent.

**Hilliard:** I now do film and TV. So I’m back and forth.

**John:** Fantastic. And Bianca could you introduce yourself and how long you’ve been in LA? What’s your background here?

**Bianca Sams:** Hi. My name is Bianca Sams. I am the vice chair. And I’ve been in LA about five years. I was a playwright and an actor. Moved into film and TV. I came for the Warner Bros program and have stayed. And yeah.

**John:** Excellent. Now, Michelle, let’s start with you. So in your letter you start off talking about the public statements that the studios and other companies made in the wake of the George Floyd, Breonna Taylor, Ahmaud Arbery, and other Black people killed by police. How important was it for you that these companies made these public statements, or saying that Black lives matter? How important was it for them to say that?

**Michelle:** It was very important. I mean, at the end of the day it’s very frustrating to be a Black American. I mean, I think a lot of people now are seeing how frustrated we’ve been. I mean, most of the people I know for example we’re contributing members to our society. We work really hard. And we’re just constantly oppressed in so many ways. So, hearing even just the words, it definitely helped. And it inspired us to think about responding to it. And that’s why the letter also had the historical context because it’s important to know where you’re going knowing where you came from.

So we couldn’t let that slide without talking about things like Birth of a Nation and all of the issues that we face every day.

**Craig:** Well I like the fact that you’re not letting things slide. Because I think for a long time that’s kind of been the nature of things, right? People complain and then everybody yes, yes, yes, and then they let it slide. That’s been everyone’s default position. And I want to read this line that you guys wrote which in and of itself is a gorgeous piece of writing. So that’s why I want to read it, because I like reading good words.

It says, you said, the three of you, “Basically either you commit to a new institutionalized system of accountability with and to Black writers, or you prove that you’re putting on just another strategic virtue signaling performance deemed necessary to survive the times.”

First of all, bravo. That’s awesome. And I love the clarity of it. And I particularly love the word prove. Because I think it’s fair to say at this point after about a thousand virtue signaling performances that that’s exactly what the studios and networks have done for all of these years. They’ve just done what they felt they needed to do so they could just survive and not be canceled as the kids say.

So, tell me about the thrust of that because I’m sure there was probably some debate about how to temper this statement. How strong, how aggressive, how not aggressive, how conciliatory. Talk to me a little bit about if there was just an automatic unity of thought of how you should proceed with this statement.

**Michelle:** So, yeah, the whole thing was like, OK, let’s come with facts. Let’s hit them hard. But let’s also leave the door open for real change. Like we understand that we want to work in this business. We’re not saying like blackball us and kick us out. We’re saying, listen, we’re here because we want to tell our stories, too. And now we want you to follow those statements up with some real action. And we used our numbers so you could understand that we understand where the problems lie. If, for example, we’re 15% of the population but we only make up 5.6% of the film writing jobs then that’s a problem that we can work to correct.

**Craig:** Right.

**Michelle:** And those are things that we really wanted to be sure of. And let me just be clear here. It was very important to me specifically that the statement not only said what we wanted to say but it said it very well. We knew we were going to send it out to a mostly writers community. And we didn’t want anyone, “Look at those Black writers. What are they saying?” We wanted to impress the hell out of all of you. We wanted you to look at those words like, “Ooh, look at the command.” That was very thoughtful.

**Craig:** Nailed it.

**John:** Now Hilliard one of the recurring points in the letter is about accountability. So, let’s talk about that because every year the WGA puts out pretty detailed reports about who is getting hired or not hired. We also see university reports about representation on screen. But that feels like a way of counting, and it feels like in your letter you’re really arguing more for a moral accountability that you’re looking for. That you want an outcome that’s not just pure numbers but is actually what you’re describing is a systemic change.

So you say, “We need to revolutionize the way our industry hires writers.” What does that look like? What are some parameters, some benchmarks? And what does the change look like if it happens?

**Hilliard:** Let me just give you a couple things, just to think about it like this. If we have people in higher places, more people will be hired. That’s just the way it is. The reason why a lot of white guys are being hired is because their white friends are there. So it’s the same thing. Which is why, as you see, my favorite line in the entire thing that Michelle wrote was this line. “You need more Black friends.”

So if you think about that, right, then the system will change itself. Because if you had more Black friends in your rooms and not just one, you know, that the system would change itself. So we need more people in places to hire. We need more people in rooms. We need more people in the place with a voice. And we need the opportunity to fail. You know? Three or four key things that I know if you just did that alone things would change.

**Craig:** We’ve been talking a lot about the opportunity to fail. It’s a weird one, because it might be maybe a first instinct to not talk about it, because it has the word fail in it. But there is nothing shameful about failing. Writing is – what is writing? It’s failing a thousand times in a row and then you get what you call your last draft. Right? What’s rewriting? It’s just fixing your failures.

And allowing people to fail, it’s how they learn. It’s how they learn. And I think one of the issues that we know as a town, we were talking I guess it was last week, we were talking about the difficulty of some of the diversity programs whether or not their heart is in the right place, it sort of makes it like come on in, and then if you fail, well, I guess you failed so that’s a diversity failure. Next person in, please. It just doesn’t connect.

**Hilliard:** One of the things that a lot of the TV shows forget when they staff, these writers coming out – and Bianca was in an actual program so she can speak to this specifically, but they forget that she got into that program as an example over like 3,000 or 4,000 other people. You’re talking to the top people.

**Craig:** Exactly.

**Hilliard:** You know what I mean? So their script is better than every staff writer that’s staffed. Do you know what I mean? So you keep forgetting that. And I actually just told this to Jack Melbourne yesterday. I’m like, dude, you guys got to be better. [Unintelligible] it’s ridiculous. I’m sorry, go ahead Bianca.

**Bianca:** No, but it’s also even the idea of failure. Like that’s why they’re not moving up or why that’s not happening for them which is honestly usually not in fact the case. They’re only paid for for one year. And when they have to pay for them then they cycle them out for another free person and they’re not in fact encouraging the mentoring and moving them up. They’re seeing them more sometimes as tissue people. OK, here’s a spot at the bottom. You have the least amount of power. You have the least amount of ability to change the culture in the room. But you have a spot for the moment. Next. Onto the next.

But to go back to something that John said, actually I think the numbers are very important. And I think it’s a thing that if you want to make something better you have to be able to track it. You have to be able to analyze it. And you have to put your energy there to be able to improve it. So you have to be very specific though, right? Like if you have – we don’t have complete numbers, for example. So it’s hard for us to say OK here are really the problems. We’re kind of glossing over and you’re kind of maybe looking a little bit here, and maybe looking a little bit there. And it might appear on the surface that things were improving but in reality if you can’t tell me well how many Black writers are moving from staff writer to story editor, and how quickly? If they’re being asked to repeat four or five times then we can’t actually see that that’s a pattern. It happens year over year over year. How do you go back except for anecdotal information and change that problem?

And I know for myself, numbers again is my thing, I’ve asked for these numbers, I’ve looked for these numbers, and depending on where you go they’re all very different. And it’s hard to just be like what are the Black writers. What are the Black female writers? What are the Black male writers? We can’t get that kind of data. And oftentimes it feels like we’re putting Band-Aids over dams because it’s like, OK, we do this one thing over here and we have these two little things and everything will be fine.

**Craig:** Because there’s this sense that the companies are looking for an answer that will make this all be quiet. But there is no one answer and we’re missing certain – like baseball has a thousand new statistics. I love all of them. But we need an upward mobility statistic for writers in Hollywood in all groups who have been marginalized. Right? We just don’t have that – whatever that factor is, we don’t have it. Sorry, John, I cut you off.

**John:** Yeah. So it sounds like what Bianca is describing is we have good numbers that are trying to speak to equity and access, like sort of being able to get into the system, but we don’t have good numbers about equity of opportunity, equity of outcome. That the same person who is at the same job can move up the ladder in the same ways. And so tracking that and having meaningful statistics that actually follow the path of people through it will help, because like everyone else on this call I’ve heard all the stories of writers having to repeat at levels that they should not be repeating, or not being able to move from being paid out of a different fund out to being the real staff member. And we need to actually be able to chart that better.

**Michelle:** You know, I was talking to a showrunner yesterday about not just getting in as a staff writer, but how many Black EPs are in this town and how many Black show creators have shows on the air and how many Black writers have overall deals? Because that’s where the real power is. When you talk about that power seat, you talk about where are we in a position? It’s like Hilliard said, when you have Black showrunners nine times out of ten they’re creating what we would consider Black content. So they’re going to hire Black writers. And that’s really what’s happening on I would say like the white side or the mainstream side.

But, you know, we can write on any show. That’s the other thing, too. This idea that, oh well, I don’t have any Black characters, I don’t need a Black writer. It’s like excuse me? I love action. I love sci-fi. I love horror. We can write on any genre. And to assume that we can speak for voices outside of our own yet others always try to tell our story. That’s frustrating.

**Craig:** Yeah. White people aren’t shy about writing on Black shows, are they?

**Michelle:** Not at all.

**Hilliard:** Exactly.

**Michelle:** And I think some people, you know, really don’t get how insulting that is. Where you’re not even represented in your own way. Like I sold a show to CBS last year. I remember having discussions with executives about this Black woman. And they were like, mmm, they were not Black, they were not women, and they were really kind of pushing back on me telling them who I am. And I remember I was like, hmm, this is weird. So I’m saying that to say it’s frustrating because we’re constantly fighting to even just tell our own story because so much of who we are it’s like stereotype and frustrating.

**Hilliard:** And when I signed to one of the big four agencies I remember sitting down at the table with them and they were all excited about me. They were going to do all these great things for me. And before I left I said in front of everybody, “Here’s the last thing you need to know. Do not just send me out for things that are Black.” I live in a white world. I know everything about you guys. We’re consumed with you. So to assume that we don’t know you is the most ridiculous thing.

Now, for you to get me is where I’m impressed. For you to get the nuance that we have that’s when I’m impressed.

**Michelle:** Yeah. I always tell my students, I mean, I teach at LMU. Most of my students come from Republican/conservative white families. And I’ll say to them when they say, “I want to tell a story about a poor little Black boy.” My first question is why. Because I say to them you’re probably going to screw it up. You’re not going to get it right. And your reasoning is because you’re being told, oh, I’m won’t get a job in Hollywood because I’m a white guy. And I tell my white male students that’s a bunch of crap. I’m like, no, don’t go in there. You still tell your own story, whatever that is. Don’t feel like you have to try to tell mine.

First of all, you’re not going to get it right. And it’s frustrating because you’re seeing it even in the schools and that’s carrying over. And so professors like me, I’m constantly fighting to teach students to tell their own truth. I don’t care if you’re from a little town in Colorado. Whatever. Tell your story. Tell me about your funny uncle. Tell me about your experience. And that’s what we’re going to be drawn to.

But if you’re trying to force it, and I’m seeing too much of that now. And it’s honestly – it’s just frustrating.

**Craig:** Yeah. There’s no lack of cynicism. In every corner of this business, I guess it’s endemic to who we are. But I’m wondering as you guys have gone through this process of witnessing and experiencing both the events of the last we’ll say month and a half but also the events of your entire lives, and looking at the way people are responding now, and I think there I’m pretty much saying white people and white businesses, are you feeling any sense of hope in that there’s a difference? Or is too soon to tell?

**Hilliard:** Well, I mean, a lot of people have asked us, you know, myself, Michelle, and Bianca, what has Hollywood’s response been. Guess what? We haven’t heard from hardly anybody. And by the time we’re through here. Now, we’ve heard from some showrunners going, “Wow, you guys wrote an amazing thing,” but we’ve not heard from the HBOs, the Netflix, the people that we called out going, hey, you guys are the ones claiming this stuff. Do you know what I mean? Let’s see what you guys are doing. Sit down with us. But nobody has done that.

**Michelle:** But I will say this. I have been reached out to several individuals, some of whom have a bit of power, and I think that there’s conversations that are happening. I’m hearing, for example I heard yesterday that one of our top execs in this town on a call and said that he wants to see all of his shows change as far as seeing Black writers on these shows. And it came from a pretty good source. I won’t say who it is.

But I’m saying that to say it’s coming – I’m hearing things. We just don’t want it to be something that’s sporadic all over the place. We really want systemic. And a couple years ago I actually pushed the guild for a Rooney Rule. I really wanted to go out to the studios and have them sit down and come up with a plan, similar to the NFL, where you have to interview us. I mean, again, we’re not asking you to give us anything. We’re saying at least have something in your company where you say, OK, for every job we have to go out to so many Black writers, so many writers of color, etc. And find a way to track that so you can say, OK, we interviewed these number of writers. We were able to hire these many. And over a period of time you can at least track to see how that’s impacted.

Because what’s going to happen is this. If the studios and the production companies and all the networks suddenly change the way they do business then the agencies have to. And we get right now the whole issue with agencies, but then the agencies will say, “Oh, we have to go and find some Black writers because everybody wants some.” We can then get the opportunities that we’re saying we simply would like to have. As opposed to, as Hilliard knows, we always get showrunners that come to our committee and ask us, “Hey, you got any writers? We’re looking for writers.” But they’re afraid to say out loud “Black.” Because they’re like, oh, we can’t just ask for Black writers. I’m like why not? You don’t have any. The first thing is being comfortable enough to have the conversation and say, “We have no Black writers in this room. And we need to change that.”

And so if you can say the words then you can start working to feel some of those positions.

**Hilliard:** And we need them in higher positions is the problem. They hire these staff writers with no voice.

**Bianca:** And if you have a voice you’re penalized for having said voice. You’re at the bottom of the table.

**Michelle:** But let me also add they are looking for Black showrunners. Here’s the problem. Due to the systemic racism – we had writers back in the ‘80s and ‘90s who were incredible writers on incredible shows. As you know the ‘90s had a lot of Black shows. Those writers were never allowed to get past story editor. If they were allowed they would now be showrunners. We would have probably 20, 30 additional Black showrunners in this town who are so talented. They’ve not lost their talent because they’ve gotten older. They just were not able to get the opportunities. And so part of what we’re trying to do at the guild is bring those writers back into the fold and bring them back up. Because they were really torn down. They were devastated.

They were done really dirty. We do stand on the shoulders of some truly talented people. And so part of it is things were taken from us and they need to be restored. The value needs to be restored. Because it’s one thing to say like, oh, we don’t have anybody. It’s like, yeah, because you intentionally prevented that from happening.

**Bianca:** But we’re also recreating those problems now. When people are repeating, and repeating, and repeating. Right? To repeat staff writer four, five, six, seven times you think about how many times are you supposed to, or more people normally. One, two times maybe. Four, five, six. You’re not getting script fees. You’re not [growing pension]. People leave. People fall out. People have a harder time moving up.

So if you think about somebody being four years at staff writer where would they have been in those four years if they were promoted like other people? Or six years? And so we’re doing it now to a new class of people. Last week there were people asking for mid-levels and they’re like, “Oh, well we can’t find any.” And I’m like well maybe look at somebody who has been here for six years, been working on shows every year getting scripts. They’re clearly capable of producing episodes. But they’ve also been kept back. And are you willing to say I’m going to look at an executive story editor who has been here who has repeated staff writer for four years, wrote three, four scripts. Repeated story editor a couple times. Now is an executive story editor. And might actually have more experience than somebody who is technically mid-level but their title says something different.

And so we’re doing sort of the same thing now where we have classes of people who have been stuck. I know myself I’ve repeated staff writer four times. I was asked seven times to repeat staff writer. And I literally had to walk away from things until somebody decided – like until somebody offered something else I would not do it.

And so there’s a system in place as well right now that’s recreating those problems in real time.

**Hilliard:** Which also goes to they always assume that the Black staff writer has no experience whatsoever. They forget most of us have shot movies and produced them. Have produced our own pilots. Have produced proof of concepts. Dozens of them. You know what I mean? So when we get in a room I’m already a co-EP in my head over these other people.

**Michelle:** I mean, true, everyone is not capable we get of running an entire show. It requires a lot. But there’s some pretty dope people out there who could do it. You know? And people do it all the time.

**Craig:** People do it all the time. I mean, it’s hard to get those jobs, but it’s hard for – I mean, it’s hard for everybody in a sense. Like everybody that’s playing here is playing at a professional sports league level. But, yeah, so it’s hard for everybody. The point is people can do it. We know that. It’s doable. So—

**Michelle:** Yeah. Has it been perfect? No. But we’ve done a really good job. And I think back to what Hilliard says, you know, we should be allowed to fail.

And let me talk about because of this we’re artists. Like who wants to create under these stressful situations? Just like everyone, like I want to create beautiful, vivid worlds. John, you don’t know this but one year I went to Sundance and we snuck away and went to go see your movie Big Fish. And I just remember thinking like, yes, like I love movies, I love television, and I just want the opportunity to create my own Big Fish. Like my own work that people can look at and be also as moved.

And that’s why we’re here. So when you’re creating and you’re constantly worried like, oh, I have to represent the whole race. That’s exhausting. Right? I want to get on a show. I’m sure you don’t think like, oh, as a white guy, I’ve got to represent all white men.

**Craig:** Oh yeah. I’m trying to not represent white men. That’s my new thing. [laughs]

**Michelle:** We want to represent the world and have fun, you know. I know Hilliard loves like cool cars. I’m sure that would be something in his show. And Bianca probably has some like mad genius or something in her world. I don’t know. Those are things that made us want to come into this industry in the first place. And we get that Hollywood is a microcosm of America. But to your question, I do believe there is a change. It’s why the statement was written. We think that there is a paradigm shift. What we plan to do though is to hold them to it.

So we’re not done. We’re also preparing to, you know, take some more action.

**Craig:** Good. Yeah.

**John:** Let’s talk about those next steps. So, if I’m a Black WGA member listening to this and I want to get involved, what do I do next? How do I reach out to you? What happens?

**Michelle:** Well, we have a committee. And we meet – of course, because of the pandemic things were a bit off. But we’re going to have a new meeting in August. We also have an incredible meet and greet coming up in July. We have 100 of our brightest, most talented writers. There are going to be 33 showrunners. Like a speed dating session.

**Hilliard:** Meet and greet.

**Michelle:** So we have a lot of things that we do already for our committee behind the scenes. And a lot of people don’t realize. It’s like oh wow what’s going on over there. But because of the pandemic we had to, of course, slow things down. But we’re planning a bunch of virtual panels and events for the remainder of the year because as you know in America Black people are dying at the highest rate from COVID-19. So we are not going to take a chance on our lives.

That’s another thing. You know, with the industry opening, it’s like are they fully thinking about Black lives? Again.

**Craig:** The answer is no.

**Michelle:** You get the virus. Yeah, we get that you could live. But—

**Craig:** Yeah, right. I think, yeah, staying home is a good idea. I think staying home is a great idea, actually, for all of us.

**Bianca:** Another quick thing if they haven’t already, just for stats purposes as the number person, if you have not already self-identified on the website that is really, really helpful. I’ve been getting most of my staff from there. And some of it is that people have not self-identified. You can also email us and join the CBW if you are a Black writer. And come to the meetings and figure out how you too can get involved. We have a lot of great things coming up. Financial literacy things. Things outside that aren’t just about the industry straightforward.

So, get involved. Get excited. And, you know, we’re moving and shaking.

**Hilliard:** We have a Facebook page, too, that they can join.

**John:** Cool. Bianca, Hilliard, Michelle, thank you so much for joining us on this. It was so good to talk with all of you.

**Craig:** That was awesome. Thank you guys.

**John:** Thanks for all your hard work. And we look forward to hearing what happens next. We’ll keep an eye out for you.

**Hilliard:** Awesome. Thanks for having us man.

**John:** Thank you.

**Craig:** Thanks. Keep going. Keep going.

**John:** And Craig it’s now just you and me. It is time for our One Cool Things.

**Craig:** One Cool Thing.

**John:** You got one?

**Craig:** Yeah, I do. I don’t know, your dog Lambert – is Lambert a picky eater?

**John:** He was a very picky eater when he first came to our house. He’s a less picky eater now. What do you got?

**Craig:** Well, we have our wonderful dog, Cookie. She is fantastic. She is also just a little princess when it comes to food. Good, she’s so, mmm. So dogs can’t just eat treats all day. They need real actual kibble and stuff like that. Or some certain wet food. But she just literally will turn her nose up at it. She’ll look at it and then her nose will go up and she will walk away.

So, it’s getting frustrating, especially because sometimes she gets so hungry that she’ll barf.

**John:** Oh yeah.

**Craig:** They do that. Because they have too much bile building up. And you’re like, well, if you’re that hungry just eat the food. But she’s like, no, I don’t want to. It’s gross.

So, in looking around I had some other stuff that I used to crumble on it and put on it. And it sort of worked a little bit but not great. Now – now I have Marie’s Magical Diner Dust.

**John:** All right.

**Craig:** Marie’s Magical Diner Dust is made my Steller & Chewy and it’s some kind of horrifying – it’s like basically the stuff that dogs like the most is the stuff that would make us puke the most. It’s like it’s made of skull and chicken dicks and stuff. So it’s just dried up little powder. So I sprinkled a little bit on there and it was like I had brought out some cocaine in the club. She just went bananas. And just immediately started eating. So, thank you Stella & Chewy for your Marie’s Magical Diner Dust for dogs. So gross. So effective.

**John:** Excellent. When Lambert first came to live with us he did not like our food. And so we experimented with different foods to get one that would work with his system well. But then he would still be really picky about eating it. When Megan McDonnell would dog sit him she couldn’t get him to eat at all and she would have to like sort of hand feed him kibble.

What we discovered was pretty useful which if other people want to try this before reverting to dinner dust is you take a tiny bit of peanut butter and rub it on the inside of his bowl and that was appealing enough that he would start to lick the peanut butter and he was like as long as I’m here I guess I’ll eat the kibble too. So we would soften his dry food.

Now he’s just gotten over it and so eats his food. We wet it down a little bit and he’s a good eater.

**Craig:** Yeah. No, so I’m envious. This dog, trying to get her to eat, ridiculous. What about you, John? You got a One Cool Thing for us?

**John:** I do. So mine is an immersive light field video with layered mesh representation.

**Craig:** Of course.

**John:** This is from SIGGRAPH 2020, so a big visual effects conference. Click through the link here, Craig, and it’s something I’ve sort of speculated we should be able to do soon but we finally now have the computer processing ability to do it. If you can imagine if you took a whole bunch of Go Pros and layered them all around a big sphere you could get a full 360 view of things. They’re doing that, but then they’re doing incredibly computational intensive processing to make a full field view from that. So, you can film something and then in real time move to any space in that video in any space in that world. You click through in the little sample videos you’ll see a guy with a homemade flame-thrower.

**Craig:** It’s really cool. Yeah.

**John:** And so you can move around in 3D space while it’s happening, so it feels kind of like a videogame, because it is kind of using videogame engines to take real video and figure out the surface mapping of stuff and create 3D models out of it. It’s really impressively done. So I would just say it’s a little preview of stuff you’re going to be seeing in movies in about six months.

**Craig:** In six months?

**John:** Well, I think you’re going to see application of this kind of stuff in movies coming really soon. Because the moment you can do stuff like this in a demo everyone is looking at this and it’s like I already sent it through to a director I’m working with. Oh, we’re doing this, aren’t we? He’s like, oh yes, we’re definitely going to do that.

**Craig:** Look, it’s awesome. I’m looking at it. It’s really, really cool. I can definitely see how it would actually enhance videogames for sure. I don’t know if I would want to watch a passively observed story like this.

**John:** Oh, no, no, no. I’m not saying you’re going to see the whole movie that way. But I’m going to say like bullet time in the Matrix, there’s things like that where I can imagine us moving through a space and moving through a battle sequence where the different fields of planes are in different timings. You could just do really amazing things if you had this kind of information.

**Craig:** Right.

**John:** And it’s the kind of thing which, again, you could do right now with just pure visual effects. But to actually have the real photography behind it will enable some amazing things.

**Craig:** That’s very cool.

**John:** Yeah.

**Craig:** Very cool.

**John:** And that is our show for this week. So stick around after the credits for our discussion of professional sports. But if you’re not a Premium member you’ll have to just wonder. Scriptnotes is produced by Megana Rao. It is edited by Matthew Chilelli. Our outro this week is a classic Matthew Chilelli outro. He’s done some of our best ones. It’s actually how he became our editor is by doing a whole bunch of outros for us.

If you have an outro you can send us a link to ask@johnaugust.com. That’s also the place where you send longer questions or things like we read today. For short questions, Craig is @clmazin. I am @johnaugust. Just today Craig replied in a really great thread about someone’s question and concerns, so thank you for doing that, Craig.

**Craig:** You got it.

**John:** So follow Craig. We have t-shirts. We have t-shirts at Cotton Bureau. They’re terrific. You should check those out. You can find the show notes for this episode and all episodes at johnaugust.com. That’s also where you find the transcripts.

You can sign up to become a Premium member at Scriptnotes.net where you get all the back episodes and bonus segments. Craig, thanks for a fun episode.

**Craig:** Thank you, John.

[Bonus segment]

**John:** All right, Craig, baseball is coming back. Basketball is coming back. I am weirdly excited for both of them.

**Craig:** Are you? [laughs]

**John:** I’m excited because it’s a new thing and I’m really curious how they’re going to do it. I also feel like I like when systems and structures try to react to the outside world and find a new normal.

**Craig:** Oh my god. That’s the most robot thing you’ve ever said. Sorry, that’s the second most robot thing you ever said. The first most robot thing you ever said was immersive light field video with a layered mesh representation. [laughs]

**John:** So, for our international listeners who may not be following what’s happening in American professional sports, the NBA, the National Basketball Association has announced that they are planning to kind of resume this season. They’re moving all the players and families and coaches and staff to Orlando, Florida where they will be playing a truncated version of this season and going into the playoffs. And we will have a national champion. Do you call it a national champion? What do you call the winner of basketball?

**Craig:** Oh man. It’s just the champion. It’s the champion. NBA champion.

**John:** NBA champion. That’s what I was looking for. So they’re going to do that but it’s going to be a highly tested environment. But even as we’re recording this today like a bunch of players already tested positive for it, so there you go.

**Craig:** Yeah. Yeah.

**John:** But so basketball I think will probably work. I mean, the teams are relatively small in these pretty controlled environments. Baseball is outdoors, which is great.

**Craig:** Mm-hmm.

**John:** But, you know, usually teams travel and so it’s not like everyone is going to go to one place where they will do all baseball.

**Craig:** [laughs]

**John:** I just don’t know.

**Craig:** Yeah, how will they do baseball? This is the most important question. Look, I think – I’m more worried about the NBA. Because basketball is a contact sport. We don’t think of it in the way that football is a contact sport where you’re encouraging contact, where it’s required on every play, but basketball players are in each other’s faces. They are up against each other physically. They are sweating on each other. And they’re smashing into each other and falling down on each other. Whereas baseball, everyone is actually quite far apart.

I mean, some players, when you’re in the field are really far apart.

**John:** Yeah.

**Craig:** So, who is close together? And I’m going to remove the dugout from the situation. So in the dugout all the players are waiting to have their turn at bat if they’re in the lineup. You can work that out. You can have sort of a social distancing dugout kind of situation. In the field the catcher is pretty close to the home plate umpire and the batter. But if they are wearing – I mean the catcher is already wearing a mask. And you should be fine.

Beyond that there is not a ton of contact in baseball. People slide into base and they’ve already reduced the amount of contact just per the rules to reduce injury. So I’m not so concerned transmission during a game between players. It’s what happens in between the games that’s obviously the problem. Because it’s just hard to keep people who are working together from, you know, being near each other and potentially infecting each other. And all those players – sorry, many of the players have wives and they have children. And, you know, there’s more vectors for infection.

Obviously there’s not going to be fans. We’re not doing that. Have you seen what they’ve done, I think it was in South Korea where baseball is very popular, they filled the stands with stuffed animals.

**John:** Which is exactly how it should be at all times.

**Craig:** So great. It was so great. I thought it was the greatest thing ever. And then I saw one photo of an orchestra that was playing–

**John:** To potted plants, yes.

**Craig:** Yes. An audience of plants, which is very sweet. It will be weird.

**John:** Well, so baseball it feels like all your potential concerns and objections, like they have families, they’re going to encounter other people. Yes. And also everyone else who is going back to work in any capacity is going to have those same problems.

**Craig:** Yup.

**John:** So it’s similar to that. Except there’s additional travel with baseball and it looks like they’re taking efforts to travel less than the other ones would.

**Craig:** Yeah. I think if they can reduce the travel down, because obviously far fewer games are going to be played. I don’t think anyone is going to look at this season as a “real” season, no matter who wins the World Series. It will have an asterisk a mile wide next to it because it’s just a weird year. There was a strike-shortened season where there was another asterisk World Series winner. So, it’s just a weird one. But the players want to play. And the owners want the players to play. And there is money to be made from the television rights. And I would watch, for sure.

I did years ago when–

**John:** Craig, one moment though. Because from a television viewer perspective, someone who is just watching a baseball game, it doesn’t necessarily going to feel any different. I mean, I don’t know that you would necessarily know there was a problem–

**Craig:** It will. Oh yes.

**John:** Tell me why it will feel different.

**Craig:** Because it’s silent. So, baseball games are loud. Baseball stadiums are much larger than indoor arenas where NBA teams play. They are not as big as football stadiums, but you’re talking typically about somewhere between 25,000 to 50,000 per game, outside, cheering.

**John:** If only we had a way to pipe in sound that wasn’t actually part of a scene when it was recorded.

**Craig:** That would be awful. If you had artificial crowd reactions it would be the worst.

**John:** Bum-bum-bum-bum. Yeah.

**Craig:** Yeah. It would be just awful. It would all sound like a videogame.

**John:** So it’s going to feel like golf is what it’s going to feel like.

**Craig:** It’s going to feel like golf. There was a game that was played years ago when Freddie Gray died in the custody of police in Baltimore and civil unrest occurred which as we know solved the problem of police brutality. Anyway, just amazing, right? We’ve been doing this – that’s a whole – I’m not going to go down that road again. But just, argh, police.

So, Baltimore had a curfew. They were essentially shut down for a day or two. But I can’t remember which team, maybe the Angels, were in town to play the Orioles and they played a game in an empty stadium. And it was the weirdest damn thing I’ve ever seen. Because like you just heard stuff. It was weird. It was just like – yeah.

**John:** I watched, this past week was the worldwide developer’s conference for Apple. And so some years I’ve gone. I always watch it and there’s always a live keynote. And it’s a big thing and it’s a huge crowd. And obviously they couldn’t do any of that this year.

**Craig:** Right.

**John:** And they made choices like, you know what, we’re going to change the format completely. We’re going to lean into it and not try to do the normal things we’re doing and they did a much better job. So I think it will be weird at the start but I bet they can also just find ways to film it differently so that you’re not expecting some of the moments that you would normally expect with the crowd.

**Craig:** I am laughing at you, not with you. Because the thing is we don’t really film – I mean, yeah, occasionally you’ll look at, they’ll have a crowd shot. But by and large it’s just the sense of the crowd reacting as things are happening is part of what’s going on. And there’s always this low crowd hum.

It’s a little bit like when they show you–

**John:** The sitcoms without the laugh tracks?

**Craig:** Yes. It’s that eerie. It’s just eerie.

**John:** Oh, that would be so good.

**Craig:** Because it’s like, OK, it’s 3-2 and bases loaded and two outs. This the payoff pitch. And in those situations the crowd is at a fever pitch. Every little moment is just adrenalized. And in this one it will just be like…and he struck out. Silence. Everyone just walks back. It’s gonna be weird.

**John:** Yeah. It’s gonna be weird. But let’s talk about how weird basketball is. So they’ve made a completely different choice. It’s sort of New Zealand’s choice of we are going to isolate this group of people and not let them have any encounter with the outside world. In theory that should work. If you actually keep a tight quarantine on these people they can be as in each other’s face as you want because there will be no virus for them to transmit.

**Craig:** Right. Good luck.

**John:** Yeah. Good luck. I genuinely wish them good luck. But it’s going to be tough.

**Craig:** This virus, I mean, COVID particularly, it’s like water. It’s going to find any little crack and it will get through. It just doesn’t seem realistic. It really doesn’t. If they can pull it off, great. Just remember people are going to have to be feeding them. There’s doctors and there’s food service and there’s janitorial service and there’s shopping. You can’t – it’s not Bio-Dome. You can’t seal them up.

**John:** Yeah. My mom is in a senior living place and it’s kind of Bio-Dome-ish. They are pretty – they’re vigilant. And, again, I’m not confident that there will never be a case at her place, but they’re taking the precautions that they can take. And so I guess on the NBA side I’m willing to give them the benefit of the doubt that it’s worthwhile to try doing what they’re doing.

**Craig:** Yeah. You can theoretically Bio-Dome folks who generally have reduced mobility and independence anyway. Bio-Doming 20 to 40 year old men and their wives, their significant others, their children. Listen, obviously I’m not rooting for anyone to be sick. I hope it works. I really, really do. And weirdly I would say basketball – it will be less weird to watch without a crowd because basketball is a playground sport. It’s everywhere. So we all have the experience of watching basketball where there’s no crowd. You just go down to any of the basketball courts, like Venice. When you go down to Venice here in LA there are these famous basketball courts. It’s where they shot a bunch of White Men Can’t Jump.

And they play. You’re just used to it. You’re not used to seeing baseball games with no one there. It’s just not really a huge thing. And so it’s just going to be interesting.

**John:** Yeah. A good experiment. We’ll see how it all plays out. No one is expecting the NFL to come back. Correct?

**Craig:** If the NFL came back that would be madness. I don’t know. It would be absolute madness. But they might. I mean, that’s the thing. The amount of money behind all of this is extraordinary. Yeah. But until a vaccine happens – I mean, yeah, I don’t know. That one seems weird to me.

**John:** And so it seems like none of these issues will impact anything in our direct lives, but literally I was having a conversation with a network about plans for this thing I may be working on. They’re like, “Yeah, it’s really going to be a question of whether NBC does the Olympics or not, or when those happen.” We’re trying to think like two or three years out for where stuff is going to be. And it’s like, yeah, that’s right. The Olympics is a huge, huge – obviously it’s an athletic event, but also three weeks of solid programming. And if you don’t have that, that’s important.

**Craig:** I think a lot of the folks that are in those executive suites are doing the only thing they can do which is make plans. But as they’re making plans I think they’re all well aware that their plans are pointless. They are doing what – they don’t want to sit there and do nothing, but no one knows how this is going to go. No one. Anybody that has any kind of certainty is a lunatic.

**John:** Yup. Thanks Craig.

**Craig:** Thank you, John.

**John:** Bye.

 

Links:

* [WGA West Committee of Black Writers Call on Hollywood to Revolutionize the Way Our Industry Hires Writers](https://deadline.com/2020/06/wga-west-committee-of-black-writers-co-chairs-call-on-hollywood-to-revolutionize-the-way-our-industry-hires-writers-1202958013/)
* [Immersive Light Field Video with a Layered Mesh Representation](https://augmentedperception.github.io/deepviewvideo/)
* [Stella & Chewy’s Freeze-Dried Raw Marie’s Magical Dinner Dust for Dogs](https://www.amazon.com/gp/product/B07SM1QT2J/ref=ppx_yo_dt_b_asin_title_o02_s00?ie=UTF8&psc=1)
* [Hilliard Guess](https://twitter.com/HilliardGuess?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor) on Twitter
* [Bianca Sams](https://twitter.com/writesamswrite?lang=en) on Twitter
* [Michelle Amor](https://twitter.com/MichelleAmor?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor) on Twitter
* [Get a Scriptnotes T-shirt!](https://cottonbureau.com/people/scriptnotes-podcast)
* [John August](https://twitter.com/johnaugust) on Twitter
* [Craig Mazin](https://twitter.com/clmazin) on Twitter
* [John on Instagram](https://www.instagram.com/johnaugust/?hl=en)
* [Outro](http://johnaugust.com/2013/scriptnotes-the-outros) by Matthew Chilelli ([send us yours!](http://johnaugust.com/2014/outros-needed))
* Scriptnotes is produced by Megana Rao and edited by Matthew Chilelli.

Email us at ask@johnaugust.com

You can download the episode [here](http://traffic.libsyn.com/scriptnotes/458standard.mp3).

The original post for this episode can now be found [here](https://johnaugust.com/2020/getting-staffed-in-comedy-variety).

**John August:** Hello and welcome. My name is John August.

**Craig Mazin:** My name is Craig Mazin.

**John:** And this is Episode 457 of Scriptnotes, a podcast about screenwriting and things that are interesting to screenwriters. Today on the podcast we’re going to be talking about comedy and variety shows, how they’re written, and how you get a job writing them. We’ll also be talking about studio diversity programs. Now, you might say John and Craig how much do you really know about these things?

**Craig:** Oh so much. So much. [laughs]

**John:** And the truth is not a lot.

**Craig:** Oh, right, sorry.

**John:** Which is why we have a very special guest joining us.

**Craig:** I forgot, it was not a lot.

**John:** Ashley Nicole Black is a writer and performer whose credits include Full Frontal with Samantha Bee, Bless this Mess, and a Black Lady Sketch Show on HBO. Ashely, welcome to the program.

Ashley Nicole Black: Hi, thanks for having me. It’s so weird to be able to talk back to you guys.

**Craig:** I know. Finally. I mean, all of those moments where you were frustrated or angry or disgusted, you get to express them directly at us in real time.

**Ashley:** Well usually I’m just washing the dishes more so than very angry.

**Craig:** All right. Well don’t do that now. Right now I think you’ve earned the right to not wash your dishes while you do this particular episode.

**John:** But we wouldn’t be upset if you were washing your dishes. If we hear some clinking it’s absolutely fine. Now, starting any conversation with a person these days has to begin with how are you holding up. So, how are you holding up, Ashley?

**Ashley:** You know, I had really found a rhythm with isolation and was doing really well. And then with George Floyd and the protests I got sucked back into that 24-hour news cycle. So I’m just starting to get back to the like being able to work and not being glued to the news portion of quarantine.

**Craig:** Yeah.

**John:** Now, you are working now, right? Because we’re scheduling this after you just finished a writer’s room. So are you back in a virtual room?

**Ashley:** Yeah. I’m in a virtual room on an Apple show. I don’t know if I’m allowed to ever say the show exists.

**Craig:** Oh.

**John:** Craig is also on an Apple show. So you guys both have Emmys. You both have Apple shows. You are pretty much the same person.

**Ashley:** Soulmates.

**Craig:** Yeah, I feel like maybe John if you want to just go, just go. Because we have secret Apple/Emmy stuff to talk about.

**Ashley:** Emmy-winner convo.

**Craig:** So much interesting information about that. [laughs]

**John:** I’ve just done the virtual Skype version of CC’ing two people into an email chain and now I can leave.

**Craig:** And then backing away. I love that move.

**John:** Now, we’re going to talk about comedy variety writing, we’re going to talk about diversity programs, but also for our bonus number I want to talk about fireworks because I know you and I actually we have opinions about fireworks and I want to get into that for our bonus topic for our Premium members.

**Ashley:** Oh, I have so many. I’m excited about that.

**Craig:** This is going to be good.

**John:** Now, while we have you here, you are in a writer’s room. We asked on last week’s program for tips for people who are in these virtual writer’s rooms, what they’re using in the room. Chad wrote in, and Craig can you read what Chad wrote in for us?

**Craig:** Yes. Chad writes, “I’m a long time Scriptnotes listener and I got my first professional writing job right at the end of March. We’ve been using the virtual whiteboard tool Miro for everything from breaking out macro story beats across all the episodes of the season to laying out choice maps, player activity for individual scenes. More seasoned writers, particularly those who work primarily in TV in our room had differing opinions on the effectiveness of this tool, but I really like it. And I started using it for my personal projects on the side.

“We use Asana for organizing due dates for deliverables, distributing scene work for a given week, and tracking what stage each scene is in currently, first draft and review, revision, and that sort of thing. Honorable mention to Google Docs and the almighty Zoom, but I’m sure those are pretty well known at this point.”

Sounds like Chad’s working in videogames, yeah?

**John:** Yeah. So I cut off the little first part of that, but it was a hybrid videogame kind of project. Now, are you using anything like Miro for a whiteboard? What are you using in your room right now Ashley?

**Ashley:** No, we’ve just been using Zoom and Google Docs, which means you have your Zoom really tiny on one side of the screen so you can also see the Google Docs. So it’s not ideal.

**John:** And who is responsible for updating the Google Doc? Is everyone typing into the same thing? Is there a writer’s assistant who is doing that work?

**Ashley:** The writer’s assistant, yeah.

**John:** Now, talking on Zoom, how deep are you into the show? How many weeks is this now that you’re in.

**Ashley:** It’s only been a couple of weeks, so we haven’t gotten into the nitty gritty where the technology is going to fall apart yet.

**Craig:** Right. I was about to say. Because the deeper you go the more stuff that goes on the normal whiteboard, and then there’s the erasing and the boxing around a thing. The different colors. I’m particularly fond of the different colors. So, it does seem like as you get deeper in it’s going to become a bit of a struggle to maintain it. I’m kind of curious, Ashley, if you feel like there’s any – is there an impact on just the creative flow simply – I mean, obviously not being in a room together is one thing but literally just the virtual board versus the actual board, do you feel like it’s impacting anything?

**Ashley:** The biggest difficulty I’ve found, and we haven’t like I said gotten that far into story yet, is just like the inability to interrupt each other. I didn’t know how important that was to writing.

**Craig:** [laughs] Well, I mean, there’s probably a little bit of an upside there. Perhaps people that had been interrupted or talked over a lot maybe get a chance to finish?

**John:** A thing I’ve noticed on a lot of these conference calls I’ve been having on Zoom is that when someone starts monologuing it’s very hard to send the signal that they need to stop, that they’ve been talking too long. And there have been times where I’ve had to text a person saying like, “OK, please stop now because you made your point and it’s time for us to move on.”

**Ashley:** And sometimes you can tell that they know. Like you can tell that they know it’s time to stop talking, but no one is making them.

**Craig:** It’s so great. I love that. I call that like failure to land. They know they’re supposed to land. They’ve been cleared to land. They just don’t know what to do. So they’re circling the ending of a remark. It’s amazing to watch.

**John:** Silence also plays so differently on a Zoom call than it does in a real room. Because there’s moments where when people are physically together where that silence is kind of meaningful. Because everyone is like OK we’re all thinking together. You can sort of see the process, the shifting in seats. It doesn’t play that same way in Zoom, so there’s this instinct to have to fill up those silences. And I don’t know that that’s healthy either.

**Ashley:** Yeah, you don’t get that feeling – there’s just a feeling in the room when everyone loves something but they’re quiet, or when everyone hates something but they’re quiet. And you don’t know. You just know that people are quiet.

**John:** Is there any good way that you’ve found to sort of signal your excitement about something or signal your disapproval? Are you guys using thumbs up? Is there any way that you can tell somebody that, yes, I really appreciate that idea? What are you guys finding – also, I don’t know how big your room is, but people are not muted normally, or are they muting? What’s the policy with your room?

**Ashley:** I’ve been muting, I think most of us have, just because like I have a dog who might bark or whatever. So I usually mute. I’ve been doing a lot of nonverbals, like vigorously nodding my head, just trying to visually communicate. But one really funny thing that happened was that one of the writer’s baby toddled in to the Zoom. And we all like raised our hands and cheered, because she was so cute. And then our boss was like, “Why are you making fun of me?” And we’re like, no, no, there’s a baby. [laughs] We can see a baby.

**Craig:** So cute. I do the same thing, by the way. I’m a big believer in the very broad nodding yes and shaking head no.

**Ashley:** Yeah.

**Craig:** And don’t do it like once or twice the way you would normally do it in real life. Because everybody has kind of peripheral vision in real life. But the cameras take away our peripheral vision. So somebody has to actually notice your thing. And so you kind of do it until you realize that they know. And it’s a way to sort of get to the heart of it without having to talk and interrupt people and hijack the audio.

**John:** So please keep sending in your suggestions for what’s working in your writer’s rooms and if you have some best practices or just little policies that you guys have figured out in your rooms that seem to be helpful, send those in and we’ll compile the best of them because we’re all learning together how to do this crazy stuff of writing virtually.

I mostly want to focus on comedy and variety, because this is a topic that a bunch of writers work in this space and we really have not had kind of any guests on to talk about writing for this space, how you get started writing for this space. And Ashley I kind of just want to start from the really basics. When we say comedy and variety what kinds of shows are we talking about? Name brand names so people can get a sense of these are writers working on these shows. What kinds of shows are comedy/variety?

**Ashley:** Yeah, the ones that come on late at night. So it’s Full Frontal. It’s all the Jimmy shows. Saturday Night Live. Sketch shows. All those shows that you stay up late to watch.

**John:** Great. And something like a Black Lady Sketch Show, which is a once a week. It’s a series but you’re writing those sketches as a room or people are writing those individually. Is that still under the auspices of what we consider comedy variety?

**Ashley:** Yeah. I think it’s variety sketch in the Emmy category.

**Craig:** I like that. Variety sketch. You know, variety shows used to roam the earth like dinosaurs. You know, when there was like – so it was like sketches, and then there would be a song, and then there would be like a weird dance thing. Like when I was a kid we watched the Mandrell Sisters. My sister and I would watch the Mandrell Sisters.

We don’t do that anymore. So it seems like mostly it’s going to be a comedy show. Like a sketch show is a sketch show. And I have to say they’re much better now. We’ve come a long way.

**John:** Well, what’s also weird about it is there’s a whole genre of show that is about that genre of show. And so like the Dick Van Dyke show is about writing a late night show, or a variety show. 30 Rock is about writing a weekly variety show that’s like SNL. So it’s weird that we have onscreen representations of what it’s like to write those shows. And yet I still don’t think I truly understand what it’s like to write. So can you talk us through, you were on Full Frontal with Samantha Bee. As a writer on that show what does your day look like? What is your responsibility on that show?

**Ashley:** So, that show is a weekly show that shoots on Wednesday. So our week starts on Thursday. And we would usually start the moment with like a big pitch meeting. Everybody in one room. People pitching stories that are of interest to them. And typically you want to have a take at that stage, but even if you don’t you can still bring in like an interesting story and let’s talk about this.

So we would pitch act twos which on that show is the slightly more evergreen act. So you could pitch that on a Thursday and spend a week or even up to a month working on something like we did one about rural healthcare. Like, issues that are going to continue to be issues a couple weeks from now. And then typically you would get assigned anywhere from one writer by themselves to the entire staff to work on an act and come up with a take together as a group and kind of a way through it. And then everyone go off and get their chance to write their draft alone, which is like my favorite part of the process that we would work on a take together but then you do get to have your own draft, which is great.

And then someone, either the head writer or the supervising writer, would take all of those drafts and compile them into one. And then we would have rewrite which is again everybody back in a room going through line by line, beating every single joke, cutting stuff, getting it as funny as possible. And then you rehearse it. And then you do that again. And then you shoot it. And then you’re like, oh, OK, wow, that was exhausting, and then you start it all over again the next morning.

**Craig:** Oh my god.

**John:** So talk to me about, so you say in a room, how many people were in a room for something like Full Frontal with Samantha Bee? What was that room like bodies wise?

**Ashley:** That was a smaller show. I think anywhere between seven and 10 at the most. But some shows would have like 14 staff members.

**Craig:** Now, a show like Saturday Night Live, they have this hybrid format where there are a number of people who are just writers, and then there are a number of people who are writer-performers. I suspect there a probably a couple of performers that don’t do much writing, but it’s kind of a blend. On your show, on Black Lady Sketch Show, was that kind of the way you did it? Were the performers also writing fulltime? Or was there kind of one group of writers, one group of performers?

**Ashley:** There’s one group of writers and one group of performers. I happen to be in both. But some of the performers are not.

**Craig:** Got it.

**John:** Now, going back to a more traditional weekly show like Samantha Bee, you know, talking about, so you’re pitching your takes. And so you Ashley would show up to work on Thursday morning saying like these are two or three things that I think are good story areas or good topics. Your job is really kind of pitching. How long is a pitch for that kind of thing is what I’m asking? How fully fleshed out is it or is it just an area that you’re trying to pitch?

**Ashley:** It really depends on what you’re trying to pitch. Because there are some stories, like a Trump story as soon as you hear that he had a hard time walking down a ramp you know what’s going to be funny about that. And you can just come in in the morning and go, “Trump had a hard time walking down a ramp,” and you’ll probably get approved. But if you’re doing something like we did a piece about the people who are suing the Catholic Church about sexual assaults that happened to them. The humor there is not apparent. So you’re probably going to do a lot more work before you bring that in to be like, “I promise you I have an angle and a way to write jokes around this topic.”

**Craig:** You’re drawing off of a certain substrate of facts when you’re working on something like Samantha Bee. There are topics. There’s facts. There’s journalism. And there are people. And then you’re kind of building this thing around it. But for A Black Lady Sketch Show this is just pure fiction. You are creating something out of nothing. Which do you find – a two-part question – which is harder and which is more satisfying?

**Ashley:** They’re hard and satisfying in really different ways. It’s very hard to take some of these political stories and make them funny. It’s not an easy thing to do. But the stories exist. So if you need a pitch, you don’t have a pitch that day, all you have to do is go to cnn.com and you’ll find something.

**Craig:** There it is, right.

**Ashley:** Whereas like on the sketch show you don’t have to draw from the news, so you can just do things that are funny to you in your heart. But on a day where you don’t have a pitch there’s nowhere you can go to find one. You really have to pull it out of your brain.

**Craig:** Right.

**John:** Now, talk to us about money. So, on these shows—

**Ashley:** Yes.

**Craig:** Get specific.

**Ashley:** I love talking about money. [laughs]

**Craig:** Can you please just quickly scan and email your tax returns? Because we want to get really granular about this.

**John:** Are you paid on a weekly basis? Are you paid – because you’re not paid on drafts? As screenwriters we’re thinking about drafts. But you’re paid on a weekly basis I’m presuming.

**Ashley:** Yes.

**John:** Are you guaranteed a certain number of weeks? How does it work when you’re hired on to one of these shows?

**Ashley:** I think it differs from show to show. On a lot of shows I think you have a 13-week contract. I think it’s different on every show.

**John:** And so for those 13 weeks you are exclusive to that show and what are your hours? So you’re saying you’re starting the pitches on Thursday. Are you working through the weekend? What is your actual life like? Or is it more a Thursday, Friday then crank on Monday, Tuesday, Wednesday again? What is your life like when you’re on one of those shows?

**Ashley:** It varies from show to show. So when we started at Full Frontal the show aired on Mondays and so we did find ourselves working over the weekend a lot. Because if something changed on Friday like you can’t air old news. We would have to work over the weekend. That was one of the reasons the show moved to Wednesdays because people didn’t want to work weekends. But I know like on John Oliver’s show which I think they shoot on Sunday they work one weekend day and have another weekday off. So it kind of depends on the schedule of the show.

But the schedule is forever. Like there are definitely nights – I would say on a normal night I would get home by seven, but there are definitely midnight nights. There are two in the morning nights. There are I never left the office nights. The first time I was on a half-hour I was like we’re going home at 5:30? Really, we can all just stand up and leave? What? [laughs]

**Craig:** Yeah, I mean, everything I’ve read it does sound like comedy sketch shows or I guess we can move in the sort of news comedy shows into that same category are brutal jobs in the sense of the time commitment and the idea that it is timely. It’s repeating. And if you don’t have it you just got to keep going until you do. Is it healthy? That’s my question.

**Ashley:** I mean, no. I used to – I would get up at six o’clock in the morning and turn on the news in my apartment and have the news on while I got ready in the morning. I lived across the street from the office, so I would just walk out the door, walk back in the door. There are televisions showing the news on every wall, including in the office, like directly in front of your face. And it’s on all the time. And you’re watching these tragic horrible things happening and your brain is going I have to turn this into a joke? Which is just a weird place to live mentally.

But that being said the people I did that work with are my best friends in the world, because sometimes I remember one of our writers, Eric Drysdale, will just come in my office, lay down on the couch, and hug a pillow. And I’d be like, “You’re good, buddy.”

**Craig:** Yeah. That’s me every day basically.

**John:** It does sound like it’s this weird hybrid of like all the challenges of journalism where you’re having to keep on top of this moving thing with all the challenges of normal comedy writing which is how do we actually make this thing funny. How do we iterate, and iterate, and iterate until it’s as funny as it can be? Yet the lifetime of it is so transitory. Like, you know, an episode of that show doesn’t have very much of a life after that time. So, you know, yes that second act piece that you did might still be relevant months later but all the topical news it vanishes, just disappears. That’s so different than other kinds of writing that we do. Or you transitioned to half-hour writing. So talk to us about that transition because moving from where you have such a rush and a hurry to get this week’s episode up to you can actually kind of plan for things and there’s scripts. What was that transition like?

**Ashley:** I think it made me really good. Because you can’t be precious about your writing at all when you’re writing on a daily or a weekly schedule. Like whenever I wrote that, the President fired Jeff Sessions, we’re throwing that thing away, we’re making fun of Jeff Sessions. It is what it is. And so when I got to half-hour I was really used to writing very funny, very fast. And the schedule is just slower and more spread out. And I remember texting my friend who was still in a late night room like “We spent the whole day today talking about if two characters should kiss. And then we went home at five o’clock.” [laughs]

**Craig:** Yeah. There’s this other thing that’s sort of fascinating about – I guess we’ll call it topical humor or kind of fast humor. So, Saturday Night Live is both topic and week after week after week, and the same thing with something like Oliver or Samantha Bee. And that is that the stuff that you’re creating for the moment, but it’s there forever. And as we move through time the one thing I think we’ve seen over and over again is that what people think is funny as opposed to what they think is offensive or not funny or unfair changes.

And there’s an interesting kind of danger in that business. And I wonder if when you were in those rooms if there was ever a sense that you were going to be held accountable for the work down the line.

**Ashley:** You know, interestingly I don’t think that was something I thought about a lot because on both of the comedy variety shows I’ve been on they were very feminist, woman-focused shows. And so we were already punching up. And it’s like that will probably always be OK. But there were definitely times like on Full Frontal where like news had changed and we had covered something and we’re covering it again and it’s like do we play a clip of Sam saying something about this thing and now she has something more or different to say about it? There were like self-referential moments. Like I remember one of our first shows we covered a mass shooting. And then there were like seven more mass shootings. And at a certain point you have to say how many times am I going to stand here and talk about this and acknowledge the fact that we’ve done this before.

**Craig:** Right. Interesting.

**John:** Something like Samantha Bee, she has a very distinctive voice. Do you need to learn to write in her voice? Do you learn these are things that fit sort of Samantha Bee and wouldn’t fit other people? Was there any challenge of getting used to her flow and her format? Or is it just you naturally sort of feel it? Did you feel like you were writing to a character named Samantha Bee? Or were you writing what you wish you could say?

**Ashley:** A little bit of both. I definitely like when I was doing my packet, went to sleep with headphones on listening to her voice. Like I definitely studied and learned her voice. But also as a Black woman there were moments where I was like here is something I wish a white lady would say on TV. And I had one that I could give words to which was an amazing gift.

And then sometimes I would do that and Sam would be like, “You’re crazy. I’m not saying this. You’re in the show.” And I was like, no, I want you to say it.

**Craig:** Yeah. Samantha Bee is smart.

**Ashley:** Yes.

**John:** So, Ashley, you refer to your packet. So I think it’s time to transition into that part of it, because the packet is part of how you get hired in late night and comedy variety. Before we get to it let’s talk about how you got started here and sort of what is your background before writing on these shows? If someone has the goal of writing on these shows where should they start and let’s start with where you started. What was your route to getting to this point?

**Ashley:** I started at the Second City. So I actually grew up here in Los Angeles and so I actually knew as a kid that TV was a job and there were other jobs other than just being an actor. But I always wanted to be an actor. But there was no one on TV when I was a kid who looked like me, so it didn’t seem accessible to me. So I went to grad school. I did my masters and most of my Ph.D. hoping to teach performance studies. And while I was doing that I took a class at the Second City and did sketch comedy once and was like, oh, this is it. Because you got to write for yourself and that was the part of acting that didn’t work for me was letting other people write for me.

So I started doing sketch at the Second City. And a lot of people who come out of there end up going into late night. And people would always talk about packets. But it was always like this truly evil thing where people would be like, “Yeah, that packet we did last week was tough, huh?” And everyone would talk about it. And I’m like, oh, last week, so it’s over. You didn’t mention it until it was over.

**Craig:** Ah. Man, behind the scenes. So tough.

**John:** Yeah. So, let’s define some terms here. So, what do we mean by a packet?

**Ashley:** So the shows will send out usually to agents and managers, and then comedians get their hands on it and pass it around amongst their friends. A packet, like the list of things that you can write to sort of audition for the show. So it’s going to be all the things they do on that show. So like at Full Frontal it’s going to be monologues and field pieces. On Jimmy Fallon he does like desk bits and sketches, so that’s going to be in there. It’s basically whatever they would do in a normal week. You’re going to write like a couple examples of that. And probably also just some loose jokes which probably you already have in your Twitter. And send that off to them so they can see that you can write that style of show.

**John:** So when I first joined the WGA board someone reached out to me on Twitter saying like, “Hey, could you take a look at late night writing packets because it’s crazy how much work they’re asking you to do. Basically to audition for a job.” It’s like if you want to be a writer on CSI and they said like, “Write us a CSI as a sample.” There was just a huge expectation of work going into this. Hours and hours of time and a lot of material. And the sense that like even if that material wasn’t directly making it into the show it kind of could be leaking into that show.

The whole writing packet process is fraught. And I think we’ve been able to make some changes both in the East and the West with some best practices going into that, but I want everyone to be aware that this is a thing that happens in comedy variety that does not happen in half hours or hour-longs, in traditional scripted TV. That sense that you are specifically writing an audition piece for that show that you’re applying for.

**Ashley:** And it can weed out people who don’t have leisure time, right? Like my packet for Full Frontal was 25 pages long. I was someone who had been writing for a long time and could write 25 pages in a week and had like a job where I could take the hours to do that. But if you work like retail and you can’t take time off you’re writing 25 pages in the middle of the night. That’s just such a disadvantage compared to someone who has like leisure time.

**John:** And a lot of times these shows would also say like, OK, bring in your references and your research for these things. So basically you’re not just can you tell funny jokes, it’s like can you research at this thing and provide a lot. So it’s a huge amount of expectation of work there.

**Ashley:** And it’s work you would never have to do, because once you’re on the show there are researchers. But to do the packet you have to do all your own research.

**John:** Now Ashley, those researchers on the show, are those people who want to be writers on the show? Is that an entry level job for them?

**Ashley:** It isn’t. And that is a misconception that I’m happy to dispel. So a lot of the researchers are journalists, or like studio producers. If you want to be a writer you will find being a researcher very frustrating. And so I think sometimes people do take other jobs in late night hoping to move over to writer. And you can do that, but it will be harder on your show. So if like you’re a researcher on Full Frontal then do a packet and try to get on John Oliver’s show. You can definitely do that. But you’ll be frustrated if you become a researcher and think it’s going to turn into joke writing.

**John:** So these other comedians were not telling you about the packets that they’re writing for other places. They weren’t telling you that this was an opening out there. How did you finally find out about it? How did you submit for these things? What was the process that got your work in front of people?

**Ashley:** It’s like a very specific story to me but I do think that there are practical applications. So, like I said I was working at the Second City and I had worked with Dwayne Perkins in the past. And then when Stephen Colbert’s new CBS show came out they announced – they did like a big announcement of their writer staff and it was like 500 white men and two white ladies. And it was just like, oh, Colbert is supposed to be like – he’s from Second City. Being a Second City trained person, that’s like the show I should be able to like at least have a chance to apply for. And not only did I not, but I never even heard about the packet. And I’m in with the in crowd with that show. Right?

So I had posted on Facebook back when we used to do that. And I was just like, you know, it’s so disappointing to see that he has this all white, mostly male staff. And even as like a Second City person I couldn’t get my hands on a packet. And, of course, people got angry at me and were like if you didn’t get picked it’s because you’re not a good writer. And I was like you don’t know that because I didn’t get to write. I didn’t even get a packet. [laughs] I didn’t get a chance to write.

So, Dwayne Perkins had like seen that Facebook argument and he was like, “You’re exactly right. I got a packet recently. It’s 100% for you. Put your money where your mouth is. Here’s the packet.” And it was the one for Sam Bee.

**Craig:** That’s pretty great. I do like it when racist people on Facebook are really bad at arguing. [laughs] It’s just kind of funny. Like did you not read what I said? Look at the words. Ah, Facebook.

**Ashley:** Racists historically do not like to read.

**Craig:** You know what? They’re not big readers. Or thinkers. Yeah. You know, there’s an interesting study there. Maybe it’s just like whatever weird shame, it makes you hate books and words. It just stretches to other human beings.

**Ashley:** Well, it’s the opposite. They did a study and they found that people who, like novels teach your empathy. People who read more novels have better empathy skills.

**Craig:** It makes total sense. You have to put your mind in another person’s mind. Yeah. By the way, that’s what writing is. It’s why when writers talk about things and I’m like how is it that you can write somebody that’s different than you but you cannot imagine how this person across from you is thinking differently? Then it seems like a weird deficit.

**Ashley:** The whole gig is just imagining being another person.

**Craig:** Yeah. Like, hello? WTF.

**John:** So Samantha Bee is the first time you’re hired on. What is like to be working into that room for the first time? And how do you learn the rhythm and sort of when to speak and when not to speak? Because we’ve been talking on the show about your first time in a writer’s room, traditionally you’re sort of breaking out a season of a show and sort of like when you speak up and when you don’t speak up. Any guidance for the first time someone is in a comedy variety room? Like how to sort of get their feet underneath them?

**Ashley:** Yeah. I think a lot of podcasts tell people like, oh, if you’re a staff writer you shouldn’t talk, but talking is your job. So maybe don’t take that advice. When I started on Full Frontal most of that staff had been on The Daily Show, so it was of course like intimidating because they – I had never worked in TV before. And many of them had been on The Daily Show for like a decade.

And so I was kind of quiet to start off. But then I realized like, oh, yes they have TV experience that I don’t have, but I have a perspective that’s really important that I need to speak up. So someone had like pitched a story that unknowingly would have been very upsetting to the disabled community, like from a place of pure innocence. But as I’m listening to it I’m like, oh no, Twitter is going to kill us. And I was like, well, I can’t not – so I just had to say, “You know what, I’m sorry, I hate to be this person. Everyone is so excited about this idea. But Twitter is going to kill us if we accidentally say this thing. Maybe a different angle that wouldn’t do that is this.” And our showrunner pulled me aside and was like, “I was waiting for you to realize that there was a reason why I brought you here.”

And it was so validating. It was like, oh yeah, I’m here to be that millennial who says. And then I felt better and I started pitching a lot of stories. And I actually got a lot of pitches on in the beginning I think because I purposely curated my social so that I was following a lot of activists and people who were on the front line of news stories. So they would be tweeting about something that was going to be news in two days. So I could bring that story in first.

And then also the silly little advice I give people is pitch for the cold open and the tag. Because nobody cares about those. They’re having a hard time getting pitches on. They’ll always let you write a tag.

**Craig:** That’s great.

**John:** Now, Ashley, I want to talk about what you said there with the disabled community was going to be on you if you ever say this thing. One of the things I’ve been hearing a lot about these last six weeks is don’t ask the person of color in the room to be the brakes. Don’t ask that person to always be the one who has to be the person saying like, no, no, that’s wrong. Don’t ask the most junior person in the room to speak up when there’s a problem. Help me square that. Because it sounds like in that case thank god they had you there to do that. But it shouldn’t always be your responsibility to do that. Right?

**Ashley:** It shouldn’t be and it’s so much extra work that only that young or junior writer of color is doing. And it’s so unfair, especially when you, the staff writer, has to tell an EP that they’re wrong. Like that’s horrible. The power imbalance feels so bad. So, hopefully you’re not putting that person in that position. But because you have unconscious bias you may accidentally do that and then it becomes about how you respond. Like I remember when I was on Bless this Mess there was a storyline that I was like, oh, I don’t know. I don’t know if I buy – Pam Grier is on that show. I don’t know if I buy a Black woman doing this. And immediately our showrunner was like, “You’re absolutely right. Thank you.”

And she wasn’t defensive. She didn’t argue me down. She didn’t get her feelings hurt. She just said thank you and we moved on and started improving the pitch. Like you would if someone said like, hey, maybe we should cut these two lines of dialogue. And that’s how you should respond to everything.

**Craig:** Well there’s this notion that if somebody challenges one of the things that you’re presenting in a room either you have some sort of core shame attached to it or you don’t.

**Ashley:** Yeah.

**Craig:** And I think a lot of people have just a ton of core shame around anything that involves race or gender or sexuality. Any of these areas that we consider to be kind of slightly electrified train rails, you know. Because we’re afraid or we want to do well and then when somebody challenges you the shame kicks in and then there’s this defensiveness. And I think you’re making such an interesting point that actually there is nothing – it’s not personal. It’s the work. Right? So the work is what makes sense. What connects here? There is no need necessarily for shame. And I feel sometimes that behind some of that defensiveness is like a weird self-protection, like no, because I’m not a racist so therefore this is not racist or problematic.

**Ashley:** Exactly.

**Craig:** Well, no, no, you can definitely say things that are incorrect or problematic or upsetting without being a bad person. It’s called you didn’t make the right choice the first time. That’s what writing is also, right? That’s part of it.

**Ashley:** Yeah. Like any time in a room someone says like, “Oh, I think we can beat this joke,” we’ve like built a callous over the part of our heart that gets our feelings hurt by that.

**Craig:** Yes!

**Ashley:** And it’s just a value neutral, OK, let’s try to beat it. And I think we have to get there with these issues, too. And obviously you’re a human being. You might feel shame. You might get hot in the face. Take a walk around the block. Don’t put that on that poor young staff writer. Because I have seen people get shutdown and just stop talking for the rest of the season. It’s very easy to do.

**Craig:** Yeah. No, that’s such a great point. People are encouraged to grow that callous over their sense of pride of ownership, pride of authorship, and in fact it’s a bit of a badge of courage that, dude, I don’t even feel anything man. Yeah, well first of all we all do. OK? Everybody feels something. When someone says, “Don’t love that joke,” everybody – you should. You’re a human being. You’re going to feel something. But it’s contextualized. You are a funny person. You have had funny things get into the show. You will again. No one is saying that you’re not funny. They’re just saying congratulations as a human being you’re not batting a thousand. And I think that extends to everything.

That’s such a useful perspective, I think. When these moments of rubbing up against each other happen, not good rubbing up against each other but bad rubbing up against each other, that you kind of are able to sort of let yourself grow the callous over it and not feel shame. Take the walk. Don’t put it on the other person. Don’t try and make your discomfort go away by denying that anything happened problematic in the first place.

**John:** I think it comes back to the idea of an action versus an identity. And a thing I’ve seen people talk about on Twitter this last couple weeks is to do a racism is to recognize that you did a thing that wasn’t right and it could have been unconscious or whatever, but let that be a thing that happened and it doesn’t necessarily mean that you are that person who did that thing. Because that’s where you get in that cycle where you start denying it and all these things.

There’s an opportunity to acknowledge and address it and move on. And that helps that young writer who pointed out keep speaking up in the room and it helps everyone just sort of figure out the way forward through this and not have it be so focused on your identity, just the work that you’re doing.

**Ashley:** And that writer’s ability to keep speaking out is going to save you a bad day on Twitter, I promise.

**Craig:** That’s absolutely true. There’s a great self-interest that you could examine and I think that is – obviously there’s a value there. But, you know, even if theoretically someone could whisper in your ear and say, “I’m from the future and you get away with it on Twitter, no one notices,” there is a human being there who you hopefully are encouraging to grow. Because definitionally you’re describing somebody that’s not in charge talking to somebody who is in charge. And we’re going to get into this whole theory of how you do let people grow and how to prevent I guess – what’s the version of the ceiling that isn’t even a ceiling? [laughs] Right?

You walk into a room and your head is already bumping up against it because essentially it’s like welcome to the entry level where you will stay forever.

**Ashley:** Yes. Hope you like it here.

**Craig:** Exactly. This is your home now. And you did have this fascinating thread on Twitter where you were investigating diversity programs and that was one of the concepts that came up. So maybe we should talk a little bit about that thread and what you were trying to say.

**Ashley:** Yeah. I’ve never done a diversity program. But I hear about them so much from my peers and it’s like among the entry level people of color one of the biggest pain points. And I just thought like, well, those people who have done one or who still hope to do one as their way into the industry probably feel like they can’t say these things. But I can. And so, yeah, I went on a good old birthday rant.

**Craig:** Oh, that was your birthday? Oh.

**Ashley:** It was my birthday.

**Craig:** Happy Birthday.

**Ashley:** Thank you.

**John:** Happy Birthday. So, some of the points you make in this is that these programs recruit people who don’t necessarily need them. And so you’re an example. Like you came through Second City so you probably could have applied for one of these programs, but you already had the training coming out of this that you kind of would have gotten in one of these programs right?

**Ashley:** Yes, OK, I did apply for them. I applied for all the diversity programs. I didn’t get in. And then I got a job on television. And a lot of my friends who were doing these programs were with me at the Second City. They had the exact same training I do. And I would watch as our white friends would get a staff writer job and our friends of color would get a diversity program.

**Craig:** Yes. And so there’s this weird thing that’s happening in two directions in this point that you’re making. One point is that there are people who have done programs like UCB or Second City who if they were white would have already then graduated from something. Essentially it’s like you’re done with your thing, so you move along. Like you don’t need to go through another thing to graduate through.

Which I think is really important to put into focus. When you have this program that then is like – it’s like putting a lobby in front of a lobby, right?

**Ashley:** Maybe this conversation is the end of my career, but when you—

**Craig:** Trust me, our careers will end way faster.

**Ashley:** [laughs] When someone presents a problem to you of like there aren’t enough people of color at your network or whatever and your solution is a training program, what you’re saying is you assume that those people need training. You’re assuming that they’re less than. And you know there was a time where people of color didn’t have access to universities or to these post-graduate training programs, but we do. So you’re now taking someone who has gone to college, gone through a Second City, and IO, a UCB, often for ten years, and then saying you need more training, even though the person who is sitting in the classroom next to you is ready.

**Craig:** Right. Exactly. And you may already have more actual training than that person. Because there’s a special training bucket, you end up in the training bucket. And you know because you applied, didn’t get into those programs, and then got the thing that those programs are supposed to train you for. I have the same relationship with film schools. I didn’t go to film school. I didn’t go to any of that stuff. And then I just did the thing that I’m doing. And the point being that there is the most essential training. The only real training you can ultimately get is job training that isn’t training – a job. Right? They got to throw you in the pool and you must swim. No floaties. No little special zone in the pool. You got to go in with everybody else and start swimming.

**Ashley:** And I think the problem they’re attempting to address is like when you’re on that first or second or third even staff writer job typically someone is going to take under their wing and kind of mentor you a little bit. If it’s not the showrunner, one of the other EPs. And I’ve certainly experienced that and been so grateful for that. And I think that people tend to choose – when you choose your guy who you’re going to do that for it’s often someone who looks like you.

So, I think in their minds they’re thinking, oh, a person of color may not get chosen as anybody’s guy, so let’s run them through this training program. But the training program is not the same type or quality of information that you would get as being on a job and having a senior level writer take you under their rein. So they’re not replicating the thing they’re trying to replace.

**Craig:** They’re not replicating the thing they’re trying to replace. It’s such a perfect way of saying it. Everybody knows, right? It’s not like people don’t know. This person is a trainee. This person is a rookie. That’s too very different jobs. And it does seem like there’s got to be a way to get us out of that loop.

I think that people sometimes think that, oh, these are essentially positive things. But, John, my question for you is behind all of this do you suspect, what I suspect, which is that the companies are just being cheap. They’re using training as an excuse to pay less.

**John:** So, I think there is a noble intention, or there was a noble intention behind these programs. So I don’t want to put a negative – original intention on this. But I think the realities are if a studio can get away with paying less they will pay less. And in many cases the people who are coming out of these programs they’re able to pay these people a training late, some lesser rate, or pay them out of a different fund so it’s saving them money to do this. And I think it overall limits the growth of some of these writers who are coming to television this way. Because if I can pay you X or I can pay you 75% of X, you know, as a studio I want to pay you 75% of X. And I worry that that’s really where we’re at right now.

**Craig:** Yeah.

**John:** And that’s why we probably need to take a very critical look at what we’re doing here and so that we are hiring Ashley out of Second City, not hiring Ashely, we’re bringing her into the training program after Second City. Giving her the job she should have.

**Craig:** Like Ashley says, so Ashley another point you make is because there is this trainee rate where they’re getting away with paying you less, they’re incentivized to keep you on that level.

**Ashley:** Or, to swap you out for another person of color. Because when it would be time for you to go up to the next level, like story editor, and probably get a pay bump. What is happening is that they’re just swapping that writer out and getting another new diversity program writer who is free again. And so it’s like when you tell someone that someone is worth less they’re going to treat them like they’re worth less. And it also makes it seem like writers of color are interchangeable.

Like we had a Black writer, and now we’ll just get another Black writer, as if that person is going to come in with the same experience and skills and life knowledge that they were bringing to the room.

**Craig:** Right.

**John:** Yeah. That idea of paying someone less makes them worth less is something we’ve talked a lot about with assistants over these years. And this is another example of that where it’s just when you give a discount for certain kinds of people in that room it has an effect. And so I think a writer is a writer and needs to be paid like a writer is where we’re coming down to.

While we’re still talking about money, I do want to circle back to comedy variety overall. Did you get residuals? Did you get paid residuals for the work you were doing on those shows?

**Ashley:** We did because the two shows are on TBS and HBO. So we did get residuals. I only found out recently that on streaming a lot of comedy variety writers don’t get residuals, which is like – that’s already nuts, but there’s no script fees in comedy variety. And there’s no advancement. You’re either a staff writer or the head writer. So there’s no like sort of guaranteed pay bumps. And there’s no residuals. So it’s just people working 45 hours a day for way less money than everybody else.

**John:** So you’re working in scripted television, working on Bless the Mess, or the show you’re working on right now, is that better pay and a better life for you?

**Ashley:** Yeah, it’s definitely a more chill life. There are a lot of comedy variety writers who only want to write comedy variety for the rest of their careers and they’re great at it. I don’t think that a lot of people are trying to move into scripted. But, they’re doing – they are a writer. They should at least be getting residuals and at least be getting the same level of financial gain that everybody else is.

**John:** Yeah. Particularly if they’re working on a streamer show, because the difference between if you’re writing a show for Netflix versus a show for HBO, and one gets residuals and one doesn’t, that’s crazy.

**Craig:** Well, you know, we’re kind of bumping up against this issue that we were discussing before. The churn of this kind of work. Because residuals ultimately are for reuse and if you have material that’s sort of got a – like I mean I guess some people sit and watch old episodes of Jimmy Kimmel, but not many. Mostly you’re just watching it that night. And so reuse isn’t a huge part of it, which means that the companies that are employing writers have to essentially balance that out so that – I mean, obviously you want to make sure that the people who are working for you can make a living. And that as an employer you are an attractive option for those people because, you know, as we’re hearing Ashley is appropriately describing the – I mean, this is like fox hole stuff. Right?

This is really hard to do. I mean, listen, just as a side note, always go for the more chill, if you can. Just always. This job is hard enough. Life is hard enough. Being a writer is hard enough. We already have our own mental problems that we’re dealing with. So chill – always I say gravitate towards chill.

**John:** We have a couple questions here and I’m curious about your perspective on these, Ashley, so I’m going to ask you first to answer these questions if you wouldn’t mind. Vito in Vegas wrote in to ask, “About a year ago a friend told me about an idea he wanted to turn into a screenplay. The idea was simple as ‘a heist film that takes place in a shopping mall’ with no other plot points, story, or characters discussed. Since then we’ve had a pretty big falling out but I really like the idea of a heist film in a shopping mall. Is it stealing if I write my own take on that idea? Does it only become stealing if I were taking plot points and characters? When is stealing an idea actually stealing an idea?”

Ashley, what do you think?

**Ashley:** I think, I don’t know, my perspective might be different as a sketch writer. Because as a sketch and a late night writer you’re going through so many ideas that to me it is stealing and stealing an idea – I don’t know why you would do it. Because you have 45 ideas a day. Just use one of the other 44. That’s such a vague idea that you could just have another one.

**John:** Craig, what do you think?

**Craig:** Yeah. I mean, the idea, a heist film that takes place in a shopping mall, is not intellectual property. It is not copyright-able. What Vito is really asking us to make is an ethical determination. And I tend to side with Ashley here. Like, yeah, no, you could. There’s nothing your ex-friend can do about it legally. But how will you feel? And maybe is there something else you can write? And also honestly Vito that’s not a great idea. Sorry. It’s just not.

**John:** It’s not a great idea.

**Craig:** It’s not a great idea.

**John:** We’ve spared you from that.

**Craig:** We’ve seen a billion heist movies, and so it’s in a shopping mall. Who cares? I don’t care. That was also Bad Santa. So, yeah, you know, it was Bad Santa. It’s been done.

**John:** What I find so fascinating about this question is that, OK, if it weren’t an ex-friend but a current friend would you be considering it? No. You wouldn’t be considering it because that’s your friend and you’d be betraying your friend. Or at least you would talk to your friend about that. Are you going to actually write this thing or are you not going to write this thing? But because it’s an ex-friend that you had a falling out with maybe that makes it OK? No. That doesn’t change the valiance of whether it’s OK or not to do this thing.

So, move on. I think Ashley had the best approach. Because really it’s a sketch idea. It’s just a loose idea out there. You can have other good loose ideas. Leave this one be, Vito. Don’t – thanks for writing in, but don’t take this idea.

**Craig:** Nice use of the word valiance, by the way.

**John:** All right. Thanks. I try every once and a while.

**Craig:** No, I love it.

**Ashley:** It’s on his calendar today.

**Craig:** I know. Today the word of the day is “valiance.”

**John:** I ripped it off. It’s like, ooh, valiance. That’s the new word.

**Craig:** Let’s see.

**John:** Do you want to try Hunter?

**Craig:** Yeah. Let’s pose this question to Ashley. Hunter from Washington writes, “This is sort of a follow up to your recent podcast about the use of police in mass media. That’s from Episode 455. Which made me wonder about my current project. I’ve been working on and off for the past two years on a drama feature about a minority teenager struggling against the nature of society while attempting to achieve his dreams. One of the characters currently happens to be a family member who is also a local police officer. The problem is I’m white and come from a middle class household so I haven’t experienced the injustice that I’ve been writing about. With the recent protests I feel like I woefully unqualified to tell the story and am worried that what I am doing will be seen as extremely insensitive should I ever release it to the public.

“Here’s my dilemma…” I’m already interested because I don’t know where the dilemma is, but let’s go on. “Here’s my dilemma. Should I continue to write this screenplay while avoiding the traps that typically appear with Hollywood portrayals of police and racism? Or should I simply accept I am too privileged to write something like this and write something else? I’m passionate about this story as some elements are personal to me, but I don’t want to write something that could considered by many to be insensitive.”

Ashley, any thoughts about Hunter’s – I’m going to downgrade it from dilemma to predicament?

**Ashley:** I feel really bad because he said he’s been working on it for two years, but he lost me at the word minority.

**Craig:** I was going to say. I don’t even like saying it.

**Ashley:** Yeah. I feel like if you’re calling your character a minority and not a Black person or a Mexican person you’re probably not ready to write the script. I’m so sorry.

**Craig:** Oh yeah. John, what do you think about Hunter from WA?

**John:** So, he says there is a personal aspect of this story. I think that’s what he needs to focus on and there’s probably some version of the story that he actually has real insight, both personal insight and emotional insight. But I think he’s trying to project it onto characters he is no ready to write and parts of the world he doesn’t understand. And I don’t think it’s going to work. And so not just because it’s like the politically correct thing to do, but I think it’s actually the correct writing thing to do and career thing to do is for him to focus on the story that he’s uniquely well-qualified to write and not try to write this thing that he himself seems to suspect he’s not the right person to be writing.

**Craig:** That’s the part that I’m kind of catching on. I mean, Hunter, I think you have to listen to your gut here. You can write anybody and you are allowed to write anybody. Writers, we are here to write characters and we should and can write characters that are not just like us. However, if you do so please be aware you have to get it right. If you’re going to write somebody that isn’t you other people that are more like that character need to look at it and go that feels right. Which means homework and listening and empathy and practice and thought and connection. So a lot of stuff going on there. And it doesn’t sound like you feel like you’re on solid ground there.

The other thing to investigate is whether or not your story is going to fit in a kind of story we’ve seen a lot of. For instance, if your story is about white people helping a Black kid, we’ve seen it. A lot.

**Ashley:** We’ve seen it more than it’s actually happened I would argue.

**Craig:** Correct. There is 1.5 of those movies for every time it has happened in reality. [laughs] So, I think that we don’t need more of those. Sometimes people think that they have a good idea for a movie because it’s just like other movies they’ve seen when in fact that’s the best argument that you don’t have a good idea for a movie. So, I think that you should listen to your gut here. You’re not a bad person. In fact, you’re a good person I would argue because you are being aware and you’re being thoughtful and you are taking the time to do something that a lot of people don’t do.

So, on that front I think well done. Listen to your gut here. And remember there’s lots of other stuff you can write.

**John:** For sure. It’s time for our One Cool Things. So, I have two One Cool Things. One of them is Ashley Nicole Black on Drunk History. So I was looking through clips and you’re on Drunk History Season 5 Episode 3 talking about Nichelle Nichols and Star Trek. It is fantastic. My question for you, so we’ll put a link in the show notes to this, my question for you is how does the drinking part and the recording of the audio work on that? Because you tell the story so well and yet you clearly have some alcohol in you. What is that experience like?

**Ashley:** That’s one of the top three drunkest I’ve been in my life. And one of the other three is another episode of Drunk History. So very drunk. And so basically like there is someone there who is very patient and whose name I couldn’t possibly remember who will get you to repeat a sentence over and over again until you get it right.

**Craig:** Oh my god. That’s awesome.

**John:** Well and it’s absolutely delightful. So people should check that out. The other thing I was listening to this morning, NPR did a reading of the Emancipation Proclamation in celebration of Juneteenth. And the Emancipation Proclamation, I guess I never actually read it. It’s not inspiring reading. It’s not poetic. It’s just a list of exceptions kind of to the end of slavery except for these cases.

But what’s fascinating about the NPR reading of it is – I’ll link to the page that has it – is they have a whole bunch of NPR hosts reading different sections of it. And so the first time I’m seeing like, oh, that’s what Audie Cornish looks like. That’s what Korva Coleman looks like. All these people whose voices I’ve heard in my head all these times. Oh, that’s the face that goes with it. So, I always find it so fascinating when I listen to the radio or podcasts because I end up building a face in my mind for what that person looks like and it’s never even remotely close. And so it was a chance to see some of the faces of all these NPR people I’ve been listening to for years. So I’ll put a link in the show notes to that.

**Ashley:** Can I make a confession about this show?

**Craig:** Sure.

**John:** Tell me.

**Ashley:** I thought you guys were the opposite. Like, I had seen a picture of Craig at some point and thought that man was named John August.

**Craig:** Oh wow. That’s awesome.

**Ashley:** A really long time.

**Craig:** That’s so great.

**John:** That’s excellent.

**Craig:** That’s amazing. But, you know, it doesn’t really change anything, does it?

**John:** No, it really doesn’t it.

**Craig:** I mean, you just thought all that time that agency agreement guy named John August was such an asshole. [laughs] And now you’re like, oh no, that man named John August is a very nice man.

**John:** So Craig has a beard. I could not grow a beard if I tried. That’s one way to sort of keep it.

**Craig:** Have you tried?

**John:** I have tried. It looks really bad.

**Craig:** Aw. I kind of want to see it now.

**John:** You want to see it?

**Ashley:** Quarantine is the time.

**Craig:** I mean, really.

**John:** Yeah.

**Craig:** I was just looking, by the way, at the Emancipation Proclamation. They have on the national archives they have the actual document which was handwritten, of course. And it just strikes me that it’s four and half pages long of just handwriting. Now, today any bill, even a bill to name a post office something is usually about 4,000 pages long. I just think it’s remarkable that before I think government became over-lawyered and burdened down by all these things that you could do something like free an entire race of people in 4.5 pages.

Now, you could also argue that maybe they should have been a little bit more thorough in their 4.5 pages because in fact the whole point of Juneteenth is that Emancipation Proclamation didn’t seem to take effect for a while. At least not in Texas. So I guess there’s a tradeoff. They could have used a few extra pages there it seems.

**John:** Or quicker enforcement.

**Craig:** Yeah.

**John:** That too. But there was a war, so it happened along the way. Ashley, do you have a One Cool Thing to share with us?

**Ashley:** Yes. It’s the Loveland Foundation, which is an organization that helps Black women and girls access therapy. So if you want to access therapy you can go to their website and there’s places like find a therapist. And you can also donate and help pay for somebody’s therapy.

**John:** That seems great.

**Craig:** It’s called the Loveland?

**Ashley:** Yes. The Loveland Foundation.

**Craig:** OK. Bookmarking. All right. My One Cool Thing is, you had it listed here on our Workflowy John as “also” but I’m stealing it because I was already planning on it.

**John:** All right.

**Craig:** Our good friend, friend of the podcast, Mike Birbiglia, he has his many wonderful shows. Mr. Birbiglia – by the way, Mike Birbiglia’s movie Don’t Think Twice is – I was thinking about that when you were talking about, Ashley, talking about people who don’t mention the packets. Like that weird jealously thing that happens in the improv world.

**Ashley:** Oh man. I saw that movie with another comic. And it was one of our first times hanging out and we both liked walked out of the theater and were like goodbye. It destroyed us.

**Craig:** I love that. He’s going to love that, too.

**Ashley:** A very good representation of what it’s like.

**Craig:** Yeah. It’s sort of like he knew that world.

**Ashley:** That is a story he was uniquely qualified to write.

**John:** Yes.

**Craig:** Indeed. Indeed. So he had this wonderful show called The New One which was referenced both to the show itself and to his new child. And he and his wife J. Hope Stein, which I love, but anybody that is a fan of Mike’s comedy knows that he refers to his wife as Clo, which is not her name. Regardless, they have a book called The New One which includes poems by his wife. She’s a fantastic poet. And her poetry features in the show.

That book is now available I believe.

**John:** Yeah.

**Craig:** Everywhere. Including in print and in audio books. So The New One by Mike Birbiglia with poems by J. Hope Stein, aka Clo, is my One Cool Thing.

**John:** So the other “also” here was because he also has a brand new podcast and he’s probably listening to us right now saying like, no, mention the podcast.

**Craig:** I know. I can hear him saying that. Why aren’t they mentioning the podcast?

**John:** Mike Birbiglia seems like a nice person, but you can tell you don’t want to get him angry.

**Craig:** That he’s the devil? [laughs]

**John:** I don’t want him angry at me.

**Ashley:** He seems nice to me.

**Craig:** That’s the best thing you’ve ever said. Mike Birbiglia seems like a nice person. But I think we all know he’s Satan.

**John:** Yeah. But he’s also driven. His new podcast is called Working it Out. It’s him working on new material with other comedians and creators each week. And it’s great so you should take a listen to that because he’s a very smart, funny person. And it’s also cool to see the process of creation happening kind of live. This is the time he would normally be out on the road working on his new thing. And instead he’s doing it through a podcast. So you should listen.

**Craig:** Yeah.

**John:** If you are a Premium member stick around after the credits because we’re going to be talking about fireworks. But otherwise Scriptnotes is produced by Megana Rao. It is edited by Matthew Chilelli. Our outro this week is by Eric Pearson. If you have an outro you can send us a link to ask@johnaugust.com.

That’s also the place where you can send long questions like the ones we answered. But for short questions on Twitter, Craig is @clmazin. I am @johnaugust. Ashley you are?

**Ashley:** @ashleyn1cole.

**John:** And so you find her there. That’s actually we found you. That’s how we first met was on the Twitter.

We have t-shirts. They’re great. Get them at Cotton Bureau. You can find the show notes for this episode and all episodes at johnaugust.com. That’s also where you find the transcripts.

You can sign up to become a Premium member at Scriptnotes.net where you get all the back episodes and bonus segments.

Ashley, absolute pleasure to have you on the show. Thank you so much for joining us here.

**Ashley:** It’s going to be weird to listen to the podcast and not be on it after this I got to say.

**Craig:** Well, I mean, if you’re looking for a podcast job…

**John:** If you’re looking for a podcast job. Actually what we’re saying is please come back often, OK?

**Craig:** Yeah.

**Ashley:** Would love to.

**John:** Thanks.

**Craig:** Awesome.

[Bonus segment]

**John:** Now, Ashley, you live in Hollywood. I live just south of you, just south of Hollywood. Can we talk about fireworks and the fireworks situation?

**Ashley:** Has it been a month? It feels like it’s been a month of every single night fireworks.

**John:** From Memorial Day on, honestly. Just hearing fireworks all the time. Not like happy big fireworks in the sky. Just like pops and explosions. And most frustratingly during the time when Melrose was on fire and there were actually smoke grenades and stuff like that I would also hear them. And so like is that fireworks? Is there some civil unrest happening nearby? Fireworks, no. Stop the fireworks.

**Ashley:** Yeah. It’s like every night it’s like helicopters and tiny explosions. And my poor little dog is like we shouldn’t be outside. And I’m like but this is where you have to pee. It’s just like, no, no, no, it’s not good. And it’s every night I have this shivering being hiding in my bathroom that I can’t do anything for.

**John:** Yeah. My dog is the same way. So, fireworks I think are appropriate for the Fourth of July. Second tier is New Year’s Eve. Great. I can take some fireworks on New Year’s Eve. Let’s keep them special for those days. I don’t want the fireworks for the unveiling of the tree at the Grove. No. The tree is the celebration at the Grove. We don’t need fireworks for that either. I just – I’m kind of anti-fireworks. Craig, you’re being very quiet here.

**Craig:** Counterpoint.

**Ashley:** No.

**Craig:** We should have fireworks every night. Hear me out. Hear me out. First of all, the dogs will get used to it.

**Ashley:** No they won’t apparently. It’s been a month.

**Craig:** They need like a lot of them. The problem is that they’re getting random fireworks. They need to know every night at say 10pm there’s an amazing fireworks display that brings everyone together. Beautiful. We can all look up. We can ooh and ah. And we all—

**Ashley:** They can’t see color.

**Craig:** That’s OK. Because a lot of them are white and black. Like, you know, they shine so a lot of flashes of light that disappear into the night. So they can like that. And also maybe like we could put some sort of flavor in the fireworks. Like a chicken flavor or something. I was thinking of my dog. She loves chicken.

So, chicken would come down and they would be happy. And because everyone – who doesn’t love fireworks? They’re heartwarming.

**John:** No. Fireworks are not heartwarming. And I oppose their use in anything other than the Fourth of July and occasionally on January 1st.

**Craig:** So weird. You’re talking about fireworks like they’re ventriloquism or something, which as everyone knows is awful. Fireworks put a smile on children’s faces.

**John:** Because they’re special once a year.

**Ashley:** Yes.

**John:** And if we have them all the time it’s no longer once a year. It’s no longer special.

**Craig:** They should be shown every hour. I would be OK if they announced the hour change like, oh, it’s three o’clock. Fireworks. I’m down.

**John:** When I was in Scotland they actually have the gun where they fire at – I don’t know, originally it was like at noon, but they realized it was too many explosives. They were having to do it 12 times. So now they do it at one o’clock and so at one o’clock they put off the gun in Edinburgh.

**Craig:** Yeah.

**Ashley:** I’ve always found fireworks like OK. I’ve never had my mind blown by a firework. But there are people who have PTSD who like it ruins they’re whole day. So it’s like I’m not going to ruin someone’s whole day just so I can go like, oh, that was cool.

**Craig:** I hear you. But I think that’s again another reason why we should have fireworks every night. Hear me out. Hear me out. If they’re every night at a set time then anybody who is noise sensitive. Because, look, we have people out there who are neuro-diverse. They can handle the noise. They don’t like it. So they just know at this time let me get some ear plugs in. Let me get some foam. Let me put something over my ears.

**John:** I put on my thunder coat. Yes.

**Craig:** So this way I don’t have to experience the sound of it but if I want to watch the light, the beautiful colors, and I can see it. But they’ll know it’s coming. There’s no random factor. So, I think again the two of you – I almost feel like the two of you work for the fireworks lobby, because you’re making such good arguments for fireworks.

**John:** Now, have either of you seen the Queen of Versailles? The documentary about the rich woman who is determined to build the biggest house in Florida.

**Craig:** Yeah, I did.

**Ashley:** No.

**John:** So put it top of your queue. It’s fantastic.

**Craig:** Jaw-dropping.

**John:** But one of the things about the house that they’re trying to build is they’re outside Orlando and they build this giant window that aims towards Disney World because they can see the fireworks every night.

**Craig:** Yes. Yes.

**John:** So they wanted to be able to catch the fireworks every night. And the whole house is oriented towards being able to watch the Disney World fireworks.

**Craig:** They’re so good.

**John:** So amazing.

**Ashley:** And those are probably some of the best fireworks in the world. And they’re fine.

**Craig:** OK. Hold on. Hold on. Now we got a fight. When was the last time you saw the Disney World fireworks?

**Ashley:** Well not Disney World, but Disneyland probably a couple years ago.

**Craig:** I’ll grant you Disneyland fireworks – they’re good is what I would call them. You’re going to say fine. You put a little stink on it. I get it. Honestly good. But the Disney World fireworks are outstanding.

**John:** Now, but we can all agree though those fireworks which are up in the sky, that’s one thing. This sort of like war zone thing that Ashley and I are getting every night, that’s not the same thing. But it has the effect on our dogs and on our general wellbeing. Just like, oh, there’s a pop. Was that a gunshot? Was that some grenade thing going off? I don’t know. But it’s happening all the time.

**Craig:** If you don’t let people set off proper amounts of fireworks every night that’s what you’re going to get. It’s boiling over. OK? You need to give people an outlet. And the outlet I’m suggesting is nightly fireworks displaced 10 to 10:30, professional level. Professional level.

**Ashley:** It feels like what you’re describing is sex. [laughs]

**Craig:** A little bit.

**John:** Craig, I have a pitch for you. So it’s like the purge, but with fireworks.

**Craig:** OK.

**John:** So on one day every year–

**Craig:** No!

**John:** We let everyone do their fireworks and we do it on the Fourth of July. How is that?

**Craig:** You’re the worst. You’re the Grinch. You just said like what if every year we have one day where a man comes down from the North Pole and puts presents in our stockings. We already have that. You’re selling me something I already have. We have the Fourth of July. I want nightly fireworks. I’m not – this is my new thing. This is what the world needs.

**John:** Yeah. It’s in his HBO contract. He gets an assistant and he gets nightly fireworks.

**Craig:** That’s right.

**Ashley:** I’m going to send my dog to tap her little feet around your apartment at three o’clock in the morning.

**Craig:** I would actually kind of love that. I love dogs so much. What kind of dog?

**Ashley:** She’s a mutt. I adopted her from Puerto Rico. She’s a street dog. And she hates fireworks.

**Craig:** Is she big? Medium? Small?

**Ashley:** She’s small and chunky.

**Craig:** Oh, I like a small chunky dog.

**Ashley:** And she has Yoda ears.

**Craig:** Oh yeah. Yeah. Send her over. I’m good. I’ll teach her to appreciate the fireworks. She’ll love them.

**John:** Ashley, thanks again.

**Craig:** Thanks Ashley.

**Ashley:** Thanks for having me.

**Craig:** So much fun.

 

Links:

* [Ashley Nicole Black](https://twitter.com/ashleyn1cole) on Twitter
* [Ashley’s Twitter Thread on Diversity Programs](https://twitter.com/ashleyn1cole/status/1272673440374243329)
* [Ashley on Drunk History](https://www.popsugar.com/entertainment/photo-gallery/44936398/video/44936689/Season-5-Episode-3-Ashley-Nicole-Black-Nichelle-Nichols) on Nichelle Nichols
* [NPR’s reading of the Emanicipation Proclamation](https://www.npr.org/2020/06/19/880754393/celebrating-juneteenth-a-reading-of-the-emancipation-proclamation)
* [The Loveland Foundation](https://thelovelandfoundation.org/)
* [Mike Birbiglia’s Working it Out](https://www.birbigs.com/working-it-out-pod)
* [The New One](https://www.goodreads.com/book/show/52894214-the-new-one)
* [Get a Scriptnotes T-shirt!](https://cottonbureau.com/people/scriptnotes-podcast)
* [John August](https://twitter.com/johnaugust) on Twitter
* [Craig Mazin](https://twitter.com/clmazin) on Twitter
* [John on Instagram](https://www.instagram.com/johnaugust/?hl=en)
* [Outro](http://johnaugust.com/2013/scriptnotes-the-outros) by Eric Pearson ([send us yours!](http://johnaugust.com/2014/outros-needed))
* Scriptnotes is produced by Megana Rao and edited by Matthew Chilelli.

Email us at ask@johnaugust.com

You can download the episode [here](http://traffic.libsyn.com/scriptnotes/457standard.mp3).

The original post for this episode can be found [here](https://johnaugust.com/2020/too-much-at-once).

**John August:** Hello and welcome. My name is John August.

**Craig Mazin:** Hi ya’ll. My name is Craig Mazin.

**John:** And this is Episode 456 of Scriptnotes. It’s a podcast about screenwriting and things that are interesting to screenwriters. Today on the program we’ll be following up on a bunch of topics we’ve been discussing, include police on screen, assistant pay, short seasons, and restarting production. We’ll also be answering some listener questions assuming we have time because we’ve got a lot on the Workflowy here, Craig.

**Craig:** Let’s just mulch through this. Let’s go with expedience.

**John:** We will speed with heed. But no matter what happens in our bonus segment we will be talking about computers. I’m curious what Craig’s initial experience was with computers, what he’s using right now, and what he wishes to use in the future.

**Craig:** Yeah, sure. I love listening to a computer talk about computers. [laughs]

**John:** Ah, it’s good stuff.

**Craig:** Beep-boop-boop.

**John:** Boop-boop-boop-boop.

**Craig:** Beep-boop-boop-boop-boop.

**John:** Last week on this program we were talking mostly about police on screen, police on TV. And we covered a lot, but a thing we didn’t talk very much about was some of the shows that are doing an interesting or better job of depicting police on screen.

**Craig:** Yeah. Which is always good to call out people that are doing well.

**John:** Yeah. So I’ll link to an article by Bethonie Butler in the Washington Post where she singles out some shows that had good approaches to it. Some of them are not classically police shows. But she mentions Atlanta, Blackish, New Girl. Obviously people talk about The Wire, which wasn’t focused exclusively on police but sort of everyone around the community.

Craig, you did a whole podcast on Watchmen with Damon Lindelof. I thought that was a fascinating depiction of police and policing.

**Craig:** Yup. Very much so. I mean, it’s interesting. Every show that will touch on policing and the community and any issues regarding police brutality and specifically as it interfaces with the Black community is going to be scrutinized. And I think that’s fair. When you make – let’s call it, I think sometimes people misuse the word brave when it comes to culture. We’re not actually going in and facing down bullets or anything. We’re making shows and things. But when you are being let’s just call it creatively ambitious you’re going to open yourself up to scrutiny.

And it was interesting watching over the last couple of weeks as some people attacked Watchmen, which was curious to me because I thought they actually did quite a brilliant job. But then again that’s how things go. I mean, everybody kind of looks at things from different points of view. I thought that one of the things that was great about Watchmen, at least I thought, was that quite a number of the writers were people of color. So, you at least felt like you were getting this accurate representation of different viewpoints as opposed to just the standard Hollywood “and now white people explain everything” kind of point of view.

So, big fan of that show, and all shows, but you know, I think we should all be aware that as we tackle these issues that there’s going to be pushback all the time. And that’s healthy.

**John:** Yeah. And I also want to acknowledge that we probably aren’t talking about a lot of shows that really did try to some of these things and just never caught on. Like public defender shows or other things that were trying to take a very different approach and didn’t work because they got drowned out by police procedurals. And I’m sure there are a tremendous number of conversations happening in executive suites and writer’s rooms around town as these shows start up for another season about like can they change, will they change.

And it’s just really difficult based on how a one-hour procedural is set up to imagine what the better version of that show could be. Because as we talked about it’s a problem-solving show. And because it’s a problem-solving show you want to end the episode with a success. And you want things to happen, not not-happen. You don’t want to have interventions that mean that there is no gun fight.

**Craig:** Whereas of course in reality the problem doesn’t end. It is not solved. And all of these – anyone making a show, I think, especially if they’re in any kind of procedural format is going to also face a reasonable suspicion that they’re doing it cynically. No one wants to imagine that anyone is going to try and capitalize off of something. And yet, you know, Hollywood makes culture and it follows culture. So, it’s a tricky one.

You want to try and now make art that addresses the way we’re thinking about policing and how police function in our communities, but you don’t want to be seen as somebody that’s just doing it because it’s “the hot thing.” And I have to say I don’t have a lot of faith that that won’t happen. I think that is going to happen. And I think it will be interesting to watch people react.

**John:** In a strange way I feel like American culture in the last two weeks to a month as the discussion has focused on what do we actually really want the police to do, so this discussion of defund the police, or sort of how we’re going to change and reform how policing works is that I think Americans would like to see police actually do the kinds of things that they are sort of limited to doing on their on screen depictions. Which is to solve crimes. To stop murders. To protect people who are about to be killed by some outside force, and not do all of the other things which we sort of put on the police to be responsible for.

**Craig:** Well, you know, much like as is the case with the medical profession, what we see on television is not what the average day in a medical professional’s life is. And that’s because we wouldn’t want to watch that. It’s boring.

Reality and I would argue responsible, good, careful, thoughtful policing in a community should be boring. Meaning it’s not exciting to watch. It’s not titillating. You’re not eating popcorn. You’re not leaning forward. It’s supposed to have a different function. It’s not supposed to be dramatic. So when we make drama out of these things we are hashing it up a bit automatically. It’s an interesting – this is an interesting conversation that we are just starting to have which is how our culture interfaces with reality to make things either better or worse. Hollywood tends to over-emphasize or imagine how much impact it could have on the world in terms of good.

I think it under-emphasizes how much impact it can have in terms of bad. And I’m going to be watching this discussion carefully. This is an interesting one. And a necessary one.

**John:** Absolutely. So policing is only the first part of the criminal justice system. We got a letter in from a listener who works in the second half of the criminal justice system. Do you want to read what Lisa Steele wrote?

**Craig:** Yeah. Lisa writes, “I’m a special public defender for Massachusetts and Connecticut working in appeals. Yes, the public defender offices are busy. And, yes, most cases are resolved by plea, not trial. But if a client says “I didn’t do it” or “I want a trial” their attorney will do their damnedest to get them a fair trial. There are huge institutional roadblocks to overcome. But I’d be hard-pressed to see a public defender unhappy about taking a case to trial if there’s any hope of success. The ones with no hope, yes, we’ll try to persuade the client that trial is a bad idea.

“I’d love to see a dramatic series with an ethical public defender or a criminal defense attorney at the center. Better Call Saul is entertaining but does perpetuate the sleazy lawyer trope.”

So, what do you think about that, John?

**John:** Well, I think we have many listeners who could rise to this challenge. So it’s the question of what does the show centered around a public defender look like? And I know there have probably been shows every season developed along this line. Different pilots that have been shot. Some things that have gone to series and I have not seen them, so I apologize to listeners who said like, “I had that show.” But this does feel like a moment at which the right show, the smart show that did this could break out. And so it’s the way that Scandal broke out. The way that you have a show that this is your central character but there’s something else there so that it’s on a weekly basis. We’re not tuning in just for the public defender of it all, but for who these characters are.

**Craig:** Yeah. I have no doubt that Ms. Steele is correct about where she is working. One thing to be aware of is that our country does not have any kind of unified or therefore equitable justice code across the United States. Obviously that is true for federal statutes. But local, state-level, different laws. Different functions. Different ways of administering justice.

So for instance there’s a story in the third season of the Serial podcast about a public defender whose client is innocent. He knows she’s innocent. She knows she’s innocent. She wants to go to trial. And the DA is saying, “No.” And the DA offers a plea bargain and the public defender in one of those rare moments says, “No. She didn’t do it and we’re going to trial.” Just as Ms. Steele is describing here.

But in Cleveland, where this occurs, public defenders receive their assignments and therefore their salaries from the judges. So a case comes in, the public defender charges somebody, the judge assigns a public defender. And if you want to go to trial you’re going to have to answer to the judge who does not want to conduct a trial, because it’s too much work. So, what happens in that case? The public defender says, “I want a trial,” and one of the bailiffs comes to him and says, “The judge wants to see you.”

And the judge basically says, “What are you doing. Just, no.” [laughs] “Don’t do this.” And it’s not that you can’t, it’s more like quietly implied if you do maybe I just won’t be picking your name out of the hat anymore. And there goes your salary. There goes your livelihood.

Well, that’s insane.

**John:** Yeah.

**Craig:** That’s just a terrible system. So, we have problems. Something like that I think is just an easy one. Like we should get rid of that. But easier said than done as our entire nation is fragmented into 50 different codes. And then within those 50 codes lots of other different codes.

So, I think Lisa is right. And I also think that in other places what she’s saying is not exactly as clean as that.

**John:** Yeah. And you’ve listened to the Serial podcast which is based on True Stories, I can imagine though if this were put into a fictional context we would not necessarily believe it. Like I feel like it’s only television true story that would get me to take any action to say that that is outrageous and that has to change. If I just saw it happening in a TV show I don’t know if I would believe it in a way.

**Craig:** You need it to be based on facts, right.

**John:** Yeah. Dramatizing it is just not enough.

**Craig:** Dramatizing it is not enough. We just presume that drama is drama. And we presume that because the characters that we’re seeing are not real people. So, obviously nothing that happens to Jimmy on Better Call Saul is real because Jimmy is not real. It is a great show, though. I do love the show.

**John:** Cool. Now, Craig, I just want to remind you and remind our listeners that behind the scenes of all of this there’s still Coronavirus. There’s still a pandemic raging.

**Craig:** Oh boy is there ever. Yeah.

**John:** There is. So as we’re recoding this, middle of June, LA is reporting its highest number of cases ever. Deaths are up. And, yet, we’re opening up the town. We’re doing new stuff. So, it’s a challenging time.

So, personal news here. I got my first coronavirus test and antibody test this past week. This was the classic swab up the nose for the coronavirus and the antibody test is a finger prick. The antibody test, right there they can give you preliminary results, and then the afternoon, like a couple hours later, they give you the official results. So I did not have antibodies for coronavirus. I thought it unlikely but possible because I was in Korea for Big Fish right as the outbreak was happening. And my husband and daughter did get sick while we were there. So, that seemed possible. But all of us did not get coronavirus. So, we are like most Americans, did not get coronavirus.

**Craig:** Well, I mean, so good and bad news. You can still get it. Although, of course, people who have gotten it can also still get it. We’re not quite sure how long that immunity lasts. It appears that our country in its absolute vacuum of leadership has just said, “Meh, I guess people are just going to keep dying.” Because we are selfish. I don’t know how else to put it. We’re selfish. And we want what we want. We meaning the general public seems to just want to do what they want to do. And they’re selfish. And also they’re not thinking straight.

And people are going to die. So, the numbers are going to go back up. The numbers were going to go back up anyway in the fall. So this is already bad news. And there’s no question that the size of the protests and the lack of social distancing between protestors is going to exacerbate the problem. In no way am I saying that we shouldn’t have been protesting, but that’s just – you know what shouldn’t have happened was police murdering a guy. That would have been preferable.

So, it’s bad. And it’s going to get worse. No question.

**John:** So, when we first talked about this topic it was a bonus segment if you can remember that. Like way back in the day. That’s a bonus topic. We’ll talk about the coronavirus, this thing that could potentially happen.

**Craig:** Yeah.

**John:** And it’s funny going back to think through what my assumptions were then. So I wanted to record some of my assumptions right now just so six months from now I can listen back and say like, oh my god, I was so incredibly wrong. So, the assumptions going into this epidemic was that handwashing was super important. We all learned to wash our hands for 20 seconds. To maintain six-feet of social distancing. To be scrupulous about wiping down surfaces. And some people were doing like mail quarantines and all this stuff. And eventually the instruction came out like, oh, we said don’t worry about masks but, yeah, now do wear a mask. Masks are good.

I would say my assumptions right now, and this is again middle of June 2020, I think we’re going to find out that masks are actually incredibly important. And that we should have done those from the start and that that is probably more important than the other things I’ve put on my list in terms of keeping this thing from spreading. I think we’re figuring out that it’s more of a thing that is spreading through the air rather than you pick it up off of things.

**Craig:** Yeah.

**John:** But that’s my guess. That’s my guess right now.

**Craig:** I think that is – we can upgrade that from a guess to an educated guess. And I think in part we were told so much about handwashing and wiping down surfaces simply because there were no masks to give. So, I’m fairly certain that people like Dr. Fauci looked around and said, “OK, the number one thing we should do is the number one thing they’re doing in Asia already which is wear masks to prevent airborne transmission.” And then someone said to him, “We don’t have any. And the few that we do have we desperately need to conserve for medical professionals.” At which point we were told other things. Part of – and then we get frustrated. Why are we being told “yes mask, no mask, no mask, yes?” Because we screwed up.

Because we didn’t have this. We should have a national stockpile of personal protective equipment. Of course we should. We spend billions of dollars on a single jetfighter. And we don’t have masks to give people? God, we’re stupid right now.

So, I think you’re absolutely right. Now that masks are plentiful they will be crucial. If you wear a mask and other people wear a mask your chances of contracting COVID do reduce dramatically.

**John:** Yeah. And it just basically makes sense. The simplest description I’ve seen of this is the someone pissing description. So, if two people are standing next to each other and they’re naked and one of them starts urinating the other person will get sprayed by urine. If that person who is not pissing has pants on they’re less likely to get wet. But if the person who is pissing is wearing pants that urine is not going anywhere. And that’s really the simplest description of why you wear a mask. It stops it from getting out of your body so easily.

**Craig:** I would have used the example of someone – it’s like if someone were sneezing as opposed to somebody sneezing with a mask. [laughs]

**John:** Yeah, but I think pissing is more fun.

**Craig:** Listen, the fact that we started with two nude people–

**John:** Yeah, got to start with two nude people.

**Craig:** You start with two nude people and then one of them is just like, “Here we go. It’s happening.” I love it.

**John:** It’s going to happen. So, again, the backdrop for why we’re talking about this on this podcast is the entire production of film and TV has shut down because of coronavirus and now there’s – well, Craig, it’s all back.

**Craig:** [laughs]

**John:** The governor put out guidelines this past week.

**Craig:** Yes.

**John:** And I’ll just read you the guidelines. “Music, TV, and film production may resume in California recommended no sooner than June 12, 2020,” a couple days ago, “and subject to approval by county public health officers within jurisdictions of operations following the review of local epidemiological data, including cases per 100,000 population, rate of test positivity, and local preparedness to support a healthcare surge, vulnerable populations, contract tracing, and testing.” Wow, that was a long sentence. I can’t believe I got through it.

**Craig:** The government tends to not truncate their clauses.

**John:** No. “To reduce the risk of COVID-19 transmission, productions, cast, crew and other industry workers should abide by safety protocols agreed by labor and management which may be further enhanced by county public health officers. Back office staff and management should adhere to office workspace guidelines published by the California Department of Public Health and the California Department of Industrial Relations to reduce the risk of COVID-19 transmission.”

That just says not a whole hell of a lot. The interesting part here is you should work with safety protocols agreed to by labor and management, so let’s talk about labor and management and safety protocols and what we know.

**Craig:** Well, to start with the fact that the state government is saying you can resume film production doesn’t mean that it’s going to. And the biggest concern of course is with actors. Everyone on a set can be – people on a set can wear a hazmat suit if they want, except for the actors, who can’t even wear a facemask, or gloves, or keep any kind of social distancing. In fact, they may need to kiss each other.

This is a huge issue for them and they are going to drive this. There is a whitepaper – I’m still stuck on your peeing guys – so there’s a whitepaper from the AMPTP that was done in conjunction with every union except the Writers Guild here in town. And it’s about how to do this all safely. Of course, writers will also be required to be on set for televised work. It’s going to be driven almost entirely I think again by the actors. When the actors agree to do this it will be done. This also may start happening ad hoc. In other words the actors union is likely to say, if they haven’t already, “It’s up to the cast.” And then it’s about the cast.

Now, that’s tricky because this is people’s livelihood. This is their income. And when you start to say to people are you willing to trade your safety for your livelihood that puts them in a difficult spot. Especially when they aren’t what we think of – when we think of actors we think of George Clooney, or Meryl Streep. But in fact, you know, most working actors are making a living wage. Meaning they need the wage to live.

**John:** Yeah. When you’re number 13 on the call sheet you don’t have a lot of leverage there.

**Craig:** No. And so you may be willing to put yourself in danger. That’s difficult. And I sympathize with the position that SAG/AFTRA is in. Because on the one hand they don’t want their members to feel jammed into trading safety for employment. On the other hand if they ban it entirely they are also then curtailing the economic welfare of their own members in a way that may be just as detrimental.

This is a tough one. And I think probably one of those situations where there is not a perfect answer at all.

**John:** No. So let’s talk about the solutions that are being proposed and sort of what the general areas of discussion are. So we’ll link to the AMPTP paper. We’ll link to Lionsgate put out their guidelines. And it largely tracks with what our friends who are showrunners are discussing with their production entities about how to get back into production. So, it’s a lot of testing. It is a recognition that actors are masked until they can’t be masked and then you are keeping as few people on set as possible. You are maintaining social distance.

We’ve talked before on the podcast about French hours which is a limited timeframe. It also skips over lunch. There’s different ways to do that kind of limited timeframe. But that feels like a good idea to get rid of that break where everyone is congregating together. And also just get you off that set sooner.

Some of these things are just kind of frustratingly bullet pointy. The lines get things a little bit more of a template, a little bit more of a this is how we’re going to do it. But it’s really difficult. One of the things I found fascinating about the Lionsgate document was talking about what to do when you’re on location. And like if you’re going to a set that’s a practical location how do you know that that set itself is actually safe on a COVID level. It’s really complicated.

So the shows that can film on a soundstage that would normally be sitcoms but you just don’t bring in the audience, that feels much more controllable. It’s the things that do need to be out there in the world that are going to be challenging.

**Craig:** Yeah. And there are about six of those left? So most stuff is going to be done in a way that is challenging. And, by the way, even a sitcom set, all you need is one person to just start coughing and that’s it. And, again, all of this, no matter how much ink is spilled and no matter how many bullet points are dashed off and whitepapers are printed out, the virus doesn’t give a damn and will do what it does. And we are living with it now and like you and I said I think this is pretty safe to say this is going to get worse before it gets better. I do feel like we are in for some more trouble.

And until there is a reliable safe and effective vaccine this is kind of how it’s going to be.

**John:** Yeah. Before we close out this topic I do want to circle back to this idea of protests and sort of mass gathering. I, too, was really nervous when I saw a bunch of people together. What gave me some heartening was that when I saw these mass protests I saw a bunch of people in masks. And that made me feel better about that than a bunch of folks not wearing masks and sort of protesting against wearing masks in other parts of the country. So, including Orange County which is right next door.

**Craig:** Orange County, they are nuts.

**John:** So, it will be hard to suss out exactly to what degree protests were involved versus the general easing of restrictions. But individually I think we need to be really thoughtful about – like the description of a risk budget. How much risk is it appropriate for you to take given your circumstance and who is around you? And really figure out ways to mitigate that risk and not spend that risk budget when you don’t need to.

**Craig:** I don’t know if you saw this video. There’s an amazing video of a Karen in Orange County. I don’t know how else to say it. She’s a Karen. She gets up at some sort of city hall meeting where they were talking about imposing a requirement for masks in public spaces, which they should. And her argument against it was that god, so this is already great, god had given her the ability to remove carbon dioxide from her body by breathing out. And a mask would make her breathe the carbon dioxide back in.

And I thought it’s rare that someone could say something and every part of it is wrong. Every single part.

**John:** If she were to write it down the punctuation would be wrong. That’s just how wrong it is.

**Craig:** Everything. It’s just like, god? God? I mean…

**John:** All right, Craig, I think we deserve some good news. So let’s move onto our next bit of follow up. A few episodes back we asked our listeners, hey, if you were a previous Three Page Challenge entrant who we talked about your entry on the show we’re curious what’s up with you. So write in and give us an update. And so we had an update this week from Ashley Sanders. Let’s take a listen.

**Ashley Sanders:** Hi John. Hi Craig. I’ve just listened to Episode 449 of the podcast. I’m a few weeks behind because of lockdown. And you were asking about any follow up from people who had been on the Three Page Challenge. My TV pilot 419 was on the challenge about three years ago and you were both ludicrously nice about it.

After you discussed it on the show I got some [unintelligible] from TV companies over in the States. I’m in the UK. Sent it over and then panicked. I realized I didn’t know what I was doing and suddenly thought I might need someone to protect my interests. So it gave me the kick in the pants I needed to call an agency.

An agent read the script and [unintelligible] signed me. The most wonderful agent has been so proactive. My career has since – I couldn’t wish for a better agent. And I wouldn’t have made that phone call if it wasn’t for Scriptnotes and the Three Page Challenge. I’m now writing a couple of movies I wouldn’t be writing if I hadn’t made that call off the back of being on the challenge. 419 got optioned by a great UK indie super smart, developed it further, and ended up with an absolutely killer product.

Unfortunately we failed to find a home for it in the UK as the show is a little high concept. It’s currently joined with a US company and will hopefully get made.

So, really your challenge was responsible for giving me the shot in the arm to jumpstart my career. So, thank you. I can’t thank you guys enough. From me and everyone else out there like me please keep doing what you’re doing. It’s unbelievable.

**John:** Well hooray. Congratulations Ashely. We are looking forward to seeing this project and other projects. Listen, I am glad that your being on Scriptnotes gave you some exposure. I don’t want to claim any more credit than that. You clearly were a good writer. You were a good writer when we read you. Someone else would have discovered that you are a good writer as well.

It sounds like you’re doing the right things to keep moving forward. And even when you have setbacks in the UK figuring out a way to do that same project here is good. So, again, it sounds like this one thing you wrote is attracting some attention. But you’re also focused on what else you could write and how to get hired writing other things. That’s exactly what you should be doing.

**Craig:** Yeah. I feel like at best what we’re doing is maybe speeding along something that would have happened anyway. That’s the most credit I’m willing to give us. But we do love hearing this because, you know, we’re doing this pointlessly. [laughs] I mean, most of the time I must admit I’m just doing it pointlessly. But then again sometimes every now and again you’ll see like, oh yes, there is in fact a point that you are impacting people. And even if while we’re talking to – how many people listen to our show now?

**John:** Oh, like 50,000 a week.

**Craig:** 50,000 people a week. Even if five of those 50,000 people a week are going to end up being professional screenwriters, I’m glad that we’re talking to those five. Even more glad I hope that we’re bringing in some other people that may have not considered doing it and now are. So that’s always lovely to think.

So, I guess the point is that Ashley Sanders has proven that we guarantee success for you. [laughs]

**John:** Oh my, yes.

**Craig:** Statistics.

**John:** Yeah, statistics.

**Craig:** 100% of people that wrote us about this have gotten jobs.

**John:** Oh, good stuff. One core constituency of our listenership are assistants. Assistants in the film and television industry. And over the last year we’ve been talking a lot about assistants and particularly assistant pay in this town and how low it is. And how it needs to improve. And we made some progress on that. We actually got some major employers to raise their rates and actually start conversations about how to be paid better and really what people should be thinking about as their minimums. And then a pandemic hit. And so a lot has changed.

So, to explain a little bit about sort of how assistants work here and the different kinds of assistants, on set we talk about PAs. PAs generally have no union, but they’re often reporting to the AD which does have a union at the DGA. But in writer’s rooms and people who are just working for a writer like a showrunner we’re really talking about sort of classically two jobs. There’s the assistant who is taking notes in the room and a PA type who is running and getting the lunch order. And we talked a lot about the lunch order on the show and people not paying the PA back for lunch order orders and stuff. Those are classically two functions you would need to have happen.

One of the strange things about this pandemic is as all of the writer’s room stuff have become virtual those writer PAs who were getting the lunch order, there’s no lunch order anymore. Like that’s a whole big part of the job gone. But there’s still a lot of need for someone to be taking notes and sort of organizing things. And so that’s been a challenge. And a lot of the virtual rooms that I’m hearing from, they basically just got rid of one job entirely and now they just have the one person taking notes.

**Craig:** Yeah. Like many segments of the population assistants have been impacted significantly and very negatively by the shutdown. It does seem like when these things happen unfairly it’s the folks at the bottom of the earning pyramid who take the biggest hit.

I have heard and seen with my own two eyes honorable, decent, good people at the top of the pyramid who have gone out of their way and made personal sacrifices to ensure the health and welfare of the people at the bottom of that economic pyramid. I like seeing that. It does happen. I don’t want people to think that this is just a town where rich people mouth slogans and then give nobody a dime. That’s not what’s happening. People are being gracious. Sometimes. [laughs]

There are some people who are not. And it would be great if the multinational corporations with hundreds of billions of dollars in market value did it anyway. But they don’t.

**John:** Now, Craig, as I introduce the topic this is how long we’ve been in this state of emergency that I forgot that at the very start of the pandemic you and I helped raise like a half million dollars to pay support staff.

**Craig:** We did do that.

**John:** I completely forgot that was a thing we did. And so–

**Craig:** We did that.

**John:** Those checks went out and those people got paid a little bit more. They’ve been getting unemployment insurance in many cases which is fantastic, which is great. But now stuff is starting up again and it’s challenging for these assistants, many of whom are aspiring writers, to be employed properly. So, I had Megana reach out to her assistant boards and her contacts to sort of get some feedback about what’s actually happening. Do you want to start with this first one, anonymous, who wrote in?

**Craig:** Sure. Anonymous writes, “There’s been some chatter among assistants that even though the bulk of writer’s rooms plan on working remotely indefinitely, some are planning on meeting in person now that production is starting back. I’ve seen a few posts in which assistants are being put in a position where they must weigh the risk of going back to work, especially PAs, who will have to expose themselves while picking up lunch and groceries.

“I’ve also seen job postings looking for drivers and personal assistants. One of the posters even commented that their boss was ‘breaking away from social distancing’ as they start preproduction and are scouting locations. With studios and production companies impacted by the shutdown, they’re offering assistants even less pay while asking assistants to potentially risk their lives.”

Well, I certainly don’t like the less pay part. I mean, if you’re going to ask people to risk their lives you’ve got to at least give them what they were being paid before. Good lord.

**John:** Yeah. There’s so many elements at play here. So part of that is I think a thing that’s been happening since the pandemic began which is that we offload our individual risk onto someone else. It’s like someone else who is delivering our food to us is taking the risk for us. And that’s a whole complicated set of issues. And I think the change here is that these assistants who were staying home are now sort of being put into that role of being the person who goes out and gets the thing and brings it to a place and is absorbing some of that risk for the showrunner, for the other writers in that room.

But really you can generalize this second part of like, OK, if we are going to start getting together in person that is going to increase our risk overall. And that risk may be disproportionate for different people in that room because some people might be immunocompromised or have someone in their family who is immunocompromised. And it’s a bigger gamble for certain people than others and it’s really uncomfortable to say that in a room.

And just as we said 13th on the call sheet for actors, there’s going to naturally be kind of a hierarchy of writers in that room. And some people who would be confident speaking out if they were the co-EP wouldn’t speak out if they were the staff writer or story editor.

**Craig:** This has always been the situation, right? And we’re as an industry trying to improve things. Assistants and people who are entry level who are struggling to either get or keep these very small number of desirable jobs have always been put in these situations where they were exploited.

And there’s different kinds of exploitation. And as an industry we are trying to improve kinds of exploitation. I mean, the fact that everybody used to say the phrase “casting couch” like it was a goof and now we understand that just the words themselves are referring to a very serious crime is a sign of how we are improving, one would hope.

But then there’s stuff like this, which is new. This was not a problem. Hollywood in the ‘60s didn’t have a COVID problem where PAs were coughing and dying because idiots made them get lunch in ways that were unsafe. So, we have this new avenue of potential exploitation that we have to struggle with and we have to come to grips with. And, again, this is not going to be easily solved until there is a vaccine. It’s just not.

**John:** Now thinking through this, that assistant who is running out to get the lunch order every day, like they were assuming some risk because they were driving in LA traffic. There was some risk that was naturally there. It was lower than what we’re talking about with COVID-19, but there was some risk there. And I guess we really weren’t thinking about that risk that that assistant was taking.

I do feel like we’re getting closer to understanding what the risks are for going to a place and picking up a thing and leaving a place that is pretty secure the way that our food handling has seemed to have gotten. So, I’m concerned for that person who has to do it, but I’m more concerned about sort of the novel situations, or the situations where like well because Chris is already doing that thing and picking up the lunch order we can also send him to do this or to do that or to do this third thing and just increase his exposure and increase his risk. That’s troubling for me.

**Craig:** Yeah. And there’s a continued possibility of risk shifting, so if the PAs on a show say we’re not comfortable going to get these lunches then the show will say, great, we’ll just use Grub Hub. And so those people will now be getting lunches. Some humans will be getting the lunches. And, yeah. So it’s going to be trouble. There’s going to be trouble for a while. And I think the least that we could do, that we must do, is if we cannot solve the state of safety because the world is inherently unsafe, we have to at least compensate people fairly and decently, or we are compounding the problem. We have to. We can’t offer assistants less pay. That’s insane.

**John:** Yeah. So, Megana also added to our Workflowy a list of other questions and concerns that she was hearing from assistants as she was talking with them. So, I’ll just sort of read through these.

Is everyone getting tested prior to showing up to work?

Are people isolating outside of work?

Will assistants get hazard pay?

How will safety protocols be enforced?

How are we communicating about sick leave?

What are the daily systems in place to check how everyone is feeling on set or in the room?

Will someone be taking people’s temperatures?

If someone isn’t feeling well how should they communicate that? Are we still paying that person?

Are we requiring everyone to wear masks and gloves? What about people who are already choosing not to? How will this be enforced?

And, finally, many assistants don’t have insurance. Most of the people are not 871 script coordinators. So, are we paying them some sort of healthcare stipend because of the situation?

**Craig:** Well, in terms of that last one they already should be paying them that.

**John:** Yeah.

**Craig:** These are great questions. And much as we were referring earlier to the United States which has this uniform federal code and then four billion different state and county and municipal regulations, so too are our businesses fragmented among various networks, studios, and then inside of those, shows, and production companies, all of which are going to probably be approaching things in their own way. There is no simple answer to this. I mean, ideally you answer these questions moving the dial as far to the right as you can on the safety-ometer. Yes, everyone should.

I mean, I’m not sure about gloves because there’s an argument that gloves actually make things worse.

**John:** Yeah.

**Craig:** But masks – I mean, if it were me, if I were running a writer’s room, I would require masks. If we’re all sitting around the table talking at each other for hours, yes, I would require masks. Yes. I think taking temperatures in the morning, checking in with a thermometer is a great idea. Yes, if people got sick they should get sick pay. Yes, everyone working in your office should have health insurance. Those all seem like good policies to put in place.

**John:** Yeah. Also I feel like we’re in California. You can be outside. Try not to be in a room for a super long period of time with people if you can possibly do that.

**Craig:** Now everyone has skin cancer, so good job.

**John:** Tents. Tents. They’ll have tents.

**Craig:** Ah, tents, yes.

**John:** Finally, Charlie asks, “Are there any resources that can help people navigate working remotely? I think a lot of what’s happening is that writers don’t like the online boards. We all bought laptops so now one has a monitor that can see what’s actually happening in the room. So what software are rooms using and liking and can we share best tips and practices?”

This is a request out for if you’re listening to this right now and your room is working really well because of something you’ve discovered that’s working great, write in to us and let Megana know what you’re using and we’ll share this on the next episode or the episode after. Because different rooms are trying different things in terms of duplicating the experience of what would be on the whiteboard, what would be cards, how stuff is working. Some people are using Zoom. Some people are using other stuff. So next week or the week after we’ll do a segment where we talk about what writer’s rooms are using and liking because we’ve got to share this information.

**Craig:** Yup. No question.

**John:** Cool. So next up is equity and inclusion. Every year the Writers Guild publishes a report that shows who is working in town in terms of writers and the demographics of those writers who are working. And so we’ve talked about this I think every year of the podcast. The report came out this last week. It got overshadowed because of everything else happening in the world. But there was some interesting stuff in here. Craig, have you had a chance to take a look?

**Craig:** Yeah. This is what I have traditionally called the Bad News Report where we read it and go, yup, more bad news. But it’s not all bad news this time. There is clearly a positive trend going on. So, we’ll just sort of do the top line stuff here. The most encouraging statistics are along the axis of gender. So currently television writers for the 2019/2020 TV season, so reflecting what we just had, it broke down 44% women, 56% men. Is that parity? No. Women, however, are up 5%. And those numbers were not anywhere near 44% ten years ago. This is a really encouraging trend. I think we’re doing excellent work there. And I have no reason to think that that trend won’t continue. We should be able to get to gender parity in rooms.

Let’s talk about race. People of color at 35% and white at 65%. That’s also not disastrous given the actual racial demographics of the United States of America. It’s not perfect by any stretch. Good news though. Up, again, 5%.

And this is an area where I think we can actually do better than the demographics of the United States because we’ve done so much worse than the demographics of the United States. So, I think this is an area where we do need to aggressively not worry about the scale per se and matching. I think it would be nice to see that number actually also at 50%.

**John:** Absolutely. And we will link to this whole report. But if I’m talking about a page number it’s from this PDF which will be linked here. Page 11 talks about TV writers by level and that’s where you can see where there are still some glaring disparities, particularly in race in terms of as you move up the ranks from staff writer to showrunner the percentage of people of color in those different roles drops. Drops after like supervising producer. It starts to slip a lot.

Some of this is just the climbing the ladder issue. It’s a number of years and credits that sort of move you up that ladder. But as we’ve talked about on the show before sometimes the ladder in the pipeline is kind of broken. So there’s a real question of like with time would this get fixed? Or is there something more fundamental that needs to happen to make sure that writers of color can move all the way up to the top of showrunners?

**Craig:** I’m sure it’s a combination of both. So, on the one hand you would expect this that there’s going to be a lagging effect because as people enter the industry they enter at entry levels. And so over time in theory if the advancement scheme is fair then those numbers will improve. If it is not fair, those numbers will not improve. Or we’ll be lagging behind the process in the entry level stuff. So we’ve got to keep any eye on it. In general we know that the more people of color in positions of leadership the more likely it is that more people of color will then be promoted to positions of leadership.

We’ve always had a vicious cycle that’s been downwards, and now we’re hoping for sort of a positive spiral going upwards.

**John:** A virtuous cycle.

**Craig:** A virtuous cycle. Now, all of that applies to television. However, in the screenwriting business, so features AKA the Bad News Business. Not good. So, OK, plus side of things, 4% more women employed as screenwriters in 2019. 2% more people of color employed as screenwriters in 2019.

Bad part. 27% of screenwriters were women. Only 27%. And only 20% of hired screenwriters were people of color.

Now, some things to think about, aside from the fact that that’s horrendous. The job market in screenwriting, of course, continues to sort of be retract-y and regressive. And not as attractive honestly as the television business. So, one consideration is that when there is an unfair system people who are traditionally discriminated against are going to go to the avenues where they are being less discriminated against. So there is some sort of natural movement there.

It is only, therefore, more evidence that the way people are hired in the feature business is just not good. It’s just not good. And I don’t know why it has gone up slightly. I can’t get too excited about it because when you look at the numbers of employment, I mean, these percentages are a little bit of a lie. When we say 2% more people of color were hired as screenwriters in 2019 that 2% is applied against a very small number compared to the 5% increase of people of color in television, where the base is much bigger.

**John:** Yeah.

**Craig:** So, just in sheer numbers that 2% more people of color could mean four people. It’s just not great.

**John:** Now so one thing I do want to single out here, we have a perception that the feature business is falling and that few people are working in feature, but that’s actually not the case. There’s more writers employed in features this past year than the year before. There is actually an uptick because even as the studios have sort of compressed Netflix and Amazon and other people have come online. So there’s been more folks working in features than before.

But you look at sort of the work that you’re actually doing and our own experience we’ve talked about so much on this podcast is that it is structurally not very appealing to work in features. And if you are a young writer of color who is making a choice between like do I want to work on this TV show, or do I want to work on this feature given that I’m going to be doing so much free work on this feature. I’m going to be – I don’t know when I’m going to get paid for this feature.

**Craig:** It’s also certainly true that there are writers of color who want to work only in the feature business and who are struggling and one of the institutional issues you have with the screenwriting business is that it’s not room-based. It’s individual-based. And when it’s individual-based the compounding factor of experience dramatically multiplies.

**John:** Yes.

**Craig:** So you and I have written dozens and dozens of screenplay. We have been hired many, many times over the course of 20 years. So, when someone is looking for somebody to write a screenplay, at the very least they know that you and I have done it a whole lot. And the experience gap is enormous because there is no room. There is no entry-level position. There is no ladder. There’s nothing to climb.

They will continue – even as they increase the number of jobs available the pool of people that are experienced will dwindle. And so you have a lot of repeat business among a narrowing group of people and that will always, given the way that the businesses function, benefit white men. So, there has to essentially be an overt effort to get people experienced. And I was talking about this the other day here in the office. And it’s interesting you have to give people the right to stumble and fail. You’re not going to be able to get experienced writers of color in the feature business if you don’t give them the same right to stumble and fail that the feature business has always given white guys.

**John:** Yeah.

**Craig:** It just needs to happen. You just need to absorb it. Because you’ll hear people, “Oh well we tried, you know, we tried hiring but then this person didn’t do a great job because they’ve never done it before.” And I’m like, mm-hmm.

**John:** Mm-hmm.

**Craig:** Do it again. Do it again.

**John:** As we’ve talked about on the show the first thing I was hired to write I got through three official drafts on it. So the movie never happened, but I got to actually get paid for multiple drafts in ways that new writers never get these days. And so one-step deals and the lack of a guaranteed second step creates this impossible situation where that writer is never going to be able to deliver the thing that makes everyone happy, that everyone has a good experience with. They’re not going to get the experience of how to do multiple drafts and how to sort of work through a feature in development.

**Craig:** That’s such a good point. And that’s exactly why we need to get this clause through negotiations and the companies need to do this. Give writers earning under a certain small multiple of scale a guaranteed second step. You need to. It’s the only way you’re going to learn. You can’t learn writing one script and then rewriting that script for some dopey producer who has no clue. You work for the studio and the need the ability to be trained through experience. It’s the only job in Hollywood where most people who do it have never actually done the other half of it. The first half is writing a script. The second half is writing a script that gets turned into a movie. And working on the movie as it’s in production.

We need to get more people who are not just white men into those slots and the only way to do it is to increase the on-the-job training. Because there’s no room to follow.

**John:** I agree. All right. So that is our quick look at the equity and inclusion report. But there’s actually a lot more in here, so do follow through the link in the show notes to see sort of what’s there and where progress has been made, but where progress is sorely lacking.

We’re going to skip over our little bit here about short seasons. I will say that short seasons are related to the problem of experience and sort of developing experience in television. A writer I follow on Twitter was saying that like by the time he was running his own show he had worked on 100 episodes of TV. And no one can work on 100 episodes of TV easily these days with so many short seasons, or get the longevity of things. So, I feel like short seasons are a related factor to sort of the challenge of equity and inclusion in the TV business.

**Craig:** Yeah. And they’re not going anywhere. And they will become the new norm because also creatively speaking I would argue that creatively short seasons are why television is producing the best work it has ever produced. But, yeah, there are costs.

**John:** So one thing I do have some hope about is that as I see people who have big deals at streamers and other places, I’m thinking of the Berlantis and the Ryan Murphys, those writers do tend to hop from show to show, same with Shonda Rhimes. Those writers do tend to hop from show to show within that little ecosphere and I feel like even if these shows have short seasons I hope that those writers are getting an ongoing experience of making a bunch of stuff because that’s really what they need.

**Craig:** Yeah. I absolutely agree. And they do have an opportunity – I mean, Greg Berlanti is kind of his own network. So, Greg and Ryan and Shonda, these folks are continuations of this like what used to be the old school, like a Stephen J. Cannell where there was like a producer who had tons of shows. And so they’re still there. They still exist. And they become their own networks. And they are uniquely positioned to advance these causes and improve the diversity of the workplace. And I think that they do. It doesn’t hurt that Greg and Ryan and Shonda are all people that are in traditionally underrepresented categories in the business.

So, it’s good to see and you have to hope that it will continue that way.

**John:** Yeah. All right. Two last little bits of news. This Saturday I’m doing a local author event at Chevalier’s which is the bookstore in my neighborhood. It was originally supposed to be a couple weeks ago but then sort of the world happened and it was not an appropriate time for a happy discussion of kids’ books and local authors. So that is happening on Zoom this Saturday at 2pm. So, join us. So, Aline will be there. Derek Haas will be there. A bunch of local authors. Some of them are kids and middle grade authors. Some are grown up authors. We’re talking about our favorite books. We’re talking about summer reading lists and things we’d recommend people read.

There’s a link in the show notes. You can see my summer reading list, but also other authors about what they are recommending.

Finally, David Koepp, was a guest on Episode 418. We talked about his book a little bit on that episode, but I hadn’t really read it yet. I finished it this last week. It’s really, really good. I started reading it and worried it was going to be a pandemic book because there’s an outbreak of a thing, but it’s actually not. It’s a thriller. If you can imagine Jurassic Park but in an underground storage unit. It was really well done. So, check that out. And check out his movie, You Should Have Left, which is based on a book that I really liked, a German book I really liked. And that was supposed to come out theatrically. Now it’s coming out on video everywhere June 18. So check out his movie. The trailer looks terrific.

**Craig:** Fantastic. Love that David Koepp.

**John:** Craig, One Cool Thing time. What do you got?

**Craig:** Oh. This one is easy this week. My One Cool Thing is The Last of Us Part 2. It is a masterpiece. Obviously I’m a big fan of The Last of Us. I think that much is clear by now. I have had a chance to play The Last of Us Part 2. I’m in my second play through now. It’s a shattering, brilliant piece of art. And in the videogame business reviews are essential. Nobody really cares about television reviews. They sort of care about movie reviews. But I made a career of movies that critics didn’t like but people did.

So you can get away with that. It’s not a necessary aspect. But in the videogame business it’s huge. And specifically Metacritic. That’s what everybody looks at. Metacritic compiles, aggregates all the videogame reviews. Calculates them on a scale of zero to 100 and gives you an aggregate number. To get really good games I think you’re talking about the high 80s. Excellent games you hit a 90. The Last of Us clocks in at 96.

**John:** That’s great.

**Craig:** And it deserves it. It is a spectacular game. And it is a thought-provoking challenge to what we understand to be the function of heroism and villainy in narrative. I can’t say enough about it. I hope to god that Neil and I do a good enough job on the TV side of things to be able to tell that part of the story. Because it’s something else. I don’t think you’re a big PlayStation guy, but–

**John:** I’ll definitely get it. So I downloaded The Last of Us Part 1.

**Craig:** Oh great.

**John:** I guess it wasn’t Part 1 because they didn’t know there was going to be a Part 2. I downloaded that this past week and I haven’t started playing it yet, but I will. So I’m looking forward to checking it out.

**Craig:** Excellent.

**John:** Cool. My One Cool Thing is an episode of Decoder Ring. It’s a podcast hosted by Willa Paskin and written by Willa Paskin. And this episode I loved so much was about the Metrosexual and sort of the branding and a discovery and creation of this concept of the metrosexual. This man who cared about fashion and taste and seemed gay in a lot of ways but was not gay in other ways. And the birth of Details Magazine.

It was just a great time capsule of this little moment that happened. And the importance of how applying a word to it defines a space. And without the word metrosexual all that stuff would have been there but it wouldn’t have coalesced the way that it happened at its moment. So a terrific podcast, but especially this episode on metrosexual I thought was great.

**Craig:** Excellent.

**John:** Cool. That is our show for this week. Scriptnotes is produced by Megana Rao.

**Craig:** Ka-boom.

**John:** It is edited by Matthew Chilelli. Our outro this week is by Joey Hillenbrand. If you have an outro you can send us a link to it at ask@johnaugust.com. That’s also the place where you can send longer questions. For short questions on Twitter, Craig is @clmazin. I am @johnaugust.

We have t-shirts. And they’re great. So go to Cotton Bureau and look for them, or just there’s a link in the show notes for them.

You can find the show notes for this episode and all episodes at johnaugust.com. That’s also where you find the transcripts.

You can sign up to become a Premium member at Scriptnotes.net where you can also get all the back episodes and bonus segments like the one we’re about to record. Also, you can gift memberships to Scriptnotes. And so a lot of people have been doing that this last week for whatever reason.

**Craig:** Nice.

**John:** So if you want to give a gift for that there is a link in the show notes for giving a gift of Scriptnotes to somebody if you’d like to give them something for a birthday or some other celebration.

**Craig:** Mm. Spectacular.

**John:** Nice. Craig, thanks for a fun show.

**Craig:** Thank you, John.

[Bonus segment]

**John:** All right, Craig, let’s talk computers. What was the first personal computer that you used?

**Craig:** Excluding like goofing around on a friend’s Atari 400 with the membrane keyboard and the tape recorder storage, my father and I went into Manhattan in I want to say 1983 and we purchased a Franklin Ace 1000.

**John:** Oh yeah.

**Craig:** Which was a clone of the Apple 2. Franklin then was quickly sued. I believe the price was $1,400, which for my family was a lot. But, you know, it was just something that my dad really wanted. But I was the only one that used it. And I used it every day. I have one, by the way, in my office.

**John:** Oh that’s great.

**Craig:** Yeah. I went online years ago on eBay and was like I’m going to get myself a Franklin Ace 1000. It won’t turn on or anything. I’m just going to stick it in a corner. And I bought it for $1. Yeah.

**John:** $1,400 to $1. My first computer was an Atari 800. So no the membrane keyboard, but the one that actually had a keyboard-keyboard. And what younger listeners probably don’t understand is that those computers actually hooked up to TVs. And so you’d wire it into your TV. Rather than having a separate monitor they hooked up to the TV. And the picture wasn’t great. None of it was great.

We originally didn’t even have the tape drive to save stuff on. So basically we would type up programs from the magazine and watch them run. Or play the game and then we’d turn off the computer we would have to retype the whole program. That’s how it all worked for us. Fast forward to a couple different Ataris along the way. That’s what I did my first early writing on.

Then my first Macintosh which was in high school using it for my school newspaper. And that was just a revelation. It was the first computer that just truly adored using on a daily basis.

**Craig:** Oh yeah.

**John:** When did you get your first Mac?

**Craig:** Let’s see. I think I got my first Mac actually for college. So, I was using – I can’t quite remember what version of Apple I was using at home with like a daisy wheel printer to clackety-clack out the term papers and things. But when I went to college, so that was 1988, I got a Mac SE20.

**John:** I had the same computer.

**Craig:** Pretty standard.

**John:** And did you have a hard drive or two floppies?

**Craig:** Oh god, no, no, no. Floppies. No hard drive.

**John:** I sprang for the hard drive.

**Craig:** Actually, I take it back. That’s what the 20 was. The 20 was a hard drive. I think it was a 20 megabyte hard drive.

**John:** Yeah. That’s what it was.

**Craig:** Which would now hold one file of – it would a PDF.

**John:** It would not hold this episode of Scriptnotes.

**Craig:** Good lord, no.

**John:** No. What’s crazy is I remember I ended up buying that at a University of Colorado bookstore, or the computer shop at the bookstore, and my had come with a check for me to buy it, like a cashier’s check or something. And it was like $3,000. It was so expensive to buy it and yet it was worth every penny of it. Because just the amount of writing and stuff that I got done on that computer was remarkable.

**Craig:** Hugely necessary. Do you remember when – because when I bought it I believed I got a little bit of extra memory? They were running a deal for students. To get the memory in there they had to use a special tool to crack the case open. They had a special Mac case-cracker. Like a Slim Jim for a car. And then they would pop the whole thing off. It was quite a process to do any of that stuff. Now, of course, you can’t actually do any of that at all. When you buy a laptop it’s sealed.

**John:** Yeah. Things tend to be sealed now. So, what got me thinking about early computers is I put in an order for a new Macintosh because my iMac that I’m recording on right now is like four years old, maybe five years old. It’s pre-Paris that I had this computer. And it’s a little bit old. As we’re playing Dungeons & Dragons on this there have been times where it’s sort of spun out a bit. Like, OK, I think it’s time for this computer to move on.

**Craig:** Yeah.

**John:** So I put in an order for a new iMac and then it became clear that, oh, you know what there’s actually going to be a whole new iMac coming because they’re switching to a new processor so I canceled that order and now I’m waiting to see what the next Macintosh will be. And I’m kind of excited about it. What I find so fascinating is that the Apple hardware and Apple chips and the iPhones and iPads they really are more powerful than many of the Macintoshes we’ve become accustomed to. So I’m curious what’s going to happen once I can get this into my computer.

**Craig:** I mean, if you have an iMac that’s four years old whether you get an iMac today or whatever the next gen is that they release in a couple of months it will be – OK, this one is 1,000 times better and this one is 1,500 times better. The difference is going to be vast. I don’t have an iMac. I have a MacBook Pro. So I run everything on that. And it is pretty astonishing what it can do and how fast it can handle things. I mean, we used to have concerns about like speed and memory. When was the last time, well, I mean, you have an old iMac, so maybe you do. But I never think about speed or memory ever.

**John:** And honestly I don’t think about it that often. It was a rare case where like the Dungeons & Dragons stuff was overloading the system here. And truthfully, listen, my company makes Highland and Highland runs incredibly smoothly on my computer. There’s very little that I’m encountering with my iMac that makes me feel like, oh, this thing is too slow. It’s a dinosaur. Partly because I have an SSD in it. So, that’s making everything feel a lot faster.

**Craig:** Yeah.

**John:** Weirdly a thing I have noticed though is that the front-facing camera in it is pretty terrible. And so it’s a small thing, but well it was a small thing until the pandemic and now that I’m using this a lot for video camera stuff it’s not good.

**Craig:** I mean, most front-facing cameras suck. But, yeah, the older ones really suck. That is an area where when my son was born in 2001, you know, I was like I better go get a camera. Got to take pictures of my kid. So I went and got myself like a Casio 3 megapixel. That’s what we would do. And had a little digital card inside of it. And over time they have essentially made that camera but ten times better and the size of my thumbnail. It’s incredible. Absolutely incredibly the way that that technology has evolved. So, yeah, the four-year difference on camera will be pretty remarkable.

**John:** Yeah, I saw on Twitter this week a 1 terabyte SD card and that’s like the little mini SD card, but it’s one terabyte. The amount that we can cram into these small spaces.

**Craig:** Oh yeah. Awesome.

**John:** So, lastly, the other thing I’ve been working on a lot is the new version of Highland, internally we have a version of Highland for the iPad. And it’s been fascinating to look at making this app that I use every day and making it work on an iPad just because you really recognize how differently you work on devices based on whether it’s an iPad or like a MacBook.

And so even like I got the iPad that has the new laptop-y kind of style keyboard. It folds together. It’s really a terrific–

**Craig:** It’s cool. I like it.

**John:** It’s a really good system. I think it’s great. But it’s still not the same as a MacBook. And there’s things just do work differently and your expectations about files and not having menus, it does such a brilliant job with the cursor. It’s just remarkable how clever they figured out how to make the cursor work. And yet still figuring out where to put certain things that would normally be in menus has been a real challenge design wise.

**Craig:** Yeah. I am reliant on the finder. I like finder.

**John:** Yeah. I do, too. Because we grew up in the finder.

**Craig:** Yeah. We grew up with finder. I mean, there’s files on the iPad, but that’s really just like your cloud storage. If they could make finder that would be nice.

**John:** Yeah. That’s what we want. We want a finder.

**Craig:** Yeah man.

**John:** We solved it all. Craig, thanks.

**Craig:** Thanks John. See you next week.

**John:** Bye.

 

Links:

* [Chevalier’s Local Author Event, Saturday June 20th at 2pm](https://www.chevaliersbooks.com/local-authors-060620)
* [Police officers are often glorified on TV shows. Here’s what it looks like when they aren’t.](https://www.washingtonpost.com/arts-entertainment/2020/06/10/police-officers-tv-episodes/) by Bethonie Butler
* [WGA Inclusion and Equity](https://www.wga.org/uploadedfiles/the-guild/inclusion-and-equity/WGAW_Inclusion_Report_20.pdf)
* [Shorter and Fewer Seasons, Is TV Sabotaging Itself?](https://www.vanityfair.com/hollywood/2020/06/is-tv-sabotaging-itself)
* [The Metrosexual episode of Decoder Ring by Willa Paskin](https://slate.com/podcasts/decoder-ring/2020/06/the-metrosexual-craze-david-beckham-queer-eye)
* [Get a Scriptnotes T-shirt!](https://cottonbureau.com/people/scriptnotes-podcast)
* [John August](https://twitter.com/johnaugust) on Twitter
* [Craig Mazin](https://twitter.com/clmazin) on Twitter
* [John on Instagram](https://www.instagram.com/johnaugust/?hl=en)
* [Outro](http://johnaugust.com/2013/scriptnotes-the-outros) by Joey Hillenbrand ([send us yours!](http://johnaugust.com/2014/outros-needed))
* Scriptnotes is produced by Megana Rao and edited by Matthew Chilelli.

Email us at ask@johnaugust.com

You can download the episode [here](http://traffic.libsyn.com/scriptnotes/456standard.mp3).

The original post for this episode can be found [here](https://johnaugust.com/2020/that-icky-feeling).

**John August:** Hello and welcome. My name is John August.

**Craig Mazin:** My name is Craig Mazin.

**John:** And this is Episode 454 of Scriptnotes, a podcast about screenwriting and things that are interesting to screenwriters.

Today on the show we’ll be discussing the difference between story and screenplay, both as official WGA categories but also what we mean in everyday use. We’ll also explore that icky feeling that something is wrong with your script and what to do about it when you feel it. Then we’ll be answering listener questions about age, starting over, and whether you should turn in the Final Draft file when the producers ask for it.

**Craig:** Oh, yes.

**John:** And in our bonus segment for Premium subscribers, Craig and I will read erotic fiction.

**Craig:** Now if that doesn’t cause a stampede toward the subscription button I don’t know what will.

**John:** It could all be a big tease. We’ll see.

**Craig:** By the way, the erotic fiction we’ll be reading from is called Stampede Toward the Subscription Button.

**John:** Ha-ha. Really it’s good. It’s a very meta kind of thing.

**Craig:** Hot.

**John:** Hot. Some news about writing. Last week on the show I mentioned that my local bookstore, Chevalier’s was reopening and a bunch of local authors we’re getting together to celebrate its reopening – of course delivery or takeaway. But still it’s great that indie bookstores are being able to reopen. So we’re hosting a special event this coming Saturday, June 6, at 2pm. We’ll have a dozen authors, including myself, Aline Brosh McKenna, Derek Haas, Stuart Gibbs. Other middle grade YA and adult authors.

**Craig:** Stuart Gibbs! I’ve known Stuart Gibbs forever.

**John:** He is a lovely, lovely man.

**Craig:** Yeah. He really is. I’ve known him since I first arrived in Los Angeles.

**John:** Yeah. He’s a good guy. So we’re going to be talking through our summer reading list. So these are books we recommend people take a look at, both all the way from picture books up through grown up adult novels. So we’ll be talking through the books we love, books you should read over the summer. People should buy those books from Chevalier’s or whatever your indie bookstore is. But come join us on Zoom. It’s 2pm this Saturday, June 6. We’ll be hanging out and discussing summer reading.

**Craig:** Fantastic.

**John:** Second bit of follow up. Last week on the show we were talking about how to reopen the town for production. And several people wrote in about French hours. And they’re making a point which we didn’t really make in the show is that to summarize French hours are where rather than working these endless long production days you limit yourselves to 12 hours and there’s no lunch break. You don’t stop for lunch. You work through lunch and everyone goes home at a reasonable time.

**Craig:** Right.

**John:** And, Craig, what is the downside of that from an economic standpoint for an individual person?

**Craig:** Well…I think maybe it’s that there’s a less likely chance that there will be overtime.

**John:** That’s exactly it. So people were writing in to say that French hours sound great and they probably are healthier for everybody concerned. The reason why you’ll see pushback against it is that after eight hours people on these union sets tend to get overtime. And so you want to work more than eight hours because that’s how you bring home the big bucks.

**Craig:** Right.

**John:** And so that’s the thing we’d be balancing out is how to we get to a place where people value their life and their livelihoods and having a quality of life rather than just the sheer number of dollars they’re taking home.

**Craig:** Well, if you recall when we were talking about this Rawson got emotionally pleased at the thought of French hours. Most filmmakers do. And so what I would say – let’s say for instance on the next television show that I’m showrunning and EP’ing, I’d say to the producer, meaning the person in charge of the budget and also the studio, “Hey, what if we offer the crew more money per hour? We sort of say, look, we’re just going to go apples to apples here.” So we would probably end up doing this many hours over the course of a week with this much at time and a half, which is standard overtime. We’re going to give you a little bit more for your standard hours to get to that number and in exchange we’ll do French hours just because it makes us happier.

**John:** That is the right conversation to have.

**Craig:** Yeah. And hopefully that would go well. Because the benefit of French hours is not – look, maybe there are bean counters who say the benefit is that you’re saving money. But for us on the creative side the benefit is just that it’s just better creatively. And also for the purpose of managing COVID and etc. It’s vastly superior.

**John:** Yeah. So my hope is that as we start having these conversations about reopening the town some of the necessities, like French hours, become the norms. And that we really do move to a place where we are thinking about the health and safety and creative function of the people who make film and television and that it becomes a matter of course that we’re limiting our hours to things that make sense.

**Craig:** Yeah. I’m all for it. But point well taken. We should not put this on the backs of working people. That’s not who should be absorbing the cost. Nor should there be a cost to absorb. We’re already paying people this much money. We should keep paying them that much money, if not more, and just shift the way we do the work during the day.

**John:** And now there’s not a real state update in terms of when we are going to have guidance about how we’re reopening the town. As we’re recording this, this is on a Thursday, we thought earlier this week there would be an official state of California guide and plan for how it’s going to work.

**Craig:** Yeah. What happened there?

**John:** It didn’t really happen. I’ve heard rumblings that it’s really on the actors’ side. That there’s real concerns about, again, safety and basically what we talked about in the show. They are the most vulnerable people on a set because they cannot wear masks. Social distancing won’t apply to two actors who are in a scene together likely. So, there are real concerns about maintaining their safety.

What I hear, and this is all just people gossiping, is that’s one of the hold ups about having official guidance behind this. Still, when I talk to showrunners there’s ongoing discussions about maybe it’s July, maybe it’s August. That there’s going to be an attempt to get TV production at least back up and running.

**Craig:** Yeah. It will continue to be the actors and it should. Because they are going to be the ones who are the most risk. And they are literally incapable of doing their jobs properly if they are physically restrained from being near each other or revealing their faces. Unless we just go to an all Iron Man kind of thing. [laughs] Where everyone is just Iron Man’d up.

**John:** 100% of the time.

**Craig:** Yeah. Or Banes. Just Iron Mans and Banes.

**John:** Iron Man or Banes. Or a tremendous amount of visual effects to paint out people’s masks, sort of like how we painted out Henry Cavill’s mustache.

**Craig:** That didn’t work so well.

**John:** It was phenomenal. It’s what everything should look like. There’s vaguely a little bit long. Like an Animal Crossing face.

**Craig:** [speaking like Bane] I don’t want you to worry, John. I’ve had my COVID test.

I would do Bane all day. If I could do Bane all day I would. If it were allowable. If my wife would allow it.

**John:** Yeah. But she would never allow that.

**Craig:** No.

**John:** No.

**Craig:** No.

**John:** All right. Let’s get to our two main topics. Our first is story versus screenplay. So, on the show many a time we have talked about writing credits and what they mean, but we should probably recap that because for American movies the credits you see onscreen have very specific meanings and Craig can you talk us through what the very specific meanings are for the writing credits we see on a feature film?

**Craig:** Again, and first thing to know just as a little bit of background is that these writing credits that we have onscreen are the production of negotiation. So it’s actually writing into our collective bargaining agreement with the studios. And because that bargaining agreement is a massive contract these terms actually are legally defined in the contract.

So, what is story? Well, let me give you the dry version. Then I’ll give you – then we can discuss what we think it is. The dry version is “the term story is all writing covered by the provisions of the MBA representing a contribution is that is distinct from screenplay and consisting of basic narrative, idea, theme, or outline indicating character development and action.” And this is something that when we did our rewrite of the manual for clarity this was a section that I worked on pretty carefully. And this is a bit of my hobby horse. What it now says in there is “distinct from screenplay means that the contributions considered for story should not be applied to screenplay credit, nor should contributions considered for screenplay credit be applied to story.”

But what does that clunky lawyer-written phrase actually mean creatively? I’m kind of curious what you think it means.

**John:** So, when I think of story I think about if I were to sort of pitch the movie or pitch what’s happening in the story and write that down, so my written version of a pitch would probably be story. And that is it’s what’s happening but it’s not the specifics of details, individual scenes, how it works. It’s really more kind of what happens and the overall shape of things rather than the specificities of how it’s being told onscreen.

**Craig:** Yeah. I mean, I think that’s generally the way people approach it. I mean, there’s all sorts of ways you can work it in your mind. I mean, one tactic I have sometimes is to think what part of this could have been expressed in a treatment without any of it seeming like it might belong in a script. You know, people can put dialogue in treatments. Well, that could fit in a script. But if it’s just sort of a treatment-only kind of thing then it’s likely that it’s story, but not necessarily. Basic narrative to me kind of feels like broad plot. Not the specific little ticky-tacky moments but broad plot.

**John:** Now, the very specific language you gave, here’s why that language is important. Is that ultimately at the end of a writing process and as we’re determining credits it’s that very specific language that we are going to be using in our arbitration statements, or if you’re an arbiter determining credit you are going to refer back to that very specific legal language to say this is why I’m defending this decision on this. So, when Craig and I are talking in generalities about story, great, we can talk in generalities. But if we’re talking about the specific credit for this piece of literary material we are always going to reach back to that legally language because that is how WGA credits are determined.

**Craig:** Yeah. So when I’m doing an arbitration I will talk a lot about what I consider to be the basic narrative and who contributed to the basic narrative. Idea. I think everybody kind of gets what that is. Theme. Everybody kind of gets what that is. And then outline indicating character development and action, which to me means again kind of a – well, it’s an outline. And then the question is how fine or specific of an outline. Generally for story I tend to think of it is more on the broader side of things because of the nature of the definition of screenplay which I suppose we should get into.

**John:** Let’s get into that.

**Craig:** So, screenplay. And remember this is story is distinct from this. “Screenplay consists of…” and this by the way I’m about to read one of the worst sentences ever written.

**John:** Oh yeah. Full of semicolons. Yeah.

**Craig:** To this day I cannot parse it properly. It’s brutal. And here’s what it says. “A screenplay consists of individual scenes and full dialogue together with such prior treatment, basic adaptation, continuity scenario, and dialogue as shall be used in represent substantial contributions to the final script.” What? [laughs]

**John:** Yeah. But there’s even more.

**Craig:** There is more.

**John:** There’s four bullet points.

**Craig:** So, what the credits department did in their wisdom was sort of say, look, let’s take that and actually turn it into something that’s fairly useful as a general rubric for arbiters who are analyzing screenplay. We tend to look at screenplay as contributing to four major factors. The first is dramatic construction. The second is original and different scenes. The third is characterization or character relationships. And the fourth is dialogue.

So, what do you think those mean?

**John:** [laughs] So, and again, if you’ve ever done an arbitration either as a person seeking credit or as a person determining credit you have used this exact language in defending your decisions and your choices.

**Craig:** Yeah.

**John:** Dramatic construction. I think we all get what that means. It’s how the puzzle pieces are put together. This is how you’re telling a story. These are the ups and downs. The twists, the surprises, the reveals. It’s how the story tells itself.

**Craig:** Right. It’s different from just if I said, OK, what is the outline of John Wick. John Wick is a hitman. His wife dies and leaves him a puppy. Bad guys kill the puppy and steal his car. He declares revenge. He goes and kills this guy. And then he kills this guy. And then he kills this guy. The end. And there’s a hotel. Right? I mean, those are the big, big moments.

But the dramatic construction are the way that things unfold. The way that the bad guys explain to John Wick is to his son and how that, you know, factors into the way he deals with John Wick. Those are sort of – it’s the specific stuff, right? The specifics of the dramatic. Which leads us into original and different scenes, which you know, I think we get, right?

**John:** Yeah. We get a sense. A scene is as a moment begins, as a moment ends. It’s how the moment begins. How the moments ends. And crucially what happens in that scene. It’s the very specific beats within that scene. And so while in an outline or a treatment you might give a sense of the shape. We might get a sense that there’s a scene here that does this, it’s the actual scene itself is what is considered part of screenplay credit.

**Craig:** And that’s why the word “different” is in there. Because we are oftentimes parsing out this contribution between multiple writers. If there is a beat. If you and I are both asked to adapt something like Fiddler on the Roof, which by the way was just announced is going to be a movie produced by Dan Jinks, your former Big Fish producer.

**John:** And directed by Tommy Kail. Excited about all this.

**Craig:** And directed by Tommy Kail. Sounds like it’s going to be – I mean, I’ll see nursery school productions of Fiddler on the Roof.

**John:** Craig, let’s stop the podcast now. You clearly are going to be cast in Fiddler on the Roof.

**Craig:** I should be.

**John:** There’s no way this is not going to happen.

**Craig:** I should be.

**John:** Yes. If you’re not a Tevye there is a role in that production for you.

**Craig:** I’m weirdly too old for Tevye. Isn’t that terrible? I’m too old for Tevye. I always think of him as an old guy because Zero Mostel was probably – but he’s like – well, actually, maybe I’m not. Because his youngest daughter–

**John:** No, he has teenage daughters.

**Craig:** Yeah. You know what? I’m a perfect age for Tevye. And I can sing that – you know what? I’m going to do it. I should do it. I’m the best. I’m the best Tevye available. [laughs] I am. So we’ll discuss that with Dan.

**John:** And Craig can sing. I mean, I really don’t know why you’re not working on your audition right now.

**Craig:** Oh yeah. Dank Jinks, I will go on tape. And you will be amazed. You will be amazed.

**John:** Good.

**Craig:** Also, I’d like to point out I’m Jewish. That matters. Seriously. I totally get the white-washing thing. Like so just side note on Fiddler on the Roof. I’m a huge Fiddler on the Roof fan. To the point where I can explain why Zero Mostel is a vastly better Fiddler than Topol and I know people are going to say, “What?” But I really do think so. Because I think that Fiddler on the Roof is a very Yiddish kind of thing as opposed to a Jewish kind of thing. It’s different feel in a weird way.

And then there’s Alfred Molina. [laughs] I mean, Alfred Molina is a brilliant actor. And he can sing. But you got to be Jewish. You just got to be. I don’t know how you do it without being Jewish. I really don’t. I don’t know.

**John:** So that ties into our next topic which is characterization and character relationships.

**Craig:** Yes.

**John:** So back to the screenplay. And I like that character relationships is pulled out as a separate thing because as we talk about on the show a lot it’s very hard to imagine a character without really imagining how those characters are interacting. That’s how you actually reveal how two characters fit together. How a character is demonstrated in a screenplay is generally through its interaction with other characters in it. So the relationship between two characters or nine characters is crucially important for a screenplay in ways that it may not be in a story document.

**Craig:** No question. And so the reason Fiddler showed up in the first place here was when we say if I say to you I need you – we have a story beat. It’s story. And the story is that Tevye is going to marry his daughter off to the butcher. You and I will write very different scenes of that. Any two writers will write different scenes of that. Same basic story point, but different and original scenes.

Similarly, with character – so character development and action is story. So, who is in it? Like the guy that delivers the milk in this little village of Anatevka and he has five daughters. OK. And he is a big believer in tradition. Characterization is literally how that character is expressed.

**John:** Yeah.

**Craig:** The things he says and does. His temperament. His choice of words. And the nature of his relationship with his wife and his daughters and the townspeople and the Russians. All of that is script. And, of course, the primary way that that is expressed is through dialogue. It’s not the only way, but the primary way. Dialogue is essentially entirely a contribution to screenplay. Those are kind of the two big things.

**John:** Those are the big things. And so as we’ve said before sometimes in treatments you’ll do the parenthetical dialogue or the italics dialogue to sort of indicate what the things are. But it’s really a screenplay aspect. And that matches up I think with our basic expectations of what a story is versus a screenplay. The story is sort of the gist of it. It’s like this is the overall shape of it. But the screenplay is the on paper representation of what the movie is going to look like and feel like.

**Craig:** Right. Right.

**John:** And so from a credits level if the same writer has both story credit and screenplay by credit those compress down to become a written by credit. There’s special cases in weird situations based on underlying source material. So sometimes they don’t compress. But in general if you see a written by that means that the writer who is credited there is entitled to both story by credit and screenplay by credit so they’ve smooshed together.

**Craig:** That is only what it means. That is it. That is the definition of written by. And we’ve been working on this, and hopefully one day we’ll get there, but if you have written a story that is based on something, so it’s an adaptation, but it is quite a bit different. It’s clearly significantly different than the underlying material. Then you’ll get screen story by. And if you get screen story by and screenplay by unfortunately they don’t squish down, which is I think silly. But it’s the way it is. So, alas.

**John:** Yeah. And every once in a thousand credits you’ll see adaptation by which is a very unique credit that is only given as a result of arbitration.

**Craig:** It doesn’t mean what it says. And–

**John:** It’s a way of acknowledging that a person contributed to a thing that is important but isn’t meeting other thresholds. It’s a weird credit. We’re going to sort of ignore that for now.

**Craig:** I don’t think it has been given out. I don’t know when the last time it was. But I honestly don’t think it’s been given out within the last ten years.

**John:** So this is talking through credits when a project is completed, so the end of the process. But what I want to really focus on today is figuring out story and screenplay credits earlier in the process, when you’re thinking about writing something or you’re working with somebody and figuring out what are we going to put on the title page of this script because that is really important. Because that title page for your script is what sets the precedent for who wrote this thing that they’re reading.

**Craig:** Yeah.

**John:** And so figuring out story and screenplay credit is really a writer’s decision at the very beginning of the process. So let’s start with some listener questions because this might help us frame our conversation. So, a listener wrote in saying, “I have a question regarding credit on a screenplay I wrote with a partner. The project began with him pitching me a general premise and a very basic description of a couple of the main characters. From there we broke the story, even completely overhauling it at one point, and created the characters together. We’ve agreed to take a 50/50 credit on the screenplay but he is suggesting that he also get a story by credit. It seems to me that story by is too much for just a basic premise and some general characterizations, but I do think he deserves some sort of added acknowledgment for having the original idea.

“We were wondering if you could tell us whether ‘idea by’ is a legitimate credit in these types of situations, or if you have any other suggestions.”

**Craig:** [laughs] I like when questions are clear and easy. So, the deal is that there is story credit. That’s a thing. There is no idea credit. Story credit includes idea. So, while he’s correct in suggesting that he should get story credit, it’s also quite obvious that you should get story credit because like you said you broke the story with him, created the characters together, and then wrote the screenplay. Which, by the way, remember screenplays contain story elements. Story credit can be generated even if there’s no treatment or outline or something like that. So, the fact is you both deserve story credit and he doesn’t get special story credit or first story credit. No such thing exists.

The answer is no. He does not get anything special. It is 50/50 for the screenplay. It is 50/50 for the story. And your partner should take a look in the mirror and ask himself what kind of person he wants to be. Because this is not how you get ahead in the world as it turns out. And this is just separate. This is psychological. And I’m not condemning him. I understand it. Everybody is starving for a credit. And then along comes food and people are like “but I found the food I should get an extra chicken wing.” I totally get it. It turns out in the long run being generous with your partners will generate far more success for you than being stingy and parsimonious. Oh, there we go.

**John:** Yeah. So specific advice in this situation. So, you two writers should say title of screenplay, written by, because you’re both going to claim story credit and screenplay credit, written by your two names. Now, a thing you might decide to do is to put his name first because maybe that’s a way of acknowledging that he was the first person who came up with the idea. You guys can decide that. But, no, don’t break it up into separate things because it’s not going to accurately reflect what’s happening. It’s not going to be a good idea down the road.

Do what Craig did. Be generous, both of you, and god-willing you’ll sell this and many other things down the road.

**Craig:** Yeah. Just be cool about it. And in case you are wondering the order of names within a writing team has no significance. It’s not like the Writers Guild determines which person in an ampersand situation should go first. We do not.

Let’s see, should we do a Francesca question?

**John:** Please.

**Craig:** OK. Francesca writes in, or Francesco, depends, “About eight years ago I was pitching movie ideas to my friends. Most if not all got shot down except for one. The friend I pitched it to said to rename it 299, because it’s a play on the movie 300. Sure, why not? Titles change. Since then I’ve heard him talk about this movie he came up with by himself called 299. He’s done this in front of me once and in group chats. Like, hey guys, when are we going to work on the movie that I came up with. This was recent. 2020 pre-COVID. I sent a message in group that basically was like, hey man, we created that, not you alone. And he said, oh yeah.

“But even then, knowing he claims he created this movie I didn’t want to argue that in fact it was my creation. But really it was. He had a title and some suggestions. But I pitched him, not vice versa. What do I do and how do I keep stuff like this from happening again?”

Oof, we get this quite a bit.

**John:** We do get this quite a bit. So, there are a bunch of small things to unpack here. Listen, nothing was written down yet, so there’s not like a title page thing to be worried about yet. What we’re really talking about is what is that line between just sort of shooting some ideas around with friends and colleagues and saying like, oh, we’re not writing this thing together. At what point is feedback sort of like actually contributing to the underlying thing?

And there’s no clear answers here, but I can give you some – hopefully together we can give you some guidance and also some commiseration because even among us, among our friends, this still does happen. So, it is a little bit frustrating. Craig, how we would start off with Francesca here.

**Craig:** Well, in terms of this situation I think what you don’t want to do is soft pedal things. It seems like what’s happened is he’s somehow managed to bargain himself into being the cowriter of this when he’s not anyway. Or the co-creator of it. So, I think you want to be clear. “Look, this is what it was. And then say I’m going to not use the title but thank you. And this way we’re nice and clean.” If that’s really all of significance. And if there’s anything else you can say I’m not going to do that either. Sometimes you might be considered that, well, he’s going to go off and he’s going to write a movie called 299.

Look, if he is a better writer than you than he’s a better writer than you and his is going to go and yours isn’t. Odds are he’s not. Just going – odds are that nobody is a good writer, right? That’s just generally the odds as we know. So I wouldn’t worry too much about that.

In the future, going forward prospectively, one thing you can say to people before you ask them for advice or pitch them is say, “Listen, I was wondering, I’m writing something and I was wondering if you’d be willing to just give me some friendly feedback, just sounding board stuff. I’m not looking for anything, you know, I’m not looking for producers or writing partners. I was just really just looking for a sounding board. If you’re interested in just being kind of one of those no attachment sounding boards for me then that would be awesome. But if not, I totally understand.”

And then before you’ve ever said a word you have anchored dialogue in the proper context. Because people sometimes misconstrue things when you come to them and you’re like, “Well what do you think about this?” And they’re like, “Well what if you did this.” Oh yeah, and now we’re riffing. And suddenly we’re writing partners?

**John:** Yep. Yeah. So I was going to say exactly those same three words which is the preface to your pitch is “I’m writing something.” Just declare this is a thing that I am working on. And if you put it in that context then it’s harder for them to say like, “Oh, I thought we were working on this together?” It’s like, no, no, no, I said from the start I am writing this thing.

**Craig:** Right.

**John:** And that makes it clear this is the scope of what you want their feedback to be about. And that’s good and that’s helpful. Now, this thing that Francesca is describing happened eight years ago. So I do also question why haven’t you written this thing? Like if it’s really such an idea that is important to you why didn’t you write this? And there is also a time limit on this stuff. And if you really haven’t done any work on this in a year or eight years you’re probably not actually really writing this thing and maybe you’re just looking for a reason to be angry about this.

**Craig:** Yeah. You don’t want to be the proverbial two bald men fighting over a comb. If neither one of you – and that’s me and you basically – if neither one of you have written this thing within the last eight years then it kind of is neither of yours at this point. Do you know what I mean?

**John:** It’s the universe’s, yeah.

**Craig:** It kind of belongs to the universe. The other trick that you might want to try before you talk to somebody about something is say, “I’m halfway through something. I’ve been writing it.”

**John:** Yeah.

**Craig:** It’s much harder for people to imagine jumping on a bus that’s in motion than one that’s currently being assembled at the plant. So, another little trick there. But, yeah, I agree with John. I feel like the bigger question Francesca is what’s been going on for eight years? And maybe spend less time in group chats and write your stuff.

**John:** Yeah. And I think it’s a great way to wrap up this conversation about story versus screenplay is that story is not that hard to do. Story, it can be – generally it’s a document. It’s something you’ve written but it doesn’t have to be an incredibly elaborate thing. It could be a page and you could get credit on a movie for having written a one-page story synopsis. That’s possible.

Screenplay is a lot more work. Screenplay is an actual screenplay. You’re really writing a full thing here. And so, you know, I would challenge to Francesca and to other folks here is that if you don’t fixate so much on story credit and really think about what is the work you’re doing. And if you’re doing the work of writing a full screenplay then that is the work that becomes screenplay credit. And to really think about those things on that scale of like one page versus 120 pages. And when you think about it that way it’s easier to suss out who deserves story credit and who deserves screenplay credit.

**Craig:** That’s a great point. And one thing to be aware of is that the Writers Guild rules are an evolution of copyright rules. And so story is compensated significantly in the sense that 25% of all residuals are given to the person or persons that get story by credit. Now, you could say that’s only a quarter and 75% goes to the screenplay, but again, you can write a single page and get story credit. The person who gets the screenplay credit may have worked for five years and generated a thousand pages. So, that’s the Writers Guild point of view.

But what the world values, meaning the studios that pay us, is the screenplay. And we know this because there’s a screenplay bonus that is oftentimes multiples of what they’re paying you to actually write the screenplay. Meaning, if we make this thing and you get screenplay credit you’re going to get like a million dollars, two million dollars, just suddenly. Boom. Out of nowhere. Because you did the thing that they value the most. This comes up time and time again.

I’m sure that you have had these experiences where someone says, “Hey, we would love for you to write this.” And you’re like, oh, I don’t have the time. But I can maybe work on the story for a week. And they’re like, “We want you to write the thing.”

**John:** The thing. Yeah.

**Craig:** “Thank you. But what we want is the thing we value.”

**John:** Yeah.

**Craig:** So write your script is the point.

**John:** The other analogy I’d have is the story is like the trailer for the movie. And the screenplay is the movie. It’s the whole thing. And it’s like they are very different scales of time and work and sort of what you’re getting out of it. So, they’re both incredibly important but they’re going to pay you to make the movie. They’re not going to pay you to make the trailer.

**Craig:** Correct. Correct.

**John:** All right, Craig, let’s get to your topic here which you pitched to me as what to do when you sort of feel like your story – you get that icky feeling that your story is not working, your script is not working.

**Craig:** Something is not working. This happens to me at least once in everything I write. I will – it will suddenly occur to me in a vague sense that something is terribly wrong. And I attempt to specify it. I attempt to figure out where it’s wrong, why it’s wrong. But mostly it kind of manifests as a vague nausea that it’s instinctive. Something is wrong.

And when that happens over time I’ve started to come to an understanding of how to get through it and how to get out of it and what to not do. And I’m sure that you’ve had this feeling, too. I can’t imagine. I mean, as robotic as you are you’re still a human being. You have human feelings.

**John:** Yeah. I’d say most projects that I’ve gone through have some version of this. And including things which no one has ever read because I never really got through these situations. And so that may be an escape hatch we talk about in your overall discussion here is that sometimes these aren’t solvable. But trying to figure out where the problem is is so crucial. So talk us through where you figure out the problem might be.

**Craig:** Well, the first thing that you have to kind of wonder is what is the specific nature of the problem that is presenting itself to you. And we’ll find out if that really is the problem or not. But initially these things crop up very typically as, OK, I’ve got a plot knot. And you can call it a plot hole, a plot discrepancy. Things aren’t adding up. I’m supposed to have somebody be over here, but they’re over there. They managed to cross a continent too quickly. Or this happened the day before and it’s the day later. There’s like time problems you can’t get around. Or, I need them to know this thing, but they never knew it before. They haven’t met that person but they need to have this.

So you start to go, OK, there’s trouble. Just circumstances. And then sometimes you have concerns that are entirely focused on characters. The character needs to do something, but it violates some aspect of who they are or how they feel or what they’ve done before. There’s just a basic inconsistency. Their motivations don’t match their needs. These are the kind of problems where you just know before you ever hand a script in that if you did you might sneak it past somebody but never an actor. Never an actor. They would be like this doesn’t add up. And they’d be right.

There are also, man, this one comes up all the time. What I call immovable objects. And when writers sometimes will – I’ll call a friend or they’ll call me and we have these problems and we’re asking for help. They often are in the phrase in this context of immovable objects. The story requires this happens. But I don’t know how to make it happen. I don’t even know why it’s happening. And I don’t know how it should happen. But it has to happen. These are immovable objects and you just don’t know what to do with them.

It’s like I’m driving down a road and there has to be a wall in front of me, also I need to keep driving. What?

**John:** Yeah.

**Craig:** Trouble.

**John:** And so you and I have both encountered this situation where we are working on an adaptation of something, and so there are immovable objects because the basic nature of this property – this is a thing that must happen. Like the audience has expectations. This moment must occur.

**Craig:** Yup.

**John:** And yet given the logic of the story we’ve built and everything we know there is no reason for that moment to occur and we have to figure out – either create a new reason. I mean, it is a problem. So we’ll get into what some of the solutions might be to that problem, but it is a thing that happens especially often in adaptations because you’re stuck with – some rules are being imposed upon you that would not be the rules you would set for yourself.

**Craig:** Very much so. It’s a little bit of like if I pull this string the curtain opens too much, so if I pull this string it closes all the way. So I pull that one again. I need this person to be more like this. But then this [song] needs them to be more like this. And you go crazy.

**John:** So somebody is going to be listening to this podcast about three years from now and they’ll be like, “I know exactly what both of them were talking about,” and it’s going to be delightful. So, check back in three years from now. Set yourself a reminder to check in and you’ll know, ah-ha, this is what they were talking about.

**Craig:** Put it on our calendar. And that leads me to the sort of final specific one, which are competing interests. Lindsay Doran has a great phrase. “Close up with feet.” She’ll say, “I want this moment to give me this feeling. Also, I want it to this thing that is completely incompatible with that feeling.” You want somebody to do something bad, also you want to feel like this person falls in love with them. You want them to run away but you also want to feel that they’re brave here. You want somebody to make somebody happy, but you want that person to hate them.

You feel these competing needs. And they negate each other to the point where you clench up and do not know what to do. And all of these things are all wonderfully specific and yet less common than the most frequent one you encounter which is something is not right and I don’t even know what it is or why. It’s just not good.

**John:** So, Craig, before we move on I’m going to pitch two more things to you which I often feel–

**Craig:** Great.

**John:** Which give me this vague ickies. One is the awareness that something is repeating and I don’t want it to repeat. And yet I sort of can’t figure out a way for it not to repeat. I recognize I’m repeating the same moment, the same beat, the same idea, and I don’t want to but I don’t know how to not repeat it. I’m trying to stay – basically I’m trying to stay on theme and I’m trying to stay consistent, but in the consistency I’m being repetitive. And what’s often a related thing to me is something we talked about recently on the podcast which is like this is just not interesting.

**Craig:** Yup.

**John:** I recognize that it’s doing what it functionally needs to go, but I just don’t care.

**Craig:** Right.

**John:** And that to me is probably the most troubling of these vague ickies because it’s like if I don’t care about it no one is going to care about this.

**Craig:** Yeah. It’s a bad feeling to know that you have managed to build a house that is resting on a single load-bearing wall. And that wall sucks.

**John:** Yeah.

**Craig:** That’s a bad feeling. And it happens all the time. You said you had two. I’m curious what the other one was.

**John:** Oh, those were the two. I would say it’s the “this is not interesting” and the “I am repeating myself.”

**Craig:** I’m repeating myself.

**John:** Like I recognize that this a repetition. So it’s kind of the opposite of “close up with feet.” It is consistent and yet it’s too consistent. It’s actually just the same moment happening again.

**Craig:** Right.

**John:** And when it is a scene that’s repeating, like you can figure out ways to like, OK, I could put a little shading there. But you recognize this whole sequence is really doing the same thing that the previous one did, crap, I didn’t recognize this until now.

**Craig:** Well, right there you’ve kind of avoided the first big pit fall right here because I think some people encounter this feeling, this icky feeling that there’s a problem, and they go, “Nah, you know what, no there isn’t.” Takes them to Jedi mind-trick themselves.

No, no, there is. There’s absolutely a problem. If you know there’s a problem, there’s a problem. Even if you’re technically wrong. Even if somehow you’ve been deluded into thinking that there’s a problem when there isn’t one, the fact that you think there’s a problem means you’re not writing it well anyway. So you cannot ignore this feeling. It’s incredibly important to accept it.

**John:** Mm-hmm. Agreed. You have to – the first step of solving the problem is acknowledging that there is a problem. So yeah.

**Craig:** There you go. Exactly. The very common instinct in your desire to immediately get past this problem, because nobody wants to sit with this icky feeling, you just want to get it out of you, is to solve it with cleverness. You’re going to solve it by using a lot of scaffolding. You’re going to contort your plot and your characters to make the problem go away. And you will technically make the problem go away. You will solve it. It’s just that now it’s boring and it sucks. Because solutions aren’t what people are going to see a movie for. They’re going to see a movie or watch a television show because it is this beautiful, whole natural narrative that is there because it’s correct.

When you write a scene that solves your problem, that scene is bad. Because it exists to solve your problem. It is for you, it’s not for the audience.

**John:** Now, a corollary to this which I’m thinking back to the second Arlo Finch which I ran into sort of a – I ran into problems. This is just not going to fit right. When you talk about a scene that is just there to sort of fix the problem or muscle you through a problem and get you to the next thing, that’s an unsatisfying boring scene. But where scaffolding can become useful is I’m going to wind back, I’m going to unravel some stuff, and actually build in a scaffolding. And I’m going to support this idea by going back in time and making it so it is a natural extension.

So basically I’m going to build a bridge from where I was to where I’m going, but I actually have to step back a bit and build that bridge.

**Craig:** Right. So that’s an actual bridge. It’s not scaffolding.

**John:** That’s true.

**Craig:** That’s the thing. You absolutely should go back and support it. And then it feels natural and it unfolds and it looks correct. Yeah, you’re not just – you’re like, OK, we were building a house and this room was supposed to have a hallway to that room. But they’re offset by 12 feet. So let’s just build a weird hallway that just does this weird juke. Nobody wants that hallway. Nobody. I mean, yeah, technically I could walk from one room to another but this hallway sucks.

**John:** Yeah.

**Craig:** So, how do we fix this? So there’s this phrase that always comes to my mind when I’m in these moments and it’s from Searching for Bobby Fischer which I would like to nominate to be our next deep dive movie.

**John:** Oh sure. We could get Mr. Scott Frank on to talk about it.

**Craig:** No. We’ll get Mr. Steven Zaillian on to talk about it.

**John:** Oh, I forget. Steve Zaillian. I always [crosstalk]. Steven Zaillian.

**Craig:** We want to over-credit Scott Frank with everything, but we’re going to get Steven on.

**John:** We shouldn’t. We shouldn’t.

**Craig:** No, we shouldn’t. We’re going to get Steve Zaillian on to talk about it. And it’s one of my favorite screenplays. And also he directed it beautifully as well.

So there’s a moment that recurs where Ben Kingsley’s chess professor is instructing this young child and they’ve got a chess board in front of them. And he’s saying to this kid you can get to checkmate from here in 12 moves. Don’t move until you see it. And the kid is like I can’t see it. And he says don’t move until you see it. I can’t see it. And then Kingsley says, “Here, I’ll help you.” And he just wipes all the pieces off the board and they all clatter to the floor. And he has the kid just look at this blank board. And sort of makes him go through this mental exercise of trying to do it without being stuck in the weeds of the pieces themselves.

And this comes up in the end, in the final match. He’s got himself to a point where Ben Kingsley who is watching the match from another room goes, “You’ve got him. You’ve got him in 12 moves. Don’t move until you see it.” And then the kid is just looking at the board and in his mind he’s just whispering to himself “I don’t see it.”

And then back to Ben Kingsley. Don’t move until you see it. Can’t see it, I don’t see it.

And I’m thinking this all the time in these moments. I’m like don’t move until you see it. And then I’m like but I can’t see it. And I’m like, fine. Don’t move until you see it. And this is why this has become kind of a mantra to me.

Because when it happens it is not hard to solve. Once you see the problem, the real problem, then the solution is evident. It’s easy. It’s elegant. There are not a lot of moving parts. It’s easy to write. Because you’re correct. So, the question then is maybe this sick feeling I had was about what I thought was a problem. I didn’t understand the nature of the problem at all. So, the feeling was correct but my identification of the problem was wrong.

That’s why I’ve been kind of walking around in circles going “I can’t see it. I can’t see it. I can’t see it.” And then one day I go, oh for god’s sakes. Of course. And it’s outside of the problem that I thought it was.

So, one way we get through this is patience. And patience means not only being patient with yourself and giving yourself time to finally see what the real problem is, but also the patience and wisdom to not move until you see it. Because the more you write, the more you try and write your way through this problem, the more invested you are in the writing you’re doing to solve the problem that probably isn’t the problem. So all that writing is going to be wasted. All that effort is going to be wasted. And you’re going to maybe be loath to let it go. So don’t move until you see it.

And then when you see it you’ll know.

**John:** I want to believe everything you just said, and yet I can also imagine myself or other writers in situations where this becomes an excuse for paralysis and perfectionism. Because all writing is difficult. All writing, there’s going to be some moments of self-doubt.

**Craig:** Yup.

**John:** And so how do we help distinguish between, OK, this icky feeling I need to stop and wait it out until I really find the perfect solution versus, no, writing is hard. Writing is hard and you just have to do it. And you will discover things in trying to work on it. Because you and I both on our daily writing situations we reach places where we’re like, argh, I can’t make this thing work. And then you just work through it and you figure it out.

So, how do we help distinguish between the moments where you really should stop and wait versus just sit down and put your butt in the chair and get some words written?

**Craig:** Well, there’s a circumstance where you know what you’re supposed to do, you just don’t feel like you’re doing it well. That’s different. You need to just keep working. You need to work on it.

I know what the scene is supposed to be and I know what it’s supposed to accomplish. All that is correct. I just don’t like what I’m doing. OK. Think of a different way to do it. Write that. Try a different way. Try a different way.

But when there’s something that is fundamentally wrong it’s not that you should go to bed or take a vacation. Start taking walks and thinking about it. In fact, it’s important to think about it and think about it and think about it. It’s important to struggle with that problem because the struggle with the problem is what will eventually get you to the place where you see what the answer is. So you’re working. I mean, you don’t take the day off. And the “don’t move until you see it” part is essentially write the solution that you know is right. That’s really what I’m getting to. Is don’t write the bad ones. Don’t write the ones that just rush you through it. Write the one that feels good.

Because when you get it, I mean, I had this problem man on Chernobyl, oh boy. I mean, there was a dark week. There was one very dark week where I was just walking around thinking. There’s this awful wrongness in the midst of something and I don’t know how to solve it. And I did not move until I saw it. And then a few days later I went, “Oh for god’s sakes.” And almost inevitably it’s like all the pieces were there. I was looking in the wrong spot and I was thinking about it in the wrong way. And that there’s something that with all the pieces I already had that is so simple and obvious and once you see it it’s obvious. It’s just like solving any puzzle.

I mean a real puzzle. Not a jigsaw puzzle. [laughs]

If somebody comes along and goes, oh here’s how this works, you go, “Oh for the love of god,” right? So that’s it. It’s really just going through that and then when you know you have it you have it. So you certainly don’t want to do this as some excuse to not write. In fact, the hardest work you should be doing is this kind of work. Just struggling through the problem. If you don’t feel that you’re exerting yourself then, yeah, you’re probably just avoiding and you don’t want to avoid.

**John:** So, the solutions you’re describing, it almost sounds like you’re really talking about – you’re reframing what the problem is. It’s basically you’re working and waiting for your brain to come to a place where it is reframing the situation. Basically change the context so you can actually see like, oh, these are actually the ways these things could line up. This is what the – basically forgetting my original expectations about what needed to happen here so you can actually approach it with the things you actually have and what is going to work for the pieces that you have.

**Craig:** It’s exactly correct. It’s exactly right. We usually end up in this space because we have falsely determined that a bunch of things are givens. And they’re not. Sometimes most of them are given but some of them can change in pretty dramatic ways. And suddenly, it’s so interesting, like when you’re trying to solve these problems some of the, we’ll call them the grindy non-solution solutions, seem like they’ll be a lot of work. But you’re willing to do it to make the ache go away.

Then you come up with the real solution. The real solution is way more writing and it’s much less work.

**John:** Yeah.

**Craig:** Because it’s correct. And it’s actually a joy. That’s how you know.

**John:** Great. All right, let’s tackle some listener questions. Aaron wrote in to ask, “How old is too old? After working in digital media in New York I recently moved to LA to find an entry level job as a writer’s PA or a writer’s assistant. Although I have some contacts in the industry I did not have any gigs locked in. And now with COVID my chances of landing such a job this year or even next seem slim. I’m 25 years old and I know many people trying to break into the industry start their careers by working in these assistant jobs.

“That said, I’ve also heard that once you’re approaching your mid-to-late 20s it’s harder and harder to find these opportunities as people start wondering why you’re 28 and begging to be a PA for example. Basically my question is is it already too late for me to take this path breaking into the industry? Or should I start thinking about other ways in? And how necessary is assistant experience to foster a successful career in entertainment?”

**Craig:** My god.

**John:** Yeah, I know. I have a bit of “my god” in me too.

**Craig:** I mean, what has happened in our world where somebody who is 25 is like I’m over the hill. No, Aaron. Look, how old is too old? 112. Death.

You’re not too old. Objectively speaking in no way, shape, or form, in any hallway, in any building in Hollywood is 25 years too old, unless you’re talking about who is going to be playing a nine-year-old character on television. So, look, yes, tough times. And anybody that – I’ve also heard, he says, “I’ve heard that once you’re approaching your mid-to-late 20s it gets harder.” Who told you this?

**John:** [laughs] Yeah. Some grizzled 29-year-old.

**Craig:** Right. My god. Nobody knows a goddamn thing. Remember, Aaron, nobody knows anything. Nobody knows anything. Nobody knows anything.

**John:** The underline is on the knows.

**Craig:** Knows. Nobody knows anything. Is it harder and harder to find these opportunities? I’ve got to be honest with you. I don’t think so. I don’t know how old PAs are. When I see them I don’t know how old they are. But in my usually they’re in their 20s or early 30s.

**John:** Yeah.

**Craig:** Assistants are usually in their 20s or early 30s. I don’t know. I mean, yes, if you’re in your 40s it’s going to be much tougher. People at that point sort of are like, “Look, you’ve been 15-20 years, we’ve had a pretty good look at you.” It’s just like sports, you know. I don’t think you’re making it to this show in this capacity at this point. Maybe think about a different thing.

That’s not, by the way, different than writing or anything that’s purely creative that way. But in terms of production work and stuff like that, yeah, I think it’s a reasonable question. But, no, 25. Come on. No. No.

Look, if you have trouble there may be a series of reasons why. One of them will not be your age.

**John:** Agreed.

**Craig:** Joe in NoHo asks, “A writing partner and I recently optioned a script to a big digital media company that is venturing into making features. We delivered the rewrite and the polish we were contracted to send them. And now they’ve emailed us to ask for the FDX version of the script.” That’s the Final Draft source file. “When we asked why they wanted the FDX they responded they needed it to run breakdowns for budget and casting, etc. We’re kind of split on how we feel about sending an editable version of our script for several reasons. Most of our working writer-director-producer friends say it’s not kosher and it’s disrespectful. But our attorney doesn’t see an issue with it. Thoughts?”

John, where are you on this one?

**John:** I used to have a strong bias – a strong opinion that I’m never going to send them the FDX file because that’s an opportunity for people to rewrite me, to make it easier to rewrite, to make little tweaks and changes to stuff. And so like, no, I’m only going to send in the hard copy or the PDF. And then I made an app called Highland which makes it really, really easy to take a PDF and make it back into an editable file. And so I realized it’s all moot.

They can edit the file if they want to. They can make the FDX. All I’m doing is creating a hassle for them to not give them the FDX. So I will send in the FDX file if they want it. Craig, how are you feeling these days?

**Craig:** The same. Although, yeah. So, Joe, it is a valid thing. There are budgeting and scheduling breakdown software that use the FDX version. They require that. I think you have to ask yourself how much of a protection are you affording yourself if it can be defeated by them spending $100 on a typist? Because that’s really what they could do. They could just say like, “OK, give us the PDF. We’re going to go hand it to a temp who is going to spend four hours just touch typing your thing into Final Draft.” That’s literally what – that’s the big obstacle that you’ve thrown up for them. It’s not an obstacle at all.

What you need to do is just make sure – make clear – that this is the writing I did. And since you have an attorney the attorney is wise enough to know that this is really not something that comes up a lot. Especially if you’re working with a reputable company. A big digital media company has concerns about liability. They’re not going to want to…

If you’re dealing with some rat, you know what I mean? Like some, I don’t know, fringe sleazebag then I guess. But you’re not. So, not a problem.

**John:** Yeah. There was one studio executive at a studio that is no longer a studio.

**Craig:** I know exactly who you’re talking about.

**John:** [laughs] Who was notorious for just like, you know, typing up scenes and pretending that the current writer wrote it.

**Craig:** Yup.

**John:** And that’s a situation where not ideally want to give them your FDX file. But you know what?

**Craig:** It couldn’t stop him from doing it anyway.

**John:** It wouldn’t have stopped him one bit.

**Craig:** Is he still around?

**John:** He’s still around.

**Craig:** OK. I’ll have to ask you off-the-air where he landed. OK, well anyway, we had an answer for you, Joe, which is nice. Do you want to take Jordan’s question?

**John:** Yeah. Jordan asks, “I wondered if you and Craig had any thoughts about when to put a project aside or even start anew? I’ve just hit a point in my pilot script where I realize things aren’t working. It’s too convoluted. I need to simplify. And I was 45 pages in. So it’s disheartening that I even got this far into it. I wish I realized earlier that there were issues. Something I missed in development I guess.

“Is there anything that raises a red flag for you or Craig and tells you it’s time to take a step back and either reevaluate the story, the structure of the script?”

So, Craig, this ties in very well with what you just were talking about.

**Craig:** Hopefully this episode does give Jordan some general advice. But Jordan you’re asking kind of a different question than the first question. Right? So the first question is when should I put it aside or when should I start anew. But then you describe a circumstance that requires neither of those things. You don’t need to start anew. If you’re 45 pages in and things aren’t working, if you still love it and there was something about it that does work for you then just you’re rewriting, aren’t you? I mean, yeah, take a moment, hit pause, walk around, think about it. See if you can figure out what exactly isn’t correct.

OK, it’s too convoluted and you need to simplify? Do it. De-convolute. Simplify. Make it elegant. I prefer the word elegant to simple. And, yes, would it have been great if you had realized earlier that there were issues? Yeah. But you didn’t. And guess what? That’s the way it goes.

As time goes on you do start to take some seconds off of your realization time. But you don’t get it down to zero. All of us end up in that situation. You know, just mourn for a day or two and then see if you can tuck back in. If you’ve gotten to a point where you’re like oh my god this is just junk, and actually what I’ve realized by writing 45 pages is that this – I don’t even want to watch this thing in any way, shape, or form, then dump it. Move on.

**John:** Yeah. There’s an episode we did a zillion years ago sort of centered around Marie Kondo and her big thing about how to get rid of things. How to say goodbye to things. And this could be a project where like you just don’t want to write this anymore. It does not interest you. You can basically hold it in your hands, or mentally hold it in your hands and say like thank you for teaching me that I didn’t want to write this kind of story. And then you can set aside and not feel any guilt about having not finished it. Because you did learn something from it. If you are going to abandon it it’s fine. It’s cool. It helped you. It taught you that this is not a thing that you wanted to write and you are a better person for having done that work.

**Craig:** 100%. We’ve got time for one more?

**John:** Yeah. Want to take Matt from London?

**Craig:** Yeah. Matt from London asks, “Hi John and Craig.” Hi Matt. “Longtime fan of the show. Your conversations are such a friendly comfort, particularly in these strange times.”

Glad to be a comfort.

“I have an admin question, specifically about digital organization. I’m hopeless at it. Files and folders are littered in scatter shot locations all over my laptop. It’s a mess. Lockdown seems like a great time to do a bit of spring cleaning. What are some techniques you guys employ to keep your digital houses in order? How can I Marie Kondo my hard drive?” Is he psychic?

**John:** It’s weird that he was referencing that. It’s a thing that happens. I feel like we’ve talked about this on the show other times but I keep one folder per project. I keep everything related to that project in one folder. Those folders all go in Dropbox. It works out really well for me and it’s just not complicated. And so this is a good time to sort of clean up your stuff and get things sort of neatly tucked away. But I’m just a big fan of the folder that is everything related to that project and leave it at that.

**Craig:** Yeah. Folders are your friends, right? So your laptop is essentially telling you here is how you should do it. And what you’ve been doing is not doing that. So why don’t you listen to the laptop, whether it’s Windows or Mac. It’s going to afford you the same opportunity. My basic method is similar to John. I have a folder for each project. Inside that folder all of the files that eventually lead up into the first draft I will then once the first draft is handed in consolidate into a sub-folder called Draft 1. And then all the stuff that is draft two gets into Draft 2.

And then if the show goes into production then I have a production folder and production drafts. And I have casting. Everything gets its own little folder inside of the big folder. And I have one mega folder called Scripts in Progress. That’s where all the stuff I’m working on right now goes. All those folders go in there. And when I’m done with something and it’s no longer in progress it leaves the Scripts in Progress island and it goes off into the Writing Archive folder where all the old stuff lives.

This is not hard to do.

**John:** No.

**Craig:** It’ll take you a couple hours to sort it all through. You’ll feel great. And then once you have that set up as a system you’ll just know to do it next time.

**John:** Absolutely. And once you have that setup you’ll also back up your stuff. So if you’re using Dropbox or whatever cloud service, great. That’s one level of backups. But you’ll also turn on Time Machine. Turn on whatever other system you want to do so you have redundant backups. Stick it on a USB flash drive so you can put those someplace else. Just make sure you hold onto those old drafts because they are useful. And you will want to refer back to them at some point.

**Craig:** John, do you have – a producer emailed me the other day. It was a project that I’d done with them back in I want to say 2001.

**John:** Wow.

**Craig:** And they were saying, hey, you know, would you be interested in kind of reviving that? And I wasn’t. But I did go and look for it. And it was in an – I think it was in an old Final Draft format that no longer seems to exist.

**John:** FDR. Yeah. I can open up FDR.

**Craig:** I don’t think it was FDR. It was something – I don’t know what it was.

**John:** I don’t think there was anything before FDR. Wow.

**Craig:** You know, I should look at what it is. Maybe it was an FDR. I’ll look and see actually. I’m looking right now.

**John:** Send it over because literally we have these sort of magic cameras and we can smash up nearly anything and convert it.

**Craig:** So the file, I’m looking at the information on it, a kind document. [laughs]

**John:** That’s not–

**Craig:** There’s no extension listed for it.

**John:** Send it over and I’ll get you an update. But I will say it’s 95% likely that Nima can smash it open for us.

**Craig:** I’ve got to be honest with you. I don’t need to smash it up. [laughs] I really don’t need to. But it is interesting that there’s a line where things before that line are sort of–

**John:** Oh yeah.

**Craig:** You know, and then there’s the world of PDFs came along at some point and everything theoretically from that point forward is easily readable.

**John:** It’s readable.

**Craig:** Yeah.

**John:** Cool. All right. It’s time for our One Cool Things. I have two small One Cool Things.

**Craig:** Great.

**John:** The first is – so my daughter when she was little she was in gymnastics and when she did gymnastics they would get these medals when they completed like one – they learned how to do the fall, they learned how to do this. And so she ended up with like 60 medals. And she’s now coming on 15 years old.

**Craig:** Wow.

**John:** Doesn’t really care about these medals at all.

**Craig:** Oh.

**John:** Because she was getting six medals a month for this. And so we had all these medals. What do we do with these medals? And so my husband Mike found a place called Sports Medal Recycling. And basically you tell them what you’re sending them and you send them like all your old sports medals and they just recycle them. Because they can’t be done in normal LA recycling.

**Craig:** That’s interesting.

**John:** This place can melt them down and actually reuse them. So, just a good way to sort of get rid of those old things and not feel so guilty about just throwing them in the trash where they’re not being recycled properly.

**Craig:** Ah, well how about that. All right.

**John:** Second thing is something you may enjoy. It’s a video about Pac Man and specifically it focuses on how the ghosts work in Pac Man.

**Craig:** I’ve seen this. Yes.

**John:** And how they follow you. And it’s an actually very clever sort of pre-AI. But the algorithm for why the ghosts chase you the way they do is so much smarter than I would have guessed. And so I’ll put a link to this video on this. Behind the scenes of Pac Man.

**Craig:** Damn ghosts. Early AI enemies those ghosts. Nasty. Hopefully lots of people have seen the Mythic Quest quarantine episode that came out a week or two ago.

**John:** And I noticed the Scriptnotes t-shirt that Craig Mazin’s character wears.

**Craig:** Multiple. I wore two different ones I think. Three different ones possibly. And it was very gratifying to see how well that episode was received. Excellent work by Rob McElhenney and Megan Ganz and David Hornsby who are the primary writers of that episode

One of the things that I was kind of fascinated by was the way we did it. And we had kind of talked through a little bit in our last episode. But there is an app that we were using to actually do the filming.

So we were using iPhone 11s. I guess that’s the latest iPhone?

**John:** Yeah.

**Craig:** But it wasn’t just like the regular camera thing. It was an app called FiLMiC Pro. And FiLMiC Pro has like four billion little settings on it and the DP kind of had us make sure that all the things were set correctly. Shutter speeds. And exposure curves. And f-stops. I’m the worst at the DP stuff. I really don’t know anything about it. But it looked really good. It definitely looked better than I think it would have looked otherwise.

And so I thought, oh, well this FiLMiC Pro probably costs – it’s like one of those professional apps that cost like $150. $15. $15 for FiLMiC Pro. And it makes everything look quite a bit better, at least as far as I can tell. So, that’s my One Cool Thing of the week.

**John:** So, Craig, talk us through a little bit more. So, watching the episode all the times – we’re supposed to be looking at your laptop or your computer screens through this thing. So we’re looking that way. So, are you looking at the iPhone that’s doing this? Or is there another laptop? Who else is seeing the feed of that camera at the same time?

**Craig:** So we have – my personal laptop is running Zoom. And then we have this flexible gooseneck thing that props up the iPhone so that the iPhone is pointing – the camera is pointing at me. The screen of the iPhone is pointing back towards the laptop. So the laptop camera is seeing essentially the monitor, right?

**John:** Oh great.

**Craig:** Which was annoying. Because I would have to adjust the laptop screen to give a better view of the monitor, but then also adjust the camera to give them the camera angle they wanted on me. And then readjust the laptop camera to get the better angle.

**John:** So I assumed that it was piping out over the Internet.

**Craig:** No.

**John:** And recording – that would be great if it could. But it did not.

**Craig:** No, no. It was not doing that. So all FiLMiC does is just suck in data at very high resolution with all sorts of little – so one of the nice things is you can create settings profiles. So before they sent us the phones the DP and production staff went through and made sure that FiLMiC Pro was dialed in exactly as they wanted. And then they put it under a Mythic Quest setting.

**John:** [Crosstalk] and such, yeah.

**Craig:** All of that stuff was kind of done, all the color temperatures, and yada-yada. But there were still a few things that we had to do to make sure it was correct. And it did seem to work really well. So, yeah, our deal was we were basically, as actors, we’re looking pretty much directly into the lens. So it’s interesting because I’ve got like my earbuds in and I can hear for instance Ashly Burch who plays Rachel, I can hear her. I can’t really see her, because she’s–

**John:** Yeah.

**Craig:** Blocked. So I can hear her. So I have to talk to her as if she’s the iPhone lens. And one of the just little techniques that Rob said seemed to work really well and so we would do it is leaning in closer to that lens. If we wanted to make a point. But it was an interesting thing to not see someone like that.

**John:** How were you recording sound? Was that recorded separately?

**Craig:** No. It was recorded at the same time. So with sound we were using a Shure mic. The Shure brand. Classic mic brand. And so this particular Shure mic would connect into the iPhone through the lightning port or whatever that port is on the iPhone. I guess now it’s a USB-C port, isn’t it? No, it’s still lightning, right?

**John:** The iPhones are still lightning, yeah.

**Craig:** So it’s stuck in there and then we would point it at us and then there was a separate Shure mic that had the audio department. So then the sound guys had their settings for that. And so–

**John:** And so it was a lav hidden in your shirt? Or where was the microphone?

**Craig:** No. The microphone was on the phone pointing directly back at me.

**John:** I got you.

**Craig:** Because they didn’t want to have us like lav’ing ourselves up and then wiring something back over. The phone was the issue, right? Because they didn’t want to send over a separate recorder. There’s also no syncing.

So in production, you know, people think the clapboard is just for like, clap, but it’s got a crystal in it that’s syncing the audio with the numbers on the slate which the camera is filming. That’s how they sync everything up. So they didn’t have that opportunity here. But FiLMiC Pro understood that it was going to be pulling audio in from the Shure. And, I don’t know, it was all very well thought out.

**John:** Great. And so did you end up clap syncing before you started recording things or not?

**Craig:** You know what? They had us do it like once and I think they gave up. [laughs] Because I think they were like, OK, everybody clapped at once.

**John:** Yeah, it’s hard to do.

**Craig:** Yeah. I mean, everybody is getting their Zoom audio at slightly different times and so I think they just had to kind of eyeball it.

**John:** I was looking at how Seth Meyers is doing his show from his attic. And he’s just on an iPad. And the iPad is working as the teleprompter and it’s using the front-facing camera on his iPad is what’s recording him. And it works.

**Craig:** Yeah. So, the front-facing camera is generally nowhere near as good as the back camera. But if you want to be able to see yourself you need the front-facing one, right? So that was the weird part of this is we did use the back camera because it’s a far better camera, but you couldn’t see yourself. Which I guess kind of you didn’t want to anyway. I mean, I don’t want to see the monitor when I’m acting. I just want to be able to see the person.

Because, you know, John, I’m a very accomplished actor. [laughs]

**John:** Yes. So as you’re putting yourself on tape for Tevye, that is choices he’s going to make.

**Craig:** I mean, I’ve been around, man. I’ve acted in a show for a number of episodes that is fewer than 10. [laughs]

**John:** That is our show for this week. Scriptnotes is produced by Megana Rao. It is edited by Matthew Chilelli. Our outro this week is by John Venable. If you have an outro you can send us a link to ask@johnaugust.com. That’s also the place where you can send longer questions. For short questions on Twitter, Craig is @clmazin. I’m @johnaugust.

We have t-shirts and they’re great. You can see some of them featured in Mythic Quest. They’re available at Cotton Bureau. There’s a link in the show notes for that.

In the show notes you’ll also find other stuff we talked about. At the site you’ll find the transcripts. We get them up about four days after the episode airs.

You can sign up to become a Premium member at Scriptnotes.net where you get all the back episodes and bonus segments like the one we’re just about to record on erotic fiction.

**Craig:** Oh my god. That’s awesome.

**John:** Craig, thank you so much for a fun episode.

**Craig:** Thank you, John.

[Bonus segment]

**John:** All right. It’s our bonus topic. So back when I was writing Arlo Finch I met with a bunch of the audio book narrators and you can hear some of that on the Launch podcast I did. And one of the things that was interesting as I was talking with them is that most of them use their real names for when they’re recording normal books, but they use special names, alternate names, for when they’re recording erotic fiction. And I just love that the same folks who are reading children’s books are also reading erotic fiction.

And also that there’s still erotic fiction. There’s still a market for erotic fiction.

**Craig:** Is there anything less erotic than the word “erotic,” by the way? It’s such a boner killer.

**John:** When Madonna sang Erotic for her album Erotica she had a good intonation for that, so I get that. But erotic is not–

**Craig:** Nah. Blech.

**John:** But this is maybe an unfair and misleading setup for I really want to talk about meta fiction and fan fiction and sort of that intersection because while there still is erotic fiction even in the age of Pornhub and stuff like that, what’s probably most fascinating is user-generated fiction which is often porny but not always porny. Sometimes it’s slash fiction. But there’s a whole different category of fiction that didn’t exist when we were kids.

**Craig:** This is one of the great bait and switches of my life. [laughs] I can’t believe. I mean, if people are listening at home and they are upset, I just want you to know I am, too.

**John:** Yeah.

**Craig:** I was told that we would be reading erotic fiction.

**John:** All right. Well, we can at least talk about erotic fiction.

**Craig:** Sure.

**John:** Craig, did you read erotic fiction at any point in your life?

**Craig:** [laughs] Oh, I think we should ask Sexy Craig that question.

**John:** Sexy Craig, have you ever read erotic fiction.

**Craig:** I’ve lived erotic fiction. I’ve lived it, John. Yeah.

**John:** Yeah.

**Craig:** Yeah, I never thought this would happen to me. Yeah, of course I did. I mean, when I was a kid. So the porn that was available when you and I were youngsters–

**John:** Was all printed.

**Craig:** It was all printed. The thing that you would go to – if you were a young straight lad like myself you wanted Penthouse. You didn’t want Playboy. Playboy was too fancy. It was too classy. Hustler was hard to get and really did make you feel like you were wrong. So Penthouse was a fantastic middle ground. It was dirty enough but you didn’t feel like you were just falling apart as a human being.

And Penthouse had this section called Forum. And in Penthouse Forum people would write these stories in.

**John:** Like I never thought it could happen to me, but…

**Craig:** Every single story had some guy who was like I never thought this would happen to me but I went to a laundromat and I was doing my laundry and three women came in and…

Yeah, and they were great. They totally worked. [laughs] They did the job.

**John:** And they were all fake. None of those were actual real things that happened.

**Craig:** No.

**John:** And those were probably the direct predecessor to online sort of porny fiction which was very much imagining scenarios with like famous people. And sort of a newer phenomenon as I was sort of researching this was have you ever heard of Y/N?

**Craig:** Nope.

**John:** So Y/N is Your Name. It’s a placeholder for your name. And so it’s fiction where the reader is inserted into the place where we see Y/N.

**Craig:** Oh.

**John:** So it’s a thing that you see on like Wattpad and other sort of online fiction pieces.

**Craig:** Oh, that’s interesting.

**John:** Yeah. So it’s first person/second person. It’s a weird sort of POV thing. But where you as you’re reading it you’re supposed to put yourself into that position.

**Craig:** Do you actually enter your name so that it is stringed in to a variable?

**John:** No.

**Craig:** Oh, you have to do it in your head.

**John:** Yeah.

**Craig:** Huh.

**John:** You have to be your own variable–

**Craig:** Somebody ought to take care of that because that would be way better.

**John:** Yeah. If you’re going to insert your variables.

**Craig:** Do your variables, come on. Come on, man.

**John:** Get yourself some good, fun times. My experience with erotic fiction was, yes, like friends would have Penthouse or Playboy or that kind of stuff, but there were also these trade paperback books that were – they were definitely mostly oriented towards women but there were some that were sort of general purpose or sort of male-oriented.

And they’re weird. I can’t imagine that there would be any market for those kind of things now. But there was a market for everything because that was all you had.

**Craig:** That’s all you had. But I mean you were like in a porn store?

**John:** Yeah. Like in a porn store. So the same kind of place that would ultimately sell videotapes before then would have like cheapy trade paperback kind of–

**Craig:** Ah.

**John:** Fiction like that.

**Craig:** OK.

**John:** I’m sure there’s people who collect. Maybe I’ll look for those because I’m sure the artwork was all fantastic.

**Craig:** There’s an interesting just topic of the porn gap for gay boys in the 1980s, right?

**John:** Oh, for sure.

**Craig:** How did – I mean, now it doesn’t exist, right?

**John:** There was Playgirl.

**Craig:** Yeah, there was Playgirl, but like where did you even find Playgirl? It seemed like Playgirl was a myth. You would talk about it but I never saw it.

**John:** Yeah. So but it was hard to find nude male representations outside of medical things. It was literally sort of hard to find that source of stuff. It’s also why I feel in writing and in fiction you found people searching for queer characters even when they really weren’t quite there. Or they were being so carefully coded into what was there. And so you ended up like, you know, if you could see a movie like Maurice, like oh my gosh, there’s actual men kissing.

**Craig:** Yeah. Well wasn’t the birth of slash fiction was – maybe I’ve got this wrong – but in my head the first versions of it were homosexual romances between Captain Kirk and Spock.

**John:** Yeah. That’s what I consider the initial slash fiction. I’m sure there’s some other history but that’s what I think popular culture considers the first slash fic.

**Craig:** They should do that. I mean, honestly. Like we’ve had 400 Star Treks. Just do it.

**John:** Go straight for that.

**Craig:** Yeah, just do it. I would watch that.

**John:** So slash fic sort of leads into – what I will segue into talking about like why these exist in print forms. We haven’t seen a lot of them in actual video forms or at least we don’t see this in actual real entertainment that people are making out there. So the Unbreakable Kimmy Schmidt special I thought was terrific. It was the most recent Netflix special where you get to make choices between who is going to – at decision points you decide should Kimmy do this or should Kimmy do that. And it branches out in sort of a Choose Your Own Adventure kind of way.

And I just feel like there’s more – it’s weird that it’s still such a new place. Because we’ve had videogames for a long time but we haven’t had the ability to do a lot of the kind of stuff you see in print form in terms of user control over the experience in film or video.

**Craig:** Yeah, I mean, we try. I think part of it is that we just like receiving video. You know, we like receiving it and–

**John:** Passive.

**Craig:** Yeah. It’s passive. When you and I were kids they came up with the Choose Your Own Adventure books and they were great. And we enjoyed them. But I mean the stories weren’t good.

**John:** They were not good.

**Craig:** Because the point is they were designed for you to go pick your way through them, but they were kind of disposable. And they weren’t literature. I mean, literature you want to receive. But what is interesting is that there is this whole the world of receiving literature that is interactive in the sense that fans are creating it. So you mention in the show notes here Wattpad. I mean, my daughter is on Wattpad all the time. I mean, she is reading Wattpad constantly.

**John:** Yeah. And I think within Wattpad it is fascinating that there are genres that exist within Wattpad where it’s like how is this a genre and yet it’s such a thriving genre. So there’s like gay military werewolf is like a big Wattpad genre.

**Craig:** Huh.

**John:** Which is kind of great. It’s scratching an itch that you wouldn’t realize that people out there had.

**Craig:** So specific.

**John:** Yeah. And so I do wonder at what point we’re going to be mining some of those if not specific stories then the general universes of those kind of stories to create – where is the True Blood for the people who want to see the military werewolf gay romances?

**Craig:** Yeah. Well, eventually we will be able to have an entire channel. There will be the network, right? We are fragmenting things out beautifully. I mean, Wattpad, my understanding is – the way my daughter explains it to me, and I hope you didn’t just get into trouble, is that it’s not erotic fiction.

**John:** Oh, no, no, no.

**Craig:** It’s fan fiction.

**John:** It’s fan fiction but like–

**Craig:** It’s like romances and stuff.

**John:** And so what I’m saying about military werewolves, it can be romance without being sort of erotic.

**Craig:** They kiss and they’re in love. Yeah. Are they both werewolves or is it like a non-werewolf? Like he’s in the military and sergeant has a secret? And then the moon comes up. Is it like that?

**John:** I don’t know the outer limits. I don’t know what the fans would consider the boundaries of what that would be. But, yes, that feels right and also it feels like the overlap of what a pack would be like and those – that kind of order and the wildness versus the military thing feels right. So, there’s a lot of good space there.

**Craig:** The idea of representing unbridled, unrestrained masculinity in a safe context of a story.

**John:** Oh yeah.

**Craig:** Because werewolves are dangerous and brutal and they bite your face and stuff. But, you know, I feel like either you or I could write the greatest gay werewolf military story on Wattpad. We just come in and just dunk on everyone. [laughs]

**John:** Maybe we already have. Maybe this is all a setup for just this.

Now, I can’t believe I’m this far into the conversation without bringing this up is that of course we look at 50 Shades of Grey. This is an example of exactly what we’re talking about. So this was a woman who wrote fan fiction that hit exactly the right nerve and became an international sensation when it crossed over into popular culture. So, I guess I’m just – I’m reminding us that this has happened before and it seems so right to be happening now.

**Craig:** Yeah. It’s interesting. You would think that there would be more. 50 Shades of Grey seemed like it was heralding the beginning of something. But it may occupy a unique space. Because I haven’t seen it happen again in that regard. Unless I’ve missed something major. And it’s been quite some time.

**John:** It has been a long time.

**Craig:** Yeah. And that was fan fiction that was roughly based on–

**John:** On Twilight.

**Craig:** Twilight. Which has werewolves.

**John:** See? It all fits together. I mean, it’s really our calling. It’s what we need to do.

**Craig:** Yeah. Werewolves.

**John:** Werewolves.

**Craig:** Gay werewolves in the military.

**John:** Yeah.

**Craig:** Huh.

**John:** It’s what we want.

**Craig:** OK. I’ll do it. I mean, I will. Is there a ranking on Wattpad? I want to be number one.

**John:** Whatever the top things are, that’s what our goal is.

**Craig:** I want to grossly abuse my power as a writer to pointlessly make my way to the top of that chart.

**John:** Ah-ha. Yeah. We’re really nothing if not competitive.

**Craig:** It’s weird. I’m a weirdo. This was great.

**John:** Thanks Craig.

**Craig:** Thank you.

**John:** Bye.

Links:

* [Larchmont Author Extravaganza](https://www.chevaliersbooks.com/local-authors-060620) with Chevalier’s this Saturday June 6 with guests Stuart Gibbs, Aline Brosh McKenna, Derek Haas and more!
* [Sports Medal Recycling](http://sportsmedalrecycling.com)
* [How Pac Man Works](https://www.youtube.com/watch?v=S4RHbnBkyh0)
* [FiLMiC Pro](https://www.filmicpro.com/)
* [Get a Scriptnotes T-shirt!](https://cottonbureau.com/people/scriptnotes-podcast)
* [John August](https://twitter.com/johnaugust) on Twitter
* [Craig Mazin](https://twitter.com/clmazin) on Twitter
* [John on Instagram](https://www.instagram.com/johnaugust/?hl=en)
* [Outro](http://johnaugust.com/2013/scriptnotes-the-outros) by John Venable ([send us yours!](http://johnaugust.com/2014/outros-needed))
* Scriptnotes is produced by Megana Rao and edited by Matthew Chilelli.

Email us at ask@johnaugust.com

You can download the episode [here](https://traffic.libsyn.com/secure/scriptnotes/454standard.mp3).