Collaborations

Sometimes you need people to pull stuff out of you that you can't pull out of yourself.

As a university professor, I am accustomed to pushing my students to work harder than they ever thought they could. I write comments on their work that get them to think differently. Some of them resist it and those people would be wrong. But the ones who take the advice and consider what I am saying see a marked improvement.

I was talking to a friend today and her husband about a project that they're pitching that's very niche. He was arguing a bit about what's working. And I said, "Did you sell it? Then it's not working." The buyer has to know exactly what they're buying. And that can be an idea or a promise. It doesn't have to be a clear story per se, but they need to know what they think they're buying. And if it's not clear, you need to make it clear. I was getting a lot of push back from him because he felt he knew better. At some point, you have to say, "Fine." It's not worth arguing over who's right because ultimately this is not my project.

In our workshop for my play, my director Jen and I have a great back and forth. I totally trust that she knows what she's doing because I've watched her do it well. She's got a gentle way and I trust the results she gets. So I get out of her way. We talk privately. We have a lot of the same approach to things. That collaboration is easy because she makes some notes, I do the work and I bring results. It's really that simple. Jen pulls stuff out of me without being hostile or demanding. I think her strength as a director is that she cares so much and she's specific. But she's incredibly gentle. And looking at the work I did - four drafts in two weeks - is incredible. I work really hard for Jen because I know she's great at what she does.

With the TV project I'm working on now, I get a lot of encouragement from my collaborators. Sometimes I can't believe they like everything they like. But it lets me try things. It doesn't make me afraid that they're going to hate something. I have the normal anxiety that we all have. But I don't have any worries to show them something. I have been stuck all week on the beginning, middle and end of the first season of this show. Today something cracked. I just started with the first thing and the last thing, which I knew. Then I started writing more about the beginning and then I got to a place where I thought we'd end that first third, which is about nine episodes. Then I figured out the math to get to 26 episodes. If we did 9+9+8, that would be 26. But if we put the 8 in the middle, then we'd have the start as 1-9, the middle as 10-17 and the end as 18-26. I figured out some story for the middle that started to lean into the break that I knew was happening at the last third. Once I started playing around with the math, the story started to appear. I wouldn't say it fell out. But I definitely wasn't as mentally constipated as I had been all week. It started to be regular. I have a lot of work I want to do over the next two days. We're going to meet hopefully on Tuesday. But I have a full structure to the season, which I didn't have before. I printed out the 7 pages I worked on and now I'm done for the night.

I can go into Saturday and Sunday knowing that I can build on what I have. But I have a structure to the pitch. It's remarkable how much work went into just the seven pages I have so far. It will be a bit longer and I will revise what I already have too. Now I can recharge my own personal batteries and go somewhere and get some work done tomorrow and Sunday.

Good collaborations can lift us up and make us better. And when things are not great, well...those aren't people we should be collaborating with. But that's something we learn over time. My collaborators are keeping me on my toes, that's for sure.

My intention is growth.
My intention is to work.
My intention is to be open.

I am grateful for my collaborators.
I am grateful for the time it takes to get work done.
I am grateful for how hard the work is to do.

Tastemaker

I remember being a kid and feeling like nothing I did fit in to anything going on around me. I loved TV guest stars and the Fall Preview of TV Guide and Barbra Streisand and the artists Marcel Duchamp and ManRay and the band Lone Justice. I was a strange little kid who didn't live in a world of his design.

I walked into the Coach store at my local outlet last week. Or what I thought was the Coach store - it was actually a pop up store for the entire Coach x Keith Haring collection. I thought I had walked into my childhood and I didn't understand why the whole world hadn't wiped out the store since everything was 70% off. I went another time last week to exchange something and then again this morning at 5 AM for Black Friday. The store was still pretty much intact. But that says everything about the world I live in and the world that everyone else lives in. I thought it was kind of amazing that the store wasn't ransacked. The first time I went in the store, I talked off the ears of all the employees because I couldn't believe it. I bought Christmas gifts there for everyone on my list. 

That kind of says everything about my life. The world and I are not always in sync. When I walked by the main Coach store at 5 AM, there was a line to get in. Yes, the whole store was 70% off, which is amazing. But the quality of some of the stuff there was not as good as what I got. There's a wallet there that is a version of something I bought six months ago for $40. The version they had was a bad copy of the same design - I'm assuming they couldn't use the exact same design because they didn't want to do a reissue. Anyway, that's neither here nor there - except it is.

I became a writer so that I could rewrite things that happened in my life exactly the way I wanted them to be. I'm doing that right now with a play I wrote that I'm producing with my theatre company. I wrote a play I wanted to write in the style I wanted about my family. I finally wrote a play that represents me in every way. And now I have a theatre company that wants to produce it - and because I'm a member of that company, I can have control of the vision of the play along with my director. But I have a voice.

I'm working with two producers on a project right now that I find very exciting. A producer brought me an idea for her to be in. This is someone I've worked with before and who I like very much. I took that idea and expanded it. She and her producing partner loved it. I worked on it more - and the expansion seems to be something everyone likes. We had a conversation earlier this week about the project. That conversation led into another conversation about the kind of room we'd want. And the kind of production we'd want. 

A lot of people believe you have to visualize something in order to manifest it. Visualize and manifest are big words out here in Hollywood. 

As we were talking, we started discussing our philosophy of having people of color and women as a mainstay of the production on every level. And our commitment to mentorship. I have to say that I haven't heard a producer talk that way before. At least not someone I had direct contact with. I've heard Ava Duvernay say it and Ryan Murphy and Jill Soloway. But I haven't had someone I work for say that to me. It was said to me in a meeting on a show that I really wanted to staff on by someone who walks the walk. 

I realized as we were talking that everything this producer was saying was everything I believe in. This led me to something that happened two years ago. I met for a job as a literary manager at a theatre in Portland. And I convinced myself that this job would be good for me because I would be a tastemaker. I could help other people of color get their voices heard in the theatre as an advocate. The truth was that I really didn't want to be an advocate in this way. I wanted a job and I was trying to convince myself that I was okay with it. But of course my heart wasn't in it and I didn't get the job. The best thing that happened was that I spoke the truth about who I am. And they didn't want it. It was the first time that I was made aware that I brought my full self to the table and it got flatly rejected - so that must mean that they are a wrong fit. I used to think that everything I didn't get would have made my life worlds better and that I fucked up by not getting it. I got a bad vibe half way through the interview process, which was a whole day of interviews. I knew they didn't want me and that I was getting a trip to Portland out of the deal. 

But that world TASTEMAKER stuck in my head. Then I got my first TV writing job six months later. And then I was asked to join a theatre company. And that made me a tastemaker because I'm given some decision making ability in choosing writers we put in our writers group and projects that we do. Then because of working on the show for two years, I met this actress who started a production company and wants me to develop the project that she'd star in for this company. And then I would have a real opportunity to affect change and be a tastemaker. So the goal was for me to be a tastemaker and once that goal showed itself, there were better ways the Universe was going to make me a Tastemaker.

But that's the world I want to live in. The world where I am hiring other people of color in my Writers Room. I am giving an opportunity to someone who has never been in a room - just like the opportunity I was given. I want gay people in that room. I want women and people of color in that room. I want a white guy in that room to witness how this operates and to go back and run his own rooms that way when his time comes. I want everyone to run rooms this way when their times come. That's the world I want to live in. 

I know that I want a Paleo option on every menu we order from. I know that I want Le Croix in the fridge and Larabars and couches. I know what time I want to start and what time I want to end. I know the kind of schedule I want to keep. I know the kind of showrunner I want to be. I want a room and an experience that reflects my taste. 

I want to be a Tastemaker in Film and TV as well as Theatre.

My intention is to be a Tastemaker.

My intention is to stand firm in who I am.

My intention is to collaborate.

My intention is to inspire.

My intention is to do the work.

I am grateful for real collaborators whose values reflect my own.

I am grateful for the appreciation I'm being shown.

I am grateful for the open heartedness.

I am grateful for the care being taken.

I am grateful for true friendships in and out of Hollywood.

I am grateful for love and compassion.

Playing the Part of You in the Play About Your Life

I actually did this yesterday. I didn't want to, but my director insisted that I play the part of the character based on me for the first rehearsal of a workshop we're doing. And I resisted because I thought she might be trying to convince me to play the part for real. I am not an actor. There's no way I'm doing that. A few people have said that might be a great idea. And the actor playing my father was trying to convince me to do it before we started the reading. I said no to everyone. Now, you might think this lady might protest too much.

But here's what playing me in the story of me did for me yesterday. It helped me get inside the play. It helped me understand the world I was building in a way I hadn't before. It was actually an exhilarating experience if I'm being completely honest. I had a lot of fun with it. Now it's different to go from that to performance. I don't want to be in it for a variety of reasons. One being that I've got other things to do and I don't want my schedule to be tied into being in a play. But I do think the audience needs to be on this journey with someone else. I think watching me go through it every night would be rough. It also changes the dynamic of the play a lot. I like the distance created from someone else in the role. Now, it would be really hard to get that energy. But someone could study me in rehearsals. I know I've got a special energy, but that doesn't mean I should do this one man show with five friends thing.

Those things happened to me. So it all feels incredibly real. I didn't think I was acting as much as channeling and taking myself back to that time. And I could have taken myself further. But I don't necessarily want to have to go through it night after night. Let someone else do that because it's not reliving their life. They would be faking it in the best possible way. I would be reliving a difficult time in my life.

It allowed me to own parts of myself though. It allowed me to own my story and own my anger. It allowed me to own who I am. And an exercise in owning who you are is a great thing. It opened me up to being okay with who I am. And that's still something I struggle with on a daily basis. That's just the process of embodying myself.

My intention is ownership.
My intention is to value.
My intention is to lead.

I am grateful for the productivity I've experienced in the past few months. 
I am grateful for the opportunities that are being presented.
I am grateful for what is being manifested in my life.

Time Is On My Side

I'm doing the Deepak/Oprah mediation challenge for 21 days. I do it every time it comes up, but I don't maintain my meditation practice beyond that. I want to be better at it. I was really good about my daily meditation about two years ago. I've fallen off - maybe partially because of work and "being busy." But that's no excuse.

I've made great strides in clearing out noise - proverbial and actual - from my life. But I still don't have a daily practice.

It comes down to Time. Time's always a factor in everything. I hear a lot of friends talk about how they don't have time for certain things. Many a friend log off Facebook for a period of time so they can be more productive. They make this big announcement about how they're going off Facebook because they've got important things to do. The same thing holds true about the "writer's cave." I have a lot of friends who bury themselves in their work and make a huge announcement about it. I tend not to announce when I'm disengaging or holing myself up to get work done.

It's a waste of time.

And it's this big grand gesture to let everyone know how much work you're trying to get done. I just tell people when the work is done. I finished a new pilot draft last night. Its only 33 pages - that's not that hard to do. But in order to get those 33 pages done, I had to spend time thinking about the project. I had to make a treatment. I had to write a beat outline, then a full outline, then drafts of that full outline and then I started pages. I asked Cory to hold me accountable to getting things done. I didn't panic when half the month passed by and I hadn't finished a full draft. I knew I had been working. And I didn't let shame or fear get in the way of me finishing. I didn't psyche myself out. A lot of those expectation building gestures tend to freak people out.

Ever since I started eliminating anxiety from my life, I have found time to do a lot more things. I'm going to do an accountability page count in a few days to see how much I have written this year. I think my last number of pure script pages was about 560. I've written drafts of the play since then and this new pilot. Plus, I have outline pages that I also include in another accounting. My last number for that was about 750 with script and outline pages. That number might be close to 1000 now.

But the number isn't important to me. Yes, that number has climbed in the past few years from 1000 to 2000 to 1500. I think it's creeping down even lower this year. But the point is that it's still a high number, even at 1000. And the work itself has gotten better because of the constant grind. I have more opportunities that have taken me away from my computer. I've also logged in hours on set and in rehearsal. Before, all I was doing was writing. Now I'm writing and producing and reading more scripts and running a writers group and talking to students and teaching. The number of hours I'm logging in for paid work keeps increasing, so that's what's ultimately important. I'm also making time for other productive activities.

I don't feel crushed by time these days. Maybe that's because I appreciate everything I'm able to do. Even if I don't get 15 pages done a day, it's fine. And comparing myself every day to my most productive days is ridiculous. I make time every day for the work. And sometimes a lot of it gets done. Other times less gets done. But I'm at it EVERY DAY, which means that a less productive day is still okay.

I've got plans for November and December. And because I'm working every day, they seem more doable. Today I'm taking time to get caught up on other work and to read. And I'll get back to the work tomorrow. I'm not worried that time is running out. I know that it's on my side and I've got all the time in the world as long as I use it.

My intention is stillness.
My intention is growth.
My intention is compassion.

I am grateful for the past seven years.
I am grateful for my own personal growth.
I am grateful for the people in my life now.

Options

Right now, Hollywood seems like a pretty fucked up place to want to work. You've got to do all of this work for free in order to get a shot at something. And you've got to have the right sample - or four of the right samples for any given situation (procedure, light drama, soap, genre, etc.). It's like throwing things at the wall and seeing what sticks. I know a lot of writers like this.

I don't want to be a writer like this.

Can I even be the writer I want to be and survive in Hollywood?

I contemplated quitting trying to be a professional writer a few years ago after my Dad died. It seemed so frivolous. And after being on Facebook today, I really am annoyed by some of the people in Hollywood. These are people in positions of power - not because they're big studio heads or big producers. But because they are privileged white people. Mainly white men. And they speak for all of us. Or attempt to. I look at the way the industry is and even a mediocre, dickish white guy will have a career over someone who tries to be nice to everyone, does everything they're supposed to, writes provocative work, and knows how to write an effective pilot. I've been told countless times that my stuff is good, even amazing. But it's niche. So it's not the quality of the material, but it's the subject matter. Because to have a sample that has legs, you've got to write something that feels like it can appeal to everyone. But a family's a family. And I can't help that I'm obsessed with the worlds of culture, art, fashion, advertising and not law, medicine or law enforcement.

I can only be me. That does not mean it's going to be well-received.

Does that mean I should give up?

I've said countless times that my voice is important because it's a unique voice. There needs to be solidarity built among other communities of color and LGBT communities. There's strength in numbers. I feel taken care of and looked after by my Latino Gay brothers. But I'm not feeling that sort of love a lot of other places. We need to come together and realize that we're all a part of one being. But we have separated off into factions - we've become territorial. And anything that is not of that territory must be the enemy.

I have been seeing a lot of the #metoo posts on Facebook. This has arisen out of the Harvey Weinstein accusations of sexual harassment and assault. It has happened to a great deal of women. I remember seeing Terry Crews talk about how he was groped by a male executive. I thought it was an odd time to bring it up, but I realize that's also sexual assault. Then I've seen all of these posts on Facebook. I saw one by an old friend of mine who's male. Then I saw one by a friend and former professor. And another by another colleague. I didn't think I should post because I didn't want to take away from the women posting. But then I realized that I was silencing myself and that's when the person who assaulted you wins. It's something I don't talk about often. It's about the first time I had sex. It's about the years before that when I had an ongoing relationship with someone older than me - inappropriately older because I was 14. It's about me not talking about it because I had engaged in these sexual situations willingly at first. It felt consensual and then it didn't. So I posted.

And I got two messages that were not supportive and that accused me of co-oping this moment that belongs to women. And it was by someone I really don't get along with. But we're Hollywood nice to each other because we've worked together. He proceeded to tell me how I should have reacted and scolded me. In other words, he tried to silence me. And while I knew that that was the whole reason I said something because I had to face the silencers, it still hurt. And it still made me feel small. But that's what silence does.

And if I let the silencers win...then that pervasive, dominant, know-it-all voice continues. And that voice is there to shut me up. So I only have one choice...

TO BE LOUDER

I have this new pilot that's aggressively critical of a certain way of thinking that opportunities are being taken away from the privileged. Like we can only succeed so far before we have to slow down and not surpass those who gave us opportunities in the first place. It's complicated because this lead character has a lot. He has all of the things he's told he's supposed to want. And then he sees that this is as far as his colleagues want him to go. And his "friends" thought they'd get further ahead before he did, so it wasn't a problem until he took "the lead." This is exactly what I want to write about right now. And it's in the form of a TV spec pilot that's supposed to get me work. I'm hoping it represents a voice that's not being heard.

My deepest fear is that I won't be heard. That I won't be understood. That I will be silenced. So the minority reaction to my post hit a bullseye on that fear. And now I need to fight back the way I know how to - through my work, through my voice.

My intention is to be heard.
My intention is speak loudly.
My intention is empathy.

I am grateful for the strong reaction that has only fortified my resolve.
I am grateful to be doing something scary and dangerous.
I am grateful to be putting it on the line.

On a Mission

I think about that Vanessa Williams song from the 90s - "Work to Do."

"Oh, I got work to do
I got work baby
I got a job baby
I got work to do
Said I got work to do."

October has been a good month so far. Actually, last week was a good week. I'm day 15 on my Whole 30, so I'm at the halfway mark, which is amazing. I feel better. I'm being told I look better, which is nice. But I'm trying to detox. And honestly, this is the way I should be eating. I love a piece of cheese every now and again and a glass of wine or a cocktail. But maybe being sober is a good way to keep myself focused. I honestly don't miss the booze at all. And it's cheaper when I go out. I'm only drinking to be social. I can do that with sparkling water. But the clarity has made me way more productive.

I've been working on this pilot idea for a few months, just trying to figure out what it is that I want to write about. And in the meantime, I had a second pilot idea. But I don't want to get so overwhelmed with everything that I get nothing done. So I did a treatment of both ideas. And I walked into October with both of those completed, about three or four pages each. I finished a beat outline and a narrative outline last week for the primary idea. And I'm using my class time and exercises to do work on the second idea so I can write something in November. So far that seems manageable. Then I started doing the rewrite of my play, having no idea how to approach changes. I got notes from my dramaturg and director and then decided to start doing some work. I finished that last week too.

It's hard to write when I've got school going on. But I think I've managed a workload and a schedule that seems to be working for me. I got all of my student critiques done for my grad students already and both my undergrad classes don't have assignments this week. I do have some grading for my intro class to do, but that should take up too much time. I'll do that with some down time. But I basically have the week to get my own shit done! And that means the first pilot.

I'm heading to San Diego this week Tuesday through Thursday to meet with all three of my classes. And next week I'm cancelling classes because I'm going to something in town on the day I normally teach. So I have the rest of this month to get this pilot written. I put the play away until my workshop next month, so that's done. And I'll be doing these exercises along side my students for the second pilot, so that work will be happening in class.

What am I trying to do before the end of the year? Well, I'm trying not to freak myself out by setting such large goals. But ideally, I'd like to get both pilots done. I'll have a draft of the play more solid because of all the work we're doing in workshop in November. So here's my loose plan:

• October: Write pilot #1 and work on story and characters for pilot #2.
• November: Write pilot #2 and workshop play.
• December: Rewrite pilot #1 and pilot #2.

That feels very doable, considering that I'm also teaching. December will get heavy with my school work because a lot of the work will be coming in for my students. I'm going to rearrange my school schedule a little bit so I'm not driving down to meet with my grad students as much as I have planned in November. I need to make time for work in November. That possibly means that I will have three new pilots this year because I have the rewrite of the old pilot that got out.

I then have two pilot ideas for 2018 that I could start working on and I can start that process in January. I'm not writing these pilots for any other reason than to have them done. I want to stay productive and active and keep my skills sharp. As long as I do that, I'm fine.

I'm teaching and keeping my skills for giving feedback sharp. I'm running a room essentially with my classes. And if I finish both pilots I will have written six scripts this year. That is a good pace to be keeping up. Obviously, I want a new agent and to get staffed. But I'm not thinking about that right now. I'm thinking about writing the stuff I want to write. That seems to have gotten me to where I'm at. Everything else is not up to me.

My intention is to keep writing.

My intention is to keep growing.

My intention is to keep moving.

I am grateful for a Sunday.

I am grateful for time to get work done.

I am grateful for good friends around me.

I am grateful for fun.

I am grateful for the Korean Spa.

I Am an Artistic Leader...

...not an artistic follower.

What an arrogant thing to say.

I woke up this morning the way I've been waking up the past few weeks - a little depressed. And in the last week or so, I've been really tired. Now maybe that's because I had spent the week before that on the phone and emailing various Subaru dealerships in Southern CA trying to find my mom the right car at an uncompromising price. Maybe it's because I left one dealership last Friday with a very disappointed mother after we walked out seconds before finalizing a deal because it wasn't perfect enough and because my brother told us to. Then we went to another dealership and got exactly what we wanted. Maybe it's because I'm teaching again and pouring myself into it because I don't know how to do it any other way.

After a conversation with my friend Susan last night, I woke up and had to ask myself the question, "What makes you happy?"

I have a low grade "down in the dumps" vibe right now. It's not the deep depression I've experienced in the past. And it's not a return to a way of thinking that made me sad years ago. But it's time for a reset. I'm in the middle of resetting my body with another round of Whole 30 after a few months of really sliding with my habits. My late night cravings started coming back and I had stopped drinking bone broth throughout the day. So I am back on my program resetting my body and trying to stay regular. I feel the same reboot is necessary in my work life.

What's the creative reboot equivalent of a high protein, veggie-based diet without sugars, grains, legumes, alcohol, dairy or soy?

Body Assessment: I would look in the mirror and see a few extra pounds. I would see that underneath the relatively light layer of fat was a body trying to show itself. It's a body that enjoys physical activity and is strong in places. It's good shoulders and arms. It's a sweet smile and healthy skin. It's strong legs. But that middle part is getting in the way of the picture. There's definition to these muscles that's not showing itself because my body is holding onto things that it doesn't need. I don't need an insane six pack. But I need my fat to not get in the way of me seeing my body for the powerful machine and beautiful house for my thoughts that it is.

Assessment: I'm productive every day. I have several projects I'm working on. I've got the play that we're doing a workshop of and staging in Spring 2018. I have three classes I'm teaching. I have two pilots I want to write. And I have this writers program I'm applying for. How do I prioritize?

I do what I'm doing this month with the Whole 30. I put myself on a 30-day plan for getting this pilot done and everything has to prioritize around getting this pilot done. That means I'm doing something on it every day. The school work takes a back seat to that - and that includes the lesson planning and the grading. I have to make an effort to do something on the pilot I'm writing this month every day.

Here's what I'm noticing. The things that I do on my own, I excel at. I did not get into one writers program, which might be geared towards staffing. I'm possibly overqualified (meaning I have too many credits) to do it. So I'm letting that go. And there's another studio program I applied for where the same thing is possible. I'm not getting calls to develop something at the digital company I worked for. Okay none of those things are possibilities.

I am getting teaching jobs. I am getting opportunities to meet on premium cable shows. Where my voice and leadership are valued, I am feeling heat. Even though the teaching jobs are coming, that's not what I want to do. But what that says to me is that my expertise is valued. So how do I parlay that into more TV work? I write my own stuff. I continue to be productive. I've done a great job at showing my peer group that I am a prolific and very productive writer. I need to do the same thing in the industry. No one can argue with hard work and prolific output. Getting this pilot done and making some major headway on the other pilot are two ways to do that. If I get this done and then, back to back, get the other one done, then I put myself in a good position.

And even giving people notes - that's keeping my skill set sharp. Again, everything is writing. Nothing I'm doing is veering me off that course - not the teaching, not the giving friends notes, not these programs I'm applying for, not the play producing I'm doing. It's all towards the goal of being an artistic leader, not an artistic follower. Because when I do things that fall in the follower category, I get less traction. If I stay focused, then the water gets less murky and the destination is clear and within my sights.

My intention is to be a leader.
My intention is to make money as a TV writer.
My intention is to have a fruitful and balanced career.
My intention is to do all the things I love at once.
My intention is to make everything I do writing.

I am grateful that I can have a conversation about how reps need to do more work.
I am grateful that I am a professional.
I am grateful that I am having different conversations one, two, three years later.
I am grateful that the close friendships in my life are working relationships.
I am grateful that there's more.
I am grateful that I don't need to push, but I can make way for.