“In my mind, Belle is going through life, at least our version of Belle – I've never met the real Belle – she’s going through life with this hole inside, this overwhelming need for approval, that social media absolutely capitalizes on and she just keeps trying to feed the beast. She hasn't grown up with the healthiest of role models herself. She has learnt that being sick is a shortcut to being loved and to getting attention,” says Samantha Strauss, creator and showrunner for the Netflix limited series Apple Cider Vinegar, about understanding her main character’s disgraceful motivation to lie about having brain cancer. 

Adapted from the book, The Woman Who Fooled the World, by Beau Donelly and Nick Toscano, Apple Cider Vinegar chronicles the incredible and heartbreaking rise and fall of the real Belle Gibson (Kaitlin Dever), a notorious health and wellness “scamfluencer.”

Strauss talks about starting her young life in Australia as a ballet dancer before a terrible injury led her to discover TV writing. She also talks about how her previous TV show, The End, got the attention of Nicole Kidman, who championed her writing career. Strauss gushes about how she was inspired by Kidman’s, “Fierce intelligence, just exactly what you'd expect, and rigor. You know, she would be giving notes at the end of a really long day of filming. She wasn’t resting on her laurels at all. There's just such a generosity of spirit there and to think she’s helped other emerging Australian creatives is pretty special,” she says. 

Strauss discusses the challenges of adapting a true story while the subject is still alive, tips and tricks for making the show feel immediate and seductive while mimicking the addictive nature of social media, and getting the primal relationship of mothers and daughters authentic on screen. 

To hear more about Apple Cider Vinegar and Strauss’s advice for writers adapting true stories, listen to the podcast. 

“The most important thing that I've learned as a storyteller is that I have to treat every character in the show as though they're the lead in the show, and they are never doing anything so that I can prompt a move from another character. They are doing things that are true to what they want and their motivation. So that's what makes that architecture hard, because you know you want things to happen, but they have to happen coming out of character, not coming out of what the room wants to see happen. So it's like the merging of those two. We know what architecture we want, but if it doesn't feel true to the character, the character wouldn't do it. Every time, you’ve got to say no, even though it's tempting, because that is who you have to protect – your characters,” says Jennie Snyder Urman, creator and showrunner of Matlock, about creating story architecture in a series. 

On today’s episode, we talk with Jennie Snyder Urman, who created the reboot of Matlock starring Kathy Bates as Madeline Matlock. We chat about reinventing the beloved character once played by Andy Griffith, the joy of building a show around an older female lawyer and the generational changes in social attitudes women experience, and the sacrifices women often make when it comes to sexual harassment, including Matty herself.  

“[Matty] realizes now, coming back [to the legal profession], what it cost her. And it's not like every day she was thinking about it. It was just, ‘Oh my gosh, I made these changes to avoid this. And why do I have to make these changes? Why didn't that person make the changes so I could be in the space where I was comfortable?’ And I think what's so exciting about Maddie is that she's still learning new things at 75. I think there’s also a little bit of a wish fulfillment, that you can still evolve, and you still learn, and you still feel new things,” says Urman. 

To hear more about Matlock, what we can expect from season 2, and Urman’s advice for writers, listen to the podcast. 

“It’s not ripped from the headlines. We’re not using any of [the Buss family’s] real-life stories and putting them into our show. Because Mindy [Kaling], Ike [Barinholtz], and I have so many influences like Arrested Development, 30 Rock, The Office and Succession, we’re coming up with our own fun stories and fun situations to put this dysfunctional, very wealthy, successful family into a blender and then have them going back and forth and arguing and solving problems together and against each other,” says David Stassen, showrunner of Running Point, about taking inspiration from Los Angeles Lakers’ President, Jeannie Buss’s family and turning it into a hit TV show.  

In this episode, we chat with David Stassen, showrunner and co-creator of the Netflix show, Running Point, that’s just been given the greenlight for Season 2. The show centers on Isla Gordon (Kate Hudson), the daughter of a powerful basketball magnate. She’s now taken the helm of the legendary team with the help – or hindrance – of her four well-meaning but unpredictable brothers.   

While firmly set in the brawny world of basketball, Stassen talks about the true core of Running Point, which revolves around the siblings trying to earn the love of their deceased father. To get this particular narrative right, Stassen says the writers room spent a lot of time focusing on the family dynamics and differentiating each character’s struggles and traits. Much of the comedy in the show comes from the clashes between the siblings and their attempts to live up to their father’s fierce expectations.

Stassen also talks about how the character Isla, a woman at the center of a very male-dominated universe, relies on speeches from gangster films to communicate with her basketball team. 

“Movies transcend our society. So, I think it’s a great way to connect and even if you haven’t seen Casino, most people know that Joe Pesci is viewed as a very scary person on film. We were lucky enough to get the rights to show a scene. So even if you didn’t know anything about it, you got to see the moment. It’s just a fun thing to have this beautiful, airy Kate Hudson taking on these roles of the tough Italian mobster or the contract killer getting revenge for his dead dog, like John Wick. And I guess it probably speaks to something bigger about this show – about a woman in a man’s world. But at the same time, Isla is powerful in her own way, right? She’s powerful 95% of the time just being herself and standing up for herself. And then the fun flourishes are maybe using a movie reference to illustrate a point,” says Stassen. 

To hear more about Running Point and Stassen’s advice to TV writers, listen to the podcast. 

“It was a lot of empathizing. I would do long phone calls with Abel (Tesfaye, aka the Weeknd) after we had met, just basically talking to him and finding out more of his history, where he was at in different phases of his life, where he’s at today, and using those to create a character. And part of creating that character is I’ll find my own personal stuff to attach to it… Portions of his life I can relate to very much. And past all of that, I think this is the deepest I’ve gone with my therapy background and my mom and stepdad being therapists. I tried to make the movie work to where if you just want to watch the movie at surface value and go on a ride with it and experience it and not think about it again, hopefully it works on that level. But also if you want to look at it and interpret it on a whole deeper, hopefully richer level, there’s a lot going on,” says Trey Edward Shults, director and co-writer of the new film Hurry Up Tomorrow on how he took Able “the Weeknd” Tesfaye’s story and made it personal to him. 

On today’s episode, we sit down with writer/director Trey Edward Shults to discuss his new film Hurry Up Tomorrow that stars the Weeknd, Jenna Ortega and Barry Keoghan, about a rock star who goes on an existential odyssey after losing his voice on stage. 

Shults shares his journey to becoming a filmmaker, working with visionary director Terrence Malick, making the highly biographical film Krisha (2014), and the shockingly ominous horror film It Comes at Night (2017). 

He also shares this advice for writing your first film:

“It has to be something you are so hungry to tell. And it has to be something you would die to make. You know what I mean? At least to me, my approach was I like to make stuff personal and they always say like, write what you know, write the personal thing. But I just think it needs to be something you’re crazy hungry to do no matter what,” says Shults.

To hear more, listen to the podcast.

“Sometimes it’s easier to find and access your truth through ‘pretend’ characters. So I had this embarrassment of riches of this true story but in my heart, I was like, ‘I totally get to tell my truth!’… So my advice is find a way to do it, and if you have to do a mind trick by saying, ‘I’m writing this pretend character’ that’s fine, but put all the stuff that’s real to you into that pretend character, because I find there is an immense amount of freedom in being able to write through these characters because they aren’t exactly my family, they are pieces of them. Writing your truth is possibly the scariest thing, but your truth only belongs to you, you are the person who experienced it in the exact way you experienced it. Know that you are giving a great gift to the world by doing it,” says Liz Maccie, screenwriter for the new film Nonnas, about how to make someone else’s story personal to you. 

On today’s episode we chat with Nonnas screenwriter Liz Maccie and director Stephen Chbosky about turning this true story into a heartfelt movie about a man who risks everything to honor his late mother by opening an Italian restaurant with actual grandmothers as the chefs.  

Maccie and Chbosky, a real-life married couple, talk about their own families and how they were able to put pieces of themselves on the screen. They discuss the hilarious Nonnas’ food fight scene and how to balance grief with humor in the writing.  

“I feel that the other side of grief is hope,” says Maccie, adding, “Because I have lost so much of my family, sometimes you’re drowning in the grief. Then you have that moment when you suddenly feel that spark of hope again… we are all going to lose someone, even losing a pet. When we love something, someone and it goes away it’s a devastating feeling and I think that connects us.” 

Chbosky shared this advice for writers: 

“The one bit of solace or encouragement that any writer of any age can find is that sometimes, the more specific you write about your experience the more universal the script and the movie is… I really am a humanist at heart. I believe in using this art form to find ways to unify people, inspire them and certainly give them hope, put on their shoes and go at it the next day, I just think that when you write about your own personal experience it can lead to great things. And it doesn’t mean that it has to be a dramedy or comedy, it could be horror, it could be sci-fi, it could be any genre that you feel as long as it is specific to you.”. 

To hear more, listen to the podcast. Nonnas is currently streaming on Netflix. 

“For me, I don’t know how you could not make [a script] personal. I think drama allows you to hide how personal it is. I think that’s kind of what I like about writing in the genre space. On the outside looking in, it just looks like a big action movie. It doesn’t look like a personal story. But there are personal elements like my mom was a working mom as well. And so that’s why you have Kyra in the movie who has to come back to her son because she’s been working to protect him. That’s a very personal thing… but you would never assume that it’s a personal story because it’s wrapped up in the action,” says Leon Chills, co-writer of the new film Shadow Force, about writing action from a very personal point of view. 

On today’s episode, we talk with director/co-writer Joe Carnahan and co-writer Leon Chills about the new action flick Shadow Force that puts a family at the center of the action. With a bounty on their heads, Kyra (Kerry Washington) and Isaac (Omar Sy) must go on the run with their young son (Jahleel Kamara) to avoid their former employer, a unit of shadow ops that has been sent to kill them.

Carnahan and Chills talk about the challenges of writing action set pieces and the power of giving the story emotional weight. We also discuss trying to push the boundaries of the action genre to invent set pieces that are fresh and inventive, and writing action scenes on the page that are compact and concise. 

“As an older writer and doing it as long as I have, I’ll tell screenwriters, if I see four or five lines of scene description, I’m telling you, do it in two. Do it in one. Let people spend 40 minutes reading your script. No more. You know what I mean? Get through it with that kind of economy. If you’ve ever read M. Night Shyamalan’s Sixth Sense script – it’s an absolute masterclass in how to do that. Just so sparse and beautiful and pitch perfect the way that things are written,” says Carnahan. 

To learn more about action writing and hear more advice, listen to the podcast. 

On today’s episode, we speak to writer Brandon Osterman, whose short script ‘The Naughty List’ won last year’s Final Draft Big Break Short Screenplay Category. As part of his prize package, he received a consultation with Sav Rodgers, Marketing Manager for Seed&Spark, the film industry’s most popular crowdfunding platform. Sav joins the conversation to tell us exactly what crowdfunding is and help all writers understand that funding for their project is possible to achieve. 

“Who is your audience? At Seed&Spark, we always say that great crowdfunding is audience building first and fundraising second. While there is definitely a fundraising need, finding your audience is invaluable… Something that I always tell prospective crowdfunders is you already have the tools you need to do this. You know how to tell a story. You're here because you're a storyteller. You know how to invite people in. You already know how to talk about yourself persuasively,” says Sav Rodgers. 

Osterman also shares his journey creating his award-winning short script and gives advice to writers who are thinking of creating their own short film project.

“I don't think there's been a better time to be making short format content than right now. The demand for it seems to be expanding every time I turn around. I think if that's something that you're interested in, go after it. You know, I think there are more opportunities to distribute that form of content than there have ever been. I think we've got a generation now that's grown up with TikTok and social media and much shorter, digestible content that, whether it's conditioning or just sort of lowering of attention spans, I think more people are more tuned into short form content than they have ever been before. It's a really, really exciting time to be making shorts,” says Osterman. 

To hear more about the short filmmaking process and crowdfunding, listen to the podcast. 

“One of the things we talked a lot about in the room is that very rarely do people set about their day saying, ‘Okay, I’m going to go do some evil.’ But for most people, we’re all sort of the leads in our own stories and we’re all crafting the narrative of who we want the world to see us as. And we do start to believe that. You tell yourself these stories about yourself that you want to be true and you move through the world and you make decisions based on that narrative. And I think that one of the things that as writers, we really try to do is get into the shoes and the heads of the characters that we’re writing and really try to break down why they’re doing what they’re doing and make it feel as real and true as possible. The things that these characters believe – or convince themselves that they believe – have to feel really real and grounded to us,” says Katie Robbins, co-showrunner of Good American Family, on writing flawed characters who prefer to live in fantasy, not reality. 

On today’s episode of Write On, we speak to Katie Robbins and Sarah Sutherland, co-showrunners on the explosive limited series, Good American Family. The show tells the story of a midwestern couple who adopts what they believe is little girl with dwarfism. Soon they are in the midst of a battle fought in the tabloids, the courtroom and ultimately their marriage. The show is based on the real-life story of Natalia Grace that made many headlines.

Robbins and Sutherland talk about the unusual yet brilliant structure of telling various episodes from different characters’ points of view, and how the tone changed when they got to the episodes told from Natalia’s perspective. They also talked about the messiness of writing a dysfunctional family while still keeping the story grounded. 

“We all know family is this wonderful, beautiful thing, but it’s so complex. And I think that it’s really hard to talk about the complexities of family because we’re afraid to undermine the sacredness of it. It’s my view that if we are actually more open about what is hard about coexisting as a unit who loves each other, but also what’s not perfect, it would make us all better. And I think that that’s true both for family but also even for our enemies. We’re not writing autobiographies, but I think that we take those very real emotional experiences that we all have and then put them into a story that is cinematic, that is more interesting than our lives, but that is deeply steeped in those real moments of heartache and joy and confusion,” says Sutherland. 

To learn more, listen to the podcast but be aware there are SPOILERS ahead. 

“If you can make the twists [in the story] hit your character in an emotional way and set up their emotional arc, then when the case twist intersects with them, if it's hitting them in the deepest way, in the most unexpected way, maybe – then you've done your job. So it's getting that emotional arc to really bounce off of the crime story in the most impactful way,” says Gina Lucita Monreal about the most powerful way to fuse together story and character. 

On today’s episode, we talk with David J. North and Gina Lucita Monreal, showrunners and creators of the CBS show NCIS: Origins that brings a fresh perspective to one of television’s most beloved franchises as it dives into the early career of a young Leroy Jethro Gibbs (played by Mark Harmon in the original NCIS). Set in the 90s, NCIS: Origins taps into the nostalgia of the era, from great music from bands like Pearl Jam to life with pagers and payphones. 

North and Monreal discuss getting to know each other a decade ago writing for the original NCIS, and how now they are pushing the boundaries of procedural television by creating more complex, character-driven storylines.

“The biggest challenge for us isn't the going back to the 90s. I mean, I think for a lot of procedural writers, that would have been a challenge, that you're losing the DNA and the fingerprints, all that stuff. But for Gina and I, that's not really ever the way we leaned into NCIS or wrote the show. Our episodes were definitely more about the characters, so that's what we looked forward to. And obviously in each episode of Origins, it's very character based. I would say the most difficult part of going back is just sticking to canon, knowing it. Weaving in and out, trying to, when you hit something and saying, ‘Okay, well, we know this happened in season three of NCIS,’ so trying to honor it while also using it to our advantage – that's difficult. 

We get beat up a lot on X, and sometimes we have to just pick a path,” says North about the challenges of writing beloved characters with a lot of well-known history. 

To learn more about North and Monreal’s writing process and hear their advice for emerging TV writers, listen to the podcast. 

On today’s episode of Write On, we chat with Kim Rosenstock, co-creator and co-showrunner for the new limited series, Dying For Sex, starring Michelle Williams, Jenny Slate and Sissy Spacek. 

Based on a true story, Dying for Sex is about a woman diagnosed with metastatic breast cancer who abandons her husband of 15 years to begin a journey of sexual discovery.

Rosenstock talks about her background as a playwright, nearly missing out on the opportunity to write for the hit show New Girl, and navigating the complicated tone of Dying For Sex that balances a woman having unconventional, often hilarious sexual escapades with facing her own mortality. 

“We need humor the most as human beings, so don’t be afraid of injecting humor and joy and levity into these sort of subject matters… If you have the impulse to make it funny or to make it feel joyful or hopeful, lean into that and don’t be afraid of it. I also think that is what makes it feel real, actually. To me, that makes it feel more honest, not the other way around… I think what's exciting is that audiences are embracing these kinds of stories that can kind of go into darker and lighter places at the same time,” says Rosenstock about mixing joy and sadness in Dying For Sex. 

To hear more, listen to the podcast. Please be advised the interview includes discussion of sexual abuse. 

Dying for Sex is currently streaming on Hulu.