So I can finally make it public on the blog: we sold a television show to an awesome major studio this month. It’s still a bit of a far cry to actually getting a show on the air, but it’s a fantastic career reaffirmation after a shake-up in 2006-07 that left me wondering why nobody thought we were brilliant. Turns out we were brilliant enough, we just didn’t have the right representation (but ain’t that true of all of us?)
We’ve partnered with some producers who put the “awe” in “awesome” and the next step is to craft a re-write of our script that is undeniably gripping enough to sell to one of the networks, or a cable channel. Obviously a show for CBS is going to be quite different than a show for AMC; networks have huge popularity and cable has huge freedom, and you tweak your show for each. But that’s all ahead of us.
Oddly enough, it’s a half-hour, and hitherto we’d only written hour-long light dramas or thrillers. I’m sure it vexes our agents to no end that we can’t be pigeonholed – being versatile is not necessarily a strength here – but this one sorta came out of the womb a comedy. Without going into any detail, it’s a single-camera show (like “My Name is Earl” or “Arrested Development”) that could be described as a good-spirited family comedy that asks big questions with occasionally Apatow-esque dialogue.
We’ll spend the next week or so in revision mode, and then take it out wide after that, and the rest is up to whim, conjecture, timing, casting and behind-the-scenes brokering that conjures up the old line about laws and sausages.
Immediately, though, the sale means that we’ll make the union minimum threshold for health insurance, which will ease an incredible burden over the next year. We’ve been on Cobra for a while, and, well, I don’t need to tell y’all what that’s like. The Writer’s Guild, like God, helps those who help themselves. Sometimes it’s the feeling of “being taken care of” that makes these goalposts so much sweeter.