Welcome to part three of "Equipped," a biweekly interview series picking the brains of your favorite showrunners, show creators, EPs, and all-around legends. In part one, we took a dive into the world of comedy writer-producer Dan O'Shannon, and in part two we kicked it with This Close's Joshua Feldman.
In part three, we're (virtually) hanging out with a writer, producer, director and actor who started writing podcasts before venturing into screenplays. Read below to learn about writing for multiple media through the eyes of:
Let's start out by talking about the first of your favorite projects. Why don't you tell us about The Big Loop?
The Big Loop is an anthology series written and produced by me with sound design and engineering by one of my best friends, Steve Jin (whom I’ve known since fourth grade).
Podcasts have been getting a lot of love, attention, and TV adaptations over the last few years. How has writing for podcasts influenced your screenwriting and vice versa?
Podcasts are the medium I used to break into screenwriting so for me, it’s intertwined. Though my last two TV sales have been original series, my first two sales were based on podcast IP I developed. From what I’ve seen, all markets change and if I want to make a living by participating in any of them, I need to be able to adapt quickly to those forces. The TV landscape has changed dramatically the last decade, and we’re at a moment where IP rules the day. So I can take advantage of that for now.
Do you have a go-to process for developing new story ideas for podcasting? And does it differ at all from how you generate ideas for screenwriting?
I used to think of podcast storytelling first, and simultaneously think of how it would translate to TV. If I can’t imagine the TV version, I generally don’t pursue the podcast development of that idea. (Though I did break that rule for a couple episodes of The Big Loop.) But presently I’m developing pitches for original TV series that have no podcast IP because I can’t imagine the podcast versions.
How did you get hooked on writing?
I wrote a sketch in ninth grade for my English class and it brought the house down. I’d never realized that I could make a whole room full of people laugh like that. This may explain why my first foray into professional writing was through stand-up comedy as writing and performance became inextricably linked from then on.
Stand-up, podcasting, and screenwriting — I think that’s what they call a triple threat for storytelling. Do you have a favorite medium to write in?
Presently my favorite medium is TV because I’m learning so much and feel myself growing every week as a writer. That feeling that I have a lot to learn and [I'm] still very capable of it is an exciting sensation and realization when you’re over 50.
Let’s do a few quick ones. Favorite book?
The Remains of the Day by Kazuo Ishiguro.
Favorite writing utensil?
My MacBook Pro.
Favorite writing location?
My den, mashed up between my three adopted dogs.
Is there a fictional character you identify with?
Tom Hanks’ character in the film Finch — solely because I’d do anything for my dogs.
Favorite writing snack?
I don’t have writing snacks. In my head, I don’t deserve it until I’m done. (I’m kidding but... maybe not really.)
Okay, no snacks. How about procrastinating? If you’re down the rabbit hole on YouTube, what are you watching?
Guitar instruction videos and timepiece reviews.
If you had to do a cross-country road trip with a fictional character that you've written for before, who would you pick and why?
The ghost from The Big Loop episode “The Studio.” I know he wouldn’t talk too much.
This is a great plug for your podcast because now to fully appreciate this reference, we’re all gonna go listen to that episode.
Who’s a writer that you’ve never met but admire?
The science fiction writer Ted Chiang. He’s a fiction god to me. I’ll read anything he publishes. Also, Stephen King. 'Salem’s Lot was the first novel I ever read cover-to-cover and he hooked me onto reading.
Two absolute legends. How about TV? What have you been watching lately?
I just discovered the CBC comedy series Sort Of and the Hulu series The Great. Both are kind of blowing my mind in how wonderfully they’re written and performed.
Sort Of is incredible! You’re the second writer to mention it in this series alone. I’m hoping more people will check it out. It’s such a quiet gem, but it’s quickly become a favorite of mine, too.
How about podcasts? What fiction podcasts would you recommend to screenwriters looking to dip their toe into the podcast pond or looking to expand their podcast variety?
The BBC productions in the last decade have been superb but I’ve especially loved their horror series The Whisperer in Darkness. For comedy you can’t do much better than the Canadian series This Sounds Serious. For American productions I am especially fond of Harlem Queen.
Are there any TV shows or films that have stuck with you personally or as a teaching tool that blew your mind?
Out of Africa was the first film that made me aware of how music was used to tell the story. I suppose that lesson stuck with me when I made the leap into audio drama.
Speaking of audio projects, you’ve got transcripts available on your website for your podcast. Can you tell me a little bit about the kinds of conversations happening in the podcast community regarding accessibility?
I believe the indie audio drama community has done a good job of promoting the importance of having free transcripts available for all our episodes. I used to have transcripts as Patreon exclusives for The Big Loop but then a fan from the HoH community challenged me on it, and educated me on the importance of not making these transcripts feel like extras or bonus material. So now every episode of The Big Loop has transcripts freely available on our website. I was slower than most on this issue I believe, or at the very least in the middle of the pack, so I’m grateful to members in our community for taking the lead on this and educating people like me.
Transcribing is no easy feat. That’s fantastic that you’ve chosen to take that step to ensure accessibility. And really cool that you were able to engage with your fans and get their feedback. You seem really engaged on Twitter with other writers, too. Do you have any secrets or tips for writers regarding social media?
I’ve found a way for Twitter to work for me so that it’s largely a pleasurable experience and a powerful way for me to connect with writers I admire. I am able to generally avoid toxicity or even annoyances by following one personal rule: never respond to anonymous accounts unless they’ve reached out privately and let me know who they are (which happens quite often). I generally follow this rule even if they’re saying something positive to me because to me, it’s like talking to someone at a bar who’s approached me while wearing a full face mask. I do appreciate that for some it’s a question of safety so they can’t publicly reveal their identity, but for my own safety since I don’t know these people I need to adhere to those boundaries and it’s working for me.
That sounds like a great way to stay sane. Any other advice for up-and-coming writers?
When it comes to professional TV writers, everyone is super talented these days. So you need a ton of luck just to have the right person at the right time read your samples. I don’t believe in waiting around for luck to hit. I believe in using whatever you have to attract attention to your writing. That’s why I tried short stories, stand-up comedy, sketch-comedy, touring, acting, YouTubing, etc. Eventually, it was podcasting that hit for me, and thank God because I was getting tired.
Now that you’ve got your foot well in the door, what would your dream gig be?
If someone like Steven Spielberg or J.J. Abrams invited me to create a new adventure franchise starring a Korean version of James Bond, I don’t know if I’d feel the need to write anything after that.
Please let me know if they do. I’m already saving a spot in my queue to watch that. As you continue following your screenwriting dreams, what does paying it forward look like to you?
Whenever someone asks me for advice, I try to give what I can. But if they ask for help and I see something special in them that they themselves don’t recognize, I try to bring that out of them to give them confidence. And a few times, when they take that baton and start running, I put them on my agent’s radar or introduce them to a producer or manager who I know would make a good fit for them. I suppose this is the former high school English teacher in me who still needs to help facilitate helping people find their voice and chart their own path. I feed off this feeling.
That’s incredibly generous. I know you probably can’t respond to everyone, but to be intentionally keeping an eye out for others in that way is amazing.
Any other things that give you life? In addition, of course, to your dogs and lifting up writers? Anything you can’t live without?
If Debussy’s “Prélude à l'Après-midi d'un Faune” suddenly disappeared from this planet I don’t know how I’d go on.
Here's a link to a performance of this in the article that was done in Canada in your honor so everyone can take a listen.
Any parting words to share? Perhaps a life motto?
Once you decide to pursue anything professionally, prepare for success.
Thanks so much, Paul!
Photo Credit to Paul Bae on Instagram.