Screenwriter Meredith Dawson is hoping to reignite the romantic comedy genre with the recent sale of her spec script, When Michael Met Carrie…and Other People. Universal Pictures snapped up the script, which will also be directed by Dawson, with Paul Feig (Bridesmaids, A Simple Favor) attached to produce.

If the spec’s title reminds you of the classic Nora Ephron rom-com When Harry Met Sally… starring Billy Crystal and Meg Ryan—it’s intentional. A huge fan of the flick, Dawson says, “I like the idea of having a story about two people just having a conversation. They’re simply trying to figure out what they want. I love that.”

Dawson says the idea for her spec was partly inspired by the song, “Escape (The Piña Colada Song)” by Brit-born American singer Rupert Holmes. The song is essentially about a man who’s taken out an ad to find someone else, because he and his partner have fallen into the same old routine.

“What if you have this wonderful person, but you want something else? How do you find it and how do you come back to it? Those were the larger inspirational ideas,” Dawson explains.

Dawson first emailed the idea to her agent last June while she was working on Hulu’s television remake of the classic 1994 rom-com Four Weddings and a Funeral. She only began the draft this past January and submitted it to her agent in February.

The key to Dawson’s projects are her characters. She begins the writing process by preparing a document on each one. This usually gets very detailed and includes finding an actor’s picture that Dawson keeps in mind while writing. She also includes an extensive character biography (“Where were they born? What are their hopes and dreams? etc.”) before going to outline. 

“I’m a big “Save the Cat” person,” Dawson says. “I will fill in the “Save the Cat” template before starting. What is the opening image? What is the catalyst? So I know when everything happens. From there, I do a full outline about exactly what happens in the movie. That takes the longest because I’m trying to figure out what works and what doesn’t. Once I have that, I’m off to the races with the dialogue. I have the most fun with writing the script. It’s the outline that takes me the longest.”

As for how the script found Feig, Dawson says it was her agent’s plan to approach directors. Feig’s production company is known for promoting female writer-directors (Jennifer Kaytin Robinson who wrote and directed Someone Great is a prime example), which made it feel like the perfect fit. It was Feig who asked Dawson if she wanted to direct the script.

“I was like, ‘Is that a thing I can do?’” Dawson recalls. “I certainly know the story very well, so what better way to put it out in the world?”

On her first directing gig, Dawson reflects, “I’m a bit overwhelmed, but I’m also really excited. I’m trying to be as prepared as I possibly can. It’s great because I obviously know the script really well, and I don’t have to argue with the writer on set,” she laughs. “So that part is really nice.”

Her biggest piece of advice for aspiring screenwriters is to remember that there is no rush when it comes to writing your spec.

“You can write a page a day. You can write it and then put it away for a couple of days. Or you can spend a whole week or month on it, and then take a month off.” The most important thing is, “you have to love your spec,” Dawson insists. “If you feel like it’s a job to get through, then move onto the next thing.”

Speaking of the next thing, Dawson says she likes to “keep the train moving” when it comes to projects. “I’m going to see if I can switch genres and do a thriller. I’m in the rom-com phase, but I’m looking to see if I can expand.”