Welcome Back to Derry: How the ‘IT’ Prequel Series Unravels Derry’s Dark Origins 

20 Dec 2025 Leave a comment

by Gina N. Anderson in Uncategorized Tags: , , , , , ,

I had to give myself a few days to process the IT: Welcome to Derry TV series finale on HBOMax. As a fan of Stephen King and his Shining universe (The Shining, IT films, and Doctor Sleep), I was super excited to see that there would be a TV series so that we could spend more time exploring some of the backstory. 

I was pleasantly surprised that Bill Skarsgard came back to reprise his role as Pennywise. I’m not sure the show would survive without his quirky yet terrifying rendition of the this cosmic entity. I also thought that the TV series was a great way to answer fans’ questions about how the Shining works, learn more about Dick Holleronn’s past, and BONUS: see the ancestors of the kids who gave Pennywise an eternal sleep… or so we hope is the case.

Here’s my take on some of the elements of the series that really worked for me:

Time as a Setting

The show could’ve started anywhere on Pennywise’s 27-year cycle timeline, but they chose 1962, a period when America was undergoing significant turmoil. The Civil Rights Movement was in full swing, massive changes in society were met with racial violence, and so many other “fearful” things were happening. Pennywise feeds on fear and it makes sense that he would’ve enjoyed this era.

Welcome to Derry follows the 1962 version of The Losers Club (more on that later): Lily, Ronnie, Will, Marge and Rich. The catalyst of the show begins when a young boy disappears and his friends are violently murdered by a mutant baby in a movie theater while searching for him.  Police suspect Ronnie’s father, a Black man, of the murders, but Lily and Ronnie were there and they know that something more supernatural happened. But they can’t tell the adults because who would believe them?

Throughout the season, Ronnie’s dad is captured, escapes, and then he’s found again by a group of vigilante white male citizens of Derry that are convinced that he murdered the town’s kids. The penultimate episode features the inevitable clash between this group and Black military servicemen enjoying themselves in “The Black Spot,” a local juke joint. Pennywise shows up in the middle of the skirmish and has his big “meal” of fear after The Black Spot is set on fire with dozens of people and The Losers inside. 

Luckily, Hallorann is there and a benevolent Native American warrior spirit helps them escape the blaze but not before Pennywise gorges himself on the fear of those trying to survive the fire and the bullets. By the end of this episode, you can see exactly why the 60s was the perfect time for this New England town’s reckoning with Pennywise’s return. 

Origin Stories Beget Origin Stories

  • The TV series allowed the writers to explore some of the origins of The Losers featured in the reboot of the IT films (Chapters One and Two). By the last episode, we learn that Will is Mike Hanlon’s father; Marge (a later member of the 1962 Losers Club) is Richie Tozier’s mother and that he’s also named after Rich “the Knight” Santos; and that Ingrid is the old woman in the rebooted films who attacks adult Beverly Marsh in the IT: Chapter Two film.
  • The show also features an origin story of the Native American that trapped Pennywise on the outskirts of the town of Derry, and the weapons that could destroy him or slow him down. The shards or “pillars” come from his original cosmic star that he fell to Earth in when he first landed in what is now Derry.
  • We actually get to see just how powerful Dick Hallarann’s psychic abilities are (who we were introduced to back in The Shining film), and how much control he can exert over Pennywise through his psychic manipulation, even if for a short time. Many fans have asked for a full-on Hallorann spinoff series.
  • Welcome to Derry also shows us the original Pennywise aka Bob Gray, a clown whose identity he took on because he saw how kids (his favorite victims) responded to him like a rock star. The series has been renewed for two more seasons and it will go back further in time to 1935 and then 1908, each time when Pennywise awakens from his 27-year slumber.
  • We also learn that Pennywise perceives time differently than us mortals and he sometimes gets confused between the past, present, and future. Series showrunner, Andy Muschietti, alludes to this in interviews, so I look forward to that being a part of the lore when they go back in time in the next two seasons. 

They really packed so much into this eight-episode season, but it was very satisfying for fans of the books and the TV/film universe. We got to see how interconnected Stephen King’s universe is, while also diving deep into how a previous generation has battled him. The ending of the season was very satisfying and throughout the whole series, I felt deeply for those children and their secret battle to stay safe and sane, while the adults struggled to process who or what  Pennywise was. In the end, the kids saved the day and it’s sad to know that their offspring will face his evil once again in a future 27-year cycle. 

My Feature Script Placed in the Outstanding Screenplays Competition

11 Dec 2025 Leave a comment

by Gina N. Anderson in Uncategorized Tags: , , , ,

I’m pleased to announce that my Young Adult science fiction feature script, Worlds Apart, placed as a Quarterfinalist in the Outstanding Screenplays Feature Competition among a large volume of submissions from around the world. While I did not advance to the Semi-Finals in this particular competition (my TV pilot placed in a previous competition of the same name), having my work recognized in this way is a meaningful step in my screenwriting journey.

It’s always encouraging to see the worlds I build on the page resonate with readers in the industry. I’m continuing to revise and shape this story, and I look forward to sharing updates on this project as I continue to pursue opportunities.

Creativity Cycles

07 Dec 2025 Leave a comment

by Gina N. Anderson in Uncategorized Tags: , , , ,

I don’t know about you, but the guilt I feel about not having the energy to write or edit/revise my work ebbs and flows, depending on the day. It’s after a holiday week as I write this, and I am thinking about writing, but I haven’t had the time to do so while visiting family. So, I’m writing about writing instead of creating or revising a creative project and that’s totally fine with me. It’s like riding my bike on the runway and taking in the pre-departure peace and calm instead of taking off on a plane.

I’m here to tell you that it’s perfectly fine to write when you feel energetically ready to do so. Unless you have a clear deadline, it’s best not to force creativity. If you’re truly in your creative period, then you’ll be inspired by almost anything when you are ready to write. I get inspired by my (sleep) dreams. Many of them are like little movies with a clear plot, beginning, middle, and end. My dreams usually form as high concept action, fantasy, or sci-fi films. That’s how much I eat, sleep, and consume those genres. 

Back to creativity cycles. Of all my years of writing, I’ve always had spurts of creativity when I focus on a project. However, when I take a break, I truly take a break. I don’t immediately go work on another project, unless there’s a deadline. 

One of the most invaluable pieces of advice that I came across was from Stephen King’s book, On Writing: A Memoir of the Craft (2000), where he said that he steps away from a project that he’s been working on for about six weeks. When he comes back to his draft, he can revise it with fresh eyes. (He also said that he writes two drafts and a polish as his revision process).

I’ve found this to be true in my own writing. I started out writing fiction, my novel Worlds Apart (unpublished), and I totally resonate with King’s advice. Now that I’m a screenwriter, I think that six weeks is too long in between revisions. I like to churn out screenplays in short spurts so that I keep up the momentum of the story, especially my TV pilot projects, because those stories need to introduce the protagonist and the journey they’re going on, and establish worldbuilding.

But don’t take my or Stephen King’s word for it, I found a few articles that explain these creativity cycles. Some of the articles were more geared toward creative problem-solving (STEM fields, for example), but I found one that is specific to creatives by Dana Wood at The Integrative Counsel called, “The Gears of Creativity: Creative Cycles Explored.”

In the article, the creative cycle goes: 

  1. Preparation: This stage or “gear” is pretty self-explanatory, but for a screenwriter and author, it’s the stage when you’re doing your research. If you’re a worldbuilder like me, you might be looking up real-world settings or imagery of distant worlds, or finding inspiration from your sleep dreams and seeing if it already exists in the real world. 
  2. Incubation & Insight: This gear is where you might start thinking about what you want to do. For the trained or educated writer, you may have been asked to declare in school if you’re a “pantser” or a “plotter,” meaning that you either write by the seat of your pants, or you start with an outline first. If you start with an idea, you might be thinking: TV series, short, or feature film? As a plotter, this phase of development is a big deal. 
  3. Evaluation: This gear asks you to evaluate whether this project is worth advancing to execution. Let’s say you have three story ideas and you need to choose one, perhaps, you want to enter a film festival or screenwriting competition and you need to write something that would do well for that audience. 
  4. Integration, Imagination & Iteration: This gear is when you actually sit down and produce without fear. I highly recommend you go from Preparation to Integration and Iteration in a pretty short span of time. You need to create when you feel that creation energy take over you so that you don’t lose the momentum.
  5. Upleveling: Now we’re circling back to Stephen King’s advice. After you’ve created your masterpiece and you’ve taken some time away from it, revise and polish your work. Don’t be afraid to do it, but make sure you’re not skipping this step before sharing your work with others. 

Hopefully, this post gives you some relief from beating yourself over the head for taking the holidays off from writing. When your creativity feels like work, it can make you think that you’re blocked, but as you can see, creativity ebbs and flows. However, if you develop a process, it can help you feel like you have some type of structure to complete your work. And with that, you’re totally winning. 

Drop your writing advice in the comments, on how you stimulate your creativity or how you take breaks from writing. What’s your process?

FilmQuest Festival: How It Went

04 Nov 2025 Leave a comment

by Gina N. Anderson in film, horror, screenwriting, Uncategorized Tags: , , , , , ,

Professional industry panel discusses film distribution and acquisition.

This week, I went to the FilmQuest Festival in Provo, Utah. It’s the first exclusively genre film festival I’ve attended (although I’ve been to plenty of Cons and other film fests). I was a judge for the feature films, but the festival had so many other categories, from shorts to music videos.

Directors of the sci-fi film block during Q&A.

I was only in attendance for the last three days of the conference, but the workshops I attended about distribution and acquisition, and producing and directing were very insightful about the business side of the film industry. If you’re doing TV, then this festival is not for you as there isn’t very much representation there, which makes sense.

Jon Fitzgerald, founder of Cause Pictures, shares his years of knowledge about film distribution with the audience.

Some of my favorite takeaways:

Film distribution models and platforms for indie films, such as Gathr, Kinema, Bingeable, just to name a few. This is a much better avenue for film distribution than theatrical releases, however, Fathom is looking for more indie films.

Marketing: The most important part of getting your films out there is to make sure that your marketing materials are visually appealing, especially your trailer and poster. Social media marketing is key as well. Comps are important for marketing/pitching. Make sure you find your trailer moments. Sometimes that’s all streaming viewers need to watch.

Perhaps, the most informative panel for me was about acquisitions. Here are those takeaways:

X-Factors: Horror has a built-in audience and it’s still a growing genre, but don’t count on that lasting forever. However, Slashers are back, and short films, in general, can move to feature development.

Movies on the streaming platforms need to perform, meaning audiences have to watch until the end to trigger the ads that generate revenue.

Reviews matter. Make a compelling story that generates word-of-mouth recommendations.

Things to Consider: 1) Make the film with the audience in mind. 2) Stick to one genre during your pitches. In between genres are tough to sell. Understand what you’re making and why. 3) It’s fine to take feedback from your film fest screenings and make changes. It makes the film even better when you try to sell later.

Know your genre and make sure the film opening sets that expectation.

Trends:

Creature features

Sci-fi has more legs in overseas territories

Small and big budget films are selling, but the small films need to sell well to get pre-buy offers.

Overseas markets:

No beheading scenes in horror films in the Middle East.

Family-friendly and adventure films sell really well overseas because they’re good for all ages.

Selling films to airlines add up in sales. Don’t leave this out of your sales strategy.

Horror still sells well, but no ghost stories in some territories.

American movies are not selling well in these territories as the focus is on their domestic film industries: France, Japan, South Korea, to name a few.

Drug use, nudity, foul language, and suicide scenes in films are a no-no in many overseas territories.

AI will make translation in foreign territories much easier, but bad news for voice actors who dub films.

I met a few new friends along the way.

Besides learning about the business side of filmmaking, attending this genre-focused film festival brought back memories of the vibe from my creative writing MFA program at Seton Hill University . I love hanging out with genre nerds like me! While my stay was brief, I did manage to meet a few cool people at the festival. Perhaps even future film collaborators.

If you’re looking for a fun film festival that specializes in genre films, definitely check this one out.

Beautiful backdrop of the mountains (and the moon) in Provo, Utah.

Monster: The Ed Gein Story

06 Oct 2025 Leave a comment

by Gina N. Anderson in Uncategorized Tags: , , , , , , , ,

Spoilers Ahead

This past weekend, I binged all of the Monster: The Ed Gein Story episodes on Netflix. It was a tough watch, but I powered through them to see how his nefarious deeds were depicted and whether the series could offer any new perspective on his life. 

I have not been able to watch the first season that focused on Jeffrey Dahmer because I was sure it would give me nightmares afterward, which is hard to do based on my love of horror and dark fiction. So, on to my take on the show without spoiling too much.

I found episodes 1 through 6 to be very solid. We got the setup of Gein’s life while his mother was alive. He was an emotionally stunted and abused man who lived under the thumb of his ultra-religious mother who despised both women and men. In her mind, she was protecting him from the outside world by forbidding him from fraternizing with others and dating women. This, unfortunately, did not prepare him for life after her death.

So, it was no surprise that when she passed away, he could not handle being on his own without his mother’s guidance. Shortly following her funeral, he dug up a corpse from a graveyard and dressed it to resemble his mother. There were other women that he dug up and used their skin and other body parts to fashion gruesome furniture pieces like lampshades, chairs, and a skull as a bowl. Yikes!

The series explores a still unconfirmed romantic interest based on a real-life woman who claimed that she and the serial killer were close. In real life, she eventually pulled back her statements and claimed that she barely knew him, most likely to avoid being directly tied to Gein’s crimes. 

And the show delves into Gein’s imagined connections to his idols. He may have been influenced to commit some acts after reading a comic book/graphic novel about Ilse Koch, a real Nazi woman from World War II, that was accused of inflicting pain and horror on Jews and of creating equally gruesome furniture pieces similar to Gein. The show also weaved a transgender celebrity, Christine Jorgensen, into the story to reflect some of Gein’s delusions, but there is no evidence to support his fascination with her in real life. 

In the end, Gein only admitted to killing two women and digging up the bodies of several more. He’s long been rumored to have murdered his brother, a couple of hunters, and a young girl. None of these accusations led to criminal charges, but nonetheless, the series dramatizes these claims that were never proven. 

Perhaps, the most interesting B story in the first half of the series was the time spent on the Alfred Hitchcock/Anthony Perkins collaboration on Psycho, which was purposely influenced by Gein’s case. The show spent quality time on the development of the film as well as insight into Perkins’ own thoughts around his sexuality and the infamous gay therapy he went through to stay in business in Hollywood. It was a part of film history that I was not familiar with and I appreciated the side quest from the show’s heavy theme.

Warning: Creative License

Episodes 7 and 8 are where I couldn’t quite follow where the story was going. The show alludes to other serial killers that were influenced by Gein, however, in my light research, I haven’t found that to be the case. 

One particular serial killer on the show, Richard Speck, was featured as being a fan of Gein, but I found it to be a diversion, particularly the amount of minutes of screen time spent on a gratuitous prison sex scene. Whether this was one of Gein’s delusions of grandeur in real life, I’m not sure, but it was not necessarily needed to send home the message that he influenced many different aspects of society, including pop culture.

Then there was a mini crossover with Netflix’s other (now canceled) TV show about serial killers, Mindhunters, that featured another serial killer and the famed FBI agents who interviewed him. I found this thread to be more interesting to pull on if it were true, but it was not the case in reality that they met with Gein.

The last 20 minutes or so of episode 8 was filler. I actually would’ve preferred the final episode to focus on his trial where he was found to be legally insane, and to dive deeper into the psychology of Gein. Instead, we got some fictional delusions of Gein prior to his passing, which made me think it was meant to endear the audience to him. But if the purpose of the anthology is to answer the question if serial killers are born or nurtured, then it may have missed the mark. 

My take is that Ed Gein’s life was a case study in the psychological profile of how a killer was made. How someone left to their own devices without the ability to manage their emotions and mental illness (in Gein’s case, schizophrenia) becomes more than just their personal problem, but society’s problem if they become violent. Not that not everyone who is schizophrenic is violent, but it’s important to look into how these sorts of violent criminals can be detected earlier in life. 

Version 1.0.0

I wrote this review because I wanted to watch the show and see if the screenwriter came to similar conclusions about Gein’s disposition as I did when I wrote a short story called “The Time Killer” in the horror anthology, Jane Nightshade’s Serial Encounters.

I was assigned by the editor to write about a fictional encounter with Ed Gein. I did not have a lot of background on him at the time, but I quickly understood how he influenced many other pop culture films and shocked the nation with his gruesome killings and pastimes. There was a sadness and loneliness there that I think came across in my own story similar to the show, and I too gave him a romantic interest to explore those themes in his life. I was pleased to see that the screenwriter found that to be an interesting way to reflect how the world saw him versus how he saw himself.

In any case, check out the series on Netflix if you can stomach it and check out my story in the aforementioned horror anthology and let me know what you think in the comments.

Exciting Screenplay News!

11 Aug 2025 1 Comment

by Gina N. Anderson in fiction, screenwriting, Uncategorized Tags: , , , ,

Update: My TV pilot made it to the semi-finals.

My TV pilot The Bryant Women placed in the Quarterfinals in the Outstanding Screenplays TV Pilot Competition! This script has been a labor of love, born from my desire to showcase the magic that already exists in the underrepresented communities of my home state, South Carolina. I simply gave it a supernatural drama edge. I’m thrilled to see my work recognized among so many talented storytellers. Onward to the next round!

This was the first script I’ve ever written, but not the first time that I’ve placed in competitions for this project. I’ve made the Quarterfinals in the Santa Barbara International Screenplay Awards and Semi-Finalist in the Wiki: The World’s Fastest Screenplay Contest.

Scroll all the way down for a poster for the TV show that I hope to see go into production someday.

The Bryant Women poster

Why Are So Many Films Being Rebooted?

03 Aug 2025 Leave a comment

by Gina N. Anderson in Uncategorized Tags: , , , , , , , , ,

Ahh, nostalgia. In Japanese, the word is “natsukashii” – a bittersweet longing for something familiar. The feeling of well-worn boots signaling autumn or rewatching your favorite 80s action flick. These feelings, now more than ever, have inspired a wave of TV and film remakes from the 80s, 90s, and early 2000s set to hit screens over the next year. 

The Nostalgia Factor

My guess? People are longing for the days when politics weren’t so front and center, diving deeper into their pathos of distraction and farther away from reality that seems increasingly overwhelming. The target audience seems to be Gen X, Xennials, and Millennials because those are the shows and films being greenlit today.

But these aren’t just remakes, they’re remakes of the remakes or reimaginings of familiar material. Many are even based on classic novels or earlier TV shows, doubling down on the built-in audiences that come with beloved characters.

Maybe this is part of a collective desire to return to a time when technology was exciting but not all-consuming. When we still had one foot in the analog world that felt simpler. When kids played safely outside, read comic books, and played board games instead of being glued to video games and social media.

What’s Being Remade

But I digress. Here’s a list of TV and film remakes, long-awaited sequels, and reimaginings making a comeback:

  • Tron (1982, 2010, and now 2025)
  • Gremlins 3 (sequel to the beloved ‘80/’90s franchise)
  • Freakier Friday (sequel to the 2003 film)
  • I Know What You Did Last Summer (a sequel to the 1997 original based on a book; the franchise also spawned a 2020s TV series)
  • War of the Worlds (1953, 2005 and 2025, just to name a few)
  • Blade (a reboot of the Wesley Snipes-led vampire hunter films. I’m not mad at this one at all.)
  • Fantastic Four (2005, 2015 and now 2025)
  • IT (the Stephen King horror classic has already been rebooted, but a new TV series is on the way)

Why Now?

So what’s driving this flood of reboots and remakes? What does it say about the TV and film industry as a whole? 

According to a 2024 Nielsen report, 62% of streaming viewers rewatch older content at least monthly. In 2022, over 50% of major studio releases were sequels, reboots, or part of an existing franchise.

As household budgets tighten, it might feel safer to produce films with built-in audiences to help ensure people return to the theaters. Maybe these generations crave the comfort of films they already know.

I don’t have the answers, but I wonder: Has anyone in the industry admitted to using this strategy? 

If it is indeed intentional, then the jury is still out on whether it’s going to be a winning strategy. We’ve seen some remakes flop, while others succeed.

Drop your thoughts in the comments.

Excellent Analysis of Self-Publishing Options

31 Jul 2025 Leave a comment

by Gina N. Anderson in Uncategorized Tags: , , ,

Kindle Unlimited vs Wide distribution | Should I publish my e-book exclusively with Amazon?

Creativity x Career Expertise: Use Your Professional Past to Build Your Future

16 Jun 2025 Leave a comment

by Gina N. Anderson in Uncategorized Tags: , , , , , , , , ,

If my career up to this point has taught me anything, it’s that you can and should use every bit of personal and professional experience you have toward your career path as a creative and professional writer. 

In the past, I would’ve shrugged off these experiences as part of a winding road that I hoped would make sense to a future employer whenever I was on the job hunt. Now I look at them as breadcrumbs that led me to where I’m headed now in my creative career. How did it all start?

I’ve spent the last 15+ (I stopped counting) years as a professional communicator and public affairs specialist. The core skills in this profession range from being able to write compelling content, such as press releases, articles, and briefings for the media and executives. 

Ten years ago, I received my Master of Fine Arts degree in Writing Popular Fiction, which is where I learned about writing genre fiction (sci-fi, fantasy, horror, romance, etc.) and wrote a thesis novel for the young adult audience. This experience taught me about deciding which feedback to act on from critique sessions, working with professional author mentors, and pitching to the publishing industry. 

After graduation, I also worked with my alumni association on our annual writing workshop as the guest liaison, where I invited authors, literary agents, and editors to participate. I also personally guided them on the cozy Hogwarts-style campus and throughout their stay in our sleepy college town.

I was surprised by how approachable and willing many of these professionals were when it came down to giving back to the writing community. Some of them offered to read the workshop participants’ manuscripts, and many simply listened to their pitches and provided feedback. Some people got representation from their novels, but many of the participants simply appreciated the opportunity to pitch in a friendly setting as opposed to a big conference. 

I’ve had rich cross-cultural experiences that expanded my knowledge of various cultures. I studied abroad in Russia, taught English in Japan, and worked with New Zealanders and Maori for a few years as a public affairs and events manager. 

There is a depth of knowledge about the language and cultures that I wouldn’t have known by just Googling for information. I feel so fortunate to have had these opportunities to make some deep and enriching connections with the people that I worked with. Some of them are still lifelong friends.

In the last year, I’ve been preparing myself for a new career as a screenwriter in the film and television industry. I’ve taken screenwriting classes, written two screenplays for TV and film, and entered contests. 

Looking at all of these experiences, you might think that they have zero connection to each other, but that’s not true. I’m the connection. I have to see how I can use my international, education, cultural, and communications background to serve me going forward. 

Here are some tips and takeaways that I think might be helpful to you too:

  • Never turn down an opportunity to expand your skills. Does the job as a telemarketer sound like a drag? Maybe it’s actually preparing you for pitching your book to the publishing industry.
  • Don’t be so rigid in your professional aspirations that you only take jobs that are safe. This one is pretty self-explanatory, but if you’re a professional communicator and don’t dip your toes into the “dark side” of marketing, you might be missing out. While these two career paths might require similar skillsets, the approaches to reaching audiences are quite different. Marketing skills is yet another way to pitch your stories, products, or ideas.
  • Take on volunteer or internship positions to break into your new industry. If someone doesn’t want to hire you because you don’t have years of experience or education in a certain area, take on roles that are lower barrier to entry, e.g. unpaid or part-time paid positions. 

How has it been going for me so far? Pretty good. I’ve placed in a few of the screenplay contests that I’ve entered, but no monetary rewards thus far, just the joy of knowing that I did that! 

I’ve published three short stories in anthologies in the last two years and got paid a small amount for one of the publishing contracts. I would’ve published more, but that’s just because I haven’t submitted stories in a while. Right now, I’m just focused on submitting screenplays over short stories, but I’ll get back to it! Imagine how much I can accomplish if I put all of my energy into it. 

The moral of the story is that you truly should be mining your experiences for how you can apply what you’ve learned in your personal and professional life to your new career path. Make a simple tree of knowledge to show the experience and compare it to what is needed to enter the industry that you’re interested in.

My tree of knowledge might look like me using my communications skills to write blogs and articles about my writing projects and promoting it on social media and podcasts. It might mean that I don’t have to pay someone to do these things, which ultimately saves me money.

It might also look like me using my media pitching skills to pitch my novel and screenplays to agents and managers. The sky is truly the limit. 

So, don’t see your past as a maze of bill-paying jobs, see them as the building blocks to your future. Best of luck to you!

Hollywood Field Trip, May 2025

14 May 2025 3 Comments

by Gina N. Anderson in Uncategorized Tags: , , , , ,

This May, I participated in Story Summit’s Hollywood Field Trip in Los Angeles—a thoughtfully curated experience that brought together aspiring screenwriters, affectionately known as The Write Stuff, from across the U.S., Scotland, Australia, and Canada. The program was organized by David Kirkpatrick, founder of Story Summit and former president of Paramount Pictures, along with his incredible support team.

As I prepare to transition into a new industry, I’ve taken screenwriting classes and immersed myself in researching the world of TV and film. So when this program came across my radar, I jumped at the opportunity. I began my screenwriting journey last year with a supernatural drama TV pilot called The Bryant Women. I submitted it to a few smaller contests and was thrilled when it earned some placements. This year, I adapted my unpublished young adult science fantasy novel, Worlds Apart, into a feature-length screenplay.

The weeklong program included a behind-the-scenes tour of Paramount Studios, a visit to the Academy Museum of Motion Pictures, and a Pitch Fest with agents and managers. I connected with so many incredible up-and-coming screenwriters, as well as professionals already working in the TV and film industry—many of whom are authors eager to see their books adapted for the big screen.

I’m going old-school and blogging about the experience. Come along for the ride—read to the end, leave a comment, and don’t forget to like my Facebook author page!

Day 1: Meet + Greet + Words of Wisdom

Day 1 was a travel day for many of us, and we checked into the historic Hollywood Roosevelt Hotel. Although we had met virtually before arriving, it was such a treat to get dressed up and finally connect in person at the Welcome Reception, hosted by David Kirkpatrick.

David brought along his friend Gary Lucchesi, President Emeritus of the Producers Guild. Mr. Lucchesi shared some inspiring words as we embarked on our journeys as screenwriters. He told us how he started out in the mailroom and worked his way up in the industry. Stories like his are always refreshing—and a powerful reminder that everyone starts somewhere.

Day 2: Paramount Studios VIP Studio Lot Tour

Given David Kirkpatrick’s deep history and connection to Paramount Studios, we got special acccess to see behind the iconic gates of Paramount and dive into 100+ years of Hollywood magic. We got to see legendary movie props, sets, and original films in the Archive and Backlot Operations Departments. Paramount Studios was my favorite highlight of the field trip. If those studio grounds could talk!

Don’t mind me, I’m just enjoying traveling through time and space in this Star Trek Beyond set piece.
Helmet from Top Gun: Maverick

We ended the evening on the rooftop of the hotel right beneath the suite where Marilyn Monroe once lived at the Hollywood Roosevelt. We could see Hollywood Boulevard, TCL Chinese Theatre, and the Hollywood sign from up there. The evening was magical and I had the opportunity to learn more about my group’s screenplay projects.

Me and my fabulous screenwriting sisters enjoying ourselves and practicing our pitches on the rooftop.

Day 3: Pitch Fest + Academy Museum Visit

On the morning of our Pitch Fest, I did my best to calm my nerves. After all, this could be my one shot at finding representation for my TV and film projects.

Each of us had just 10 minutes to pitch to the agents and managers in attendance. I met with three agents, most of whom were primarily looking for feature film projects. It seems TV is a tougher sell at the moment.

Still, I was able to pitch my TV project—which is my most developed—to a couple of them, so we’ll see if anything comes of it. I also realized that the world-building in my feature film project is pretty complex to convey in such a short pitch, so I’ll be exploring how to best present that one moving forward.

The Pitch Fest was a great opportunity to get a sense of what sparks interest among Hollywood reps. I’m proud of myself for putting my work out there and stepping into the arena.

Pitch Fest!
A girl can dream. Let’s pray this bad girl gets produced in real life. You guys would love it!

The second half of the day was much more relaxing. Many of us were still processing the responses from the agents and managers to our pitches. When you spend days, months, and years dreaming about such an opportunity, you do your best and then it’s over in no time.

Academy Museum of Motion Pictures

Next, we visited the Academy Museum of Motion Pictures. I had originally planned to visit back in January, but that trip was canceled due to wildfires. This time, I was thrilled that the museum visit was included as part of our program—and even more excited to experience it purely for pleasure rather than work.

When you think about it, film and television are just a little over 100 years old, yet look at how far we’ve come—in technology, genre, creativity, and the countless ways we’ve learned to express ourselves through this medium.

I was in awe learning how some of our favorite films were made. I highly recommend a visit to this museum—you’ll want to give yourself at least 2 to 3 hours to take it all in.

Barbie and Ken’s outfits from the feature film.
Humphrey Bogart, my grandmother’s favorite actor, and Ingrid Bergman in Casablanca.

We ended Day 3 with a cozy night in for Classic Cinema Night at the Cinegrill, located in the Hollywood Roosevelt. We watched the 1950s classic All About Eve, starring Bette Davis, Anne Baxter, and a young, up-and-coming Marilyn Monroe.

It was fascinating to see Monroe in a small role early in her career—but even more captivating to watch Bette Davis in her prime, commanding the screen with her sharp delivery and presence.

The program had provided the script in advance, allowing us to follow along and see the words come to life on screen—a thoughtful touch that deepened the experience.

The Cinegrill entrance looks like a library of books.

Day 4: Final Day

The final day of the program was very relaxed. Juan Pineda of the Hollywood Roosevelt gave us a special tour of the historic hotel. There were many stories about how the first Oscar ceremony was held there (it was less than 15 minutes!) and the famous residents like Charlie Chaplin and Marilyn Monroe.

Marilyn Monroe during one of her early photoshoots at the famous Hollywood Roosevelt Tropicana Pool.
Yes, there were ghost stories from the hotel staff. This is Marilyn Monroe’s haunted mirror.

The rest of the day was free time. I spent it visiting Madame Tussauds Wax Museum, exploring the Hollywood Walk of Fame, and organizing a group viewing of Ryan Coogler’s Sinners in 4D at the TCL Chinese Theatre.

I had seen the film before, but experiencing it in 4D was something else—the moving seats and bursts of air added a whole new dimension. It felt like a pretty solid substitute for missing it in IMAX.

Seriously, you will not be prepared for how lifelike these wax statues are. It’s a little creepy!
Second time’s a charm. Team viewing of Sinners in the theatre. Loved it!

The program wrapped up with a thoughtful farewell dinner hosted by David K. We shared journal entries aloud and reflected on the incredible week we’d had—gathered together at the iconic Musso & Frank Grill, a legendary spot once frequented by classic Hollywood stars like Charlie Chaplin, Humphrey Bogart, and Marilyn Monroe.

The historic venue also served as a filming location for Once Upon a Time in Hollywood, featuring Brad Pitt and Leonardo DiCaprio in scenes directed by Quentin Tarantino.

Here is my farewell speech and I’ll leave it at that:

There are moments you dream about doing “one day”—and then there’s the moment when you’re actually living the dream. This week was that moment for me.

What I’ll never forget is the opportunity Story Summit gave us to pitch our stories—and the feeling of rising to meet that opportunity.

I did it. I sat down, wrote my screenplays, and pitched them. I did that. And I’m so proud of myself for betting on me.

I’m also deeply grateful for the community that formed around this field trip. I hope to stay connected with my fellow screenwriters as we move forward.

It felt like many of us were standing at the same crossroads in life—that do or die moment when we choose: continue as we always have, or be bold and step into a new journey as screenwriters, directors, producers, and dreamweavers.

Whether we create from scratch or help bring someone else’s vision to the screen, we won’t be the same after this experience.

We’ll always have this time—when we moved closer to the lives we’ve been dreaming of.

Previous Older Entries