As a literary manager, I read dozens of screenplays each month. One of the biggest notes I have is that the script just doesn't feel different or unique from others. How can your premise cut through?
I love “write the bad ideas down too” because I actually believe every idea starts as, not necessarily bad, but it isn’t the best either. It’s the cliche version of what it can be, and it’s only after spending time with the idea that I find out if it can go somewhere or if it just doesn’t work.
Btw, lovely finding you here, my friend Tessa (your client) absolutely loves you so it’s nice to be able to read you. 💚
Wow you hit on everything I do. I always tell everyone I’m the best screenwriting fire life safety director in New York?
Why? Because you have no idea with my day job is.
Well now you do and I also write scripts.
I used my job to write a New York City real estate based pilot that got the attention of a major tv/film actor who has been in the business in 30 years working out of New York exclusively.
What has he done with his tv and film money? Get into real estate. I had no idea but my homey that works with him knew that part.
And he knew what I was writing.
My job is tied to New York’s vast commercial realty sector. We are first responders. We are under security. If you’ve been in a New York City office building you’ve dealt with an FLSD but just assumed we were the guards because we are afford in the same penguin suit.
But that’s when the similarities end. FLSD’s have to know the building they are assigned to better than their own home. We start at ten to twelve dollars over minimum wage. OT all day and night. I never stopped working through out the pandemic shut down.
We can’t be moved around Willy nilly, our job is site specific to the building. It’s a hard test. Not rocket science but winging it won’t work.
It’s like a CDL to a regular DL. I’m in between the management and the city government. You have to take the test with the fire department. (Currently the mayor is in big legal trouble one of his crimes he’s accused of his rushing a TCO -temporary certificate of occupancy-given to a building as a holdover so the fdny can properly inspect your fire protection system prior to opening for tenant revenue).
And it’s how I came up with the real estate based script. Ironically it was based on residential real estate which I worked for back in 2014-2015. Yet with the commercial realty knowledge I have wanted it’s one voice. So I came up with a story around that world but stuck it in the world of New York nightlife?
Why? And how?
Because most of the security guards that work in the office buildings also work in the clubs.
Some work at the top clubs like Zero Bond and others work the hole in the walls in the middle of the hood.
I also made the security mangers the guards bosses, their bosses in the clubs.
In that story the security guards train one another to get the FLSD’s jobs. It’s based off my friends whom were guards when One Bryant Park was a hole in the ground.
Shrewdly they put their money together. Put themselves through the training.
Then passed the test. So when the building opened they got the jobs and not the good old boys.
Now some are the FLSD’s are one World Trade Center. It was this story that got me to write the commercial realty story. They make $100,000+ every year no fail.
Black dudes from Brooklyn and the Bronx duped a bunch of white ex cop security managers whom don’t know a thing about commercial realty no more than me and you. But that’s now how they want you to think.
I’m now using my old junk job experience for this organized retail crime story. I use just about everything you listed. There’s no good or bad. Things don’t have to stay or have to be cut on first instinct. It’s all about the stories flow. Glad to see I’m on the right path.
I love “write the bad ideas down too” because I actually believe every idea starts as, not necessarily bad, but it isn’t the best either. It’s the cliche version of what it can be, and it’s only after spending time with the idea that I find out if it can go somewhere or if it just doesn’t work.
Btw, lovely finding you here, my friend Tessa (your client) absolutely loves you so it’s nice to be able to read you. 💚
Wow you hit on everything I do. I always tell everyone I’m the best screenwriting fire life safety director in New York?
Why? Because you have no idea with my day job is.
Well now you do and I also write scripts.
I used my job to write a New York City real estate based pilot that got the attention of a major tv/film actor who has been in the business in 30 years working out of New York exclusively.
What has he done with his tv and film money? Get into real estate. I had no idea but my homey that works with him knew that part.
And he knew what I was writing.
My job is tied to New York’s vast commercial realty sector. We are first responders. We are under security. If you’ve been in a New York City office building you’ve dealt with an FLSD but just assumed we were the guards because we are afford in the same penguin suit.
But that’s when the similarities end. FLSD’s have to know the building they are assigned to better than their own home. We start at ten to twelve dollars over minimum wage. OT all day and night. I never stopped working through out the pandemic shut down.
We can’t be moved around Willy nilly, our job is site specific to the building. It’s a hard test. Not rocket science but winging it won’t work.
It’s like a CDL to a regular DL. I’m in between the management and the city government. You have to take the test with the fire department. (Currently the mayor is in big legal trouble one of his crimes he’s accused of his rushing a TCO -temporary certificate of occupancy-given to a building as a holdover so the fdny can properly inspect your fire protection system prior to opening for tenant revenue).
And it’s how I came up with the real estate based script. Ironically it was based on residential real estate which I worked for back in 2014-2015. Yet with the commercial realty knowledge I have wanted it’s one voice. So I came up with a story around that world but stuck it in the world of New York nightlife?
Why? And how?
Because most of the security guards that work in the office buildings also work in the clubs.
Some work at the top clubs like Zero Bond and others work the hole in the walls in the middle of the hood.
I also made the security mangers the guards bosses, their bosses in the clubs.
In that story the security guards train one another to get the FLSD’s jobs. It’s based off my friends whom were guards when One Bryant Park was a hole in the ground.
Shrewdly they put their money together. Put themselves through the training.
Then passed the test. So when the building opened they got the jobs and not the good old boys.
Now some are the FLSD’s are one World Trade Center. It was this story that got me to write the commercial realty story. They make $100,000+ every year no fail.
Black dudes from Brooklyn and the Bronx duped a bunch of white ex cop security managers whom don’t know a thing about commercial realty no more than me and you. But that’s now how they want you to think.
I’m now using my old junk job experience for this organized retail crime story. I use just about everything you listed. There’s no good or bad. Things don’t have to stay or have to be cut on first instinct. It’s all about the stories flow. Glad to see I’m on the right path.
Oh yeah once you learn about this technique you start seeing it literally everywhere!