yustyoking

Strike!

The Writers Guild of America— 11,500 screenwriters— are on strike and I have a lot of time on my hands. Not that I am a commercial screenwriter. It’s summer and I have a lot of time on my hands.

Just this month, I applied to a talent agency to rep me. Their second Q was “What kind of work are you looking for?” Having low self-esteem, I don’t expect to get signed up straight-away by a major blockbuster. As many as half the new shows on streaming services like Netflix, Amazon Prime, HBO Max, Hulu, Disney+, Peacock, YouTube and Apple tv get canceled after just one season. The metrics are brutal that way. Since everyone has to start somewhere, I have instructed the agency that I am looking for gainful employment on one or more of those series, the ones facing extinction.

In the meantime, I dog walk.

Fortunately, there are dozens of online courses, competitions and workshops for would-be screenwriters. There is a whole cottage industry of helpmates who, for a nominal fee, will explain why your writing sucks. You are using the wrong-colored notecards. Your pegboard is the wrong size. Stuff like that. I signed up with Three Media in Stockholm, Sweden, for the course “Screenwriting. It’s Complicated.” The first thing I have learned is that no one knows what makes a show great. Good writing, high production values, talented actors and meaningful direction all contribute to the possibility of major success. Yet, sometimes, in spite of the very best laid plans, a show still lacks “heart.” The writers never seem to find their voice. Everyone on set seems to be simply going through the motions. The “star” phones it in. The director never gets a grip on the material. Some of which may even be in French!

Je me souviens, I think back fondly to the desert location of a recent TV pilot titled “Roar of the Lion!” Hired to assist the caterers, I was thrilled to be part of a major film project, I can tell you, the smell of pancake make-up and Fresnel lenses baking in the sun. I offered to assist the writing staff in any way I possibly could. Editing. Rewrite. Even transcription. (Typing up notes from a brainstorming session.) Appreciative, they sent me into town to buy donuts.

The good news is, I really hit it off with the female lead, Anna Petrovska. What a darling lady! A ruddy redhead, her skin luminous, her bright red toenails shone like rubies against the backdrop of desert sand. A notorious insomniac, she stayed up all night, practicing lines. Bleary-eyed, I accompanied her on this emotional journey. The line “I love you, Robert” was delivered with the following motivation (I quote verbatim from the script):

Sweating in the sweltering heat of the Kalahari, Cecilia mentions this in passing, meanwhile gutting the carcass of the dead lion in prep to stuffing it.

An anti-poaching polemic, the film skates the razor-sharp edge of satirical discontent.

Lying in one another’s arms, Anna and I worked up a sweat, as well.

All of this was before the writers strike, of course.

At home in Maryland, I was surprised to get an email from L.A. It was the director, informing me that additional dialogue was needed during post-production. I mean, this is in the middle of the writers strike. The film cutter, the assistant director and the director found themselves sitting at the editing console, trying to figure out how best to rescue their baby from early oblivion. “We know you harbor the ambition to become a wordsmith on the soundstages of Hollywood,” wrote my erstwhile benefactor. “Here’s a warm-up exercise in the dramatic arts. Cecilia needs to write to Robert from Paris where she is held captive by the villain Sultan Rhubarb. What does she say to Robert? We know that his answer is yes, since we filmed the chase sequence that takes up the last third of the movie. But what does Cecilia actually say? Your thoughts on the matter are most welcome.”

It was super groovy of the director to get in touch with me! I greatly appreciate it. You’ll notice that, since screenwriters are on strike, he never asks me to write any actual dialogue.

Being a blabbermouth, I have a pupu platter of great ideas about what to put in Cecilia’s letter to Robert. As I see it, she is more than just a blood-and-guts taxidermist, up to her elbows in animal cadavers. The lass has a lion’s heart worth of emotion pent-up inside her artisan persona. “Oh, boykie!” she writes, adding a touch of South African flair to the cocktail. “When I think of the blackness of night during our sojourn in Darkest Africa,” she exclaims, using the classical, chauvinistic, colonial moniker for the continent, “my memory of the braying of the hyenas sustains me, confirming that ‘We’ll always have Botswana.’ Come rescue me & etc. Yours, CC.”

Coming to a streaming service near you. Release date TBA.