Hello from Los Angeles — Writing “Administrative Horror”

[Fygar]

That puts both projects in a very different position, David. With the pilots and series bibles already in place, I think the interesting question now is not just who to approach, but which project should lead the conversation.

Do you see one of the two as the stronger “door opener” for representation, or are you planning to take both out at the same time?

George, that’s exactly the strategic question I’ve been working through.

My current thinking is to lead with The Black Sun. Of the two projects, it probably represents my writing voice most completely—historical drama, science fiction, supernatural elements, and the systems-oriented perspective I’ve been calling administrative horror all operating together.

Sleeping Beauty of Catania then becomes an important second sample because it shows that the same underlying perspective can travel into a completely different kind of story: a historical tragedy built around family, class, religion, reputation and paternal authority rather than wartime institutions.

But I’m also approaching the two projects through different production lanes.
The Black Sun is primarily conceived for the North American market, with the U.S. or Canada as the natural production base.

Catania is deliberately aimed toward Europe, particularly Italy. I’ve developed an RAI/Italian co-production packet around it, and the project is conceived as an Italian-language limited series shot in Sicily with local cast and crew wherever possible. The cultural specificity is part of the project rather than something I’d want to translate away.

So I don’t really see the two projects competing with each other. I see them doing different jobs and potentially opening different doors.
The Black Sun is probably the flagship and the project I’d normally use to introduce myself as a writer.

Catania demonstrates range while also giving me a separate European-facing property that can be approached on its own terms.
As I move into more targeted representation and producer outreach, I expect I’ll adjust which project leads depending on whom I’m approaching. But if I had to choose one project to introduce me as a writer, I’d start with The Black Sun.

I’d be interested in your take on that.

 

[Isla Taylor]

Thanks for clarifying, David. That actually makes the projects even more interesting to me. Since both are already developed with completed pilots and series bibles, I’d be more interested in looking at the material from a representation and industry-readiness perspective rather than taking you back through the writing process.

I’d be happy to take a look at one of the pilots and its supporting materials, particularly the project you feel is strongest. From there, we can discuss what could be strengthened, how it should be positioned, and whether I can help with connecting it to suitable producers or industry contacts.

Feel free to send me the material when you’re ready, and we can take it from there.

 

[George]

George, that’s exactly the strategic question I’ve been working through.

My current thinking is to lead with The Black Sun. Of the two projects, it probably represents my writing voice most completely—historical drama, science fiction, supernatural elements, and the systems-oriented perspective I’ve been calling administrative horror all operating together.

Sleeping Beauty of Catania then becomes an important second sample because it shows that the same underlying perspective can travel into a completely different kind of story: a historical tragedy built around family, class, religion, reputation and paternal authority rather than wartime institutions.

But I’m also approaching the two projects through different production lanes.
The Black Sun is primarily conceived for the North American market, with the U.S. or Canada as the natural production base.

Catania is deliberately aimed toward Europe, particularly Italy. I’ve developed an RAI/Italian co-production packet around it, and the project is conceived as an Italian-language limited series shot in Sicily with local cast and crew wherever possible. The cultural specificity is part of the project rather than something I’d want to translate away.

So I don’t really see the two projects competing with each other. I see them doing different jobs and potentially opening different doors.
The Black Sun is probably the flagship and the project I’d normally use to introduce myself as a writer.

Catania demonstrates range while also giving me a separate European-facing property that can be approached on its own terms.
As I move into more targeted representation and producer outreach, I expect I’ll adjust which project leads depending on whom I’m approaching. But if I had to choose one project to introduce me as a writer, I’d start with The Black Sun.

I’d be interested in your take on that.

I think your instinct is right, David.

The only thing I’d add is that I wouldn’t make the choice purely around which project best represents you as a writer. I’d also think about what you want the person on the other side to do next.

A rep, producer or potential co-production partner may all respond to the same material very differently. Sometimes the best project to lead with isn’t necessarily your strongest one overall, but the one that gives that particular person the clearest reason to continue the conversation.

That may become even more important once you start targeting people individually.

 

[Fygar]

I think your instinct is right, David.

The only thing I’d add is that I wouldn’t make the choice purely around which project best represents you as a writer. I’d also think about what you want the person on the other side to do next.

A rep, producer or potential co-production partner may all respond to the same material very differently. Sometimes the best project to lead with isn’t necessarily your strongest one overall, but the one that gives that particular person the clearest reason to continue the conversation.

That may become even more important once you start targeting people individually.

George, that’s a very useful distinction, and I think you’re right.

I’ve been thinking primarily in terms of which project best introduces me as a writer, but your point about asking what I want the person on the other side to do next adds another layer to the strategy.

So The Black Sun may remain my default flagship, particularly when approaching representation, but that doesn’t necessarily mean it should lead every conversation. If I’m approaching someone whose interests, market or production lane make Sleeping Beauty of Catania the more natural fit, then Catania should probably open that door instead.
In other words, the question becomes less “Which project is strongest?” and more “Which project gives this particular person the clearest reason to continue the conversation?”

I like that way of looking at it. It also fits where I’m headed next, since I’m moving toward more targeted individual outreach rather than sending the same project indiscriminately to everyone.

Thanks, George. That’s genuinely useful advice.