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.

 

[Michael]

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.

That raises another interesting question, David. If a producer responded strongly to The Black Sun but was interested in developing that project rather than representing you as a writer, would you see that as an equally valuable next step? Or is finding representation that can build your longer-term writing career still the priority?

 

[Fygar]

That raises another interesting question, David. If a producer responded strongly to The Black Sun but was interested in developing that project rather than representing you as a writer, would you see that as an equally valuable next step? Or is finding representation that can build your longer-term writing career still the priority?

Michael, I think my public-service and union background makes me particularly sensitive to this question. For years I've encouraged coworkers to seek union representation when dealing with consequential employment matters—not because management or HR are necessarily acting in bad faith, but because their institutional responsibility is ultimately to the organization. The employee needs someone who understands the system and is there to advocate for them.

I think I would bring the same philosophy into entertainment. If a legitimate producer wanted to develop The Black Sun, I'd consider that a tremendous opportunity and absolutely take the meeting. But as the conversation became more serious, I'd also want experienced people advocating for my interests.

An entertainment attorney would obviously be important for the legal side, but I see representation as something broader and longer-term. A good manager or agent understands the business in ways I don't yet, can help me evaluate opportunities strategically, and has an interest in building my career beyond a single transaction.

So producer interest wouldn't make representation less important to me. In some ways, it might make it more important.

 

[norwest]

Michael, I think my public-service and union background makes me particularly sensitive to this question. For years I've encouraged coworkers to seek union representation when dealing with consequential employment matters—not because management or HR are necessarily acting in bad faith, but because their institutional responsibility is ultimately to the organization. The employee needs someone who understands the system and is there to advocate for them.

I think I would bring the same philosophy into entertainment. If a legitimate producer wanted to develop The Black Sun, I'd consider that a tremendous opportunity and absolutely take the meeting. But as the conversation became more serious, I'd also want experienced people advocating for my interests.

An entertainment attorney would obviously be important for the legal side, but I see representation as something broader and longer-term. A good manager or agent understands the business in ways I don't yet, can help me evaluate opportunities strategically, and has an interest in building my career beyond a single transaction.

So producer interest wouldn't make representation less important to me. In some ways, it might make it more important.

That makes a lot of sense, David. There may also be an interesting reversal in the usual order here: serious producer interest in The Black Sun could actually make the representation conversation easier, because you would no longer be approaching managers or agents with only a project, but with a real opportunity already beginning to develop.

In that situation, would you be comfortable moving the producer conversation forward while looking for representation in parallel, or would you prefer to have someone on your side before getting into any substantive discussions?

 

[Fygar]

That makes a lot of sense, David. There may also be an interesting reversal in the usual order here: serious producer interest in The Black Sun could actually make the representation conversation easier, because you would no longer be approaching managers or agents with only a project, but with a real opportunity already beginning to develop.

In that situation, would you be comfortable moving the producer conversation forward while looking for representation in parallel, or would you prefer to have someone on your side before getting into any substantive discussions?

Norwest, yes. In fact, the timing of your question is interesting because I began a targeted manager outreach campaign this morning. Ten queries went out today, so I’m already actively pursuing representation.

At the same time, I wouldn’t want that search to prevent me from having a legitimate conversation with a producer who was genuinely interested in The Black Sun. I’d be comfortable allowing both tracks to proceed in parallel.

I’d be comfortable having those initial producer conversations myself. Where I would become more cautious is when creative discussions began turning into substantive business matters involving rights, options, attachments, exclusivity, compensation, or creative control. At that point, I would absolutely want experienced entertainment counsel involved, while continuing to pursue appropriate representation for the longer-term career side.

So I wouldn’t tell an interested producer, “Come back when I have a manager.” But I also wouldn’t mistake producer interest for representation. I’d keep both doors open, continue gathering information, and make sure I had the right people advising and advocating for me before making any consequential commitments.

I’m still very new to this side of the industry, so I’m trying to approach it pragmatically: recognize an opportunity when one appears, but don’t get so excited by the opportunity that I stop asking questions.

 

[Adam Films]

Norwest, yes. In fact, the timing of your question is interesting because I began a targeted manager outreach campaign this morning. Ten queries went out today, so I’m already actively pursuing representation.

At the same time, I wouldn’t want that search to prevent me from having a legitimate conversation with a producer who was genuinely interested in The Black Sun. I’d be comfortable allowing both tracks to proceed in parallel.

I’d be comfortable having those initial producer conversations myself. Where I would become more cautious is when creative discussions began turning into substantive business matters involving rights, options, attachments, exclusivity, compensation, or creative control. At that point, I would absolutely want experienced entertainment counsel involved, while continuing to pursue appropriate representation for the longer-term career side.

So I wouldn’t tell an interested producer, “Come back when I have a manager.” But I also wouldn’t mistake producer interest for representation. I’d keep both doors open, continue gathering information, and make sure I had the right people advising and advocating for me before making any consequential commitments.

I’m still very new to this side of the industry, so I’m trying to approach it pragmatically: recognize an opportunity when one appears, but don’t get so excited by the opportunity that I stop asking questions.

From the distribution side, our experience is that a good story alone isn’t always enough. Once a project reaches buyers, the conversation quickly turns to who the audience is, what comparable films have worked, and where it can realistically sell. That’s why it’s worth thinking about positioning while The Black Sun is still being developed. It can make the sales conversation much easier later on.

 

[Fygar]

From the distribution side, our experience is that a good story alone isn’t always enough. Once a project reaches buyers, the conversation quickly turns to who the audience is, what comparable films have worked, and where it can realistically sell. That’s why it’s worth thinking about positioning while The Black Sun is still being developed. It can make the sales conversation much easier later on.

Adam Films, that's a useful perspective, especially coming from the distribution side. The Black Sun is actually being developed as a television series rather than a feature, but your broader point about positioning early rather than waiting until a project reaches buyers makes sense. My attention so far has understandably been concentrated on the writing, development materials and now representation, so I'm still learning about what happens farther downstream.

Thinking about how the series' identity and audience eventually translate into market positioning and the sales conversation is something I need to understand better as the project develops.

Thanks for adding that perspective to the conversation.

 

[norwest]

Adam Films, that's a useful perspective, especially coming from the distribution side. The Black Sun is actually being developed as a television series rather than a feature, but your broader point about positioning early rather than waiting until a project reaches buyers makes sense. My attention so far has understandably been concentrated on the writing, development materials and now representation, so I'm still learning about what happens farther downstream.

Thinking about how the series' identity and audience eventually translate into market positioning and the sales conversation is something I need to understand better as the project develops.

Thanks for adding that perspective to the conversation.

For me, originality is the key here. I wouldn’t worry too much about trying to make it similar to other horror projects, because that can easily take away the very thing that makes it different.

I’m actually thinking about developing a horror project myself, and my starting point is the same: I want to create something we haven’t really seen before. I think being genuinely different is still one of the best ways to stand out from the crowd.

 

[Fygar]

For me, originality is the key here. I wouldn’t worry too much about trying to make it similar to other horror projects, because that can easily take away the very thing that makes it different.

I’m actually thinking about developing a horror project myself, and my starting point is the same: I want to create something we haven’t really seen before. I think being genuinely different is still one of the best ways to stand out from the crowd.

Norwest, I agree. I think there's an important distinction between using comparables to help communicate where a project might sit in the marketplace and using them to determine what the project should become.

I'm comfortable with the first. I'd be very cautious about the second.

One of the things I've tried to protect while developing The Black Sun is the combination of elements that made me want to write it in the first place. If making it easier to categorize required removing the things that make it unusual, I'd probably be solving the wrong problem.

And I'd definitely be interested in hearing more about your horror project as you develop it. Your comment about starting from something you haven't really seen before caught my attention.

 

[Anderson-Mark-Ian]

As much as I write with a specific antagonist most of the time - loving the idea of something else entirely.

Not only does this help set you apart from countless others, it is fairly unique to see. Knowing the antagonist is not one being but something else, heightens the suspense and does not only intrigue the audience, it holds them in place.

Are there any examples of the pilots or visuals you would be willing to share?

I will be watching closely as this honestly sounds right up my "watching" street!

Good luck!

- Mark

 

[Fygar]

As much as I write with a specific antagonist most of the time - loving the idea of something else entirely.

Not only does this help set you apart from countless others, it is fairly unique to see. Knowing the antagonist is not one being but something else, heightens the suspense and does not only intrigue the audience, it holds them in place.

Are there any examples of the pilots or visuals you would be willing to share?

I will be watching closely as this honestly sounds right up my "watching" street!

Good luck!

- Mark

Mark,

First, my apologies for the late response. It's been an unexpectedly eventful couple of days on my end.

Thank you for your thoughtful comments. I'm glad the idea of the system itself functioning as an antagonist came through, because that's at the heart of what I mean by “administrative horror.”

The Black Sun is probably the clearest example of how I apply it. It's a WWII science-fiction/supernatural television series in which a modern public servant is dropped into America ten days after Pearl Harbor. I've attached the watermarked pilot here since you asked about examples of my work.

What interests me isn't portraying everyone inside an institution as evil. Often they're ordinary people doing their jobs. The horror emerges when procedures, incentives, authority and institutional self-preservation begin producing consequences that no single person necessarily designed.

The pilot has received Official Selection recognition from the Los Angeles International Screenplay Awards, and just yesterday I learned that it advanced to Quarter-Finalist in the Seattle International Screenwriting Competition & Film Awards, placing in the top 25% of more than 200 entries.

If you do read it, I'd genuinely be interested in whether the idea works for you on the page the way it did in my description.

I also took a look at what you're building with Bloom. Developing a project across screenplay, original music and a visual identity sounds like quite an undertaking. I hope the proof of concept comes together the way you're envisioning it.

Thanks again for taking an interest in my work.

David

 

[Anderson-Mark-Ian]

Mark,

First, my apologies for the late response. It's been an unexpectedly eventful couple of days on my end.

Thank you for your thoughtful comments. I'm glad the idea of the system itself functioning as an antagonist came through, because that's at the heart of what I mean by “administrative horror.”

The Black Sun is probably the clearest example of how I apply it. It's a WWII science-fiction/supernatural television series in which a modern public servant is dropped into America ten days after Pearl Harbor. I've attached the watermarked pilot here since you asked about examples of my work.

What interests me isn't portraying everyone inside an institution as evil. Often they're ordinary people doing their jobs. The horror emerges when procedures, incentives, authority and institutional self-preservation begin producing consequences that no single person necessarily designed.

The pilot has received Official Selection recognition from the Los Angeles International Screenplay Awards, and just yesterday I learned that it advanced to Quarter-Finalist in the Seattle International Screenwriting Competition & Film Awards, placing in the top 25% of more than 200 entries.

If you do read it, I'd genuinely be interested in whether the idea works for you on the page the way it did in my description.

I also took a look at what you're building with Bloom. Developing a project across screenplay, original music and a visual identity sounds like quite an undertaking. I hope the proof of concept comes together the way you're envisioning it.

Thanks again for taking an interest in my work.

David

I will ensure to give this a read and provide honest feedback also, thank you for the kind words regarding Bloom.

- Mark

 

[Lucas]

Norwest, I agree. I think there's an important distinction between using comparables to help communicate where a project might sit in the marketplace and using them to determine what the project should become.

I'm comfortable with the first. I'd be very cautious about the second.

One of the things I've tried to protect while developing The Black Sun is the combination of elements that made me want to write it in the first place. If making it easier to categorize required removing the things that make it unusual, I'd probably be solving the wrong problem.

And I'd definitely be interested in hearing more about your horror project as you develop it. Your comment about starting from something you haven't really seen before caught my attention.

@David, one practical thought: “administrative horror” is a memorable term, but since it’s still unfamiliar to most people, it might help to pair it with a more recognizable genre reference when pitching. That gives people an immediate sense of what to expect while keeping what makes the concept distinctive. I think that could work especially well in a logline or pitch deck.