Kelly Jo Brick: The Write Path with Rashad Raisani – Part One

A series of interviews with hard-working writers – by another hard-working writer!
by Kelly Jo Brick

Aspiring writers often wonder how the pros got where they are. The truth is, everyone’s story is different, but there are some common elements: dedication, persistence, hard work and not giving up.

An alum of NBC’s Writers on the Verge, Rashad Raisani originally moved to Los Angeles with the goal of becoming a feature writer, but found television to be a much better fit. He got his first writing job on the USA Network show BURN NOTICE where he rose from staff writer to co-executive producer. He also wrote for WHITE COLLAR and was executive producer on the NBC drama ALLEGIANCE. Currently he is developing projects as part of an overall deal with Universal Television.

WHEN DID YOU FIRST KNOW YOU WANTED TO BE A WRITER?

I think I have always known I wanted to be a writer since I was a little kid. We moved around a lot because my dad was in the military. Between the ages of 3 and 10 we were living abroad, so the only connection I had to America, a place where I really didn’t have any memories of actually being, were the TV shows that were the same no matter which base we were living on.

When I’d move to a new place and feel really lonely or displaced because all my friends had changed over, I’d go back to movies and TV shows because they were the one source of comfort that stayed the same no matter where we lived.

WHAT WAS YOUR FIRST JOB IN THE ENTERTAINMENT INDUSTRY?

The first thing I did, because I had no other resources, was become an assistant to a literary manager. This guy had exceptional taste and had all these great writers. The first thing he said when I started working for him was, “I want you to read everything that all of my writers have written.”

He had this whole bookshelf full of scripts, so I just read all of them. I saved all the TV people for last because I had no interest in them or television, but the very last script in the entire bunch completely blew my mind and I can even remember where I was when I read it and screaming, “Holy shit,” on a plane when I read this moment. It was by this young story editor on a show called THE SHIELD and the guy’s name was Kurt Sutter. That’s when I started to say, “Wow, I’ve really been sucking it up in movies.” At that time I’d been out here for a about year and not only had I not gotten traction professionally, but artistically and creatively I was struggling with the form of features, specifically the second act of a movie. It was just eternally vexing to me.

When I read that SHIELD script, there was just something so intuitive about how they had broken the story. They had like four or five plots. When one of them started to peter out a little bit, they’d cut to another exciting one. I just thought this is a great way to tell stories. From that moment on I decided okay, I’m going to try TV.

WHERE DID THAT FIRST ASSISTANT JOB LEAD TO?

I kind of fell for all the trappings of the wrong things, meaning an expense account, an office and an assistant of my own. I started working as a literary manager/development executive for two years. On the positive side, I was working in television actively. We were trying to set up projects. We represented some real talent, but on the negative side for my own artistic development, I wasn’t writing. I didn’t write a word for about two years.

WHAT WAS A BIG TURNING POINT IN YOUR WRITING CAREER?

It was a confluence of a few things and kismet played a strange role. For example, when I was temping and unemployed, but was sending scripts out everywhere, I talked to my wife and I said, “Listen, I really think it would be worthwhile for me to be an assistant on a television show.” And she said, “Well, I get it, but you really need to now think about writing. You’ve done the assistant thing for years. It’s been four years and really I want you to rise on your own merits at this point with your own writing.”

We made a deal that there was one script I had read by a guy named Rand Ravich on a show called LIFE. I said if anything opens up, I don’t care if it’s sweeping the floors, I want to work on that show. I think the world of Rand Ravich’s writing and also that script. Wouldn’t you know it that completely out of the blue I get a phone call from Glen Mazzara, who was in THE SHIELD DVD that we watched. He had gotten my resume through a friend of a friend and said he needed an assistant. So I started working for Glen.

That was a big break, just to be working for a bunch of incredible writers. I ended up working for 3 co-executive producers, there was Glen Mazzara, Jonathan Shapiro and Marjorie David, all of whom were exceptional talents and had very different approaches to writing, so I was able to not only make relationships with those incredibly talented and generous people, but also sponge up all their different approaches to the craft.

Within two months of that, I got my first agent. That was another big break. That was because I had sent scripts out, even some of them nine months before, and they just sort of worked their way up at agencies. Within just a few weeks of starting to work on LIFE, I started to meet agencies. Then within a week of that, I got my first showrunner meetings.

WHAT WAS YOUR FIRST WRITING JOB?

BURN NOTICE was my first staff job. I got the job 3 weeks before the writers’ strike. My first Writers Guild meeting was the president of the Guild announcing that we have decided to strike. It was a big bummer, but at the same time at least I felt like being on a young show that had some real promise and I was also a diversity hire to the show so I was free, so I felt like at some point entertainment would have to resume. The strike would have to end and I would have a job waiting for me.

I used the strike to read as many books about spy games and stuff like that that BURN NOTICE was about so that when the writers’ room resumed, I could hopefully have some things to contribute.

WHAT WAS THE BEST ADVICE YOU RECEIVED AS YOU WERE BREAKING IN?

One of the greatest pieces of advice was by Glen Mazzara after I came in from my first agency meeting. He said that every meeting you’ll step into, chances are they’ll ask you some version of tell me about yourself, but Glen said nobody wants the facts. They don’t want to know what year you graduated from college, what you majored in.

They want your story and they want to know that you’re the underdog in your own story and your story ideally answers all the factual questions that they need to know and it has some deep crisis/soul kind of moment to it and then it culminates with a triumph and ends up with you on their couch. You give somebody a story like that and you entertain them, you make them like you. They’re going to remember you, which will set you apart from the thousands of meetings they have that month to staff that show.

Coming soon – more from Rashad including what he looks for when hiring writers, advice on getting representation and tips on taking meetings.


Kelly Jo Brick is a TVWriter™ Contributing Editor. She’s a television and documentary writer and producer, as well as a winner of Scriptapalooza TV and a Sundance Fellow. Read more about her HERE.