Who Inspires You: TV Writers Share Their Creative Inspirations

by Kelly Jo Brick

Whether a beginning writer or an experienced veteran, admiration helps fuel our creative endeavors. Writers from film and television share who has inspired them through the years.

JASON RICHMAN (LUCKY 7, DETROIT 1-8-7) – I always admired Lawrence Kasdan. First of all, as a viewer, as a fan of movies, but he was an inspiration because he did all kinds of different things. He wrote THE BIG CHILL, he wrote THE EMPIRE STRIKES BACK. I admire that, someone who has an idea that interests them, a world that interests them and then just goes where their creativity takes them. I think that he’s sort of the model to me of that person who just won’t be pigeonholed. To be so good in so many different genres is a real feat and to direct and do all those things is pretty cool.

DANIEL KNAUF (THE BLACKLIST, CARNIVALE) – Rod Serling inspires me. Harlan Ellison, and Ray Bradbury, Ernest Hemingway, John Steinbeck, Charles Bukowski, a lot of prose writers. I think today, I love Joss Whedon’s work. I love Vince Gilligan’s work.

There’s some peers. John Eisendrath, is a terrific writer. Steven DeKnight, I worked with him on SPARTACUS and he’s a wonderful writer and showrunner. I just try to work with people I’m going to learn stuff from. I’m still a sponge.

STERLING ANDERSON (THE GABBY DOUGLAS STORY, THE UNIT) When I first started, Horton Foote inspired me, the movie that made me want to become a writer was TENDER MERCIES.

I liked those movies that didn’t have shoot ‘em up and helicopter crashes. I like character driven films like ORDINARY PEOPLE. One of my first really super favorite films was SHE’S GOTTA HAVE IT, Spike Lee. He inspired me. Probably those two were the biggest inspirations I had.

CRAIG SILVERSTEIN (TURN, NIKITA) – I remember really being impressed with Shane Black, his screenplays. A lot of people talk about his writing, like he comments on the page or he comments to the reader and stuff like that and it’s actually not that. What it is, is that he is very effectively giving you the feeling in the right amount of words of exactly how this moment feels and looks.

That’s something that’s sort of where screenwriting crosses the transom between prose and poetry. Are you able to break the rules of grammar and exposition and this proper stuff to say exactly, oh, I know exactly how that’s going to feel on screen? He does that.

LIZ TIGELAAR (CASUAL, LIFE UNEXPECTED) – As a TV writer, I am very inspired by other TV writers. I love when people kind of embrace TV and embrace what being a TV writer means and embrace that type of storytelling.

Certainly Winnie Holzman is an inspiration. Winnie’s such an iconic voice, a wonderful person and someone who really is able to infuse herself in everything she does.

Jill Soloway really inspires me because I feel like she took great control of her career. She kind of made it exactly what she wanted it to be and did it well, infusing a really personal story into it that also was incredibly timely, relevant, political and provocative.

So many of the women writers that are my peers really inspire me with what they do. There are so many great people, like Lisa Zwerling is someone I worked with and I found her very inspiring. Kerry Ehrin, I love how her mind works. She approaches everything in this really sideways, interesting, unexpected way. A lot of the women I work with are peers and mentors and writers I that would like to emulate and take certain skills that they have and incorporate them into my own writing.

LaTOYA MORGAN (TURN, INTO THE BADLANDS) – My favorite writer is John Steinbeck. The Grapes of Wrath is my favorite book, just because it’s a family story. It’s a journey. Tom Joad is one of my favorite characters.

I am not a snob when it comes to storytelling, so whatever the genre or medium, I love it, so I love all kinds of sci-fi stuff like BATTLESTAR, THE X-FILES and then I love something gritty like SONS OF ANARCHY, GAME OF THRONES, fantasy stuff.

MARK GOFFMAN (BULL, LIMITLESS, SLEEPY HOLLOW) – John August is just brilliant and so inventive and a great spirit too. Aaron Sorkin was an early influence and somebody I’ve always looked up to even before I got the opportunity to work with him.

Tom Stoppard also, early on I really tended to gravitate towards both playwrights and people with a knack for dialogue. As a former speechwriter, I just love words and wordplay and people who are inventive with their language.

RAAMLA MOHAMED (SCANDAL, STILL STAR-CROSSED) – Who inspires me are people like Donald Glover, Issa Rae, Lena Dunham. People who have an idea, they act in it, they write, they have a vision. It’s not always perfect, but they go for it and they push the envelope. They have a clear point of view. I find that so cool.

I’m always impressed when I watch something and I’m like how did they come up with that. How did they think of that? I think there is a really cool new wave of people coming in who are in some ways like TV auteurs who are making such great TV.

WENDY CALHOUN (EMPIRE, JUSTIFIED)- Alan Ball, his work on SIX FEET UNDER I thought was fabulous. Elmore Leonard, only because I had to read so much Elmore getting ready for JUSTIFIED, and while I was doing JUSTIFIED, that I just fell in love with him. It wasn’t work at all. It was just fabulous, fun pop writing that the world needs more of.

I love The Autobiography of Malcolm X. I read Roots as well and I really enjoyed Alex Haley. I’m so glad that his works were made for the screen as well, because I wouldn’t have been introduced to them, same as Alice Walker and The Color Purple.

ROB EDWARDS (THE PRINCESS AND THE FROG, A DIFFERENT WORLD) – Mel Brooks, Neil Simon, Larry Gelbart, Woody Allen, they’re all guys who had started as stand-ups and then wrote for some variety, some sitcom, then wrote movies and then wrote and directed movies and I thought it’s just a great way to always be confident in your comedy, your sense of storytelling.


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.

Kelly Jo Brick: The Write Path With SCANDAL’s Raamla Mohamed – Part Two

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.

Writer Raamla Mohamed’s career is a prime example of what can happen when a person puts in the hard work to make the most of every opportunity. After attending grad school at USC, Raamla landed a job as a writers’ PA on GREY’S ANATOMY. She went on to become a researcher on OFF THE MAP and SCANDAL. Selection to the Disney-ABC Writing Program got her a writing position on SCANDAL where she has risen from staff writer to producer. She was also a writer on the upcoming ShondaLand show STILL STAR-CROSSED.

HOW DID YOU FIRST GET REPRESENTATION?

I had written the SHAMELESS spec and I asked one of the writers on GREY’S ANATOMY to read it. I just wanted to get notes, because I knew I’d be submitting it to Disney as my second sample if they needed it. I had heard that if they asked you for it, they wanted it immediately. I learned from my mistake before of not being prepared, so I asked if he’d give me some notes. He did and he really liked the script. He started telling other writers that I wrote a good script, so Jenna wanted to read it. She read it and then she passed it on to her agent who then became my agent. I was already working in ShondaLand. I had good referrals. I had gotten into the Disney Program by the time all that happened, so I think I was in a better place to choose the agency I wanted to go with. I love UTA. I’ve been with them since the beginning.

I don’t have a manager. I don’t have anything against managers in general. I believe you connect with people and my agents are great. I think you should have representation who believes in your writing, whether it’s an agent or manager, someone who is really going to fight for you.

WHAT’S THE BEST ADVICE YOU RECEIVED AS YOU WERE STARTING OUT?

There’s always a writer on set and sometimes you have to cover for other writers. I had to cover and I was very nervous, because it was the director, and directors have different personalities. You have to stand up for yourself. You have to talk to the actors and explain stuff if they don’t understand it.

Someone said to me, “I promise you, you’ll know when it’s wrong.” Like you don’t have to worry about is this okay. You’ll see it. As a writer, as someone who’s been in the room, as someone who knows how it should go, you will know. Obviously you don’t always get it right. There have been times where I have been wrong and I thought something was going to be horrible and it turned out fine or the other way around, but 95% of the time you’re watching it and you’re like, something’s weird. Sometimes you don’t really know exactly how to fix it, sometimes it’s about talking to the director and they can figure out okay, yeah, I think I can see that and get you what you want. But that was very helpful because it kind of is an instinct thing.

WHAT TIPS DO YOU HAVE FOR TAKING MEETINGS?

When I take any meeting, I watch the news that morning so that I know what’s happening that day. I watch MSNBC or GOOD MORNING AMERICA just to get highlights of what’s going on. A lot of times in the ten minutes or five minutes in the small talk portion of the meeting, it really helps out. It helps out either way. If they didn’t see something, and it’s not necessarily getting into politics or whatever, but it could be a YouTube or general thing. Either they don’t know about it or they didn’t see it and you’re informing them or they want your opinion on something. It eases the banter. Also it makes you seem like a well-informed human being.

The other thing is that when you have a meeting with anyone, being normal goes a long way. People like someone who feels comfortable. You can relax. It’s a long day to be in the same room with people. You want people who are fun and interesting. That’s kind of what they’re looking for. They’ve read your sample and you’re sitting down in a meeting, so obviously they like your writing enough to bring you in. So you’re good. You’re fine. They’re basically meeting to see if you are someone they want to be around for 8 hours.

AS A WRITER, WHO INSPIRES YOU?

People like Donald Glover, Issa Rae, Lena Dunham. People who have an idea, they act in it, they write, they have a vision. It’s not always perfect, but they go for it and they push the envelope. They have a clear point of view. I find that so cool.

I’m always impressed when I watch something and I’m like how did they come up with that. How did they think of that? There is a really cool new wave of people coming in who are in some ways like TV auteurs who are making such great TV. People are making these 8 to 10 episode stories about lives and characters that you love.

THE PATH TO BREAKING IN.

I would say there’s not one path, which can be comforting, but also scary. I wouldn’t be afraid to go to grad school, but I wouldn’t be afraid not to go to grad school. I was someone who needed the discipline of grad school to write, so I went to grad school. You should know yourself. What do you need? If you’re someone who can work at a coffee shop and write at night and submit to festivals or you want to do your own web series, that’s a path too.

Are you someone who’s good at desk work, then go work on a desk to prove yourself. Everyone should pick the path that they think is going to get them to where they need to be in the best way possible. I have no interest in acting, but if I did, then I’d write things to act in and put them up on something. There’s a lot of ways to do it, but you have to find your thing.


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.

Kelly Jo Brick: The Write Path With SCANDAL’s Raamla Mohamed – 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.

Hard work and persistence were key for writer Raamla Mohamed as she rose through the ranks from writers’ PA on GREY’S ANATOMY to researcher on OFF THE MAP and SCANDAL. Looking for a deadline to keep her writing on task, Raamla applied to and was accepted into the Disney-ABC Writing Program, which led to her becoming a staff writer on season two of SCANDAL. In addition to writing for SCANDAL, Raamla was a writer on the upcoming ShondaLand show STILL STAR-CROSSED.

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

I worked in Off-Broadway theater in New York. I was an assistant at a theater called 59E59 Theaters. It was a great experience because the theater had just opened and it had three stages, which meant there were a lot of plays coming in and out, so I met a lot of playwrights and actors. I got inspired. I wanted to write, but I didn’t really think that was a real thing a person could do to pay their student loans back.

WHAT WAS YOUR FIRST JOB IN ENTERTAINMENT AND HOW DID YOU GET IT?

I went to grad school at USC for writing. It was a two-year program. I liked it because it was very specific to the industry I wanted to work in. You wrote, Writing the Drama Spec, Writing the Drama Pilot, Writing the Feature. That was a great experience. I learned a lot. The best thing I got out of that was that a classmate of mine worked at PRIVATE PRACTICE and heard about an opening for a PA at GREY’S ANATOMY, which I don’t think I would of heard of otherwise because a lot of times people hire people who know someone who know someone. That got me into ShondaLand, which was awesome.

TELL US ABOUT YOUR EXPERIENCE APPLYING FOR THE DISNEY-ABC WRITING PROGRAM.

On OFF THE MAP I was Jenna Bans’ assistant and she said she would be reading assistants’ materials to staff. I was stressed out about it because I realized I hadn’t written anything in so long. What happened is that she actually hired one of the assistants to be on staff. It was a great wake up call for me, because I had this opportunity that I just blew.

I started writing on the weekends and after work, just anytime I could so I could get some specs. I used the Disney program as a deadline. To be like okay, I don’t know what’s going to happen, but I’ll write these specs and I’ll know that at least I’ll have a chance for that.

I did a MAD MEN spec. I love MAD MEN. I got some MAD MEN scripts. I knew an assistant at one of the agencies who could send them to me. I read those. The other thing I did which I found really helpful, was to go online and look at YouTube clips. There are all these fans who make clips of like Betty and Don’s greatest scenes together. It reminds you of moments and gives you ideas of what to do for your spec.

I wrote a SHAMELESS as my second spec. I think it had only been on for a season, but I really liked that show. I felt that they were very different scripts. MAD MEN is written like Don and Betty enter and then the dialogue. SHAMELESS is more similar to the way we write our show. The action is fun. So I was trying to show a different thing. Then I had a pilot. I think you needed 3 samples. I honestly felt good that I did it, that I didn’t just talk about that I’m going to be a writer then not do anything about it.

WHAT ARE SOME OF THE BIG TAKEAWAYS FROM YOUR EXPERIENCE WITH THE DISNEY-ABC FELLOWSHIP?

We had a guest speaker talk about what it’s like to be a staff writer and how hours could go by and you realize you haven’t said a word and then you’re in your head and you’re like I’m so stupid, they’re just staring at me, looking at me like why are you so dumb, you’re not saying anything. Then you finally say something and no one really responds. Then you think about okay, now I’m never talking. It was nice to hear that’s a common feeling, that you’re not alone and it’s to be expected.

I think she said, “The silence in your head is louder than it actually is.” That was very helpful to know or else I think in the first year I would have either talked way too much or not at all and just felt paralyzed by not wanting to share my ideas.

ADVICE ON FELLOWSHIP ESSAYS.

Get personal. Don’t write something generic. It’s hard to think about what is the most interesting thing about me. I don’t think people just walk around thinking about that. So I asked my roommate at the time. She was like your dad was from Somalia. I was like, oh, right. Then I just started slowly writing down funny stories that I remembered. Based on that, I crafted an essay around how I got into writing. It’s about me, but it’s about my dad, who spoke very broken English, but we shared a love for TV. There’s a thread in there that says something about me and why I’m here. These are things I don’t actually want to talk about, but I had to go to a place that was personal so they get to the heart of who I am.

WHAT WAS YOUR BIGGEST CHALLENGE BREAKING IN AS A WRITER?

It’s easier to become a writer if you’re an assistant somewhere, however there are some places that only see assistants as assistants. Luckily ShondaLand isn’t like that, because there are a lot of assistants who have become writers. It is hard for people to make that transition to see you as a writer. In some ways you just have to prove yourself and show them you’re a worthy person.

I like to study. I’d watch the episodes, the cuts, read the scripts. There’s talent and then there’s hard work. What you lack in immediate talent, you can supplement with hard work until the talent increases. I just worked really hard. Anything they’d want me to do. Anything I could help with in any way. We have these things called addendums that post-production needs to play, like the news clips that air underneath the scenes. No one hears them, but they need something and they need to be filmed, so I’d write those. It’s important and it’s something that no one else wants to do, so I would do that. Also, it was a way for them to see my writing. I always encourage other writers to look for places where you can make your showrunner’s life easier. The easier you can make your showrunner’s life, the more valuable you are.

Coming Soon: Part Two with SCANDAL’s Raamla Mohamed as she shares advice on taking meetings, working with agents and managers and finding your way as a writer.


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.