Carolyn And Kai Omine Talk Writing The Simpsons + Spill Exclusives

Carolyn Omine and Kai Omine hang out with Sandy to discuss their Disney+ episode of The Simpsons called "Yellow Mirror." This mother and son writing team (Carolyn Omine is an Emmy-winning producer who joined the Simpsons’ writing staff in Season ten and became the show's first female Executive Producer when she was credited as an Executive Producer in Season 17) pull back the curtain to share how they ended up writing together, their writing process, and spill the beans to give The Writers’ Hangout two super cool exclusives!

The PAGE International Screenwriting Awards sponsors the WRITERS HANGOUT.
Executive Producer Kristin Overn
Creator/Executive Producer Sandy Adomaitis
Producer Terry Sampson
Music by Ethan Stoller

Episode Transcript

(00:11):
Hello, my name is SandyAdamidis, the social media
director for the PageInternational Screenwriting
Awards and your host for theWriters Hangout, a podcast that
celebrates the many Frominspiration to the first draft,
revising, getting the projectmade, and everything in between.

(00:32):
We'll talk to the best and thebrightest in the entertainment
industry, and create a spacewhere you can hang out, learn
from the pros, and have fun.
Hey guys, it's Sandy.
I'm coming to you from StudioCity, the crown jewel of the San
Fernando Valley.
And boy do we have a great showfor you because Carolyn and Kyle

(00:57):
Minnie are here to talk abouttheir Disney Plus episode of The
Simpsons titled.
Yellow Mirror.
Carolyn is a Emmy winningproducer who joined the Simpsons
writing staff in season 10 andbecame the show's first female
executive producer when she wascredited as an executive

(01:21):
producer in season 17.
Kai is Carolyn's son And atalented artist in his own
right.
Also a singer Kai.
Grew up near the 20th centuryFox lot and had other Simpson
writers as babysitters.

(01:41):
On a side note, you'll hear mecall Carolyn Corky.
We are old friends and quirky isan old nickname and my brain
just won't let me call her byher real name.
Also, there is not one but twoSimpsons exclusives in this

(02:04):
episode.
Are you guys ready?
Let's start the show.
Carolyn Oie and Kini, thank youso much for joining us on the
Writer's Hangout.
Thank you for having us.
Yeah, this is super cool.
we were supposed to recordearlier, but you had a bit of
emergency.
What happened?
Yeah.
Our little dog, Lucy, out ofnowhere started crying.

(02:26):
She's obviously, she's veryvocal.
She always makes these littlemonkey noises when she's
excited.
But she was yelping and thenevery time we touched her,
couldn't really figure out whereit was, so we had to.
Take her to the bat.
she's of the dachshund Corgibody type.
Yeah.
Which apparently very long veryshort.
She's like a big sausage, soshe's thrown to back problems.

(02:48):
And she had a little disc thing.
That's is what they suspect.
And we didn't, yeah.
So we're just, she's just noconfirmation.
She's just on drugs.
But she's a little mix.
she looks like if they took allthe extra parts of many
different dogs and put themlike, here we got extra.
Let's make a dog.
adorable.
she sleeping now, Lucy?
she got a little chew.

(03:09):
Me too.
Hey guys.
Congratulations on your episodeof The Simpsons titled Yellow
Mirror.
It hasn't aired yet.
Can you tell us anything aboutit?
Sure, So last season we'vestarted doing some episodes that

(03:30):
air exclusively on Disney plus.
two to four episodes a season.
Usually things used to air onFox, and then a year later they
would go on Disney Plus.
And there's a few that goexclusively on Disney Plus, and
this is one of them.
It is.
An anthology as we do in theSimpson.
Sometimes we do either fulllength episodes or sometimes

(03:50):
we'll do trilogies Sometimeswe've done Bible stories and
things where we've done three.
But this one because it's onDisney Plus, we have a little
bit more leeway it's never gonnabe broadcast on, regular
broadcast television.
So it doesn't have a lot of therequirements that normal
Simpsons do.
So part of why we used to dotrilogies was because we had

(04:12):
those commercial breaks, thisdoesn't have commercial breaks.
So we decided to do thisanthology, and then we decided
two of our stories were just, wejust.
Like them so much, we decidednot to try and cram in a third.
So it's unusual in that it'sonly two stories.
So it's actually a new length ofstory for us.
Oh, interesting.

(04:32):
Like a mini, like a mama bear ofsizes, is that what we're
calling it now?
That's what we're calling itnow.
But yeah we are only limited interms of cost of animation as
opposed to normally we haveepisodes have to be 20 minutes
and 40 seconds, like to thesecond.

(04:53):
we can let things breathe alittle bit more because we, it
can be pretty much any length wewant because it's only gonna
ever air streaming.
I did a Christmas episode likethis and they were like, you can
luxuriate because you knowyou're not on broadcast.
And I was like, oh, how muchextra, like you're just limited
by the the cost of animation.

(05:13):
So I was like, oh, how much moretime is that?
And they're like, 10 seconds.
I was like, no, it's not thatmany.
Can I answer?
I just have a question.
When you say you are onlylimited by animation what does
that mean?
You're, you are only limited inthe cost of animation.
Yes.
Like the actual cost of, butwhat about the actors?

(05:34):
the actors get paid for doing a.
Recording session.
They'll, it doesn't really, itdoesn't, I don't know if it
matters.
I'm trying to, I don't reallydon't know if they get paid for
longer recording sessions, but,Oh, okay.
Oh no, that makes sense.
I it is the length That's true.
It's so yeah, the actual, themost expensive part is the

(05:55):
animation and it is like super,lots of money per second yeah.
Oh, I see.
And I take it from the title, itis a takeoff on Black Mirror.
Yeah.
like Black Mirror or more of aTwilight Zone kind of thing.
'cause Black Mirror tends tofocus more on like technology or
something going crazy, butTwilight Zone, Our, ours is more

(06:18):
like.
Weird and it's got some somelike horror elements in a way.
Yeah.
It's not quite a horror likethat Yeah.
Which is why we, it wasn't quitetreehouse of horror type of, it
was not like one of our Yeah.
But it, it's a little trippy.
It in the way that Black Mirroris similar to Twilight Zone.
We're like that.
Like Black Mirror tends to bespecifically about technology.

(06:41):
Ours has a little bit of that,but it not, but not, not the
whole thing.
Not the whole thing.
Yeah.
I'm intrigued.
Do you know, we can tell you,wait we are deciding that we are
going to exclusively let youknow uh, two, we, we have two
really cool guest stars.
Guest.
Yeah.
One is Patty Harrison, who ifpeople watch I think you should
leave the brilliant sketch show.

(07:01):
I think you should leave.
Oh, she was also in a togetherwith Ed Hels.
It was a movie from a bit ago.
She's a brilliant uh, and so shedoes a real star turn, super
funny.
And then we also have a reallyexciting cameo by Demi Moore and
super duper Cool.
the fact that both of them arebeautiful, dark haired women
with bang.

(07:22):
Is just a coincidence.
That is not anything to do withthe episode, but just, other
than being an interesting thing,it's a little bit to do with
guys, thank you so much.
This is my first exclusive.
Yeah we wanted to the writershang out exclusive.
I'm so excited.
Do you have an air date yet?
No, we don't.

(07:43):
Not, no, not yet.
we're just about to get thecolor back.
We had a, the schedule got alittle messed up because.
Of the fires and gotten back onschedule for after the strike.
And then, the fires weredevastating.
We had a couple people on ourshow who lost their homes.

(08:03):
And yeah, it, I mean it wasjust, anyway, so that, that kind
of threw us for a loop.
I'm very sorry for yourcoworkers who lost their homes.
Yeah.
It was such a tough period oftime.
Kai, I don't think you knowthis, but the other big headline
during the fires was quirky andI didn't make our dinner because
of the fires.
I think I saw that on BS That'stragic.

(08:26):
I'm so sorry.
Thank you.
And we're so la we didn't evencall each other.
We just knew, Kai.
I'm sure you've attended manySimpson table reads.
Yes.
What was it like sitting in aroom and hearing your work
performed by those talentedactors, which we can now include

(08:48):
Harrison and more writers andproducers.
But before you answer, can youexplain to the writers up there
who might not know what a tableread is?
Sure.
So a table read once the scriptis mostly finalized Then we have
the writers and producers andthe actors come together.

(09:09):
For about an hour to actuallyread through the script.
That's why it's called a tableread.
And there is a table.
Yeah.
Oh, there's a table too.
Like Sit around a table.
There's a whole long processdeciding the right table.
And we got well yeah, we got agood one.
There is one caveat that we hadbecause of the fires, we had
gone after the pandemic we wroteremote for almost two years.

(09:33):
And then we actually had ourtable reads were over zoom for
almost three years.
But we had started to go backalmost most of our table because
it really makes a bigdifference.
To do them live because on Zoomthings are a little the timing
is off'cause people have lag.
And but we did have to go backto our specific table read was

(09:55):
this particular table read wasZoom online on Zoom because of
the fires.
So many people would end up justnot being able to come to the
physical table read.
So we were just like, oh, okay,we'll just have it online.
Which, still made it prettycool.
Yeah, it was still so cool.
To hear all the actors readingout our script like Dan

(10:17):
Castaneta, who does Homer and somany other voices I've met him
so many other times in my lifeand known him as a person.
But then hearing him do Homerheard something for a joke that
I wrote was so cool and sosurreal.
And he would just bringsomething new to it that I
didn't expect to bring to it.
And that's true for everyone.

(10:39):
Everyone too.
All of the actors were so good.
And it was so much fun, evenwhen there were like little zoom
hiccups, like someone not comingin time or something, or
lagging, some weirdtechnological issue.
But yeah, that's, that was sucha fun experience.
for us the number one goal ofthe table read besides, hearing
it out loud for the first time.

(11:00):
But our biggest.
Priority at the Simpsons isthat's really the first time
that Matt Graining and JimBrooks hear it.
And so that's where, they oftenthey know of stories or, but
that's really the first timethey hear it.
And that's when they give theirnotes and so we're always a
little worried I hope Jim likesit.
Nope.
He doesn't wanna change a bunchof stuff and he it went well.

(11:22):
So that was, even though, yeah,it was on Zoom and there was all
these hiccups it still theydidn't like the script.
So that was, by our standardswas a success.
That is great.
how did you guys divide up theworkload?
who came up with the premisewhen writing the script?
Did you sit down together?
Did you write separate?

(11:44):
How did it all come about?
she did all of it, and then Ijust put my name Yeah.
Next to her.
Yeah.
He typed his name in.
No.
That was tiring.
Oh my God, I remember that.
No, we so here's the thing islike we i'll, where we just even
decided to write together.
I always knew I wanted to writewith him.
But we, I had done two scriptsthat were three my last few

(12:07):
scripts.
Like when we did, I did theTreehouse of Horror 33.
And when we were getting readyfor the table read of that, it
was when Kai, we were behind andI had, Kai had to go on his we
went on his trip to look atcolleges.
And so I was basically like,I'll just, rather than using the

(12:30):
room, it was like I was justgonna be riding it on the plane
and in hotel rooms and stuff.
And so I would run things by Kaithen.
And so he helped a lot on that.
And then I did another episodeon Mid Childhood Night's Dream,
which was the same thing.

(12:50):
That was when he was actuallygoing to college and I was very
upset and crying because he wasleaving and, so I was writing
that and he was helpful then.
And then this last thing I did,which was the, a double
Christmas episode that wascoming back off of the uh,
strikes and then we decided todo this double episode.

(13:15):
So that was already a lot ofwork.
But then it was like when wedecided to make it a Christmas
episode and Disney was like,great, we'll need it in October.
And we're like, what?
Because they normally thingsdon't go on Disney plus until a
year later.
But since this was the firsttime we were doing an exclusive
that was on Disney plus, wedidn't realize things have to be

(13:35):
turned in two months earlier, sothey translate everything.
So it was like, already it wassuch a tight deadline that for
the color.
I didn't have a room for thateither.
It was like, I would, we werewe'd get the color back on a, I
remember it was like Wednesdayat 10 30 at night, and they were
like by two 30 the nextafternoon.

(13:57):
Where normally we would have aroom dual, whole rewrite, color
rewrite.
And then, then we, like the nextweek we would figure out the
edits and all this.
It was like by two 30 the nextday I needed to come up with all
of the edits and anything thatwe were gonna rewrite would have
to be done with either a DR,automated dialogue replacement

(14:19):
or editing.
There was very little retakes wecould do.
And so that was corky.
That's, that is insane schedule.
Yeah, absolutely insane.
And because it was a doubleepisode, it was like we did one
week like that where it waslike, I remember it was like a
Wednesday, 10 30.
It's gonna be final lock, edittwo 30 on Thursday, and then

(14:44):
meeting with the composers forthe music and the, and then
mixing it like on.
And then the next week it,'causeit was a double episode.
That was the first half.
And then the next week it wasWednesday, like we did the
second half and then put it alltogether.
So it was really crazy.
And there just wasn't, wecouldn't really have a room

(15:05):
because, it was like, I wouldget it 10 30 at night.
So again, Kai helped me on that.
So that's basically.
Where I felt like he deserves tohave an episode.
He's helped me so much on this.
100%.
And for the writers out therewho might not understand when
Corky says room, what she meansis all the writers will go into

(15:28):
one room and sit with the scriptand work on it, pump up the
jokes.
Is that what the kids say?
Pump up the jokes.
Also just to double back, Ithink it's really interesting
that you brought up that whileyou were on the college tour,
you were writing the script forthe film people out there and
the people who are trying to getinto tv, if you are precious

(15:53):
with your writing time and youneed a good night's rest and it
to be very quiet and to havecoffee, that's doesn't always
happen.
You're riding on trains, planes,and automobiles.
Yeah, I remember I was much morein my younger days, there were

(16:14):
things where I felt like I was,things I needed to do to be more
writerly.
there was a point.
Early on, I'm ashamed to admitthat I used to be a smoker.
when I quit I was oh, how will Iwrite without looking like a
writer?
But that turned out to notreally matter.
And then when I had Kai all of asudden those things that I used

(16:34):
to think I needed, one of thethings I think I used to need
was to put things off till thevery last minute and then have
lots of over, like all-nighters.
That was like I can't do thatanymore.
I have to just believe that Ihave access to my writing, at
all times.
And it does work out.
It, I feel like it, I've gotbetter as a writer, just getting
rid of all those things.

(16:54):
Yeah.
But anyway, so the thing isyellow Mirror we decided, okay,
I'm gonna write an episode,we're gonna partner on an
episode, Uhhuh.
we made it a, an appointment.
No we live in the same house.
We made an appointment of like,when we were gonna meet and we
were both gonna have ideas andcome together with these ideas.

(17:15):
And we came up with a whole listof ideas to run past Matt
Sellman, our show runner.
But the two that we reallyliked.
Yeah.
And even some of the other onesall had the vibe of more of a
segment than a full episode.
Yeah.
There were a few, yeah.
Felt more.
Yeah.
You know what?
Let's do this like a tree houseor two.

(17:37):
We knew there was that, wedefinitely knew that this was
the two things that we liked,and then we actually, first we
were trying to do a trilogy, sowe were trying to come up with,
but we, when we had come up withsome other ideas, that would be
whole episodes, but it was verymuch, I think every one of our
ideas were like, you had anidea.
And then I was like, oh, that'scool.
We could do this.

(17:58):
And then I then you were like,it was very much an improv
between the two of us.
I would definitely say these,this wasn't an idea I would've
come up with by myself.
And it really was an idea thatwe, it was the mix of the two of
us.
And, the first two stories thatwe really liked, but it was

(18:19):
like, I'm not sure what to dowith this.
'cause it's not quite a treehouse, but it's very tree house
like.
I don't know.
Would you explain the treehouse?
So we have, every year we havethe the tree house of Horror,
which is a Halloween.
Yeah, our Halloween special,it's three segments.
Sometimes there's even more,'cause there's usually sometimes
a little bumper at thebeginning, and sometimes there's

(18:42):
a little thing at the end, orsometimes it ends up being like
five things or whatever.
But but for the most part it'sthree separate stories and it
has its own certain vibe.
so I was thinking, I'm not surewhat we were gonna do with this,
but when we.
Pitched our stories to MattSellman.
He also was like, those two arethe ones that were most

(19:02):
interesting to him.
So we first were like, okay,we'll do those two and then
we'll just pitch.
We kept pitching the thirdsegment and, but then we kept
saying things that we wanted tohave happen in the first two,
and then I texted Matt, like,can we talk for a second?
And I said, Hey, what about ifwe did two segments?
And he was like, I was justthinking you were gonna say

(19:24):
that.
And, yeah.
It just, it's such a strangething, but that is, it is a very
unusual thing for us to do.
And it was like, yeah, why notdo that?
Why not have this?
We don't have to have threebecause it's not a a broadcast
thing.
And yeah, this way we can letthe stories that we really think
are really interesting'causethey really are different and I
don't, yeah, we're excited aboutit.

(19:44):
Now I don't wanna bring upanything sad, and this is
actually gonna connect to youworking with Kai.
You co-wrote a lot of SimpsonScripts with Billy Wright.
And we lost him last February.
Can you just talk a little bitabout Billy?
I think the writers out therewould like to hear about him,

(20:07):
but this is how my mind worksnow.
You wrote so much with Billy andnow you're writing with Kai on
this script.
Did anything come up for you?
Did you did you think butthat's, did you get frustrated
or were you just so happybecause it was smooth, like your
relationship with Billy, or youmight've put a little pressure

(20:29):
on Kai because of what Billybrought to the table, or did
none of that happen?
Okay first of all, it wasactually December, oh, I'm so
sorry.
No.
I think you might'cause theMemorial was in February, but it
was, yeah, so that's, yeah.
December 18th.
18th, yes.
And by the way Billy and Kaiwere very close.

(20:50):
They have a very specialrelationship.
And I actually, one of my mostprized things is when Billy
would sometimes babysit Kai,they would improvise like these
really hilarious little.
Things, and I would get theselittle sketches being sent to me
over the phone.
It was like the greatestbabysitter ever.

(21:10):
But it was very different.
I don't really think things cameup because what writing with
Kaia I'll say like with Billyand I wrote so much when we were
in the Groundlings together andwe just had always done a lot of
improv together.
So we were very free and easyand we always laughed.
And then when I first came tohim saying, Hey, do you know, I

(21:33):
wanted to give him thisopportunity?
'cause I want, I just, there'sso many talented people who
don't get.
A break.
And I felt like he wasdefinitely a writer who was so
talented and really deserved achance.
And so I was like, would youlike to write an episode with
me?
And I will say, it was so funnybecause at first he was so
nervous and he was like pitchingthese weird jokes that it was so

(21:57):
strange because we had writtentogether so many times.
And then I just remember at onepoint I was saying, okay, We
need a line here.
And he was like, how about this?
How about this?
and I was like do you thinkthat's funny?
And he's no.
And I'm like just relax.
Then one day he, at his gym.
He got into a fight withsomebody over, this guy put a
towel like they were in thesteam room and he put a towel

(22:18):
over the thing and he, there wasa sign saying not to do it, and
he moved the towel and the guypunched him in the face and he
had stitches.
It was awful.
and we had set up a time to workand he was like, I was like,
don't worry.
Don't you don't have to come intomorrow.
I was like, no, I'm coming in.
And I was like you don't haveto.
And he is no I'll come in.
And he is I might not be funny,but I'm gonna come in.
And I was okay.
And so he showed up in pain andhe was so hilarious.

(22:43):
And I think just because he hadbeen given permission to not
have to be great It took all thepressure off and then all of a
sudden we were back to okay,this is, remember, this is what
we do.
We could write together.
I love that.
And that's such a great storyfor our writers to hear out
there that, are nervous to puttheir talent out there in front
of people.
I also remember a story you toldme with Billy when you first

(23:07):
started writing together, likeone of the first things you
wrote together in theGroundlings, you were working on
like a sketch or something.
And so you were typing and hewas telling jokes and you're
just going, Uhhuh, uhhuh.
And then at a certain point hejust went, I feel like you're
not listening to me.
I feel like you're not writingany of my suggestions.
Then you said no, I am.

(23:27):
And you just showed that youweren't like actually saying oh,
that's good.
Every single one.
But you were still writing themall down, writing the good ones
down and like it's good tocommunicate that, yeah, that was
I remember this, the story, thiswas like why I was telling you
the story.
It was like, it was how I knewthat Billy and I were gonna be

(23:47):
good friends.
'cause at in the Groundlings itwas like, we're in the Sunday
show and you get paired up, youpair up with people and we were
writing and he made a joke and Iwas like I don't know about
that.
He just very quickly said, Ifeel like you're not taking any
of my ideas.
And I was like no.
Look look back at the scriptthat this is your idea.
This is your idea, this is youridea.

(24:08):
You're just feeling it more whenI don't take it.
But, I definitely we've beenlaughing and all this stuff that
you've said has gotten in andand he was like, okay, you're
right.
And that's very much Billy, havehis heart on his sleeve.
he would be really happy andthen all of a sudden he'd be
like, I feel like you're beingmean to me, or whatever.
He would just say it, which wasso great.

(24:30):
It's a trait I wish I had moreof, yes.
Where you always know where youstand with someone.
Yeah.
Because then it was like, okay.
And then we realized, okay no,that's not true.
You are getting oh yeah, you'reright.
Okay.
And then we carried on and I waslike, I'm gonna be really good
friends with this guy for a longtime.
I could just tell but with Kai,I will say I'm a little bit less

(24:50):
like that.
No, Kai, it was a very differentwriting experience and it was
very smooth.
Now with Billy, when we wrote onthe Groundlings, here's the
thing I will say for, if you'rewriting with a partner, it's
hard to be completelydemocratic.
when we write on the Simpsonsit's not a democratic process.

(25:13):
you have to have one personwho's in charge.
And with Billy and I, when wewrote our own stuff, it would be
whoever was like, if it was youridea for the sketch you are the
one who has the vision and theother person is the suggester
and can suggest even deep thingslike, is that what this sketch

(25:36):
is about?
you need to have one person whois The decider and so then when
we did The Simpsons, I've beenon the show for 25 years, so I
do know the show a little bitmore.
And Uhhuh it is a very freeingkind of thing to be in both.
'cause if you're the,'causeoften when I'm at work, I am not

(25:57):
the decider when I'm not runningmy own episodes or running when
I'm a co runner, but then you'rejust like, okay, how about this?
How about that?
And it's more it's fun.
But So you were asking about ourprocess of writing.
We basically just wrote, we weretalking at first of we were
gonna split up and you write onescene and I write, but we ended

(26:19):
up instead just writing morelike how we do Write Simpsons,
where we had an outline and wehad gotten notes from the room
and then we went off and we justwrote it and we just sat
together writing it.
I really enjoyed, it was a verysmooth, I think Kai is very he's

(26:41):
respectful because I'm his mombut he is also not afraid to go.
I, are you sure?
I don't think that should hewill voice his opinions very
strongly.
And he knows me well enough.
Like I, I sometimes when I'mrunning the room at the
Simpsons.
I will, sometimes I know thisabout myself.
They, sometimes somebody willsay they'll voice a concern and

(27:04):
I'll go I don't, I don't, Idon't see that.
And then we'll continue.
And then that night at dinner,I'll go, oh, wait, I get what
she's saying.
Yeah.
Yeah.
And then I'll go, okay.
Yeah.
I think you were saying, Iunderstand what you're saying
now, and because sometimes youjust can't see it right away.
Exactly.
Kai Yes.

(27:24):
You've grown up watching yourmom doing all this and how do I
say this?
What did you learn?
What did you think you knewabout writing before you
actually became a writer?
Most of my memories of.
Seeing my mom write it madewriting seem very stressful.
Which it is to a degree, butit's not as stressful as I

(27:48):
thought.
It's still hard, and I,something I guess I wish I knew
before starting to write a bitmore is it's, or at least when I
did the Simpsons episode, it wasalso a lot of producing.
for TV writers a lot of peopledon't realize that you have to
be an editor.
You have to know music.
You do a lot.

(28:09):
Yeah.
Yeah.
He definitely has gotten to, tosee a lot of that.
And that was, I learned, wasthat I learned a lot of how the
sausage was made.
It was disgusting.
this episode There's a lot ofmusic.
There's a lot of music.
And it's all so cool because weworked with bleeding Fingers,
Kara t Kara Tavi, and she's sogood.

(28:30):
showing my age.
Who's Bleeding Fingers?
Bleeding Fingers is it's notyour age they are no, it's a
really uh, new age band.
Everyone's listening to it.
They are part of the Hans Zimmerumbrella.
So maybe a way of saying it is avendor of the Simpsons, the
music vendor you guys go to, tocreate your music?

(28:51):
They are, yeah.
They are the brilliant yeah.
Okay.
And I apologize to BleedingFingers for calling them a
vendor.
They're not, but that's just theway I think that our audience
can grasp it.
They and we had been doing a lotwith Bleeding Fingers over Zoom
just because it's easier, butbecause there were so many songs
we did go in to, to see.

(29:13):
And also I just wanted him tojust see this.
So it was really fun.
it just, it's.
Phenomenal.
And Jake Schafer and RussellEmmanuel, they're all there.
Who's the producer?
It was really amazing.
how did you enjoy that part ofit?
Yeah.
The songs was so cool.
'Cause I know I love music andmy mom handled most of the

(29:35):
songwriting, though I will saymost of the lyrics because she,
I, she write like writinglyrics.
Yeah.
She's very good at that.
do you play any instruments?
Do you write lyrics?
Yeah, I used to play a lot moreinstruments.
I did bass and guitar but now Ijust sing yeah I'm a singer.
I don't do a lot of songwriting,but I do some sometimes if I'm

(29:59):
Oh, cool.
if you play in town at all thatI will come see you.
Yeah.
And we had seen I, so I will saywe, we had, I I both just came
back from Edinburgh and my nieceSamantha, we went to the Fringe
Festival this year.
But I had gone the year beforelast year by myself and I saw

(30:20):
Patty Harrison.
I was already a huge fan from Ithink you should leave.
And so her fringe show last.
Ear had some singing in it.
And I'd also seen some reallyfunny sketches of her online
where she sang.
And so I was like, she can sing,and she could carry a tune and

(30:41):
she's, and she gets the jokes.
So as, Kara is this amazingsinger, so when she composes a
song, she has this great voice.
In fact when we did last, whenwe did that Christmas episode,
there was a song that PattyLaBelle was sang on it.
And we had given Patty LaBellethis, demo track with Kara's

(31:03):
voice on it.
And Patti LaBelle was like, oh,who's that singing on?
And Kara was like, oh my God.
To have Patti LaBelle say, wow,girl, you can sing.
Very impressive.
But so that's another littleexclusive, is that Patti
Harrison will be singing somesongs.
Yeah.
So we, so we had these greatsongs.
We were so into them.
Once Kara gave'em to us, we werelistening to them over'cause

(31:25):
they were just sounded so great.
It is great with Kara.
And then Patty came in and shehad said she'd been taking
singing lessons and it, becauseof this part, she has to sing at
one point, like Grace Slick.
And then another point she hasto sing very sort of falsetto.
And then she does like a BritneySpears thing.
She has a Britney Spears and, itwas just it really, she super

(31:48):
blew us away.
Complicated with the, so nowthen we were, when we heard
Patty's version, it was sogreat.
so good.
Yeah, how wonderful.
I cannot wait to see thisepisode.
It sounds so intriguing to me.
You're in for a treat with themusic.
please keep me posted.
So I'll let our audience knowwhen it does air.
Yes.
Now, Corky, you wrote now it wasjust the final season of Full

(32:10):
House.
Were you on the final season ormore?
I was actually.
You wrote the last episode.
I just remembered that.
Now.
That is so cool.
Now you were on the last finalseason of Full House and then
you went to The Simpsons,correct?
Is that how it there was acouple of shows in between.
No matter what.

(32:32):
Jumping from something like FullHouse Respectable Bravo would've
killed to be on, but to jump tothe iconic Simpsons.
That is amazing.
How did you do that?
Could you just tell a little bitabout your life, about that time
for the writers out there?

(32:53):
Yeah, so Full House was one ofmy first shows that I was on.
I'd been on a couple, I'd beenon a show with my Matthew Perry
just before that.
That only lasted for I thinkmaybe 13 episodes.
And called Humphrey.
just before friends.
What was Humphrey about?
I don't remember.
Humphrey was about, it wassupposed to be about a woman who

(33:13):
gets a divorce and moves back inwith her mother and her
wisecracking.
21-year-old brother who wasplayed by Matthew Perry, who
also Matthew Perry's characterworked at a, some kind of small
local paper with Dan Schneider.

(33:34):
At the time who was an actor?
Wait.
Dan Schneider as in Nickelodeon.
Dan.
S Yeah.
Nickelodeon.
Dan Schneider.
Yes.
Whoa.
Okay.
Just side note this is calledpineapple.
I learned this from RoseCatherine Pinkney, when you just
just changed subjects.
Pineapple.
Dan Schneider for the writersout there to know, look up a

(33:55):
little, what is it?
Documentary.
What was that documentarycalled?
It was a Behind Closed Doors orback it's called, but yeah, he's
an interesting guy.
I'm sorry.
I could just go for an hour onthis, so let's not do that.
Okay.
Go ahead.
Back to you, Yes.
That was my first show before,even before that one was a show

(34:16):
called birds of a Feather, Wasthat Nancy Steen?
That was Nancy Steen who ran it?
And it was Rosie O'Donnell andMelissa Gilbert.
This is so fun.
Hold the phone.
How was Rosie?
Rosie at the time, she wasunhappy because she had signed
up to do this show and thenstuff got delayed and then she

(34:38):
had done a league of their own.
And so I think she was like, I'mbeyond this.
But she was contractually had tobe on our show.
And so she's very she's got abig personality.
She's very funny.
This is especially like younghungry Rosie, although, but she

(35:00):
was a little grouchy because shedidn't want to be on this show.
She was always nice to me.
But there would be like reportsfrom, okay, she's made somebody
else cry and, she was just not,she was unhappy.
I'm just testing my memory.
Was somebody in prison in that'swhat it was about.
It was called it was based.

(35:21):
Off of oh.
No, wait.
I might have called it Birds ofa Feather.
our show was actually calledStand By Your Man, and it was
based on a show called Birds ofa Feather, which was a big
British hit.
And it was actually Alan McKean,who was Tracy Oman's husband,
was our executive producer ofthe two.
Oh, that's cool.

(35:42):
Yes.
Yeah.
So yeah, Tracy was all oftenthere with her daughter Mable
and her cute little dogs.
But yeah, so it was about twosisters whose their husbands.
I forget what they do.
They do something where they endup in jail.
It was some blue collar crimewhere they tried to sell stolen
goods or some, I can't rememberexactly their crime, but the

(36:04):
story is basically about the onesister is like,'cause the one
husband is the patio furniture,king of Paramus, that would be
the Melissa Gilbert character.
And then the other was RosieO'Donnell, who was a little bit
more rough and tumble But, so itwas basically that those, the
two husbands in prison and thenthe two sisters have to move in

(36:25):
together.
So those were your kind of firstshows where you're getting your
feet wet.
Your what?
You're a baby writer at thispoint, yeah.
You're a baby writer.
Yeah.
And then, yeah, and then HomeFree was the next one.
And then after that I got onfull House and I was very
excited because Home Free andstandby, your Man were both I
think they were like 20 weeks ofwork and then, and back then

(36:49):
you'd work for 20 weeks and thenyou couldn't work at all until
the next staffing season.
Now it's a little bit less, Ithink people produce all year
round, but like back then it waslike, there was only, there were
like five weeks after theschedule was announced where
you'd have to get a job and wecalled it, I don't even know if
we have staffing season anymore,but that's what they used to

(37:10):
call it.
After the upfronts there wouldbe staffing season and if you
didn't get a job, you would notwork until the next staffing
season.
So then to be on full house,which I was never a big fan of
that show, but that show wasguaranteed for two seasons.
And I was like, oh my God.
To have 22 episodes and then I'dget to go on a vacation for my

(37:33):
hiatus and then come back.
And knowing I had a job was anincredible luxury I was like,
yeah, let's do it.
And then, I thoroughly enjoyedmy time there.
It wasn't creatively,challenging.
the actors.
Were all really nice.
I will say that I Stamos is verynice and Bob Sge is funny and

(37:54):
Dave Coulier is very sweet.
And I, I loved Lori Locklin and.
I, it was so funny because beingin other writing rooms, we would
make fun of the idea of theOlson twins then.
But then when you're actually ona show with these two little
8-year-old girls, it's yeah,they're just so sweet.
And they're, they tried so hardand they were so well behaved.

(38:18):
And I think I remember yousaying something to me once, or
I was in a conversation whereit's I forget how you said this.
Something like if you wanna comesay something about those two
girls Just, stop.
It became like, yeah.
I couldn't.
Just TV writers are justcomedians in general, we, we're

(38:38):
a sassy bunch.
And nothing is sacred.
And so people I probably didtoo, but now you're talking
about these 8-year-old girlsthat I like and I care about,
and I would worry about them,'cause we would get weird fan
letters and sometimes you'd seepeople you'd see people react to
them and be like, can I give youa hug?

(38:59):
And they'd be like, no, watchthat guy.
It was really it's weird becausethey're children and that, that
was, that came up a lot ingeneral in full house.
it was weird watching.
We'd have to audition a lot ofkids too.
And that was a strange, that wasstrange for me too.

(39:19):
I just remember thinking like,ugh, I don't know if I had a kid
and I did have one.
But I remember thinking, if youwant, if they really showed
interest in acting, maybe have'em do theater or something and
then maybe later let them gointo it.

(39:40):
I once saw up in Calgary on set.
The mom had a towel and thetoddler would scream into the
towel.
I guess when he had too muchenergy or something, and it was
like, I'm, I didn't like it.
And I still think about it.
And the minute you startedtalking about stuff, it came

(40:00):
rushing back to me.
people were pretty protectiveof, Mary Kate and Ashley and and
all of them Jody and Candace,they were protective and Andrea,
Kimmy I don't think there wasany abuse in that way, but I do
think they were overworked.
Mary Kate and Ashley, we wereoverworked.
I felt, you working on a TVshow, that's hard work.

(40:23):
And then we'd come back from ahiatus and I'd, say, what'd you
do?
And they'd be like, did a TVmovie?
And they were in demand.
And I felt like a lot of thepeople who were supposed to be
taking care of them it, itstarts to be like very, they
stand to make money too.

(40:43):
And so it just gets, it just gotreally, I anyway, but I felt
like they were a little bitoverworked and Right.
That I don't think there was anythere's, there could be a lot
worse things but the thing was,I, the how little kids do
auditions, it's, it just feels.
It just feels not good for theirpsyche to have to get up and be

(41:07):
judged and not get hurt and allthose, wait, didn't you once
write a sketch, about a momcritiquing her daughter's art
project.
Didn't you do something likethat?
I did.
I wrote a sketch about momcritiquing her kids, like jokes

(41:28):
No, that wasn't a sketch.
That was just a, that was abiography.
it's his only way he wouldlearn.
Okay.
So you're writing and you've gota really wonderful career going,
but again, it's not Simpson'slevel.
How did you get into thesymptoms?
But I do remember there was likethis one show that I had I had,

(41:49):
after Full house, I Mark Warrenand Dennis Rinzler, who ran full
house.
They were like, they wanted torun another show, and they liked
my work and I was still verynew.
And so they asked me if I wantedto like, work on their pilot.
And so it was just me, thosetwo, and me, and they were

(42:11):
paying me under the table.
And of course at that time I waslike, yeah, oh, I'm just, I'm
totally I hope I don't getanybody in trouble with that.
But they weren't paying me verymuch.
But I, but I was basically, Iwent to the casting and I, it
was just us three rewriting andlike at one point, one of'em
went on vacation and I keptworking.
This was on a hiatus, and thenthe other one went on a vacation

(42:32):
and I kept working with theother one and I was like.
I know they aren't making whatI'm making.
They were show writers and but Iwas like, this is a really great
experience.
And that was, we did, we werewriting this show, the
Parenthood, which was RobertTownsend, and it was a

(42:53):
predominantly black show.
That was really great.
'cause then we, and we had awriter's room that was
predominantly black writers.
that was a really greatexperience because it was just,
it was interesting to I feltlike the black community is so
supportive.
So many people would come out toand I think also because Robert

(43:13):
Townsend was such a lightningrod for all these talented
people, but, yeah.
So we did that and then Mark andDennis wanted to do this other
show called Nick Freno, licensedteacher, and I helped them with
that.
And they were always like, ifpeople wanted to leave, they
could leave.
But when I came to them andsaid, okay, I've got this

(43:33):
opportunity to work on anothershow I'd like to leave after
this year.
They were like, and it wasactually a show by David Stern,
who was a Simpson's writer.
He had a show called ManhattanMan, which is about I dunno,
superhero.
It was really great pilot, Iremember.
And they were like, oh no, youcan't go Warner Brothers won't

(43:56):
let you go.
And it was like, I was, I don'tknow.
I was really upset because Ifelt like I didn't believe them,
that it was Warner Brothers.
I think they didn't wanna let mego, and they just knew I was too
much of a wimp to.
To make a stink.
So I stayed and then that yearmy mother was dying.
And so I was on this show and Iwas going home and it was really

(44:17):
awful.
And I told myself the next yearif I'm not on a good show that I
love, that I really love, I'mnot gonna take the thing.
and Brian Scully was on NickFreno with me, and he went on to
go work with his brother, MikeScully, who was running The
Simpsons.
And and he, I, and part of it, Idon't know if he knew that I was

(44:40):
like, stuck on the show.
I didn't want to be on and thatI, and then they kept it was
like Nick Reno at the time waslike last place, but then they
still somehow got renewed.
I was like, Ugh.
And I and then.
Brian came to me and told me, hesaid, my brother's running the
Simpsons, and he was very niceto me.
And he said I know that I don'twanna bug my brother and, but I

(45:04):
know that he will take at leastone person that I recommend.
And so I've thought long andhard about this and I recommend
you.
And so I was blown away.
And I met with Mike and I reallyliked him, and we hit it off and
he liked my scripts and he madeit sound like, yeah I think this

(45:27):
is gonna work.
And then that was when the wholePhil Hartman thing happened.
so I had this interview and thenTwo months went by.
And normally if you don't hearin two months, But they were
like, no we've had a, terriblething happened their brains must
have been scrambled.
And for the for the listeners,Phil Hartman, the wonderful Phil

(45:47):
Hartman actor Saturday NightLive News Radio.
News Radio Groundlings wasmurdered by his wife in their
home while their children werethere.
So that was a pretty bigshakeup.
Did you get a phone call?
Did you get an email?
What did you get letting youknow that you were staffed?
staffing season was over and allthe shows were staffed, so I was

(46:11):
like, oh, I guess I'm just gonnanot work And I'm trying to
remember.
It was getting close to June anduh, then my agent said no they
said yes.
And that was it.
I think I remember you saying itcould have been a couple years
in, or it could have been threedays in, I'm not sure.
But I remember you saying I'mhappy I don't have to have

(46:31):
another job for the rest of mylife.
You were so happy over there.
I was I remember being very andI still am, but at the time I
remember wanting to be veryconscious of the fact that this
might be my good old days.
Oh, that just, this is what Iwanted to like, not have to look

(46:52):
back and go you know what?
That was the best time I wantedto like, think this is it
happening right now.
Did your mom get to see you beon staff at The Simpsons?
I no,'cause she died in thatother show.
I remember she passed away andthen I was like, okay, I just
gotta, we're the last placeshow.
she died in October, and I'mlike, I just have a few more

(47:15):
weeks left and then we'll bedone.
And then they're like, guesswhat?
We gotta back nine.
was like, celebrating and I waslike, excuse me.
And I go into my office andcrying, like why would they
renew this show?
I like to think that your momwas the connection for you to
get the dream job.
I think she probably wasmanipulating some things up

(47:37):
there but mostly I don't wannadiscount the actions of Brian
Scully.
Thank you, Brian.
Kai, when did you realize yourmom was such a big deal?
I think I realized from a fairlyearly age.
'cause whenever I would go withher to I don't know, like some

(48:00):
event or something and ComicConor anything like that.
Something, yeah.
But Comic Con's a good example.
But uh, where we would meet alot of people.
And then, the conversation wouldbe like, oh, what do you do?
And she's oh, I write for TheSimpsons.
And everyone would go, oh, wow.
Even if they were just feigninginterest, they at least knew
that was something super coolto, to go oh wow.

(48:23):
About.
And I think I I picked up onthat.
But yeah, seeing her onComic-Con panels I was, I loved
Comic Con.
I still love Comic-Con.
But yeah, we're big Comic-Confans.
Yeah.
A thing I really liked seeingher be such a big deal there.
Everyone was like, oh, hey, Iwant to hear what she has to

(48:43):
say.
I want to ask her somequestions.
And I realized, yeah, she's abig deal.
Wow.
I'm on a panel with big, bigdeal.
Yeah.
People who are big deal.
You're a really good mooch.
Yeah.
Yeah.
They're like, wow, Matt Graneyis a big deal.
And she's sitting next to himKind of the flip side of that

(49:04):
when did you notice that Kaiwould had a talent for writing
and now that you say about thoselittle improvs, I see where it
was probably forming for you,but was it even earlier?
I will say, because Kai wouldfight wanting to be a writer.
But even like when he was reallyyoung, like three he had to go
to speech therapy because atthree they want little kids to

(49:30):
be understood by strangers.
Like 75% of what a kid saysshould be understood by
strangers.
But the pediatrician was like, Idon't really understand him.
So he had to go to speechtherapy.
So at one point she showed him athing and she goes, see, like
what he saying here it, it'sbecause she said it's like a
bulldozer.
And he was saying no frontloader, but he was saying it

(49:50):
like trunk loader.
Like he had he kind hard timesaying he is Fs.
Oh, okay.
And so I think he was justlearning words out of order,
because usually at three yearsold kids, early on they say very
one, they say one syllable wordsand they're not really saying
big full sentences.
And he was saying three or foursyllable words.

(50:13):
Usually they would go for thesimple things and get their
mouth muscles more into it, andthen they would start forming
sentences.
He was skipping the, getting theword formation.
And he was at one point I just,he was telling me a story and I
subtitled it for the speechtherapist'cause she couldn't
hear it.
I could hear it because peoplewho knew,'cause I knew what he

(50:33):
was saying.
And then when she realized, ohmy God he's telling a whole
story, which like, it was alittle advanced and I felt like
it also just his sense of story,even at a, on a very.
Primary level.
I felt like he gets it.
Like even knowing he would startlike, what's up time?
And then I remember when he wasnine, his teacher giving me that

(50:58):
poem of about the, and it was sobeautifully written about the
winter and the forest and heshowed it to me and I was like,
wait, he Kai wrote this?
And he's yeah.
And like the teacher himself wasalso like, this he's his way
with words is so great.
And interesting thing about thatpoem is it makes the form of a,

(51:19):
if you just look at the wordsthat formed a tree,'cause the,
and basically I guess'cause aslines were just getting wider
and then they get.
Then there's this short littlething, and I was like, is was
that the assignment?
And he was like, no, that's justwhat he did.
you didn't even know that youwere doing that?
No.
I think I probably wanted tomake a tree also.

(51:40):
And I'm not, I'm sure you wenton vacations and stuff, but
you're a California kid andyou're writing that's very deep
writing about the winter in theforest.
Yeah.
I don't have many forests, don'thave many winters.
All of this was just from myimagination.
This is what I think a forest isthat's a writer.
Hey, Kai, back in the day, Idon't know if you know this
after an improv show that, yourmother and I were in or a class

(52:05):
we used to get in Mark Dean'svan Steve Martin's van and hit
Sunset Boulevard.
And and we also danced at placeslike the Crush Club and the Boss
Club.
What was that?
The Boss Club?
It was like at the place calledImperial Gardens.
That would, and it was like onThursday or Wednesday nights, it

(52:27):
was like, it was all Springsteensongs that, yeah, I think I had
my very first, we weren't bigdrinkers or anything like that,
but I think I had my first youdropped a, a sa you dropped
something into a beer, a boilermaker or something like that.
Saki slammer.
Yeah.
I don't, I, I never did that,but I do remember seeing that.

(52:47):
Yeah.
Okay.
I believe you.
I never drank at all.
tell me about young HollywoodKai.
What are the kids doing?
What are the cool places?
what do your friends do for fun?
Are you quiet?
Do you do house parties?
I gotta say, I think me and myfriends are pretty boring to be

(53:09):
honest.
Sometimes we do go out fordrinks or something, but we, I'm
gonna be honest, I don't know alot of good clubs at the moment.
we'll mainly just hang out ateach other's places, each
other's houses, whatever.
we'll just call or talk to eachother on the online, on the
Innerwebs.
I think a lot of that probablycomes from the pandemic as well.

(53:33):
I'm so glad you brought that upbecause I also wanna talk to you
about this.
you've gone through a pandemic.
There was a rider strike Andthere was one prior to that.
I can't do the math as I don'tknow if you were alive you were
like three years old orsomething like that.
Oh yeah.
During that first, anotherstrike.
The last strike.
But the last one, because Iremember that one too.

(53:53):
Yeah.
So that's two strikes in apandemic.
What does that do to a youngperson?
What do you think about thefuture?
Whether it's just, what do youthink about the future
personally about us as humanity?
Tough question.
Or even the industry, whateveryou feel comfortable talking
about.
For sure.

(54:14):
I think one more strike and I'mout.
But besides that, I think thefuture as always is pretty
uncertain.
Though certain things make itlook more grim than I think it
would turn out to be turn out tobe.
I think the industry, I thinkit'll recover, in some way.
I think we'll loop back aroundmaybe.

(54:36):
Yeah.
It's, you hope it does,'cause italways does it swings back and
forth.
But and when it does, it'salways in a way that you never
quite were able to predict.
And then sometimes I think maybeit won't.
But, I think we've talked aboutthis of the idea of what is
success, I feel like Kai and Inow I really feel like Kai and I
are I really would like topartner with him more in the

(54:59):
future.
And if I think about somethingbeyond The Simpsons now, I know
that even if the.
Industry bounces back.
I know that I probably willnever be on anything as
successful as The Simpsons.
So in that regard, you thinkthen why would you even try to
do anything else?
But we just cut back from theFringe Festival in Edinburgh.

(55:22):
Yeah.
And it really is a wonderfulthing.
I, you're writing audience outthere.
I will highly suggest, it's atrek, but it is such a wonderful
thing.
It's, first of all, the city isthis incredible.
Weird little castle town.
It's, yeah, the streets areconfusing and bad, but they're

(55:43):
so cool.
And cobblestones and alleywayAnd Kai was, he really embraced
the the thing of like, whengoing with the flow, more like
when people flyer you,'causeeverybody's flyering and he
would look and I will say thatthe two favorite shows that we
saw were ones that he discoveredjust by.
Taking every flyer and lookingat them and going, oh, this one

(56:03):
sounds good.
And the things we saw thisreally great thing called Space
Hippo, and it was like that wasso good.
This, there were a duo fromJapan, although the guy's
American and the girl isJapanese and he wrote the story
and she, and they were theseshadow puppets.
Yeah.
They all, it was all shadowpuppets and they had some music

(56:25):
and they had like over athousand shadow puppets and they
just told this story, which wasvery sweet.
And it was funny.
Funny.
Yeah.
It was almost to an extent likea storybook.
But you really felt for if, whena character died.
There was like an audible Aww.
Yeah.
From the audience.
It was like watching, it waswatching live animation.

(56:49):
Yeah.
'cause also they're both like,they're just switching back and
forth between two spotlights,between characters and They're
doing the voices, but the guy isspeaking in English and the
woman is speaking in Japanesefor the characters that she
does.
But even still, you love thosecharacters even if you can't
understand them.
they also make up alienlanguages too.
Even last year I had seen thisincredible play called The

(57:11):
Outrun and I remember I was inthis little theater in Edinburgh
and I was like, it was a bigtheater actually.
In as far as the Edinburghtheaters go, maybe 200 seats.
It was so successful to me inthat it was such a brilliantly
done play and it looked likethere, it sold out as far as the
people there, but it's not gonnabe, who knows?

(57:33):
It's things, a lot of thingshappen from Edinburgh flea ag
and baby Reindeer and fly to theConcords.
Stomp, all these things camefrom Edinburgh, but maybe not.
And that is the thing in theend, you have to love what
you're doing And you have tolike, that is the, that could be

(57:55):
the success is if you did aSpace Hippo, you did this show,
and you created this magicmoment where 50 people in this
tiny room saw this thing andwere moved by this thing and.
It was this incredible moment.
That's what you have to be in itfor and hope that other things

(58:19):
follow, because who knows what'sgonna happen in the future with
this industry This ought to saythat the future of writing and
the industry and just, I guesscreativity at large is still
pretty bright.
You just need to look in theright places and expand your
definition of what success is.

(58:41):
thank you guys so much forspending so much time and giving
so much of your story to thelisteners of the Writer's
Hangout.
I had the best time.
I hope you did too.
Yeah, this was super fun.
Thanks for having us.
It was really fun.
It was fun to, to yeah, to dothis together and to definitely

(59:01):
and to, and to talk to you,Sandy.
And we should definitely havedinner I hope our dinner didn't
have anything to do with thefire starting.
I don't think so.
Yeah.
Because it would be bad if weplan another dinner and birds
again.
The chances aren't zero.
Just be careful if it happensagain.
We'll have to think about, maybewe should be lunch people And

(59:22):
that's a wrap for the Writer'sHangout.
Thanks so much for listening.
If you enjoyed the show, pleasetake a moment to leave us a
review on Apple Podcasts.
Your positive feedback will helpus keep the show going so we can
continue bringing you morefuture episodes.
Remember, keep writing.
The world needs your stories.
The Writers Hangout is sponsoredby the Page International

(59:45):
Screenwriting Awards, withexecutive producer Kristen
Overn, producer Sandy Adamides,and myself, Terry Sampson.
And our music is composed byEthan Stoller.