Searched like crazy before posting but looks like its gone.

Been on a writing kick these days and got these two characters for this piece I keep coming back to. Originally written for a novel, but I don't know. Would love to workshop it around for some feedback.

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Big PEMFin H & z's
"I ain't no entertainer, and ain't trying to be one. I am 1 thing, a musician." � Miles

"When the music stops he falls back in the abyss."

I'd be interested to do it.

I got scared away a bit from doing it on here because people start talking NDAs and confidentiality agreements.

I am not signing nothing like that.

I am willing to throw ideas out for workshopping but only with the understanding that this is completely open source, crowdsourcing and everyone is free to use whatever ideas are thrown out there.

I am not getting into arguments with anyone about ownership of ideas.


**********
"Everyone has a plan until you punch them in the face. Then they don't have a plan anymore." (c) Mike Tyson

There is no absolute knowledge and anyone who claims it � whether a scientist, a politician or a religious believer � opens the door to

It's not like NDAs and clear establishment of ownership of ideas are BAD, lol.

My movies: http://russellhainline.com
My movie reviews: https://letterboxd.com/RussellHFilm/
My beer TikTok: https://www.tiktok.com/@thebeertravelguide

------------------------------------------
America from 9:00 on: https://youtu.be/GUwLCQU10KQ

Professionally I run into it all the time and it's that experience that has made me more inclined to not sign one.

I once worked at an arts law clinic and had to field a helpline and I swear I would get 3 calls a day from people swearing that some big song, movie, etc. was stolen from them.

It's the reason why studios and most producers have a no unsolicited submissions policy.

It's the reason why the wachowski brothers were fools for their open calls for scripts before they blew up which has had to some of the lawsuits they see today.

I think it would be foolish to sign an NDA with complete strangers to hear ideas that are not as original as people think.

That being said I do have a idea that I would be willing to work shop with the understanding that anyone could "steal" the idea and that I get to keep any ideas contributed that people may have.

I am comfortable with that because Ideas are a dime a dozen, it's the execution and follow through that really matter.



**********
"Everyone has a plan until you punch them in the face. Then they don't have a plan anymore." (c) Mike Tyson

There is no absolute knowledge and anyone who claims it � whether a scientist, a politician or a religious believer � opens the door to

>I once worked at an arts law clinic and had to field a
>helpline and I swear I would get 3 calls a day from people
>swearing that some big song, movie, etc. was stolen from
>them.

If those people had NDAs signed by someone clearly attached to the other project, then they would have a clear case. If they didn't, no case. NDAs would've helped them.

>It's the reason why studios and most producers have a no
>unsolicited submissions policy.

This is because producers don't want to sign NDAs, because they could get sued if they filled one out and then came out with a parallel suggestion. There would be paperwork proving they took someone's intellectual property. An NDA protects the person with the idea.

>It's the reason why the wachowski brothers were fools for
>their open calls for scripts before they blew up which has had
>to some of the lawsuits they see today.

And if the Wachowskis had filled out paperwork for every idea submitted, then they would have well-defined proof that they either did or did not steal intellectual property.

My movies: http://russellhainline.com
My movie reviews: https://letterboxd.com/RussellHFilm/
My beer TikTok: https://www.tiktok.com/@thebeertravelguide

>
>>I once worked at an arts law clinic and had to field a
>>helpline and I swear I would get 3 calls a day from people
>>swearing that some big song, movie, etc. was stolen from
>>them.
>
>If those people had NDAs signed by someone clearly attached to
>the other project, then they would have a clear case. If they
>didn't, no case. NDAs would've helped them.


The issue is you don't need an NDA in place to sue. That's why you always see these crazy lawsuits. Because people don't acknowledge that there aren't alot of original ideas and lot of people come up with very similar ideas. So the issue doesn't go away simply because you don't have an NDA in place.




>>It's the reason why studios and most producers have a no
>>unsolicited submissions policy.
>
>This is because producers don't want to sign NDAs, because
>they could get sued if they filled one out and then came out
>with a parallel suggestion. There would be paperwork proving
>they took someone's intellectual property. An NDA protects the
>person with the idea.

Well yeah that's my point. It puts producers in the position to get sued even if they don't actively steal from a submission. I don't see how an NDA solves the problem for a producer's perspective.


>
>>It's the reason why the wachowski brothers were fools for
>>their open calls for scripts before they blew up which has
>had
>>to some of the lawsuits they see today.
>
>And if the Wachowskis had filled out paperwork for every idea
>submitted, then they would have well-defined proof that they
>either did or did not steal intellectual property.

No dude because inevitably there would be a lot of similar ideas and they would be open to lawsuits from people with similar ideas. I mean the lady who did sue them claimed that they stole from her the idea of a chosen one character, an idea that is literally as old as the bible.

Even worst, if they had signed an NDA with all the submissions they received they would effectively be signing a non-compete with regards to any story ideas, plot points or any story elements contained in any of the submissions they received. Even if they never got to reading the applicable scripts. That would be insane to agree to. Think it's a far fetch thing to worry about but remember the lawsuit in which the Sons of Anarchy creator was sued because he may have once read a script about motorcycle gangs? total BS.

That's why rather than NDAs studios and producers require you to sign releases (explicitly saying you agree NOT to sue if there are similarities in your work and their future work).

I know a release sounds like a license to steal but it really is a prophylactic measure to avoid getting sued.


If someone is worried about their work getting stolen, they should register their copyright and/or not participate in a workshop group.

But me personally, I think its a bad idea to sign an NDA when there is no upside and a lot of downside in the form of someone accusing you of stealing their work.


**********
"Everyone has a plan until you punch them in the face. Then they don't have a plan anymore." (c) Mike Tyson

There is no absolute knowledge and anyone who claims it � whether a scientist, a politician or a religious believer � opens the door to

I wrote a spec pilot that I thought was pretty inventive. Basically the idea was, "What if you could see dead people... and they were a bunch of assholes." The show was about a cop who could see dead people but the recently dead were usually too taken with their new abilities to fly and spy on people to help the detective solve their murder and there were a couple of ghosts who for reasons unknown (season arc!) were making life miserable for our lead detective each week.

I thought it was a fresh idea, I hadn't seen it on TV, what an original concept.

Then in an article, one of the heads of a network joked that this past season he had been buried under a deluge of ghost cop scripts.

So if we had done a workshop and I had pitched my Ghost Cop script and someone else had one on the backburner that they hadn't worked on yet, suddenly they can't work on their show because I'll claim that they stole my idea. Unless you register every single idea that you have on a To Do list, there's no way to prove that you had the idea before I did. Or if someone else you know has a Ghost Cop idea and you help them with their's, I suddenly can sue claiming that you must have helped them by stealing my stuff.

Or, if any time in the future you do anything involving a ghost helping someone solve a crime, I could come back and try to get some cash.

Basically, if you sign an NDA with a group like an OKP workshop, you're basically putting yourself at risk to never write the kind of show that anyone here is writing.

There's always a risk of everything you put out there getting stolen but signing an NDA is almost a bigger risk for writers in a group like this.

----
NBA MOCK DRAFT #1 - https://thecourierclass.com/whole-shebang/2017/5/18/2017-nba-mock-draft-1-just-lotto-and-lotta-trades

I always assume that if people get to paperwork/non-disclosure levels, they have some pretty thorough development. I always thought that covered specifics more than broad themes. Obviously I'm sure people could try to protect something broader like "ghost cop," but that feels like a flimsier case to me. Am I totally wrong?

I doubt a court of law would hold up a lawsuit in which someone with a "girl with a talking horse" spec sues a studio for making a movie with a different type of girl, different type of talking horse, and different plot. I always thought there had to be more evident signs of theft, such as direct plot points, character points, and/or dialogue, not general premise-y things.

My movies: http://russellhainline.com
My movie reviews: https://letterboxd.com/RussellHFilm/
My beer TikTok: https://www.tiktok.com/@thebeertravelguide

I just feel that the NDA is likely the worst of both worlds in the case of a PTP Workshop.

As you said, to prove theft of an idea and win a case, it needs to be pretty blatant and I'd assume most of the lifting would be more general so the NDA wouldn't help in that regard.

On the other hand, what it takes to simply file a suit and get into a courtroom (which would require the defendant to spend money on a lawyer) isn't as much and I feel like the NDA makes the hopes of that paying off greater than diminishing odds of a frivolous case.

I don't know. Maybe it's just a way of looking at things but I'm with BG in that a PTP Workshop could be cool but I wouldn't sign an NDA to be a part of it.

----
NBA MOCK DRAFT #1 - https://thecourierclass.com/whole-shebang/2017/5/18/2017-nba-mock-draft-1-just-lotto-and-lotta-trades

I'm starting to think logistics. Let's make this happen rather than talk ourselves out of it.

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Big PEMFin H & z's
"I ain't no entertainer, and ain't trying to be one. I am 1 thing, a musician." � Miles

"When the music stops he falls back in the abyss."

if not, this NDA talk is absolutely hilarious.

"i smack clowns with nouns, punch herbs with verbs..."

A number of people on this board are professional writers and producers.

My movies: http://russellhainline.com
My movie reviews: https://letterboxd.com/RussellHFilm/
My beer TikTok: https://www.tiktok.com/@thebeertravelguide

back when it was SciFi - deal fell through tho.

I should dust that shit off and give it another once over...

********************************

Get Out The Room!
http://getouttheroom.podomatic.com
@fakewilliamkatt

"You probably wouldn't worry about what people think of you if you could know how seldom they do!" - Olin Miller

Black kid with a White Mother develops a relationship with his Black Male Barber and learns what it means to be a black man.

Starts off with the black mother taking the black boy to a black barber shop for the first time. That's All I got.

**********
"Everyone has a plan until you punch them in the face. Then they don't have a plan anymore." (c) Mike Tyson

There is no absolute knowledge and anyone who claims it � whether a scientist, a politician or a religious believer � opens the door to

>Black kid with a ***White Mother*** develops a relationship with
>his Black Male Barber and learns what it means to be a black
>man.
>
>Starts off with the ***black mother*** taking the black boy to a
>black barber shop for the first time. That's All I got.



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Big PEMFin H & z's
"I ain't no entertainer, and ain't trying to be one. I am 1 thing, a musician." � Miles

"When the music stops he falls back in the abyss."

1) How old is the kid on the first trip?

This frames a lot of things like did mom leave him at the shop or does she have to stay. For the relationship to build with the barber and boy I assume the boy has to be old enough to be by himself. Otherwise I'm not sure exactly how this black man imparts wisdom under the eyes of the mom.

2) Is the main relationship the barber and the kid or the barber and the mom?

I think you want it to be the kid, which would be great but runs the risk of getting overshadowed as soon as the relationship with the mom enters the picture.

3) Over how long of a period does it all take place?

How many cuts lil'man getting over the course of the film. Is it a relationship that has to develop or is there some instant connection that facilitates it.

4) What's the conflict?

The easiest one I can see which would be quite interesting to me is lil man getting a consciousness from the barber which is seemingly contradicted by the barber then getting with his mom. Kid gets all problack and wants to disown em both.

5) What's the message?

Sounds like the underlying would be the need for black men to raise black boys. But not sure.

****

I agree with the statement below about a gentrified neighborhood as a setting backdrop gives some nice references to play off of. But it also seems like in trying to tackle issues the main part of how the relationships work could be underdeveloped, and with the situation you're starting with it'd have to be pretty tight to be believable.

█▆▇▅▇█▇▆▄▁▃
Big PEMFin H & z's
"I ain't no entertainer, and ain't trying to be one. I am 1 thing, a musician." � Miles

"When the music stops he falls back in the abyss."

>1) How old is the kid on the first trip?
>
>This frames a lot of things like did mom leave him at the shop
>or does she have to stay. For the relationship to build with
>the barber and boy I assume the boy has to be old enough to be
>by himself. Otherwise I'm not sure exactly how this black man
>imparts wisdom under the eyes of the mom.

Let's say that lil dude is coming of age and becoming a young adult and facing issues that a kid starts to face as he starts his way onto manhood. Harassed by cops. Girls. What is that 9th grade? 14 or 15?

White Mother starting to realize that there are certain things that she just can't teach him. She actually encourages the relationship at first until it starts to backfire on her (he starts bucking on her).


>
>2) Is the main relationship the barber and the kid or the
>barber and the mom?

It's primarily barber and boy but its a web in which the different relationships interact with each and create issues for the other relationships. Barber and boy relationship starts to cause stress on the relationship between mother and boy for example.

>
>I think you want it to be the kid, which would be great but
>runs the risk of getting overshadowed as soon as the
>relationship with the mom enters the picture.
>
>3) Over how long of a period does it all take place?


>
>How many cuts lil'man getting over the course of the film. Is
>it a relationship that has to develop or is there some instant
>connection that facilitates it.

Relationship starts with cuts but grows into something else over time. I need to figure out why Barber would take an interest in the boy that would lead to a relationship outside the barbershop. I want it to be more than just pitying the kid.

>4) What's the conflict?

I don't know. Need to figure it out.

>
>The easiest one I can see which would be quite interesting to
>me is lil man getting a consciousness from the barber which is
>seemingly contradicted by the barber then getting with his
>mom. Kid gets all problack and wants to disown em both.

Yeah I want it nuanced. I like the idea of the kid idolizing the barber for awhile and then he doesn't something that leads the kid to think the dude is kind of full of shit and just talk. Could be trying to get with the mom. IDK.

>5) What's the message?

Naw no message at this point except people are more complicated than there labels. Like I want the mother and kid to realize that there is more to being a black man than the sterotypes both positive and negative. Even the black man can learn that when he tries to impart some idea of what being a black man is all about that is ultimately wrong for the kid.


>
>Sounds like the underlying would be the need for black men to
>raise black boys. But not sure.

I'd like it to be more complicated than that. A theme definitely should be it's more complicated than it looks.
>
>****
>
>I agree with the statement below about a gentrified
>neighborhood as a setting backdrop gives some nice references
>to play off of. But it also seems like in trying to tackle
>issues the main part of how the relationships work could be
>underdeveloped, and with the situation you're starting with
>it'd have to be pretty tight to be believable.
>
>█▆▇▅▇█▇▆▄▁▃
>Big PEMFin H & z's
>"I ain't no entertainer, and ain't trying to be one. I am 1
>thing, a musician." � Miles
>
>"When the music stops he falls back in the abyss."


**********
"Everyone has a plan until you punch them in the face. Then they don't have a plan anymore." (c) Mike Tyson

There is no absolute knowledge and anyone who claims it � whether a scientist, a politician or a religious believer � opens the door to

.

**********
"Everyone has a plan until you punch them in the face. Then they don't have a plan anymore." (c) Mike Tyson

There is no absolute knowledge and anyone who claims it � whether a scientist, a politician or a religious believer � opens the door to

I feel like that hasn't been done as much as The Single Dude and The Little Kid idea. Also, I think the issue of hair is bigger with women; especially the difference between white and black. And the struggle for the mom could be deeper and more difficult to deal with. I could see the first line being something like, "Mommy, I want beautiful hair like you." How a white woman raising a black girl responds to that is your first episode.

If the idea is going to be a TV show, I'd also consider making the barber/hairdresser have some sort of relationship with the mom or dad. An estranged sister who never liked the mom; an ex-girlfriend, maybe.

Either way, I like the idea and think you should proceed with it. Figure out the characters more, what happened to the father?, where'd the kid come from, etc. There's a million ways you could go with it. Hell, if you want to throw ALL the issues in there, it could be a white lesbian couple who adopted an African child and they move into a newly gentrifying area.

----
NBA MOCK DRAFT #1 - https://thecourierclass.com/whole-shebang/2017/5/18/2017-nba-mock-draft-1-just-lotto-and-lotta-trades

and something I know about, and it's the nuances of raising a black boy. There are specific themes I want to touch on like Trayvon Martin like confrontations.

I would also like to go very Lee Daniels with it and piss people off by having the white mother fall for the black barber.


**********
"Everyone has a plan until you punch them in the face. Then they don't have a plan anymore." (c) Mike Tyson

There is no absolute knowledge and anyone who claims it � whether a scientist, a politician or a religious believer � opens the door to

Join the club.

I'm working on an ensemble comedy series (with a pilot/origin story that will either be a film or a miniseries), and after the TM situation it became imperatively important for me to focus on issues of teenage/adult mentorship, and what the image of a black teenager should look like.

While I like SoulHonky's idea of using women instead, if you want to keep it male, the key would be finding something for the barber and kid to bond over.

E.g. if the kid wants to be a photographer or a writer (avoid: rapper, ball player - you want something that shows the barber has depth beyond your garden variety black barber dude). The other alternative would be to have the kid work in the shop to keep him out of trouble and he learns to be a barber in the process, but I feel like this was already done in the "B" story of "Barbershop 2".

Your conflict would need to be some sort of issue relatable to a 14-year-old - maybe it's between him & the mom and the mom isn't a good parent (this will be hard to make work and not be seen as bashing interracial partnerships tho), or something's going on at school. I'm reluctant to make it about "the streets" or even school, because I keep seeing "Finding Forrester" in my head.

Do this: journal a bit. Either in your head or on paper. If this is close to your heart, there's some germ of a something that happened to you that made you want to tell this story. Find that germ, isolate it, and identify the elements that made you feel the way you feel, and figure out where the uniqueness lies within - what elements of your experience and recollections you've never, ever seen on film before.

>While I like SoulHonky's idea of using women instead, if you
>want to keep it male, the key would be finding something for
>the barber and kid to bond over.
>
>E.g. if the kid wants to be a photographer or a writer (avoid:
>rapper, ball player - you want something that shows the barber
>has depth beyond your garden variety black barber dude). The
>other alternative would be to have the kid work in the shop to
>keep him out of trouble and he learns to be a barber in the
>process, but I feel like this was already done in the "B"
>story of "Barbershop 2".


Yes. I have been trying to think of something interesting for them to bond over. Yeah the easy route would have been ballplayer or music. We can avoid writer for the finding forrester comparisons (a favorite movie of mine by the way). I dig photography. Will keep thinking about it.


>
>Your conflict would need to be some sort of issue relatable to
>a 14-year-old - maybe it's between him & the mom and the mom
>isn't a good parent (this will be hard to make work and not be
>seen as bashing interracial partnerships tho), or something's
>going on at school. I'm reluctant to make it about "the
>streets" or even school, because I keep seeing "Finding
>Forrester" in my head.

My idea isn't that the mom isn't a good parent but rather there are certain things that she just can't teach him.

I am also thinking that there is a certain type of trouble that young black men find themselves in (that can involve law enforcement), for kids who aren't even all that street. Maybe something like scent of a woman where all these kids get caught doing something wrong, but getting caught affects one kid alot different because of the background that he comes from.

>Do this: journal a bit. Either in your head or on paper. If
>this is close to your heart, there's some germ of a something
>that happened to you that made you want to tell this story.
>Find that germ, isolate it, and identify the elements that
>made you feel the way you feel, and figure out where the
>uniqueness lies within - what elements of your experience and
>recollections you've never, ever seen on film before.

Yeah the motivation for this story is having sons myself and thinking about the lessons I was taught (or figured out) that need to be imparted to my sons. Alternatively, maybe there are certain things I was taught that are no longer applicable. I have to recognize that.

**********
"Everyone has a plan until you punch them in the face. Then they don't have a plan anymore." (c) Mike Tyson

There is no absolute knowledge and anyone who claims it � whether a scientist, a politician or a religious believer � opens the door to

Where are the holes in television and film today?

That is, what types of stories aren't being told? What types of programming would _you_ like to see on television or online, even if it's super niche (the Internet exists to support just such things)?

Maybe we could make a list, and that could spark some more specific ideas for everyone

I'll start:
-One-hour dramas with a primarily African-American cast - and by "drama", I mean "drama", not "primetime soap opera". There IS a difference.

-Smaller films that are primarily set in one location, but don't feel stuffy - like "Guess Who's COming to Dinner" or "The Boys in the Band".

-An actual Black musical, dammit! ANd by musical, I mean "musical" - songs written specifically for the production as one cohesive tapestry, overture, intermission, entre'acte, all dat.

But one that starts from the beginning. Like the tenant that dies freeing up a rent stabalized apartment and the first wave that comes in with that. Star of the show could potentially be the landlord. Go the whole first season with them in the lead then a big dev company buys em out first ep of season two. Then it's really on!!


█▆▇▅▇█▇▆▄▁▃
Big PEMFin H & z's
"I ain't no entertainer, and ain't trying to be one. I am 1 thing, a musician." � Miles

"When the music stops he falls back in the abyss."

That way, he stays on throughout the show and his employers and tenants gradually change.

the ability to kill of 'apparent' main characters in shows. i think it could work in a scenario like this because the nature of the subject is that the community starts disappearing.

it'd be interesting for a landlord/owner to be one of those initially holding out and seen as on the side of the commnity, while everyone is trying to tell him to just take the cash because his holding out is keeping other people from getting paid. then at the top of season two he takes the money and runs, giving the people what they want, at least so they think. like i said, that's when the shit really starts poppin.


█▆▇▅▇█▇▆▄▁▃
Big PEMFin H & z's
"I ain't no entertainer, and ain't trying to be one. I am 1 thing, a musician." � Miles

"When the music stops he falls back in the abyss."

or even a season 4.

That way, if you want the character's absence to shock the audience, it registers as that shock.

The season 1 lead character not making it to season 2 (presuming that this person is clearly the main lead and there's presumably no substitute groomed to float in) is more common and may not register as strongly.

All of it. Jazz, spoken word, rap, R&B, Blues

We could run the musical gamut

********************************

Get Out The Room!
http://getouttheroom.podomatic.com
@fakewilliamkatt

"You probably wouldn't worry about what people think of you if you could know how seldom they do!" - Olin Miller

(I actually, shamefully, made this same post ten years ago. I'm actually glad I took those ten now, however, to actually learn to write)

If anyone wants to collab on a comedy series I'm writing, I'd love to work with some folks on additional episode scripts if they're willing. Within a few weeks, I can provide a series bible, samples, etc.

(this _would_ require some NDA-ing & contracting, because this idea is getting close to the "I am trying to sell this" - again - stage)

www.twitter.com/seandammit

It's written as a half-hour comedy with continuing storylines. "Arrested Development" meets "The Monkees", but with Black people, is a poor, vague, though not entirely useless description.

So I had my first script read at my screenwriting group. Characters worked, plot didn't. Back to the drawing board.

As I redeveloped it and similar shows (*coughEmpirandothers*) came along, I altered it a lot. It's now more of a dramedy than before, still from a humorous angle but about more serious issues.

and I could use some input on a script idea of mine. Frankly, I'd love to collaborate w/someone who's comedy minded.

********************************

Get Out The Room!
http://getouttheroom.podomatic.com
@fakewilliamkatt

"You probably wouldn't worry about what people think of you if you could know how seldom they do!" - Olin Miller

1) This one is the novel idea I mentioned above which I think has feature film potential. Some might think it ripe for a series but that would require focusing on a particular time period whne I think telling the broader story is more intriguing.

It basically starts off on prom night (1990) for a black kid in a NY private school, when it becomes clear that his whole life and the life of his girlfriend is being orchestrated by his guardian uncle and others. They are being primed to have a major impact on the socio political picture and all they can do is play along, or can they?

I have a whole plot and a bunch of chapters of this written but I think would scrap it all just take the characters and rework the whole thing. I wrote this over a decade ago before Obama, so a lot could be adjusted to fit in with what's happened since.

2) This one could be a serial. I originally wrote this for a big project that never happened at the time and has thus been sitting on my shelf again over a decade.

Starts out christmas party week 1999 and spotlights a young exec at a large independent label tasked with building an urban division. When I wrote it, it was supposed to be a realtime thing so cat is responding to the things that are happening in the industry at that time, while trying to make his moves.

Funny thing is when I was tasked to write it I was calling it the Industrial Revolution, little did I know at the time that things really were changing forever in the industry. Lots of cameo storylines etc. Think an HBO style behind the scenes drama about the industry in the 00's.

********

Willing to share a couple of the chapters I've got for either of them with folk if they want to get more of a feel for the takes on them. Shoot me an inbox with an email and I'll get at cha.

█▆▇▅▇█▇▆▄▁▃
Big PEMFin H & z's
"I ain't no entertainer, and ain't trying to be one. I am 1 thing, a musician." � Miles

"When the music stops he falls back in the abyss."

>1) This one is the novel idea I mentioned above which I think
>has feature film potential. Some might think it ripe for a
>series but that would require focusing on a particular time
>period whne I think telling the broader story is more
>intriguing.
>
>It basically starts off on prom night (1990) for a black kid
>in a NY private school, when it becomes clear that his whole
>life and the life of his girlfriend is being orchestrated by
>his guardian uncle and others. They are being primed to have a
>major impact on the socio political picture and all they can
>do is play along, or can they?
>
>I have a whole plot and a bunch of chapters of this written
>but I think would scrap it all just take the characters and
>rework the whole thing. I wrote this over a decade ago before
>Obama, so a lot could be adjusted to fit in with what's
>happened since.


Interesting. I have a similar idea for a project. My idea would be for a historical fictional account of a chance encounter between a young college age Barack Obama and Michelle Obama. The idea is that BHO leaves Columbia University for the weekend and visits Princeton and runs into Michelle and they 48 hours together that changes both of their lives and plants the seeds for what they will become.


>
>2) This one could be a serial. I originally wrote this for a
>big project that never happened at the time and has thus been
>sitting on my shelf again over a decade.
>
>Starts out christmas party week 1999 and spotlights a young
>exec at a large independent label tasked with building an
>urban division. When I wrote it, it was supposed to be a
>realtime thing so cat is responding to the things that are
>happening in the industry at that time, while trying to make
>his moves.
>
>Funny thing is when I was tasked to write it I was calling it
>the Industrial Revolution, little did I know at the time that
>things really were changing forever in the industry. Lots of
>cameo storylines etc. Think an HBO style behind the scenes
>drama about the industry in the 00's.

Again, I may have a similar idea. I was thinking of a fictional account imagining if a tupac like figure had a son who went off to private school and returned to get his family business in order. I actually wrote a treatment as an adaptation of Hamlet (the record label is called "The Den"). I think it's similar to your idea because I want to contrast how much the industry and rap music has changed from 99 to now. I've got a pretty lengthy treatment for it if you would like to read it.


>********
>
>Willing to share a couple of the chapters I've got for either
>of them with folk if they want to get more of a feel for the
>takes on them. Shoot me an inbox with an email and I'll get
>at cha.
>
>█▆▇▅▇█▇▆▄▁▃
>Big PEMFin H & z's
>"I ain't no entertainer, and ain't trying to be one. I am 1
>thing, a musician." � Miles
>
>"When the music stops he falls back in the abyss."


**********
"Everyone has a plan until you punch them in the face. Then they don't have a plan anymore." (c) Mike Tyson

There is no absolute knowledge and anyone who claims it � whether a scientist, a politician or a religious believer � opens the door to

>Interesting. I have a similar idea for a project. My idea
>would be for a historical fictional account of a chance
>encounter between a young college age Barack Obama and
>Michelle Obama. The idea is that BHO leaves Columbia
>University for the weekend and visits Princeton and runs into
>Michelle and they 48 hours together that changes both of their
>lives and plants the seeds for what they will become.

I really like this idea but it would have to practically be autobiographical to work. My idea is more on the international espionage tip. I may have to go back and watch that cancelled show about the black agents to see what they did. But yeah thriller steeze.

>Again, I may have a similar idea. I was thinking of a
>fictional account imagining if a tupac like figure had a son
>who went off to private school and returned to get his family
>business in order. I actually wrote a treatment as an
>adaptation of Hamlet (the record label is called "The Den"). I
>think it's similar to your idea because I want to contrast how
>much the industry and rap music has changed from 99 to now.
>I've got a pretty lengthy treatment for it if you would like
>to read it.

What's funny is that this idea actually sounds like another idea I had about the child of a murdered rapper. Uhhh I'm about to hit your inbox. Let's talk via email.

█▆▇▅▇█▇▆▄▁▃
Big PEMFin H & z's
"I ain't no entertainer, and ain't trying to be one. I am 1 thing, a musician." � Miles

"When the music stops he falls back in the abyss."

http://www.politico.com/story/2015/05/southside-with-you-obama-michelle-obama-117762.html?hp=l4_4

I actually have a few episodes for a web series finished that I'd like to workshop. Anyone interested?


**********
"Everyone has a plan until you punch them in the face. Then they don't have a plan anymore." (c) Mike Tyson


"One of the most important things in life is what Judge Learned Hand described as 'that ever-gnawing inner doubt as to whether you're

>>Again, I may have a similar idea. I was thinking of a
>>fictional account imagining if a tupac like figure had a son
>>who went off to private school and returned to get his
>family
>>business in order. I actually wrote a treatment as an
>>adaptation of Hamlet (the record label is called "The Den").
>I
>>think it's similar to your idea because I want to contrast
>how
>>much the industry and rap music has changed from 99 to now.
>>I've got a pretty lengthy treatment for it if you would like
>>to read it.

Did you realize your foundation of your story is alot like Empire?

**********
"Everyone has a plan until you punch them in the face. Then they don't have a plan anymore." (c) Mike Tyson

"what's a leader if he isn't reluctant"

Web series stuff about gentrification in BK. I got about five pieces written. Trying to figure out the strongest two pieces to go with and make the two I select as strong as possible.

Any folks got appetite to work shop it?

**********
"Everyone has a plan until you punch them in the face. Then they don't have a plan anymore." (c) Mike Tyson

"what's a leader if he isn't reluctant"

█▆▇▅▇█▇▆▄▁▃
Big PEMFin H & z's
"I ain't no entertainer, and ain't trying to be one. I am 1 thing, a musician." � Miles

"When the music stops he falls back in the abyss."