TV-land

You know the saying “the more you learn, the less you know?”  Well, holy crap, does that apply to me and TV.

As you know, my Esme novels have been optioned for TV, first by an executive producer (Barry Josephson) and then, additionally, by a studio (20th Century Fox).  This is what people in the business generally refer to as Very Good News.  Subsequently, a veteran writer, Daniel Voll, was hired to punch out the pilot script.  The plan, as I was told, was to have the script ready for February so it could be pitched to the networks.

Meanwhile, my contract had not been finalized.

Now don’t get me wrong – everything was moving full steam ahead.  The script was written.  Pieces were put into place.  The deal was “done.”  It just wasn’t “finalized.”  The sticking point was…well, it’s honestly too ridiculous to even mention.  Let’s just say that sometimes the priorities of a client get superseded by the priorities of the talent agency to which he is a client.

But the Very Good News has finally become, in fact, Very Good News, because yesterday my book-to-TV agent confirmed that all deal points had been agreed upon and the contract was indeed ready for signatures.  That said, the window for pitching to the broadcast networks has passed, so my team (and I use the word “my” very loosely) will be approaching the cable networks first.

It’s all the same to me, insomuch as it’s all Greek.

But at least now I’ll be paid for the option and the team (reminder: there is no “i” in team)  should start hearing feedback on the pitches sometime in April.  If someone offers to buy the pilot, awesome.  If not, well, the good thing about the virtual balkanization of television in the 21st century is that there are dozens and dozens of venues to approach.

Keep a light on for me.