Q: Congratulations on the recent sale of your feature script! Can you tell us the origin story of your feature script? How did Delaney Pitts come to life, and why was now the right time to tell her story?

There’s no way to say this without sounding like an insane person. But… I started reading a lot of erotic fan fiction during the pandemic. I assumed the writers were adults, but once I started reading the Author Notes, I realized that most of them were still in high school. I thought “That’s a movie I would watch.” And I don’t think I’m alone. Romance is having such a moment right now. Bridgerton is one of the biggest series in the world. A Court of Thorns and Roses has sold millions and millions of copies. People (myself most of all) want this content, so it felt like the perfect time to write Delaney’s story. 

Q: Raunchy teen comedies are having a bit of a resurgence right now. Why do you think this genre still hits so hard when done right?

​​Teen movies are universal movies. You always remember what it felt like to be in high school, hanging out with your friends, falling in love. It’s a magical time when even the smallest decision can change the trajectory of your life. That’s why these movies are the epitome of feel-good comedies. They remind you of a time in your life when anything was possible. Also, the soundtracks and costumes are almost always… chef’s kiss. Iconic. 

Q: How did you get connected with Fruit Tree and A24, and what has that collaboration been like so far?

Fruit Tree read the script first, then sent it to A24. They have collaborated on a number of hugely successful projects. And I can see why. It’s very much always about what is best for the film. They’ve been kind enough to keep me extremely involved in the process as well. There’s a reason writers and directors want to work with them time and time again. They care about making it great.

Q: What’s it like seeing your name associated with producers like Emma Stone and companies like A24? Did it feel surreal at first?

I think it’s always going to be surreal. Our first meeting, I looked around and realized that I was maybe the only one in the room who hadn’t worked on an Oscar-winning movie. I’ve actually never worked on any movies. Sometimes I feel like I’m scamming them. I get to learn from the best and they pay me? But that’s what makes it such a dream gig. You couldn’t ask for better partners for your first feature.

Q: You started off as an assistant on 2 BROKE GIRLS. How did that experience help prepare you to succeed in the writers’ room and in the industry itself?

​​2 BROKE GIRLS was the perfect first job to have. I got to work for a top-notch showrunner, got to meet a ton of upper-level writers who connected me with my first writing jobs, and, best of all, it allowed me to see a full season of episodes tape. There is a trend now for writers to not be on set, even when it’s their episode. But since I started in multi-cams, by the time I staffed, I had already been on set for something like 50 tape nights. That on-set experience is invaluable, especially in comedy. You see what works, what doesn’t, and how to fix it all in real time. 

Q: What were the most valuable lessons you took from writing on BLESS THIS MESS and THE COOL KIDS? How did your writing process evolve when working on each of these shows?

I was a Writer’s Assistant when I got my episode on THE COOL KIDS, so I really relied on the room when it came to breaking story. By the time I staffed on BLESS THIS MESS, I felt much more confident in pitching and writing an episode. It all just comes down to experience. This is a very stupid thing to say, but… I became a better writer by writing. There are no shortcuts. I would have saved a lot on therapy if there were. But that’s what makes it exciting. Every job and every script teaches you something new.

Q: Has your training in improv at UCB influenced your writing at all, especially when thinking about building characters and comedic setups?

UCB taught me to fall flat on my face. I’ve performed in some of the worst clubs in LA. Sometimes to rooms of one. Sometimes to jam-packed rooms where no one laughed. And that’s important. It teaches you to push through, which is the key to getting to something great. It’s not going to be perfect. It might even be the worst joke ever told. But that’s what writing comedy is all about. Just doing the thing until it’s funny. I know a lot of writers like to carefully craft their scenes, but (for me) improv taught me it’s sometimes better to just roll with whatever’s working in the moment.

Q: How did growing up on a pig farm in rural Minnesota shape your perspective as a comedy writer in Hollywood?

Weird childhoods are essential to writing comedy. I’ve eaten every single cow I raised. I know that the best way to wash a sheep for the county fair is with Woolite. That’s why I love writing about rural America. It’s something that we rarely get to see on TV anymore, but is so inherently fun. Sure, NYC has traffic. But my town has a giant sand pit filled with fleas. That’s real conflict. 

Q: What’s a piece of advice a mentor gave you early on that stayed with you throughout your career?

The wonderful John Bowman (AB '80, MBA '85) was kind enough to meet with me when I first moved to LA. He said that if I chose writing, my twenties were going to suck. But if I stuck it out, my thirties were going to be incredible. And that’s proven so true. There were many times as a PA making $12 an hour and stealing my dinner from crafty that I wondered if I made a huge mistake in picking this career path. But on the other side of things, I couldn’t be happier. I get to make up stories all day and meet with the coolest people and write-off movie tickets on my taxes. It’s beyond anything I could have hoped for when I set out to do this.