# Crossover

... as soon as you get your first one-star review, you have made it. I mean it ... Then, have a glass of wine, stick your tongue out and move on.

How do you trick yourself into believing that you can still do it? That you should keep going even if you know deep down in your soul you’re not going to “win” anymore?

Say no to life more. This is not the month to live, it’s the month to write.

Can you imagine how hard it was for me to write prose? You can’t. Because it was harder than you imagined. I had to learn to write again.

Established IP is always the perfect place for film and TV producers to find gems that need to be adapted for the screen.

My mentality was "I’m a fucking great writer," though I had no proof of that. That was my first mistake.

One of the hardest things about publishing is soliciting an audience. Unless you happen to be famous, you’re going to have to put in a lot of work.

... I still could feel that cursed imposter syndrome setting up camp in my gut, a disruptive, loud-as-shit tenant, if there ever was one.

As appealing as it is, getting published traditionally comes at a price.

This is when things get real. You’re about to embark on the graphic novel equivalent of “Principal Photography.”

Creating art takes time. With every additional page, the production schedule gets longer. And the longer it takes to produce, the longer it will be before you can bring your project to market.

During one pitch, we were asked if our screenplay was based on a graphic novel. The answer was no, but it had crossed our minds to adapt it in the opposite direction.

As the rejections racked up, we felt frustrated: How is no one seeing what we’re seeing? This is the right comedy for the right time ...

Too many writers jump into projects without knowing what their role is as an artist.

But when you write a script, if it doesn’t get produced, it remains as just that. A template. A creative miscarriage.