Mikki Daughtry and Rachael Lippincott, ALL THIS TIME
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[2:14]Thank you. I had such a great time getting to know Mickey Dottree and Rachel Lippincott,
[2:19]who are the number one New York Times best-selling team of five feet apart, which was made into a
[2:25]hit movie. Now they've come back with their second joint novel called All This Time, which was
[2:30]absolutely beautiful and a tear-durker. And I didn't see the twists coming, which always makes me
[2:36]feel like a doofus. But anyway, it is fantastic. Mickey is a really well-renowned screenwriter
[2:41]and is actually writing the new dirty dancing movie, which is super exciting because,
[2:47]I don't know, I think dirty dancing. I saw in the theaters like 12 times when it came out and
[2:50]I'm pretty much obsessed. And Rachel is hard at work on her third novel and needs to be an athlete
[2:56]and just got married to her wife and her pictures are on Instagram and they're beautiful. As we
[3:00]talk about, anyway, I hope you enjoy our episode. Hi. Hi. Great to be talking to you. Thank you for
[3:06]coming on mom's time to read books. Thanks for having us. I wanted to say I'm sorry about your
[3:11]follow-you and I'm sorry about your mother-in-law. That is a shame. I'm so sorry. Thank you. Yes,
[3:17]it's been a crazy time and I just started doing podcasts again and now I feel like I can at least
[3:23]have my old shred of my personality back and, you know, life goes on to everything, not that I don't
[3:29]think about them all the time. Yeah, right about that. But at least I can like put on a happy face
[3:35]and chat and thank you. I appreciate your saying something. But onto your back all this time. First of all,
[3:42]so good. Do not think of the twists and turns coming. When I have to admit that because I feel like
[3:48]every time I know like fee-prepared, but oh my gosh, what just, you know, heart-undering story and
[3:56]I'm so glad I got to read it early. Thank you for reading it. Yeah, definitely. So for people who
[4:02]don't know what all the time is about, can you just tell them a little more about the story
[4:07]and also following your huge success with Five Feet Apart? What it was like,
[4:11]I've been barking on another project. I would say it's, I'm hesitant to say what it's about,
[4:15]you know, why? But it's about love and loss and how we overcome that and the people we find to
[4:20]help us through and how dreams play into that and how the things that we want can become reality.
[4:26]A reality may not be what it seems in the sense that, you know, when we lose something we're
[4:32]caught in this maelstrom of pain and sorrow and guilt sometimes, you know, and it really sometimes
[4:38]takes a helping hand to get out of that in an occasion that helping hand becomes the person you
[4:43]always meant to be with. So that's really, I think all I can say without gurnating.
[4:50]Definitely. Yeah, and I think that was something that really drew me to this story and also
[4:55]Five Feet Apart in a way was just kind of the exploration of grief and kind of like the twists and
[4:59]turns of that journey in particular takes. So yeah, absolutely love that bit when I read the
[5:05]screenplay from Mickey. The way it came about in this sense was Five Feet Apart, I don't know,
[5:11]it was really the strangest, the way that we got the book written because it was exact opposite
[5:17]of what normally happens, which is there's a book and then they buy the movie rights and there's
[5:21]a movie. But in this case, there was a movie that was being made and they were like, this would
[5:27]probably make a really good na-yay novel. Let's reverse engineer it. So that's kind of how that
[5:33]came about and when Rachel came on board, she adapted the screenplay from Five Feet Apart and we
[5:38]were already filming. So in this case, it all happened just in Baldoni, the director of Five Feet
[5:45]Apart, had a friend Claire Waimland who had CF and she told him, you know, I can't ever be with
[5:51]someone with CF, someone who would understand me because we're not allowed to touch each other or
[5:55]even get within six feet of each other. And that really sparked with him an idea for a story and
[6:01]then I wrote the screenplay for that and Rachel adapted it. And Justin found me through the screenplay
[6:07]I had written this story. So that's kind of what happened. So when Five Feet Apart was such a success
[6:14]and we were like, what would be a really good sister book to this? What would be a good companion piece
[6:20]kind of thing? Because I really feel like the tone is the same. It's a similar feel. It's a similar
[6:26]definitely a similar genre. But it's got all the same hallmarks, I think, as Five Feet Apart in the
[6:30]cent. But it's totally different. But it's like you're cousin who looks just like you, but it's
[6:36]nothing like you. So it's kind of like that. And so this is the script that he read of mine that
[6:43]made him want to hire me to write Five Feet Apart and to come up with that story. So it felt
[6:48]like the perfect companion piece. And so Rachel and I, I was like, hey, you want to do another one?
[6:54]You also try to stop you? Here's another script. Do you want to take it in? And the funny thing
[7:00]about this one is, and honestly, and it wasn't adult script, the original piece, my original work
[7:06]was an adult script. It wasn't a YA. And it was a pretty easy shift though to to re-jigger it and
[7:13]to re-break it really to fit a YA format. You know, just age them down. Their concerns are different.
[7:20]I can tell you a lot about the original. It's heavier. It's much more painful. It's, and you can
[7:25]see Zibi having read this, where if you age that up and give them a family and give them, you know,
[7:32]where it goes from there. And that, and it's right. And it's, and it's a different. It's a whole
[7:39]different. Oh, we can't talk about it. If it were out, I could be like, this is everything
[7:45]happened. But yeah, but just that and it came from there. And then I aged it down. I went back
[7:50]through the script and said, okay, let's take some of this drama, not the drama, but let's take
[7:55]some of this adultness, you know, out of it and go for what, what are important to young people
[8:02]just starting their lives instead of people who are in their lives. You know, so that's kind of
[8:07]of how it came about. I am a chatty chatter. So you have to shut me down. You know, the thing
[8:15]about this book that really like hit me too is that I felt like I could relate not only to the
[8:21]main characters, but also the mom. Oh, my God, I love her. It's got like ages me somewhat. I'm 44 and
[8:29]not to like, you know, not like I'm 18. Hi. But, you know, and I'm right there with you.
[8:36]But I felt like her pain and the fact that she had lost her husband and her trying to,
[8:42]I mean, your child's pain is almost worse than your own pain probably is worse than your own,
[8:48]I mean, actually is, I should say. So her watching the pain that Kyle has to go through,
[8:54]Kyle's my husband's name too by the way. I saw that. It was really, that really got me too.
[9:01]And the way that she just like, you didn't go into it too much. You could just see by her
[9:06]actions, how she was feeling. And then just broke my heart. It's just the whole thing. Anyway,
[9:11]so really, I really wanted there to be a family situation that wasn't the, you know, oh,
[9:17]my mother. Oh, I hate, you know, because they're so, they're so, that is a reality for a lot of
[9:22]people where they're, you know, constantly in that battle with their mother. But I wasn't,
[9:27]you know, there are relationships with teenagers who have really great relationships with
[9:33]their parents. And I kind of wanted to speak to that. And this one instead of it being,
[9:37]his mother is not his problem. Do you see what I mean? And I didn't want that to be some kind of
[9:42]situation there where we're focused more on, he's fighting with her and he's trying to break
[9:48]away from her. Instead, he's trying to, to, he's lost his, you know, he's lost what he thinks is
[9:53]the love of his life at the beginning of the book. And I think I can say that it's like on page three.
[9:59]And I also,
[10:00]Like another element of that that really spoke to me was just like the fact that she as a single mother and I have this really deep connection because, you know, for so long, it's just been kind of the two of them, the two of them and a lot of ways, like against the world similar to will in five feet apart.
[10:14]And I just love that, you know, he was suffering so much and you would see her at the door trying to connect to him, trying to find a way to, you know, open the dialogue back up like it like it had used to be. So yeah, I really just love the portrayal of, you know, the single mother.
[10:28]My mom fighting it out, you know, you guys go through everything together, you always have her you always have that connection that person that is always in your court always like trying to think of your best interest to help heal your heart, however they can.
[10:41]So that was really a cool part of the story for me too.
[10:44]I was like, you know, looking at your Instagram and you're wedding pictures or so.
[10:49]I just had to say like those dresses and oh my gosh.
[10:52]Oh gosh. Thank you so much. Yeah. I'm so like in a state of like search somebody and know the innermost moment.
[10:59]Five of moments, but it's like I was there. No, I'm kidding. Yeah.
[11:04]No, but definitely. Yeah. Thank you so much. I appreciate that.
[11:07]I also really liked how Kyle is getting over a football injury and then it's sort of like at one point that's the worst thing he could ever possibly imagine.
[11:17]And then like, yes, in life, what you think is like the worst thing ever suddenly gets put into perspective and something even worse comes on and like oh gosh, you know.
[11:27]This is rock bottom.
[11:29]That was a big deal.
[11:31]But I feel like injured athletes, you know, my actually my husband Kyle was an athlete as well.
[11:36]I guess he is an athlete, but he was in the professional tennis world for a long time and he used to play football and all this stuff.
[11:42]And when he stopped, it was like a whole big thing. Right.
[11:45]What doesn't athlete do who's not really doing their thing anymore.
[11:49]And I think there's not that much because I remember at the time I was like, well, let me find you some articles.
[11:55]Like, come on. There's so many athletes out there that happens to you. There must be a ton of literature. And of course, I'm like more into fiction.
[12:02]But it was just nice to see that here. And I know it's just one injury, but just what happens when your dreams stop and your involves your body and instead of just your mind.
[12:12]So tell me a little bit about choosing that.
[12:14]That was part of the aging down. I actually have to turning it into a YA. It's like, well, what what is important, what would be important to this guy.
[12:22]And it's exactly like you said, I wanted to give him something that he thought was his life. He think this is going to be it. This is forever. I've got it planned out.
[12:30]It's it's everything. And he hand the hinges every part of his personality and his worth kind of on that. And when that's taken away from him, he turns to his girlfriend and kind of puts all that weight on her.
[12:44]And we get to see at the very beginning what that weight has done to them. And it was a big part of the of the aging it down for YA to give him something that he could that he thought was his whole world that he could lose in a shattering way.
[12:58]And think, oh my God, it's it's the end. It's over and we're like, Oh, Betty, no, no, no, no, no, there's a bigger rolled out there and it gets a lot worse.
[13:09]I think that particular aspect spoke to me on two levels. One was on a very personal level. I was a huge athlete going up and like my freshman year at high school, I played three varsity sports and it was like my thing.
[13:19]And then I had spinal fusion surgery going into my sophomore year because in my head, I was like, I could heal up. I could play junior year, maybe still get into college.
[13:27]And then, you know, I just had this huge like crisis and conscience where, you know, I just could not play sports. I was healing and I was recovering and you know, all of a sudden I wasn't an athlete.
[13:37]My body wasn't necessarily my temple anymore. So I kind of had to look around at my life and see what was still there.
[13:44]What was important to me what I liked doing when this huge aspect of my personality that was so big.
[13:49]It was, you know, 13, 14 years old, like what else there still was. And another element was back when I was in college, I wrote a part of a manuscript that was about a boy who was in a really bad accident and kind of, oh, you did?
[14:04]Yeah, you played football.
[14:08]Oh my gosh, you guys a little, you know, we're just surprised with everybody today that yeah, we say that the things cross over sometimes it's really weird. I'm like, no, definitely.
[14:17]Yeah, that I didn't know you wrote anything like that. Yeah, I started. I started writing a manuscript about yeah, boy, he was a football player who got into an accident and kind of, you know, the entire his entire life change. You could no longer play.
[14:28]Wow, totally. Yeah, so then no, like when I read the manuscript, I was like, oh, this is like it, but like way better.
[14:36]So it was, it like turned out it kind of felt like it was a character that I knew and kind of a scenario that I understood a little bit of. So that's cool.
[14:44]And why did you originally have spinal fusion surgery. Oh, yeah, I had scoliosis. So my spine was just like not doing the thing it should have been doing.
[14:54]So you had to straighten it up. I mean, I guess with writing at least unless your fingers are, you know, it's so different.
[15:01]Just don't break your fingers.
[15:02]Yeah, just don't break anything else. Just don't break anything.
[15:05]So how do you do work? How do you do it? Like how, tell me your process, how it all, how the magic happened.
[15:13]So this one is different. I have a full time writing partner to bias. I, I, I, I always want to call an eye activist now because my telephone calls it, you know, my phone.
[15:21]Oh, yeah.
[15:22]And now this is named phonetically.
[15:24]But, and one of these things I'm going to literally say his name wrong, but it's to bias icon is and we write our screenplay together not necessarily this one, but we, we do a lot of writing together.
[15:34]I have worked so far only in the sense that I have given her a fully formed fully fleshed out screenplay with the dialogue and a lot of the pros.
[15:46]And so she adapts that she's adapted that with five feet apart in with this one. She's adapted those stories into the books.
[15:53]So it's a little bit of a different process where we don't like. Oh, sorry.
[15:57]No, no, no, like, are you a part of the adaptation or do you just hand it off? She's a part.
[16:02]It's especially with this one with all this time. Yeah, like a huge part.
[16:07]A lot of, I think with five feet apart, it had just gone into production.
[16:11]So I think a lot of that was her reshaping that screenplay and I would keep getting emails like blue edition or purple edition or pink edition as they started going into production.
[16:19]And I think a lot more of that was like her, you know, sending it to me and we obviously had long phone calls, especially at the beginning where she was telling me everything in detail.
[16:27]I would ask questions and I could always balance everything off of her. But yeah, especially with all this time. Yeah, we had a conversation about it a couple weeks ago.
[16:35]A couple of days ago actually just talking about how she felt it. I think it was, it was the scenes were just super detailed. It was almost already in book form at a lot of, you know, I wonder what you're saying.
[16:48]Why are you talking about. No, when you're talking about when you get us a production script. It's very lean, you know, on details. It's mostly dialogue because all of the set design.
[16:59]Because stuff is taken out of it because they've done the work already. And what I gave Rachel for all this time was a very needy.
[17:06]Because I knew it was going to her and not to like into production. I knew it was going to her. So I was able to really give her a beefy beefy script. So it was kind of a quasi script novel.
[17:19]Yeah, that's what yeah. Someone in the middle. Yeah, for sure. Yeah. But no, yeah, it's definitely it isn't just like a complete handover. It's very much, you know, I've always have Mickey on call. She's looking through everything, commenting, changing, revising.
[17:33]Rachel does not get asleep. Oh, my god, there she is again.
[17:37]And so this book, sorry if I'm like, feel a little slow on this so that and I'm sorry for the sirens also this book.
[17:44]And you said you already started with the screenplay. So is this already in production? Like are you in? No, no, okay.
[17:51]No, Lionsgate has bought the rights to the book and for the movie. But this started, like I said, from the original screenplay that was the adult version and then I aged it down and when I aged it down, I kind of like filled in a lot of the stuff about what it would be.
[18:05]But it wasn't chunks. I would be writing, you know, the editor Alexa would come back and say, maybe there's some scenes that this could happen. So I would write the screenplay scenes and then give them to Rachel and she would adapt them.
[18:18]So it's kind of like how we had our little wheels greased, you know, the way we work together, like two little cogs with Alexa cranking it.
[18:28]No, definitely. Yeah. Yeah. Like I would get a draft back that would have notes from Alexa, but then I would also get additional scenes from Mickey as well. That would, you know, fill that there would just be additional parts of the story to fill out certain scenes, certain characters, certain Mac stories.
[18:42]Yeah. So it would be both at the same time and then integrating them together into the next draft that I would turn into both of them.
[18:48]And then so now that I finally have gotten this presents down. So then when it's on.
[18:53]Yeah.
[18:54]A movie where you a part of that Mickey, because you had written that I was, oh, yes, I was on set. And the funniest thing is when it was really close to production when they when they said, hey, we're going to time and choose or wants to turn this into a book.
[19:08]And so, as Rachel was saying, she got a script and then I was on set and I would be like, Oh, we're changing the scene right now. I wonder if Rachel has gotten to the scene yet and I would quickly text her and be like, Rachel, Rachel, have you done this yet?
[19:23]And she's like, I'm working on it right now. I'm like, stop, we're changing it. You know, so, so, you know, we get a lot of comments that like, Oh my God, the movie is so close to the book. We're like, well, yeah, because it was literally out of reason.
[19:36]Here's what's happening and I would like to shoot her off some pages. You know, so, yeah, I have it all straight.
[19:46]And I saw that you're already working on a third one. Are you doing that together? Is that Rachel? Nope. I'm working on it. Yeah, I'm working on a third book. I can't talk about it as of yet.
[19:55]Yeah, I'm currently working on it. I'm in my second draft of it. So I'm deep in the edit.
[20:00]This deadline is coming up, but yeah, that one's just a solo one and Mickey is also working on back in movie world. Yeah.
[20:06]So many a thing. What are you working on in the movie world? Dirty dancing.
[20:11]What? Yeah. With the sequel with Jennifer Gray and it's, I can't say anything, obviously about it, but yeah,
[20:18]that's really exciting. And then Tobias and I have a movie, a children's horror movie at Netflix that's going into production in about a month.
[20:27]They're setting up in Canada and Toronto right now, building the sets and hiring everyone. And so that'll go in, hopefully, you never know what's going to happen, but hopefully that keeps trucking along. Yeah.
[20:36]So, so I shifted seamlessly right back into my movie, you know, movie writing, screenwriting. I'm like, what does that work?
[20:45]What's something that I do? Yeah, screenwriting. So yeah, maybe another novel for me at some point that I write that I, you know, we'll see, we'll see.
[20:54]I'm right now I'm firmly entrenched in making movies. So, so did you already finish writing dirty dancing here? Are you working on the second draft right now?
[21:03]Oh my gosh. Wow. I don't know if I was supposed to say that. So I don't think it's any secret that we're writing. So we're writing. No, I mean, they announced it was going to be a movie. Yeah.
[21:15]I mean, someone has to write it. Yeah.
[21:17]I mean, I mean, I'm probably linked to use them where, but yeah, I actually Jennifer Grace become a friend of piles of mine.
[21:24]Oh, she's amazing.
[21:26]I heard through another friend and then we've all like gotten together and in LA anyway. So this is like so great. So I'm going to have to find, you know, not close friend obviously, but yeah, I'm going to have to find a way to barge myself onto that.
[21:38]Oh, my God.
[21:41]Do it, do it, do it, do it, do it. It'll be it'll be a little bit worse. Yeah, it'll be, I'm not sure when they're planning on shooting, but we there's a ton still to do, but yes, you should, you should get your ticket now ever are out and about and on sets again.
[21:57]That happens. I know. Well, they're, they're doing it. It's really the, I don't know how much you know about it, but like in Toronto and rightfully so they're being very, very careful.
[22:08]But like the, they fly you in. They're not letting many people in, you know, and you have to stay in strict quarantine for two weeks.
[22:19]If you're in a hotel, you can't come out of your hotel room and the police come by every day to check if you're still there. This is what I've heard and I know that it's true because I have, because they're working on nightbooks up there. So, and if you're caught out at all, it's a $750,000 fine per incident.
[22:38]So don't fuck around.
[22:42]So they're not, the candidate's not not playing, but they're feeling it in a 50,000. Oh, I'm sorry, incident. Oh, my gosh, incident.
[22:52]So I like made that up and they're sitting there. How much should we make, let's make it down.
[22:59]I mean, it's like if you walk out of your room to get a soda in those two weeks, but then, but then once you're two week quarantine is up and this is like I said, this is what I've heard from them setting up for nightbooks when you're two week quarantine is up.
[23:13]You're out, you're out and about your part of the community, you wear your mask, but you know, there's no more it's more lenient. You just go go about working your life and stuff.
[23:26]Oh, that's amazing. Well, good luck with that. I'm not going. We're staying home from this one. We're skipping this one. Yeah.
[23:33]Normally we would, we would go, but that was it's very prohibitive when we're working on this other, you know, we're working on very dancing and we don't want to.
[23:41]It's, yeah, it's, it's a, it's a lot of restrictions to, to not be able to move freely and do the work that we need to do otherwise.
[23:48]What kind of books do you two like to read in your space? Oh, no, I'm totally reading. I love not getting assumptions, you know.
[23:57]I'm a writer who doesn't read. I, I'm sure they are there. I love British novels. I find that I really tend to lean toward Australia and I like I love Leon Moriarty like she's so much fun.
[24:14]I think she writes I'm in it for a fun little romp and then I love Kazuo Ishiguro like he's probably my favorite and Julian Barnes like those two British guys.
[24:25]I can't. I can't even and everything is so, it feels so small, but it's so huge and the fact that they are able to have such an impact was so in such a realistically grounded world that they write about and it's like you're there like remains of the day.
[24:43]I mean, it'll just stop, you know, and I love Gabriel Garcia Marquez obviously 100 years of solitude. How are you a writer and not like married to that book? You know, I mean, that's just, that's just the epic masterpiece of all time.
[24:56]You know, those are the kind of things I read when I read and then I read a lot of 1930s and 40s novels like I find because it's really fun because it's of the time, right.
[25:05]So you're reading about like the world's illusion is a really good one. It's very political, but I really love it in, you know, set in the times of, you know, industry workers and how they were treated, but it's a narrative.
[25:17]So it's really, really stuff like that. I'm kind of a weirdo. I kind of live in the past for sure.
[25:23]Yeah, I read all different kinds of things. I'm a huge fan of Nina Lacor. She's probably my favorite YA author. I talked about her a lot. Her book, we are okay is absolutely my favorite.
[25:32]My really love it. A lot of times there's a conversation between like plot based and character based stories and I just love that it's essentially just a book of a girl, like alone in her room drinking tea and like reflecting on life and grief and all these other things.
[25:45]It's a very quiet book, but so much happens. She's just so talented at saying like exactly what needs to be said and nothing more and nothing less. And I just loved that.
[25:54]Oh, man, other books that I really love. I love Laura Taylor named me's book coming out later this year, Cuban girls guide to tea and tomorrow.
[26:02]Absolutely fell in love with that. It's wonderful. And it's also set in the UK in Britain. So it's a really great read.
[26:09]I'm also a huge fan of mysteries. My favorite is Agatha Christie speaking on you. You like turned my brain on the on the British things.
[26:18]Yeah, gone on it, but I really love the miss marble mysteries. That's like classic feel good read, especially during like the craziness of the past few months.
[26:26]I've been talking into a couple of my favorite one of those and also really love the BBC episodes that they did on them. So yeah.
[26:34]It's nice with you guys have for aspiring authors or screenwriters.
[26:40]You know, that's the question right.
[26:43]Work your ass off. Yeah, I don't expect any favors if you get a favor be grateful and not always say this once you start, once you start getting there, please don't buy your own hype, you know, because it's easy.
[26:58]I think to think that you did it by yourself and to think that it's all you and you're so important. You're so vital. Yeah. Yeah. I mean, maybe.
[27:09]But a lot of cooks go into the kitchen. I mean, a lot of cooks are in the kitchen and a lot of really a lot of the flavor, whether I can only speak for myself.
[27:19]I'm saying that, you know, ubiquitous you, but I can speak for myself that at the end of the day I've done the work, but it's everybody around me and their opinions that I trust and respect and love and they're all in there.
[27:33]Everybody, the stew is better with a lot of flavor if that makes sense. You know, so I take everybody salt and pepper and I throw it in there.
[27:41]But I definitely would would say, and I say this, you know, pretty much every time asked is you may if you're doing it alone, don't be afraid to reach out and let people help you even a bad note is a good note in a way because it's going to expose something that may be missing and they may not be telling you in the right way.
[28:03]And this not may not exactly, but something that we call in the business and note the note behind the note, you know, which is I really wish he did this here.
[28:12]Well, that's not really the issue. The issue is something's missing in that moment that makes them wish for something different.
[28:18]And that's what you have to get to.
[28:19]But without that bad note, you wouldn't look at it yourself and say, Oh, there's a hole here, you know, rambling again, I write much better than I speak just let me say.
[28:29]I was like, perfect. I feel like I shouldn't even go now after that. I mean, what do you have for new new and up and coming writers because that's kind of where we're different is I'm kind of in my thing and you're, you're just, you know, getting
[28:46]Yeah, that's a really good question. I think something that was really big was just kind of you aspire to be a writer use dream of it, you know, I think it was really hard for me to prioritize, especially, you know, when you don't have a book deal or you don't have, you know, a screenplay that's been option by fillers.
[29:05]I think it's really hard to like find time and like give yourself the time to devote yourself to this passion and devote yourself to sitting down and putting words on the page.
[29:14]And I think it's so important that you carve out that time and that space. If this is what you love to do really just, you know, let yourself have the freedom to write and let yourself have the freedom to put things on a page and explore the stories that you really want to tell.
[29:30]So it's always really hard, especially when I was starting out, you know, just really giving myself the time and what I love doing the opportunity to really to really work, you know, I can speak to that.
[29:42]What you're saying, Rachel, just a bit for screenwriters is, you know, I find if you're just coming up and you're trying to like Rachel said, find the time and find the motivation to stick with it.
[29:53]Find a screenwriting group. I was in a screenwriting group twin bridges and it was everything to.
[30:00]be held accountable for pages.
[30:01]And we go in and we read our pages and we read each other's work
[30:04]and we're commenting and critiquing and helping and giving notes
[30:08]and learning very much about the craft, you know,
[30:12]from Joe Broucher in the class, Joe and Judy, his wife
[30:15]and they taught at UCLA.
[30:16]So it was very, very integral part of my getting started.
[30:20]Professionally was to have the motivation
[30:23]and the responsibility of showing up with the pages I said
[30:25]I would show up with and then learning.
[30:28]And that's kind of where I got, I think, you know,
[30:30]that whole, it takes a village kind of thing
[30:32]because everybody piles on and tells you what they think
[30:34]and your, like, fielding ideas, but, you know,
[30:38]do it for screenwriters that would be able to say,
[30:40]if you are looking for something to hold your feet to the fire
[30:43]and get yourself in a writing group.
[30:45]I would agree totally 100% with that.
[30:47]And I think also, you know, you have this space
[30:50]or forming a writing group is really important
[30:51]because then you not only have somebody
[30:53]advance your ideas off of and grow from,
[30:55]but you also have this accountability kind of,
[30:57]like what you just talked about,
[30:58]where, you know, do you, like, show up for one of your
[31:00]weekly get-togethers and you don't have anything on the page.
[31:02]You're gonna look a little foolish.
[31:04]You're the asshole.
[31:05]You're the asshole.
[31:05]You're the asshole.
[31:06]So, yeah, yeah, that's really sounded nice.
[31:09]Wow.
[31:10]Amazing.
[31:10]Well, thank you, ladies so much.
[31:12]I thank you, Phoebe.
[31:13]Oh, you're next back and making your movie and all that.
[31:19]I have no, I embarrassingly have not watched
[31:21]five feet apart and I'm like,
[31:24]you should have something to do today.
[31:28]Oh, I'm excited.
[31:29]You should.
[31:30]I don't know how you're gonna do.
[31:30]That's my plan.
[31:31]So I'll just call him and let him know.
[31:32]So, I should have done it before we talked.
[31:36]Well, you're fine.
[31:37]No, I have.
[31:37]This one's, or we weren't talking about that one.
[31:39]So, this one was more important today.
[31:43]It's so good and I'm so excited for you guys.
[31:45]All this time.
[31:46]Thank you.
[31:46]Thank you so much, Phoebe.
[31:47]All right.
[31:48]Well, it's great to have you.
[31:49]Thank you so much for having us on.
[31:50]Nice to meet you.
[31:51]Thank you so much.
[31:52]Bye.
[31:53]Bye.
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[32:17]Thanks for listening to this episode
[32:19]of Moms Don't Have Time to Read Books.
[32:21]Don't forget to follow me on Instagram
[32:23]at zippy Owens and at Moms Don't Have Time to Read Books.
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[32:33]Thanks so much to Steve and Ryan at Textures Sound
[32:35]for the Sound Editing.
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[32:38]for providing this fantastic intro and now trim music.