CB: How long was it before you took the job and the upfronts?
PK: Oh, it was really fast. Television all sort of plays out like a card game, where everybody's got insufficient information, and you're all sort of slapping cards on the table trying to, like, map out your professional life, and it's really fucked up and insane, with some awful moments. So, you know, for a while I thought I was going to be able to work with Enbom -- there was a rumor going around that he was going to get an offer on Chuck as well, and that would have kicked ass. ["Enbom is now on The Sarah Connor Chronicles." -- CB]
CB: So is your work well-known enough now that you don't have to audition, so to speak?
PK: Oh, you definitely do. I still had to go through…you never know until you've got the job how much work to put into it, so you kind of have to bust your ass. Like, even if you are way more established than I am, until you're a franchise sort of person like Rob, you never really know. A huge portion of the [Writers] Guild is not working on a show at any one time.
CB: So you wrote another spec script, then?
PK: Yeah. I gave them a Veronica Mars, and I wrote another spec pilot which…I don't know if it made it to them or not. I think the strength of Veronica Mars went a long way this year, just judging from the fact that most everyone from the show was able to find a quick job at a, you know, prestige show. How long that will hold out…people come off shows like The Shield and, you know, back in the day, Sex And The City, and you're sort of guaranteed a job, and despite our lack of success, people were always excited in meetings.
CB: So as far as submitting those scripts, it seems to me that ethically, you would have had to submit a script you wrote before anything was done to it.
PK: Oh, right, right, right. That's a huge deal. You always want to make sure you give a true writer's draft, because it happens all the time that people don't, and it's really a bad thing.
CB: So you save everything you do through every stage.