|Jimmy.Mosqueda|
You may not know Jimmy yet, but you will. He’s an exceptional writer and human. (IMHO).
Jimmy is currently a writer staffed on HBO Max’s animated series, HARLEY QUINN. He’s also someone that has gone through the “system,” AKA, the Disney Writer’s Program, which gives him an insight I believe is quite helpful, especially to those looking to apply or are just starting out.
When we first met, he told me some amazing stories about his life and his family. It’s not my place to share… but I’m really hoping I’m watching them come to life some day. I love the story he did share (in his bio below) about the time in middle school when he bought a pair of jeans, but forgot to cut off the tag that showed the size of the jeans. This earned him the nickname, “36 wide.” Makes me giggle every time.
If ever there is a reboot of Freaks and Geeks I hope the creators seek Jimmy out!
RS: What was your first staffing job and how did you wrangle it?
JM: My first job was as a Staff Writer on SCHOOLED, a spinoff of the popular and family comedy, THE GOLDBERGS. I was and still am a big fan of the mothership show, and so when I got accepted into the Disney Program in 2017 I made it known to the powers that be that’d I love to work on either show, and they made it happen. I guess the takeaway here is ask for what you want!
RS: What are the benefits of going through a studio writer’s program?
JM: I was getting paid a salary, had access to great creative minds inside the corporate Disney-ABC umbrella, and even got four free tickets to Disneyland! And NO blackout dates! The program has done a great job of addressing some of my concerns. In the past two years they’ve upped the salary of writing fellows significantly and are now guaranteed parity with Staff Writers if they get hired on a show.
RS: What was your first development experience and what are some key take-aways from that experience you feel would benefit emerging writers?
JM: That saying “too many cooks in the kitchen” is so applicable when it comes to the development process. A lot of people are going to give you a lot of their ideas, and if you try and please everyone you will end up pleasing no one and disappointing yourself. How can you avoid this? Have a strong creative vision, be able to clearly communicate that vision to your collaborators, and don’t be afraid of rejecting an idea that doesn’t fit. You have to protect the work.
On Development Process:
Have a strong creative vision, communicate that vision, and don’t be afraid of rejecting an idea that doesn’t fit. Protect the work.
RS: Define the perfect showrunner.
JM: A showrunner that has kids and a busy social life outside the room? Really though, I think the best showrunners are those who have no ego, are not afraid to admit when someone has a better idea, but also, just like above, has a strong creative vision that they are able to communicate clearly so that the rest of the room can get on their level.
RS: What has surprised you the most being on staff of a series?
JM: How it seems like most of the battles have nothing to do with the creative and more to do with everything else: budget, studio and network notes, talent availability, personality disputes among the cast, crew etc. Trying to make a TV show means going to battle on multiple fronts.
Trying to make a TV show means going to battle on multiple fronts. Most battles have nothing to do with the creative.
RS: What are some tools you’ve taken away with you from each of your staffing experiences?
JM: I’ve learned a lot of things from my staffing experiences – too many to list! So I will go with one that I applied today: focus on the good pitches and forget about the bad ones. If you don’t like a pitch from another writer, skip it and let it die a natural death. 99% of all pitches never survive to make it to air. You could be the person to shoot it down in the room right then and there, but that’s not going to make you any friends!
RS: I sometimes talk about bringing and using ones “skeletons in the closet” to the page. Are there things from your past or family closet that you haven’t yet shared?
JM: Yes, probably anything buried in my subconscious that hasn’t been dug out in therapy!
RS: How do you start a day of writing? What does it look like?
JM: I’m definitely a morning writer, so my day usually starts around 7 or 8am, a hot cup of half-caffeinated coffee (acid reflux is no joke). If I’m not in a room I can work until the wheels come off, usually around 1 or 2pm. If I am in a room I may find time to pick it up at the end of the day, but usually all of my creative heavy-lifting is done in the morning.
RS: Front somersault or stand on your head?
JM: Whatever move is least likely to break my neck… stand on my head?
RS: If you could shadow one series, which one would it be?
JM: I’d love to be in the writers room for MAD MEN to see how they approach and break each episode, especially in seasons 2 through 5. It’s truly incredible storytelling written at a level that I one day hope to match.
RS: What has been your best experience (thus far) in your career and why?
JM: For me, it was getting staffed on the current show I am on now. Not only am I a big fan of the show but I feel like it’s the perfect fit for my voice, and the room and the showrunner have been amazing so far. It’s the kind of experience that feeds your energy as opposed to zapping it.
RS: What themes are you drawn to?
JM: Some prevailing topics in my work: identity, family, class, the American Dream. Related to theme, I find myself drawn to characters that are complex or even paradoxical (the ambitious misfit, the self-destructive high achiever etc.)
I find myself drawn to characters that are complex or even paradoxical. The ambitious misfit, the self-destructive high achiever.
RS: Most recent favorite binge viewing.
JM: BIG MOUTH is appointment viewing for me every time a new season drops.
RS: With so many outlets and more diverse shows at our disposal, is there something you feel we as an industry can do better? What are we getting right?
JM: In terms of representation, what the industry seems to focus on the most is finding and nurturing voices, which is great and a part of the puzzle. But sometimes it can feel a bit myopic, especially when on the buyer side of things the industry still largely looks the same. I don’t think any real change will happen until both sides of the table – the selling and buying side – reflect one another.
RS: Preference: Gum or mints?
JM: Mints!
RS: In your humble opinion, what’s the most over-hyped show — past or present? Why?
JM: Not falling into this trap!
There you have it. Wise words from the one and only and no longer “36 wide”… Jimmy.
You can find Jimmy on Twitter: https://twitter.com/
For more q&a’s, go to: www.rebecca-com/blog
Bio:
Jimmy Mosqueda is a writer, California native, and lover of maple donuts. The youngest son of an eccentric Mexican-American family, he grew up finding humor in the awkward and embarrassing experiences of the everyday, such as the time he bought a new pair of jeans for middle school but forgot to remove the size sticker, thus earning him the nickname “36 Wide.” He currently writes for the adult animated TV series HARLEY QUINN for HBO Max.