I believe in a practical approach to writing in addition to fortifying creative development. While I teach structure, story generation, and character work, I also provide insight into producing, collaboration, and how to work in the many assistant positions that most writers will find themselves in for at least a few years. By approaching writing this way, I give students a leg up when opportunities arise, giving them the confidence and clarity when they need it most.
For the last five years, I have been teaching and mentoring writing students who move to LA with the hopes of becoming TV or Film writers. I've taught 25 students and I've seen not only their writing improve, but also their professionalism, leading to quality jobs that will help launch their careers.
2007-2009. M.F.A. in Screenwriting and Playwriting. Florida State University College of Motion Picture Arts, Tallahassee, Florida. Thesis Supervisors: Vicky Meyer, Dan Dietz.
2003-2006. B.A. in Creative Writing and Film Studies. Florida State University, Tallahassee, Florida.
Dead Dad, FilmBuff Films/Hansen Films, 2014. Writer, Producer, Actor.
2012-2013, Official Selection for Dramatic Competition at 24 Film Festivals: Florida Film Festival, Dances With Films, KahBang Film Festival, United Film Festival - San Francisco, Salt Lake City Film Festival, Hell's Half Mile Film Festival, Louisville Film Festival, Tacoma International Film Festival, Woodstock Film Festival, Bend Film Festival, New Orleans Film Festival, Twin Cities Film Festival, Tallgrass International Film Festival, Jaxfilm (Jacksonville Film Festival), Napa Valley Film Festival, East Lansing Film Festival, Lone Star Film Festival, Bahamas International Film Festival, Spokane International Film Festival, Festivus Film Festial, CAAMFest, Gasparilla Film Festival, Belfast International Film Festival, LA Asian Pacific Film Festival
Audience Award – Tallgrass International Film Festival
Jury Award – Spokane International Film Festival
Jury Award – CAAMFest
IndieWire’s Top 10 Indie Films to Watch on VOD, February 2014
“Majority of the independent film submissions that I receive from desperate independent filmmakers are, for the most part, awful. Every once in a while there is a gem that arrives, re-establishing the little hope I have for grassroots independent production.”
- Cinema Funk
“As serious as the film may sound it was often accompanied with humor making it an easy and enjoyable film to watch… [Dead Dad] balanced out the sentimental parts with healthy doses of comedy. The…reason why the film worked was how genuine it was. Even if you could not relate to the exact situation, you could at least to the wide range of emotions the characters went through in the short amount of time; resentment, nostalgia, excitement and frustration”
- Way Too Indie
“Dead Dad is a great little indie film that has all of your classic indie film needs: a “let’s get drunk scene”, roadtrip scenes, and an awkward party scene. What more could one ask for?
- Hello Giggles
“A depiction of life and death so simple and pure, it’s almost poetic.”
- Unsung Films
“An emotionally powerful film about death and growing up.”
- Film Threat
“Natural and emotionally relevant.”
- Hyphen Magazine
“This film deserves to be widely viewed.”
- Blog Critics
Recovery, Orion Pictures/Vertical Entertainment/Diablo Entertainment, 2016. Writer.
“Exiting home invasion shocker with a socially critical touch.”
“[Recovery] has…interesting, well-written characters (who, it turns out, aren’t as dumb as the cliches would have you believe).”
Freelance Writer, The Originals on The CW. Warner Bros. TV. Season 2. 2015.
“Brotherhood of the Damned”. Season 2, Episode 11.
Submitted for Emmy Consideration, 2015.
“…the writers continue to take everything their characters and their location gives him and weave together intricate webs that not only make sense, but only ever serve the purpose of enhancing the storytelling, giving viewers the sort of moments worthy of re-watch after re-watch. Essentially, I’m convinced they’re all witches who are constantly perfecting their spells. And tonight’s episode was another example of such complicated, effortless storytelling.”
- Entertainment Weekly
Staff Writer, The Originals on The CW. Warner Bros. TV. Season 3. 2015-2016.
“Beautiful Mistake”. Season 3, Episode 6.
“How this show goes about crafting its stories is never redundant. On the contrary, this feels like one of the freshest and most exciting stories yet.”
- Entertainment Weekly
“Dead Angels”. Season 3, Episode 12.
“Tonight’s episode of The Originals delivered not one, not two, but three pretty sizable surprises. One has us giggling with glee, one has us frightfully concerned, and the last has us pondering what it could mean for the future.”
“The Devil Comes Here and Sighs”. Season 3, Episode 18.
Submitted for Emmy Consideration, 2016.
“One of my favorite things about The Originals is that we are dealing with supernatural creatures who can live forever, who can die and come back to life, and who survive on human blood. They have super-human abilities. And because of that, every bit of drama is heightened, made less realistic just by its very nature. And yet, everything these creatures do is motivated from an utterly human emotion, whether that be love, loyalty, hatred, revenge. In fact, because these creatures feel more powerfully than regular humans, them being supernatural somehow grounds the show even deeper in that sense of humanity. It shouldn’t make sense, but it does. And it’s what makes this drama so impactful.”
- Entertainment Weekly
Story Editor, The Originals on The CW. Warner Bros. TV. Season 4. 2016.
“I Hear You Knocking”. Season 4, Episode 5.
“Things just got interesting.”
“Phantomesque”. Season 4, Episode 10.
Submitted for Emmy Consideration, 2016.
“"Phantomesque"…successfully set up the drama for the final three episodes of the season.”
- TV Fanatic
Executive Story Editor, The Originals on The CW. Warner Bros. TV. Season 5. 2017.
“Between the Devil and the Deep Blue Sea”. Season 5, Episode 4.
“In “Between the Devil and the Deep Blue Sea”, NOLA is preparing for Mardi Gras. As Vincent says so beautifully: “Where another city would buckle, New Orleans turns misery into magic.”
- We So Nerdy
“’Til the Day I Die”. Season 5, Episode 11.
““‘Til the Day I Die” provides most of the season’s highlights to date.”
The Loved One, Pilot script. The Blacklist Recommended Reading 2017-current.
The Circle, Pilot script. The Sundance Institute Episode Lab Finalist
Writer’s Assistant, The Originals on The CW. Warner Bros. TV. Season 2. 2014-2015.
Script Coordinator, The Originals on The CW. Warner Bros. TV. Season 1. 2013-2014.
Writer’s Coordinator, Deon Cole’s Black Box on TBS. Conaco Productions. Season 1. 2013.
Director & Creative Consultant, Man at Arms on YouTube. Break Media. 2013.
Script Coordinator & Writer’s Assistant, The Big C on Showtime. Sony TV. Season 4. 2012-2013.
Medical Researcher & Writer’s Assistant, HOUSE, M.D. on FOX. NBC Universal. Seasons 7-8. 2010-2012.
Production and Writer’s Assistant, The Rotten Tomatoes Show on CurrentTV. Season 3. 2010.
LA Intensive Teacher, Graduate Student Mentor, and Film School Liaison. Florida State University, The College of Motion Picture Arts. May 2015, 2016, 2017, & 2018, Los Angeles, California. Mentoring and teaching a class of five-to-eight MFA Screenwriting candidates over a one-week intensive in Los Angeles designed for students to immerse themselves in and better understand the industry, the realities of work, and how to write, structure, and pitch television and film.
“Kyle Arrington proved to be a wonderful mentor, teacher, and guide. The student feedback has been absolutely glowing. They've learned so much and are truly appreciative…. It was really helpful for me to have another teacher’s take on the students’ progress and pitches. Kyle was immediately engaged in their work and careers. I also sought out Kyle’s opinions on expanding our students’ time in LA and other ideas. Kyle has even put together a potential class that could span a semester and/or a six-week summer session… Kyle’s input is incredibly valuable. I believe that my hopes for this new way of leading the trip worked out well. My hopes were:
1. If we expand our footprint in LA, we're going to have the chance to create more relationships like these -- roles for alums and others to be faculty on the ground in LA. This starts that process and helps us identify potential faculty partners out there.
2. This would allow our students to create another bond with a professional/faculty guide in LA.
3. This would allow our students to hear a new voice in their education, as well as getting a fresh take on their pitches.
4. It would be beneficial to have someone who really knows the city in a meaningful way, a true guide.
I think that Kyle delivered in all of these areas. In particular, the first point here is important. I can now see that Kyle has a pool of really talented, generous, and teacher-oriented colleagues in LA, ones he can draw if he isn’t available in the future. Our bench is deep.”
- Julianna Baggott, Head of FSU Film School Writing Program, in Capstone Report to Dean Reb Braddock. 2017.
Guest Lecturer, USC Recovery Case Studies Class. USC School of Cinematic Arts. Spring Semester, 2015, Los Angeles CA. Prof. Jason E. Squire taught a Case Studies class about my feature film, Recovery, where many of key creators of the project would come lecture students and partake in Q&As to discuss their particular involvement and the lessons therein. I spoke about feature writing, the development and evolution of the script, the differences between script and screen, and how a writer can mitigate those differences in the writing process.
- “Thank you [Kyle and Darrell (director)] for being such wonderful guests! It was terrific, as you distilled your complex roles as Director and Screenwriter into manageable segments the students could easily absorb. Add to that your genial demeanor and vast knowledge, and the result was a first-rate educational experience, including lots of useful first-hand advice. Since there is no substitute for learning from people actually doing the jobs, the students and I are grateful you could take the time.”
- Professor Jason E. Squire, in an e-mail to Darrell Wheat, producer Eric B. Fleischman, myself, and USC School of Cinematic Arts Dean, Elizabeth Daley.
Television Writers’ Room Simulation Class. Designed for Florida State University College of Motion Picture Arts MFA Screenwriting Program. Developed for unspecified future semesters after conversations with then-Head of the Writing Program, Julianna Baggott, and Film School Dean, Reb Braddock, on how to better improve the Film School’s preparation for their students as they enter the work force.
--The purpose of the course is to provide students with an understanding of how to work at every level in a TV Writers’ Room – from Writer’s PA all the way up to Showrunner. Students rotate positions each week in order to build humility, collaboration, and awareness of how each position attributes to the whole of the finalized product. In addition to every day assignments, students will write and produce mini-episodes and learn how to produce on set as a writer, and how to work well with Directors, Cinematographers, Actors, and all other production staff.
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