Alright – so today we’ve got the honor of introducing you to Lauren Wells. We think you’ll enjoy our conversation, we’ve shared it below.

Lauren, looking forward to hearing all of your stories today. Can you open up about a risk you’ve taken – what it was like taking that risk, why you took the risk and how it turned out?

After graduating from college with a degree in English in 2012, I spent a few years working for a life insurance company in Manhattan. I had a decent salary, full health insurance benefits, and regular raises. I had stability. And I left it all behind to go to graduate school for Writing and Producing for Television. I supplemented grad school with private tutoring, nannying, freelance journalism, Set PA work, and dog walking– whatever gig I could find to pay my rent and buy groceries. Leaving my stable (but personally unfulfilling) job was a huge risk that I have never once regretted because I am so creatively satisfied by being a film and television writer.

I immersed myself in this new industry, working on sets as a Production Assistant– fetching so many coffees and lunches, before finally getting in a writers’ room (where I proceeded to fetch more coffees and lunches). After five years of assisting and building my network in this industry, I took another huge risk: getting rid of all my things and leaving NYC for Los Angeles– a town where I had never been; a town where I knew no one. I had always been told that’s where the writers are: “If you want to be a screenwriter, move to LA.” So I moved to LA with one suitcase and no job, taking random dog sitting gigs with friends of friends so I had a place to stay. I continued to build my network (so many coffee meetings) and within a month or two, I found myself on a plane back to NYC. But not because I gave up on LA! I had to get back to NYC because I landed my dream gig, the one I had been asking around about for months: I was going to be the Writers’ Assistant on season two of the FX comedy series “What We Do in the Shadows.” Turns out, their writers’ room was one of the few that happened to be in NYC and not LA. I kept my primary residence in LA, but went to NYC anytime the room regrouped in person. After a few seasons of being the show’s Writers’ Assistant, I was promoted to Staff Writer and then to Story Editor. This allowed me to join the WGA, sign with representation, and see “Written By Lauren Wells” on the actual TV. Taking the risk of leaving my safe life insurance job opened so many doors for me. It was a scary and stressful process at times, but I’m so glad I made the leap because now I get to play and make jokes for a living!

Awesome – so before we get into the rest of our questions, can you briefly introduce yourself to our readers.

I’m from a small town in Central New York– I grew up on a horse farm, cleaning stalls and climbing trees (I was bad at both). As a kid, I wrote a weird little newsletter (the LLW Tribune), and sold it to my neighbors for a quarter. It covered health tips (eat salad and don’t smoke), juicy controversy (my thoughts on Eminem), local drama (a spat between two corgis at a BBQ), and hard-hitting interviews (with my dad). Shockingly, I didn’t make much money off of that, so I went back to playing pretend in the woods and telling gross jokes at the dinner table. Happy to say I now get to play pretend and make gross jokes for a living as a writer. Thankfully I’ve improved since the LLW Tribune days, and I now write television shows, feature films, scripted podcasts, short stories, and poetry. Someday, I’ll tackle novels too!

I most recently wrote on FX’s comedy series “What We Do in the Shadows,” but before that, I was in support staff roles on shows like “Unbreakable Kimmy Schmidt,” “Happy!,” “Luke Cage,” “Jessica Jones,” “Daredevil,” and “Angelyne,” among others. Because vampires are apparently my brand, I also adapted Bram Stoker’s “Dracula” as a twenty episode podcast series called “Mina + Lucy’s Guide to Slaying Dracula” starring Bradley Whitford. During the pandemic, I wrote a podcast called “Bird Talk” that ended up being an official Tribeca Film Festival 2024 audio fiction selection– that was a hoot. During the writers’ strike (certainly not a hoot), I worked on a collection of magical realism short stories called “Head Cinema” that I’d like to publish and adapt for film/TV. I feel very lucky to be so creatively fulfilled by all these projects– I’d categorize them as dark comedies– they’re full of dramatic twists with wacky and weird leading women at the helm. I also love finding the strangest settings, cults, or conspiracy theories to throw my characters into to really test them even more.

Can you tell us about a time you’ve had to pivot?

During the writers’ strike in 2023, I had to make a pivot, as many of my fellow writers did. I filled my days with picketing, spiralling, and working on my own writing projects, but I needed to pivot in order to pay my bills. I realized with my MFA, I could teach, so I started working at the American Film Institute Conservatory as a member of their screenwriting faculty. I met the most amazing, talented screenwriters and taught them how to write half hour comedies, which I found extremely fulfilling. I also began teaching with an organization called Writing Pad, where I teach half hour comedy TV writing. The Sundance Collab program brought me on board as a mentor for their television pilot program, so I give notes to drama and comedy writers on their scripts and work with them on revisions. Roadmap Writers also added me to their long list of writers and executives who help writers get signed, do script revisions, and learn about the business. All of this mentoring and teaching helped me fill the void, but it also inspired me to begin my own private script consulting, and I love it so much. I have met the most talented and wonderful writers along the way, and even made a few new friends! A pivot that was born from necessity turned into something very fulfilling.

What do you think is the goal or mission that drives your creative journey?

I am always driven by wanting to advocate for women and showcase our nuances. Whether that’s helping them find their voice through a complex character, allowing them to feel seen in certain storylines, or exploring all of our nuances in themes– I always aim to show that we can be strong, loud, resilient, and worthy– even if no one believes it.

For example, in my original pilot, “FLAT,” I explore the world of flat earth through my main female character by asking the question: What would you believe in order to belong? I dive into her dissatisfaction at home, in her community, and within her own head– all the factors that drive her deep into the world of the flat earth community, a place she feels accepts her. I love highlighting that women are funny, full of heart, and can do anything (including be the villain, the bawdy one, or the naive one). It’s important to me to break old cycles and traumas through levity, friendship, humor, and laughter– exploring the “comedy” of darkness and laughing amidst our pain.

Contact Info:

• Website: thelaurenwells.com
• Instagram: @thelaurenwells
• Linkedin: https://www.linkedin.com/in/laurenlwells/

Image Credits
Izak Rappaport Minnie Schedeen Ebony Washington Karissa Valencia