Ever found yourself wondering how to transform a fleeting idea into a tangible project? It’s a question that plagues many aspiring screenwriters: “Where do I even begin?” For Preston Garcia and Brennan McNichol, the creative minds behind the horror-comedy series Ghost Show, the journey started not in a writer’s room but with a TikTok that went viral overnight! Released weekly on the streaming platform Plex, Ghost Show takes viewers on a hilarious ride with a ghost-hunting crew of skeptics chasing quick riches from their quirky clients. In a world where every aspiring filmmaker feels the crunch of a low budget, the duo found themselves navigating unique challenges while bringing their vision to life. Join Garcia and McNichol as they sit down to chat about how they turned their viral spark into a full-fledged series, embraced creative constraints, and tackled the quest for indie distribution. With their experience, you’re sure to find inspiration that lights a path for your own storytelling endeavors! So, are you ready to dive in? LEARN MORE.
Screenwriters are often told to go out and make their projects themselves. But there’s just one problem: Where the heck do you even start? For Ghost Show showrunner Preston Garcia and producer Brennan McNichol, the horror-comedy mockumentary series began with a viral TikTok.
Ghost Show, released weekly on the free streaming service Plex, follows a ghost-hunting crew of non-believers looking to get rich quickly from their eccentric clientele. Garcia and McNichol, who co-directed the series, faced the unique challenge of creating a low-budget series that already had an audience.
The Ghost Show duo sat down over Zoom to discuss turning an idea into a full production, embracing creative limitations, and finding distribution for their indie series.
Creating Ghost Show’s Foundation
Garcia’s original idea for Ghost Show started as a TikTok skit that went viral in less than a day. After pitching the series to McNichol, who has pioneered content creator-led projects in the industry, Garcia began writing the show.
“We sat down to write 14-page scripts, super short. And I think we were going to do 10 episodes,” Garcia said. “That was the original goal. We knew it would be improv-heavy, so we didn’t get too attached to the ideas we were writing down. We just knew they were blueprints.”
With a foundation in place, the duo began looking for their budget and figuring out how to thrive within the creative limitations they would face.
“I have a very unconventional approach to this, which is just to write what you want to make,” McNichol said. “I think the best content comes through when you’re writing what you truly want to make. Of course, I’m like, no massive crowds, no explosions, no theme parks—you still have to have some guidelines. But I try not to restrict creativity around the budget too much. Then, we go out and raise money.”
While McNichol is experienced in raising money for productions with promise, novice screenwriters looking for connections and funds to make their projects a reality can check out ScreenCraft’s ongoing competitions. Horror projects are highly successful no matter the budget, and the ongoing ScreenCraft Horror Competition can help connect you to the right people to get that project off the ground. But if you’re looking to fund your non-genre project or wrap up production, the Film Fund grant program can help by offering winners a $30,000 grant and prizes.
But finding a budget is only one piece of the filmmaking pie. Once you have the funds, it is time to kill your darlings.
Read More: 5 Ways to Realize the Budget of Your Screenplay
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Embracing Creative Limitations
“So we had gone out to raise $150,000 for this, and once you land on that $150,000, you really work backward from the budget,” McNichol noted. “We say, ‘OK, what’s within reason? What are our absolute fixed costs?’”
Garcia, who is comfortable creating killer content with no budget, and McNichol embraced the challenge.
Once the fixed costs were set, the duo began making cuts to fit their vision within the limitations of their budget. They worked with a skeleton crew, limited locations, kept effects simple, and relied on their local community.
“We often work backward from the budget—here’s the money we have, here’s what we want to do,” McNichol said. “You have to make cuts along the way, but sometimes you get really creative with locations. Filming the exteriors of buildings when we can’t film the interiors, for example. A lot comes down to scheduling.”
The Ghost Show crew worked 10-hour days, squeezing in as much as possible. Despite time and budget limitations, McNichol and Garcia managed to balance their creative vision with the practical realities of production.
“I’m always asking ahead of time, ‘Later in the day when we get to this point, how long will it take to set up?’ so I know when to move on from a scene,” McNichol said. “Some directors will do 20 takes to get the perfect moment, but we rarely do more than two or three takes—unless it’s a super important moment.”
“Brendan and I are the type of people who might argue about a joke, and five seconds later one of us will say, ‘Oh, dude, that was a good idea. My bad,’” Garcia added. “Open communication is our motto. I’m very creative and will say, ‘Let’s just shoot this joke. Trust me, you’ll all hate me now, but in a couple of episodes, you’ll be glad we did.’ We have a lot of faith in each other.”
Read More: How ‘The Outrun’ Writer/Director Adapted the Unadaptable
‘Ghost Show’ (2024)
Packaging Yourself for Success
Being a screenwriter doesn’t always mean you’ll option your original screenplay, no matter how good the idea is. Sometimes, you have to invest in yourself to bring your project to life. The end result might not be a six-figure deal, but it could open new connections and doors.
The Ghost Show duo emphasized the importance of creating an environment where everyone is excited to contribute.
“What helped us was that our actors and everyone on the team cared about the project,” Garcia said. “On set, everyone was having a great time, and when that happens, people want to promote it, come to the premiere, and talk about it. I think Plex saw that and found it appealing, which helped us close the deal.”
“What I’ve been focused on for the last four years is creator-led projects,” McNichol said. “Creators have loyal audiences that want to see them succeed. Many are extremely talented and can not only be on these platforms but thrive. Packaging it well, with the right talent and a good product, is key. Plex watched every episode before signing off, and that’s the most important thing for a show’s success.”
Whether you’re connecting with fellow screenwriters and filmmakers on Coverfly or attending film events, there are ways to find a community eager to help bring your vision to life. The days of production may be tough, but the result is worth it.
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There’s a good chance that your good idea really is a good idea. If no one is ready to take a chance on you, it’s your duty as a creative to build a portfolio that shows decision-makers your great ideas deserve attention. One way to do that is by filming the project yourself. Yes, there will be limitations, but that’s part of filmmaking.
Whether your project ends up on a streaming platform like Ghost Show or serves as a stepping stone to bigger connections, great things can come from bringing your projects to life.
Ghost Show is now streaming on Plex, with the last episode premiering on Oct. 29.
Read More: From a Producer’s Perspective: How to Think About Budget, Genre, and Distribution
