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Meet Ryan Koehn

Today we’d like to introduce you to Ryan Koehn.

Alright, so thank you so much for sharing your story and insight with our readers. To kick things off, can you tell us a bit about how you got started?
Before living in Los Angeles, I grew up in Modesto, a sprawling agricultural suburb in Central California. I was always inspired by the unique power of film and television to forge a magical and personal connection with audiences and began writing screenplays at 16. While in high school, my first feature script ended up in the hands of Richard Zelniker, an LA-based writer/director. Through an impressive feat of independent producing and sheer willpower, he shepherded the project as a co-writer / director, eventually landing us a successful festival run and distribution deal. I was lucky enough to be included in that process from start to finish and couldn’t have been more hooked. After completing undergrad at UC Berkeley, I attended USC for my M.F.A where I had the chance to co-write on another produced feature (THE MAD WHALE, starring Camilla Belle). The project was written through a process of group writing, and that passionate team of writers sitting around a table became my first introduction to the exciting and endlessly rewarding environment of a writers’ room, sparking a deep love for television.

My first job in entertainment was as an assistant to a TV Literary Agent (the tireless and inspiring Lucinda Moorhead at UTA), where I received a ground-level education on how television projects are packaged and sold. From there, I began working for the remarkably prolific and talented showrunner Joshua Safran (GOSSIP GIRL, SMASH, QUANTICO, SOUNDTRACK) who generously incorporates his assistants into every step of the learning process on the shows that he creates. I’m so grateful to have been included in his mentorship before eventually being staffed to write on Seasons 1 and 2 of GOSSIP GIRL for HBO Max.

Currently, I have a feature film in development and am writing a new pilot.

We all face challenges, but looking back would you describe it as a relatively smooth road?
I’ve had my share of difficulties, like anyone. When I was 23, my life was upended by a family tragedy that took the better part of my remaining twenties to process. It was deeply uncomfortable, but through that healing journey, I’ve gotten much better at the art of being grateful in general. I think for a lot of us in the entertainment industry, there’s this hyperfixation on identifying everything through the lens of our job. In that way, I feel a bit like a recovering workaholic who is just grateful to have gotten to do what I have thus far and most importantly, for all of the wonderful people who have been there for me along the way.

Can you tell our readers more about what you do and what you think sets you apart from others?
I love a good coming-of-age story. Mostly because for me, they’re mysteries, usually with the central question being one based around identity. In the real world, it seems those are the evergreen stories we’re always telling ourselves, contextualizing the present-day us with everything we know about our past, both personal and generational. Coming from a mixed Hispanic/European family, it’s also a story I’m discovering daily for myself. Off the page, I just hope to be known as someone who shows up and helps others feel heard. I’m most proud when I feel I’ve been a helpful advocate to the person or idea that ended up solving a creative problem.

What were you like growing up?
Most of the time, I was lost in my own world. Like most kids of divorce, when it came to using the nearest tools on hand to entertain myself, I was MacGyver. Long car rides en route to custody weekends became spiritual quests into a Walkman. A blank college-ruled notebook was a limitless escape hatch. School-wise, if you gave me a good class project with a sliver of creative control, I’d be running through my neighborhood with my best friends and a camcorder. How obvious is it I grew up in the 90’s?

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