GRAND PRIZE WINNER – SEAN SLATER – LONG LIVE JOHN AFRICA!
What first got you interested in screenwriting & how long have you been writing for?
I’ve always been interested in movies. I studied acting and playwrighting for many years before attempting screenwriting. Been focused on screenwriting for about the last 10-15 years.
Do you have a routine?
I usually am most productive in the mornings or evenings before bed. My writing life is set up around my kids’ schedule so I basically write when I can.
What gave you the inspiration for this screenplay & how long did it take to write?
I learned about this story in 2015 and eventually released a documentary about it in 2019 currently, now on Amazon Prime, entitled “Target: Philadelphia” which is part of a series on different aspects of institutional racism in American History. I felt the Vincent Leaphart/John Africa transformation was really fascinating and would make for a great movie. It took about three months to write the script.
What do you enjoy most about writing?
Using my imagination constructively. It’s a place to express complex feelings and emotions from my own life in a way that I find enriching and edifying, regardless of whether it’s for public consumption.
What do you struggle with the most?
Making simple choices is a creative problem I’ve struggled with since I began studying acting.
Do you feel that the film industry embraces new writing talent?
I hope so.
Have you found it difficult to get your work out there and read?
Somewhat. Coverage, especially from Shore Scripts, has been helpful in making my scripts more competitive. There are so many great places now, like Coverfly, where you can get quick affordable feedback, and host your script for industry viewing, which didn’t exist five years ago.
How did you feel when your script was shortlisted, then a finalist, and then one of our winners?
Very excited. It was almost surreal. I probably would’ve been happy as a semi-finalist. The morning of the announcement, I saw I was on the list of 7 winners on Coverfly, but there was no historical genre category and I thought I was competing as a drama. I didn’t want to really believe it but then my wife read the email and we celebrated.
How did you hear about Shore Scripts?
Google searches for coverage services.
What goals do you have for this script and your future career?
I would like this to be made into a film. And then another one. And then another. And then more till I die.
If you had any advice for upcoming screenwriters, what would it be?
Don’t stop.
COMEDY GENRE WINNER – REBECCA GANT – THE BIG O
What first got you interested in screenwriting & how long have you been writing for?
I’ve been interested in writing for as long as I can remember, beginning with a truly horrible novel I wrote about a girl and her horse when I was eight years old. Thankfully, those pages are lost to time (or maybe I burned them), but in the years since I’ve continued writing in many forms. Screenwriting felt like a natural progression as I got older and realized how passionate I was about film and television, and in the last few years, I’ve really loved being able to use my voice in this way.
Do you have a routine?
Typically, my routine is to begin with the scenes I’m most excited to write, as those usually come to me the easiest. From there, writing the rest of the script is sort of like working on a puzzle – fitting scenes together and figuring out how best things work along the way. I love the discovery aspect of writing this way and it helps me feel like I’m always capable of making any changes I need to.
What gave you the inspiration for this screenplay & how long did it take to write?
Time to tell you all about my sex life! I’d been thinking of writing this screenplay for a long time because up until a few years ago, I’d never had an orgasm with a partner. This was something I’d felt shame and embarrassment about for years, to the point that I’d never told any of my friends about it. Once it finally happened and I started talking about my experiences struggling with orgasms, it opened a floodgate and so many women started sharing their own experiences with me as well. I realized that there was actually quite a hunger for a story like this one and that a lot of people would be able to relate in some way.
From the time I first started working on this script, it probably took me about six months until I was finished. There were countless drafts, rewrites, and extremely helpful notes sessions with friends along the way.
What do you enjoy most about writing?
I love being able to have something tangible that I’ve made and to see the ideas in my head on the page. Nothing is better than feeling like your writing has done justice to the story you were imagining, and that’s definitely my favorite part when it happens.
What do you struggle with the most?
Making myself begin a script is the hardest part for me. The actual act of sitting down to write can feel overwhelming sometimes, especially when you have so many thoughts bouncing around in your head and can’t imagine being able to organize them all. But once I’m writing, I remember why I want to do it in the first place.
Do you feel that the film industry embraces new writing talent?
I think that certain pockets of the industry definitely embrace new talent. I see it specifically with a lot of people who are up-and-comers themselves, who are really excited to be championing new and diverse voices alongside them. Unfortunately, I think in the industry as a whole, there’s still a lot of gate-keeping to be able to be taken seriously as someone without previous credits. That’s why competitions like this one are so important because it really serves as a platform for people who might otherwise have a difficult time being read by industry professionals.
Have you found it difficult to get your work out there and read?
Absolutely, this is something I’m still working on every day. Building up the right kinds of connections to be able to get your script in front of people is a job in and of itself! But I have found success from some of the contests that I’ve placed in and keep thinking that eventually, it will end up being read by the right person at the right time.
How did you feel when your script was shortlisted, then a finalist, and then one of our winners?
I was extremely excited every step of the way, as placing at all was an honor to me. But winning the genre prize was incredible because it was the first time this script has actually won a contest. Placing in a contest is a helpful reminder that other people are interested in what you have to say, and the external validation of knowing that other people like your art is always really nice.
How did you hear about Shore Scripts?
I heard about Shore Scripts when I was doing research into contests that might be beneficial to enter. I really liked that part of the winning prize was script distribution to their list of industry professionals, as I think making connections is always my goal when I throw my hat into the ring for things like this.
What goals do you have for this script and your future career?
The ultimate goal is to have this script developed! The dream would be to see this in theaters someday and be able to share that with all the countless friends and family that have been rooting for me (and the script itself) for so many years. As far as my career goes, I’d just love to get to a place where I’m supporting myself through writing, whether that’s in TV or features. Either way, I know I’ll be happiest if writing remains a huge part of my life moving forward.
If you had any advice for upcoming screenwriters, what would it be?
Just keep writing, no matter how hard it might be to start or how hard it might be to finish what you’re working on. Every sentence that you put on a page is making you a better, more skilled writer. And also, just remember that it’s supposed to be fun! If you’re trying to be a screenwriter, most likely it’s because you love writing and can’t imagine doing anything else. And it’s important to not lose sight of the reason that you started in the first place.
DRAMA GENRE WINNER – GARY BLACKWOOD – THE DEPARTMENT OF EASY VIRTUE
What first got you interested in screenwriting & how long have you been writing for?
I’ve been a movie buff nearly as long as I’ve been a book fanatic, but I didn’t try my hand at screenwriting until I was well into my thirties–with very little luck. After thirty more years of writing stage plays and novels and nonfiction books for young readers, I felt I needed a change and plunged back into screenwriting in earnest.
Do you have a routine?
As far as a daily routine, I write every weekday for as many hours as my feeble brain will permit–usually four or so, less if I’m working on a novel. As far as choosing projects, I tend to alternate among novels, stage plays, and screenplays, so I don’t get in a rut.
What gave you the inspiration for this screenplay & how long did it take to write?
I guess you could say it took 30 years to write, since I started researching it that long ago, after I read a piece in a newspaper or magazine about the first female FBI agents. I knew I wanted to do something with it, but wasn’t sure what. Through the Freedom of Information Act, I obtained Lenore Houston’s FBI personnel files, which contained all kinds of good stuff, but I didn’t get around to using it until about two years ago. I was racking my brain for a compelling screenplay idea and rediscovered that treasure trove of material, did a whack more research, et voila.
What do you enjoy most about writing?
As somebody (Oscar Wilde?) said, “Having written.” But seriously, the part I enjoy most is the research; you discover so much fascinating stuff, and it takes you in directions you never would have thought of otherwise.
What do you struggle with the most?
Description. (you see, I couldn’t even describe it)
Do you feel that the film industry embraces new writing talent?
That remains to be seen. I assume that the advent of the many streaming services has opened things up a bit.
Have you found it difficult to get your work out there and read?
It’s not as difficult as I expected, thanks to placing in competitions and listing my work on InkTip.
How did you feel when your script was shortlisted, then a finalist, and then one of our winners?
Anxious. Then thankful. And vindicated; I had a feeling it was a worthwhile script, but I submitted it to over 30 competitions before it made the finals.
How did you hear about Shore Scripts?
Hard to recall; I’ve been submitting various scripts to Shore Scripts for several years.
What goals do you have for this script and your future career?
Nothing grandiose; I’d just like to see some of my work filmed by a director whose films I admire.
If you had any advice for upcoming screenwriters, what would it be?
Don’t put all your eggs in one basket. Build up a body of work.
HORROR GENRE WINNER – BRENDAN BEACHMAN & JUSTIN BOYES – THE LOOKOUT
What first got you interested in screenwriting & how long have you been writing for?
Justin: I remember “writing” my first “script” at eight or nine years old. I scribbled down all the dialogue I could remember from the Scrooge Mc-Duck version of A Christmas Carol so I could force my cousins to act it out with me on Christmas Eve. Growing up in a Salish family, storytelling and performance have always been an important part of life. Screenwriting became the art form that allowed me to best capture the world and reflect it back in a way that felt honest.
Brendan: I would write scripts for our silly short films in high school, all by hand with pen and paper. I had zero concept of script format, so it was just huge blocks of barely intelligible scribble. Sometimes I would even integrate illustrations of shots, so it was a strange concoction of script and storyboard. I never stopped, although I hope my formatting is more on-point nowadays.
Do you have a routine?
Justin: My writing routine, if I have one, is built around collaboration with Brendan. When we’re deep in a project, we have a cadence driven by our outline and scene list. We work linearly through the story with long brainstorm phone calls followed by one of us writing the scene and sharing it with the other who then reads the new material, makes edits as they see fit, and writes the next scene. We typically leapfrog along like that until we’ve got a draft. Then we identify weak spots and do it all again. Having a partner is probably the only way I’d ever complete a single piece of work. Being accountable to and sharing the excitement with someone I work well with definitely makes me a better and more productive artist.
Brendan: I’m not so sure I have a particular daily routine, but I certainly spend a lot of time daydreaming about story ideas. Once something bores its way into my mind and I find that I am constantly thinking about it, it’s time to write. Justin and I are big on outlining, so we will spend an inordinate amount of our time mapping out our story, scene by scene. Only when the outline is finished will we start our first draft. Inevitably scenes will change, and some will be omitted as we write, but the outline at least gives us a signal in the dark. We write remotely (I’m in LA and Justin is in Seattle), so we tend to have hours-long conversations over the phone before either of us sits to write. We trade-off depending on who is feeling the most inspired. At times we utilize the collaborate function on final draft to work simultaneously.
What gave you the inspiration for this screenplay & how long did it take to write?
Justin: Brendan had the concept and we’d been advised to write a simple horror script after trying to sell another script we’d written that was a bit harder to define in terms of genre. We both grew up in small Rocky Mountain towns and have spent lots of time outdoors. As a kid, my family would hike to the lookout above our home every summer, so this was a location I knew well and loved. As far as the story goes, we tried to define what scared us the most about the world at that moment in time and drew inspiration from there. It’s hard to say exactly how long it took to write because even now, I feel like it’s not finished. The first draft probably took 6 months but we’ve put years into revising it.
Brendan: I had this image from my childhood in Northwestern Colorado of fire lookouts and how isolated they are. A tiny cabin thrust high above the forest… it’s just a prime location for scary movies. I was pitching another one of our features about 3 years ago and if the producer wasn’t keen on our concept, I would offhandedly mention this idea for a lone woman in a lookout tower. I would consistently receive positive responses, so we decided that we needed to write the script. Justin, being from rural Montana, also had fire lookouts near his house, so we both had strong personal experience and imagery to draw from.
In total, I’d say we spend a good part of 1 year really nailing the outline, treatment, and a rough, 1st draft. The past few years we’ve been sculpting it to where it is now. We’ll keep making small tweaks as necessary, but we also want to avoid overcooking it. During that time, we also created a 45-page pitch deck, printed physical books for the script and pitch materials, and I filmed a teaser trailer for the screenplay.
What do you enjoy most about writing?
Justin: I love how writing a screenplay can feel like a puzzle. You can be as creative as you want but all the pieces have to fit. Identifying the big ideas you’re interested in communicating and then figuring out exactly how your story can accomplish that. As well as the reverse: defining the story and knowing which ideas will best serve it. And then, of course, I love sharing our creations with the world and experiencing the moment that it all clicks together for someone who hasn’t been living in your head with the story for months and months.
Brendan: Visualization. I am looking to direct everything I write, so I love imagining the execution of the things that we have written. Collaboration is another aspect I truly enjoy. Justin and I will talk for hours and hours at a time about our characters and story… It has been an incredibly rewarding experience to create fantastical worlds together. I also enjoy reflecting on projects months or years later and realizing how subconsciously therapeutic the process had been. There are consistent themes and issues that we tackle in our stories that at the time, I have no idea are weighing on me. When you make your stories personal (which you should) it’s a supremely cathartic experience.
What do you struggle with the most?
Justin: Time. Always time. Brendan and I both have young families and careers outside of screenwriting. Finding the time and the space to write is a constant battle. That’s why the partnership has been so valuable, we keep each other honest, motivated, and inspired. And we can take turns with the actual labor of writing.
Brendan: I wish I was the type of writer that spewed pages of work at a time but the motivation ebbs and flows. When I’m “in it” it is wonderful. I feel possessed. But unfortunately often times I am not in it and I have to force myself to slowly plow through the doldrums and just try to write, even if it’s shit.
Do you feel that the film industry embraces new writing talent?
Justin: That’s a good question and one that I’m not sure I can sufficiently answer yet. I hope it does. I do know that it takes more than just a good script to find success and that’s why I’m thankful for opportunities like those provided by Shore Scripts
Brendan: It’s tough to say. I don’t really have a frame of reference since we have yet to sell our script. I think the industry will embrace anyone who has an undeniably unique voice and talent. At the same time, you can have the next Oscar-winning screenplay on your desktop and no one will ever know about it. Writing is only the first part. The second part is steamrolling your project into existence. Shore Scripts is an incredible opportunity to get your work read by those who can make it happen.
Have you found it difficult to get your work out there and read?
Justin: We’ve relied heavily on the connections we do have, largely thanks to film school, but Brendan has also hustled harder than I knew a person could to form new connections. And so in that way, we’ve managed to get our work read. On top of the networking, we created a proof-of-concept teaser and an in-depth pitch book to hopefully entice people to read our screenplay. So, is it difficult? I don’t know that it is but it’s certainly a lot of work.
Brendan: We have a nice community of film school alumni who will read and give notes. We also trust our supremely intelligent spouses to give honest and incredibly constructive feedback. I’ve been in LA since 2009 and have clawed my way into a commercial directing career, so there is a decent amount of crossover with commercial and film production. I’ve used the connections I’ve made from that, and from many film festivals (from my short films) to create a network of trusted industry folk to reach out when we have something to read.
How did you feel when your script was shortlisted, then a finalist, and then one of our winners?
Justin: What a wild ride to go from submission to winning! You never want to get your hopes up too high but we were confident in The Lookout and with each step closer to the win, we allowed ourselves to get a bit more excited.
Brendan: This is going to sound a bit melodrama:c, but I actually teared up. It has been a long 14 years since I migrated to LA to navigate this industry in the hopes of making a movie, and at long last, it seems as if it’ll really happen. I mean, I grew up in a coal-mining town in nowhere Colorado, and Justin grew up on a ranch in nowhere Montana, so the idea that we are going to make a feature film seems preposterous. The judges that were the deciding factor in our win are so insanely talented, their validation cannot be overstated. Sometimes we’ve felt crazy, as we pounded our heads against the wall, shouting into the
void “this IS a good script, right….? RIGHT???”
How did you hear about Shore Scripts?
Justin: I don’t remember when I first heard about Shore Scripts, probably from Brendan to be honest. I do know that from the beginning, it was our intention to submit The Lookout once we felt it was ready. Shore Scripts has a reputation as a valuable and extremely worthwhile resource and we knew it would be foolish not to submit. And look at us now!
Brendan: I submitted a short script to the Short Film Fund a couple of years ago and had such a positive experience that I was sold. We’ve done quite well in other screenplay competitions, but often times I’ve left with a feeling of “so what”. We get our name on a list and that’s it. Shore Scripts is the real deal. Winning or placing is just the 1st step. They really go the extra mile to introduce you to producers and agents. It feels less like a money-making scheme and more like you are partners in the quest to get your film produced.
What goals do you have for this script and your future career?
Justin: The Lookout will get produced. That’s been the goal from the get-go and receiving these laurels from Shore Scripts has further cemented the reality of that goal. Hopefully, this film can be a doorway to future opportunity as writers and directors. We’ve got so many more stories to tell.
Brendan: The Lookout WILL be made, of that, I am 1,000% sure. I’m too far gone to let it get away. This win just improves the chances that it’ll happen before we’re old men 🙂 I enjoy the more immediate gratification of commercial directing quite a bit, and the process is still filmic and creative, but my ultimate dream would be a career composed of 60% film/tv and 40% commercials.
If you had any advice for upcoming screenwriters, what would it be?
Justin: First, don’t take advice from the likes of me. Second, as annoying cliche as they can be, many of the old chestnuts are true (or at least they’ve worked for me): Write what you know. Never give up. Network. Rules are meant to be broken.
Brendan: I’m not sure I’m qualified to give advice, as we aren’t working screenwriters (yet). However, one universal truth that I find particularly true with our industry is that talent is important but not nearly as much as grit. Rejection is a daily occurrence in our profession (sometimes multiple times a day), but don’t let it deter you. If you know in your soul that you have a story worth telling, never ever stop until you tell it. When you do, the world will understand why you went through hell and back to make it happen. Or maybe they won’t… who cares, because YOU DID IT, and that’s all that matters.
SCI-FI GENRE WINNER – LISA LUEDDECKE – EPHEMERAL
What first got you interested in screenwriting & how long have you been writing for?
I’ve been a writer—writing novels—for many years now, but screen-writing was always something I wanted to try out. I was always intrigued by the format and the challenge of telling a story in that way after writing novels for so long. So in 2020, when the pandemic really got underway, I decided to finally use some time and try it out. I’ve loved it ever since!
Do you have a routine?
Not recently, because writing with a toddler makes things a bit chaotic. But I try to write for at least two hours a day, usually broken up into half-hour increments, whenever time allows. I like to work somewhere bright, with a nice candle and a cup of coffee.
What gave you the inspiration for this screenplay & how long did it take to write?
I’ve always been fascinated by astronomy, and my husband and I do astrophotography as a hobby. It’s led me to start asking questions about where the human stories fall in amongst the search for life and answers in the universe. An idea came to me, and I had a full draft less than a month later.
What do you enjoy most about writing?
I just love the feeling of creating an entire world out of nothing. And I love the process and almost ritual of sitting down to do something creative when the world is often overwhelming. Stories have helped me through some of the hardest times in my life, so I want to keep telling stories for others.
What do you struggle with the most?
I get a lot of ideas, and I’m always very excited by them. Sometimes I have so many ideas going at once that others never get finished. It’s great to feel so creative and never be lacking a story to tell, but it sometimes means that I don’t end up finishing them all, which is ultimately a bummer.
Do you feel that the film industry embraces new writing talent?
I feel some of it does, but not enough. For me, contests have been really helpful, and I’ve met some of the greatest, most enthusiastic people this way. There are a lot of closed doors for new writers still, but I hope that changes soon. Contests, so far, have been wonderful, although I know everyone has their own path and their own way forward.
Have you found it difficult to get your work out there and read?
Yes. I feel like most people do, to some degree. I decided early on when I had my draft that the contest circuit felt like the right path for me, and I’m so glad that I did. It’s more than just whether or not you win. Especially if you’re on a social media platform like Twitter, you can end up meeting other writers and contestants who are all working towards the same goal.
How did you feel when your script was shortlisted, then a finalist, and then one of our winners?
Disbelief. I think that’s the best word for it. I kept saying, “Okay, but there’s no way it will be a finalist. Okay, but there’s no way it will win.” And then the emails would come in and I’d either cry or dance or whatever the moment called for. It was a wildly exciting time!
How did you hear about Shore Scripts?
Through Coverfly!
What goals do you have for this script and your future career?
I mean, my dream would be to have it made into a movie, but these are still very early days. I would love to be able to keep writing for the screen, and ultimately have something of mine produced. Fingers crossed!
If you had any advice for upcoming screenwriters, what would it be?
Make friends! Luckily, the internet is such a good way to reach out and build a group of other writer friends. Twitter, Instagram, online writers’ groups, etc. This is especially helpful if you live far from LA like I do. Being inspired by other people who all help to keep each other motivated can be incredibly useful. Keep practicing, and be kind to yourself, always.
THRILLER GENRE WINNER – TAYLOR HOPKINS – SCAM
What first got you interested in screenwriting & how long have you been writing for?
When I was younger, my father noticed I had a serious interest in short stories and films. He concluded that screenplays would intrigue me next. He brought home scripts for A RAISIN IN THE SUN and NORTH BY NORTHWEST. These were family favorites at the time. I instantly fell in love with the form of screenwriting. This was in my early teens. Ever since then, I figured I’d be a screenwriter one day. It’s been around 17 years!
Do you have a routine?
My routine depends heavily on the day job I have at the time. Working a 9-5 means that I try to find time at night. If my hours are scattered, then my writing periods will be scattered as well. I look at writing somewhat similar to how I view going to the gym. It’s a task you don’t always look forward to doing, but it must be done in order for me to feel healthy. So, no matter how disorganized my life might become, I always find time to write.
What gave you the inspiration for this screenplay & how long did it take to write?
Over the pandemic, I helped begin a virtual theater group called, THEATER OF CHANGE. I wrote a series of 16 ten-minute plays with various characters engaged in zoom calls. This experiment helped hone my ability to work within really tight, creative confines. I was always inspired by one-man, one-location films like BURIED and LOCKE. I was drawn to the creative challenge and wanted to construct my own version. I thought about the script for a few days. The actual writing took a week of concentrated effort, which is pretty fast for me.
What do you enjoy most about writing?
Humans can’t help but want to express themselves. Writing is my favorite form of self-expression. Besides that, providing an audience with catharsis through the means of your writing is a feeling that’s hard to replicate.
What do you struggle with the most?
In my first drafts, I start to lose faith in the script around the beginning of the third act. It’s ironic because my downer feelings usually match the protagonist’s state of mind at that point in the story. Luckily, I have a screenwriter friend who always manages to reinvigorate my enthusiasm for my projects and helps steer the story back on track if need be. Having a solid group of people read my work continues to be imperative for me.
Do you feel that the film industry embraces new writing talent?
It’s difficult to land big opportunities as a new writer. But I truly feel that if you write material that can’t be ignored, and continue to do so, you will be noticed and embraced when the time comes. One of the hardest parts of being a writer (or any artist) is the patience you need to succeed within an industry.
Have you found it difficult to get your work out there and read?
It felt impossible when I began the journey. Many years later, I’m in a remarkably better position to have my work read.
How did you feel when your script was shortlisted, then a finalist, and then one of our winners?
I entered this competition and placed in 2013. (It was called Shoreline back then). It was one of two competitions that were the first to ever place me. I won the other contest two years ago with another script. And now I’ve been given a winner’s award from Shore Scripts this year! You put years and years into the craft, tumbling through the rollercoaster of life, and can only hope that it’s not all for naught. This win is an amazing feeling of validation. Judges carefully took the time to consider my work and deemed it award-worthy. That’s invigorating.
How did you hear about Shore Scripts?
Many years ago on Moviebytes.com.
What goals do you have for this script and your future career?
Given how few resources it would take to make this film, a goal of mine would be to see this film in production very soon! As far as my career, I like what Aaron Sorkin, Steven Knight, Diablo Cody, and Taylor Sheridan have done professionally. They make interesting feature films along with great forays into television.
If you had any advice for upcoming screenwriters, what would it be?
Learn what your weaknesses are as a writer. Learn what part of the craft makes you uncomfortable or has you thinking, “Ah, I wish I was better at that.” Then, fearlessly address it. Rinse and repeat.
GRAND PRIZE WINNER – SARAH GRODSKY-THE BLESSED
What first got you interested in screenwriting?
A lifetime pursuit of acting got me there. When you’re a kid and you see a movie or TV show, you look at the screen and think “I want to do that.” And the actors are all you see, not the hundreds of other hands that make that art happen. In theater school, I didn’t see myself represented at all and wound up working on the same misogynistic “sad fat girl” character on repeat for a lack of anything better. So, I started rage writing. I wanted to create what wasn’t available. It cemented early on the need for intersectionality in storytelling and reassured me that I could tell stories as myself without having to perform.
How long have you been writing for?
I’ve been “out” as a writer for about six or seven years (I was skipping performance rehearsals to write – folks were catching on) and have been writing seriously – Syd Field, the notecards, and all that for about 12 years.
Do you have a routine?
I wish! Neurodivergence doesn’t quite allow me a routine, so a big part of my process is trusting that good writing will happen beyond the initial executive dysfunction. I always find my way to my computer and know what to do when I get there. Deadlines and teamwork keep me from meandering too far on the journey and I’m thankful for both. I can say that the good writing often happens when there’s a mug of something warm and my cat is hogging much of the desk area, despite our several conversations about sharing the space.
How do you find time to write?
Put it first. Finding/making the time is absolutely what took me from a hobbyist to someone in pursuit of a career. When I decided to get serious, I went to grad school (shout out, UT Austin!), and, through the magic of the federal loan system, I bought myself 2 years to do nothing but write. I’m not sure I was a writer before that. Today, I put writing first when making most major decisions. It’s my main priority, even before financial stability (sorry, Mom). It’s not just finding the hours in the day; it’s about finding and making room in your life.
How many TV pilots have you written?
8! 9 and 10 are en route! My Dramedies are Daisy Chain, Edgewood, Edgewood Animated, Trust (the lone sit-com), and Chronic. My dramas are The Blessed, Fried, and the upcoming Dead Spring, a satirical thriller about medical white saviorism. For good measure, I also have a kids cartoon, Ichi and Posie.
What gave you the inspiration for this Pilot?
I’m incredibly passionate about re-envisioning the anti-hero we’ve all come to know and tired of. My mission as a creator is to tell the stories of women and queer folk in which they’re allowed to be gloriously flawed and wrong-headed, people who break molds and burn bridges… But I happened upon Judith C. Browns Immodest Acts when a friend from the shared the cover in which one nun is cheekily cupping another’s breast. So, it was a very base and primal “lesbian nuns? I’m in!” And a lot of the facts and stories were indeed cheeky, bordering on raunchy, bordering on quite romantic. But there was so much more beyond that initial gaze of desire. This woman at the center of it all was absolutely no joke. She’s my dream character – a queer person who defies everything, who carves her own rules in a world built to squash her.
I was also intrigued by the trans narrative that lay beneath all the intrigue. She dressed as a “male angel” who she claimed took over her body to make passionate love to women. Benedetta was clearly exploring her masculine identity and pushing against cis-heteronormative confines and that aligns so much with the stories I want to tell and my own identity explorations. I love how the book doesn’t diagnose her because that’s what has me the most intrigued and overflowing with questions – Is she mad? Is she a magician? A devout conduit? A genius con artist? A great leader? Did she suffer a traumatic brain injury during her difficult birth? Was she a puppet master or surviving on instinct? Any combination of these musings can be true, so the urge to explore every inch of this character was impossible to suppress. She’s a feast.
How long did it take to write?
About 6 months from research to passable draft. I was fortunate to do the lion’s share of the work with a weekly workshop. But nothing’s really ever done, and scripts keep growing like kids. If we count the draft I submitted to Shore Scripts, it’s at about 2.5 years old.
What do you enjoy most about writing?
I enjoy the opportunity to fully inhabit a character – a residual practice from acting. I get to slip into and live in these brave people who say what they feel and make bold moves while living very high-stakes lives. It allows me to be an adventurer and address issues from the personal to the global. There’s also something very satisfying (and a little deranged now that I read it) about creating and solving problems. Making a mess and cleaning it up, or deliberately deciding not to.
What do you struggle with the most?
Structure structure structure. I am not a structured or linear thinker. A lot of times, the bigger picture can be an afterthought. Top that with my approach being very character-oriented! Structure does get into your muscles over time with practice but focusing on its precision always comes later for me. And there are of course the broader industry struggles like breaking in and devoting your whole self to craft while still making rent and feeding the cat.
Do you feel that the film industry embraces new writing talent?
Broadly, as an entire industry? Probably not. The opportunities available are far outweighed by the quagmire of competition and a devotion to “what already works.”
On an individual level, though, there are creators who are very mind-fully holding the door open and taking time out of their own hustle to create opportunities. I was very lucky to have an internship blossom into a working relationship, which takes a certain level of symbiosis but does depend on one person reaching down and welcoming in. There are also a handful of contests that rise with the cream and still don’t charge predatory entry fees so they’re still accessible (looking at you, Shore Scripts), which can jumpstart the embracing process.
Have you found it difficult to get your work out there and read?
I graduated from UT into the pandemic. A lot of networking opportunities were stunted and there was more of an internal focus on survival rather than expansion. Beyond the UT alumni/faculty network and the writer I work for, both of which are already privileges, it’s been tough getting my work seen on a wide scale. But it just takes the right reader to push things through and the next thing you know, a writer whose show inspired elements of your pilot is reading it! I’m beyond elated that The Blessed will be making its way out into the world.
How did you feel when your script was shortlisted, then a finalist, and then one of our winners?
I was really excited to be shortlisted. Making an occasional shortlist reassures me that I’m in the game and being read. Being a finalist made me feel SEEN. So incredibly seen. Certain aspects of my work can be off-beat and I’ve gotten feedback that my pi-lots are “too niche” (which often feels like “too queer”), so knowing that my work was read, appreciated, and passed forward several times over and that a consensus was reached really means a lot to me. I was content to sit pretty in the top 10 because being a finalist comes with such a killer stack of benefits.
I’ve always had more of a supporting character vibe, so I was honestly a little surprised to win, but that was very quickly taken over by “Hell yeah, I did!” It’s been such an incredibly validating experience in a field where moments of true validation and encouragement are few and far between.
How did you hear about Shore Scripts?
I found Shore Scripts on Coverfly while scouring for competitions that wouldn’t break the bank.
What goals do you have for this script and your future career?
I’d love to develop the crap out of The Blessed and see this script produced with a rich palette, cold humor, intense intrigue, and with warmth radiating from the characters and their connections. Rather than historical verisimilitude, I’d love to see the world diversely populated. Another goal would be to find a queer actor with the chops and the draw to take on Benedetta’s many forms. In my mind, the finished product rests at an intersection between The Great, A Handmaid’s Tale, and Orange Is the New Black.
Career-wise, I’d love to continue learning by doing. I’ve been assisting for about two years and would love to get repped and/or staffed in the coming seasons. Freelancing has been very gratifying, but I’m ready to get in a room to see what I can contribute and get the first-hand experience of building a show beyond the development phase.
If you had any advice for upcoming screenwriters, what would it be?
Follow your strange impulses! It’s okay if you can see the story before others understand. You’re the writer. If you wanted to fill in formulas, you should have pursued STEM. Your challenge lies in carving out a compelling story that makes the skeptics understand. Also, I know you love your characters, but you absolutely must torture them. I’m sorry.
GRAND PRIZE WINNER – NICK WILLIAMS & MARTY ABBE-SCHNEIDER – PAUL RUDD’S IN TROUBLE
What first got you interested in screenwriting?
As long-time die-hard fans of comedy, we had each created an exhaustive catalog of camcorder-made home movies and sketches by the time we were sixteen. When we met late in high school we teamed up and, against the advice of our parents, continued “making our art.” Eventually, we came to the idea that our dumb projects might improve in quality if we wrote a script first. As with any healthy relationship, we split up for college to hone our crafts and grow as people, before coming back and making our writing partnership official.
How long have you been writing for?
We both began writing on our own in 2014, immediately after college. From the start, our work rarely went without feedback or punch-up from each other, and we became an official writing team in 2018.
Do you have a routine?
We begin every writing session with about an hour and a half of faffing around. Our friendship and making each other laugh is the foundation of our writing partnership and some of our best ideas are born from it. When we actually get down to brass tax, we start every script with an extremely dense outline. This ends up being 90% of the actual work. If we’ve done the outline right, writing the first draft ends up being more reformatting than anything else. Once the story is in a place we’re happy with, we make several jokes passes, filling it with dialogue and getting it as funny as possible, while still in outline form. Then we chop the outline into chunks and individually write those before coming back and assembling the pieces into one script. The next several weeks to months are spent rewriting and retooling that draft until it is one seamless piece. We usually do this for two or three scripts at a time so that we can keep working as we wait on notes from our peers.
How many TV pilots have you written?
We have three TV pilots, two screenplays, and a spec script for an on-air sitcom.
What gave you the inspiration for this Pilot?
We had just finished pitching a pilot for a Disney property and were given the advice by an attached producer to write an original piece in the same tone–in this case, a big-budget, four-quadrant, sci-fi hour-long. We came up with the totally unrelated idea for Paul Rudd in the first four minutes of our initial brainstorm (see above, re: “faffing around”) and spent the next several weeks trying to stop ourselves from pitching on that instead. We failed.
How long did it take to write?
We were having so much fun with Paul Rudd, that we tore through the first outline and first two drafts in only one month, but we spent the better part of the last two years getting it to its current form.
What do you enjoy most about writing?
We hate to keep coming back to this faffing-around idea, but it’s the best. When we were kids, our parents would interrupt our D&D session, or sketch shoot, or nerf war, to ask us what we wanted to do with our lives and we’d always respond: “This.” Getting laughs in a writers’ room, or from a writing partner, is our best estimate of how to turn that tomfoolery into a career.
What do you struggle with the most?
The not knowing that comes with sending a script out.
Do you feel that the film industry embraces new writing talent?
We genuinely do think the industry embraces new talent, but with so many great and motivated writers out there, we understand that it can be really hard for people to get eyes on their scripts.
Have you found it difficult to get your work out there and read?
We are incredibly lucky to have gotten a manager earlier in 2021, but prior to that, it felt incredibly difficult.
How did you feel when your script was shortlisted, then a finalist, and then one of our winners?
It felt amazing! This is our first contest win and we couldn’t be more excited! We really love this script and it consistently makes us laugh. We’re so thrilled other people agree. It’s clear we were up against a ton of really great writers and we are so happy Paul Rudd stood out.
How did you hear about Shore Scripts?
Coverfly.
What goals do you have for this script and your future career?
Our current goal is to get into a comedy writer’s room. If anyone has any leads, please contact Jonathan Rosenthal at 3 Arts Entertainment. Beyond that, we would love to one day make Paul Rudd with the man himself, or a similar prototype who is appropriate for the time.
If you had any advice for upcoming screenwriters, what would it be?
We try not to work on anything too long that doesn’t make us happy. If it doesn’t initially make us both laugh and excited to write, then we move on. Your time is precious. Don’t waste it on something you don’t like because you think others will. We came up with 100 different terrible YA sci-fi concepts before we settled on the ½ hour comedy that won us this competition.
2ND PLACE WINNER – ANNIE MACKINNON – YOUNG GRANDMA
What first got you interested in screenwriting?
I’ve been producing/directing reality TV for fifteen years. Not to burst the bubble of said ‘reality’ but my job involves scripting scene outlines before shooting and editing scenes for drama and comedy. As a storyteller, I always wondered how transferable these skills would be to screenwriting and decided to take classes in 2019. When production shut down during the pandemic and I was home with a newborn, I decided to give it a real shot and wrote Young Grandma. I believe that representation matters on screen, another reason for pursuing screenwriting. We have come a long way but there are still not as many female-driven comedies on our screens as there should be. I would love to be part of the effort to write more female characters that are complex, flawed, and funny.
How long have you been writing for?
Through my career in reality TV (including writing voice-over), I’ve been writing in some capacity for fifteen years. But putting pen to paper and writing a screenplay? That process of experimentation only began in 2019 and I wrote my first pilot between 2020-2021.
Do you have a routine?
I try to write every day that I can but it’s not so much a ‘routine’. Whenever I’m not doing freelance work, I try to write when my toddler naps during the afternoon and also evenings/weekends
How do you find time to write?
Between freelance work and looking after a toddler (who is very cute but loves to put her sticky hands all over my laptop), it’s difficult. Having a partner that is supportive of my process is key. Also, the ‘writing process’ never stops away from the laptop. I find myself coming up with ideas at 3 am on a sleepless night, on the treadmill, or at a bar.
How many TV pilots have you written?
In 2019 I wrote an original pilot and a spec script of an existing show in a writing class. I looked at those more as learning experiences so I would therefore regard Young Grandma as my first pilot.
What gave you the inspiration for this Pilot?
Young Grandma is a raunchy, irreverent comedy about a thirty-five-year-old single mom trying to shed the skin of motherhood while stuck co-parenting a baby with her clueless teen mom daughter. It’s the story of a young grandma torn between the hedonistic temptations of Brooklyn’s nightlife and the trappings of family life. While there are some great shows on TV that highlight the unromantic side of parenting and poke fun at the absurd societal expectations mothers face (Motherland, Working Moms), I believe this area has room for further exploration.
After a sucky pregnancy and a very sucky birth experience, I noticed how society still glamorizes all aspects of pregnancy, childbirth, and motherhood to a comically absurd level. We don’t allow women to talk about the downsides, the sacrifices, what it means for our own personal identity. We’re told as women we can “have it all” but the pandemic (as per the NY Times report) has shown women still bear the burden/pressures of childcare globally. I decided to write a story about two women parenting in the most extreme of scenarios (teen mom and young grandma) and explore this theme through a comedic lens.
How long did it take to write?
I came up with the concept in late 2020 and spent a few months fleshing out my outline. It wasn’t until March 2021 that I fired up Final Draft and had a pretty solid draft written by August. I’m still tweaking my draft, trying to take it to the next level. The writing never stops as they say!
What do you enjoy most about writing?
The spontaneity of it. Even with a solid outline in hand, sometimes I start writing dialogue and things flow out of nowhere, taking me in a different and even better direction. That is the most thrilling part.
What do you struggle with the most?
Accepting that not all writing days are the same. Some days dialogue flows out of me like a waterfall and other days I just can’t tap into what it is I’m trying to say. It took me a while to learn to be patient with myself and with the process which is definitely a marathon, not a sprint.
Do you feel that the film industry embraces new writing talent?
I’m very new to this so I guess I’ll find out!
Have you found it difficult to get your work out there and read?
I’ve only just started submitting to competitions and will continue to do so in 2022 so I’m not sure of the answer to that question just yet.
How did you feel when your script was shortlisted, then a finalist, and then one of our winners?
I whooped so loudly that I woke up my toddler from a deep nap so, yes, I was over the moon. It’s such an honor to have my work recognized by such a prestigious competition and panel of judges. The thought of my little script making those readers laugh or moving them makes me smile
How did you hear about Shore Scripts?
Coverfly’s list of competitions. I’m originally from the UK and live in NYC so the transatlantic nature of this competition was very appealing to me
What goals do you have for this script and your future career?
I’m hoping that in 2022 this script gets exposure and garners some interest. My goal is to get staffed on female-driven comedy series.
If you had any advice for upcoming screenwriters, what would it be?
Do not have an ego and try to not be too sensitive. As creatives we get so attached to our characters they become like friends. But you must be willing to accept feedback, both positive and negative. You will never, ever learn and grow if you work in a vacuum for fear of being criticized.
