GRAND PRIZE WINNER – THE FIRST MICHAEL BY MICHAEL BUONOCORE
What first got you interested in screenwriting & how long have you been writing?
I’ve been writing creatively my whole life for myself but became inspired to pursue screenwriting in just the last couple of years. The story of THE FIRST MICHAEL is based on my own real-life experience, which I initially chronicled in my podcast of the same name. I really wanted to see it become a movie, so I wrote the screenplay and fell in love with the process. Painting a very big picture with so few brush strokes, if you will, is incredibly fun and motivating to me.
Do you have a routine?
I walk to a local café in the morning, get the biggest damn latte available, then walk home. The fresh air and the nectar of life, coffee, get my creative juices flowing. From there, it’s a mix of writing and taking breaks throughout the day – a run, the laundry, a snack.
Maybe a nap.
What gave you the inspiration for this screenplay & how long did it take to write?
It’s about the search for my biological father and the very public, comically humiliating effort to do so, which involved me showing up on a man’s doorstep, asserting that he was my biological father, and then being proven wrong. While he was displeased by this blunder, to say the least, his family helped me find the right guy, who is a wonderful, loving man. I found my dad and got a bonus family in the process.
The first draft took me about six weeks. By the time I got to the version that won the Shore Scripts contest, I had written several other projects while periodically reworking THE FIRST MICHAEL seven or eight times over the better part of 2022.
What do you enjoy most about writing?
I love the process of discovering my characters. I’m a “pantser” – I write without creating an outline first, so they come to life as I write them, and if I’m not falling in love with them – even the villains – I know I’m off track.
What do you struggle with the most?
Much of my career was spent in human services, so when my characters have conflict, my reflex is to de-escalate it for them. This is a horrible, horrible instinct for a screenwriter! I have a sticky note on my laptop with a quote from the amazing screenwriter, Meg LaFauvre: “Your job is to beat the shit out of your protagonist.”
Do you feel that the film industry embraces new writing talent?
Yes and no. On the positive side, I have encountered a ton of supportive people in the industry. Coverage notes have helped to vastly improve my craft, and it’s apparent that so many readers genuinely care about helping you make the execution of your story better. The execs and insiders I’ve met have been gracious with their time and expertise, and very kind overall.
However, I’m lucky to be able to pay for coverage and contest entries and to enroll in programs that teach me to navigate the industry. I’d be lost without that ability and it’s too expensive for many talented writers to afford. In this regard, it’s not about embracing new talent as much as a need to make access to the embrace more equitable. I love that Shore Scripts has signed on to WOCU’s Screenwriting Contest Transparency Initiative and I hope we see more and more efforts to increase access and inclusion in the industry.
Have you found it difficult to get your work out there and read?
I was accepted into the Roadmap Writers Top Tier program this year, which has made that easier, and winning this contest will help exponentially.
How did you feel when your script was shortlisted, then a finalist, and then one of our winners?
I’ve had the experience of getting finalist placements and, once, a category winner, but this was my first grand prize. I was absolutely blown away to win. I feel really fortunate to have connected with many peers who are competing in contests and I know there’s incredible talent out there, so I hadn’t even let myself imagine winning. It’s a huge confidence boost and I’m just so grateful for it.
How did you hear about Shore Scripts?
Through Coverfly. I’ve had such a great experience with Shore Scripts – I find the coverage really thoughtful, and the ability to resubmit as I progress in the competition is something I value highly. I can’t say thank you enough.
What goals do you have for this script and your future career?
I know that the odds of getting a spec script like this produced are usually low, but it’s such a funny, tender human story that people connect with on many levels, so I won’t give up until it’s on the screen. Beyond this, I’m in love with the craft and I have other projects that I hope will open doors for me. I want to create a successful portfolio of work that may vary in genre and format, but where my distinct voice shines through and audiences can see themselves in the characters.
If you had any advice for upcoming screenwriters, what would it be?
Your voice as a writer is everything. In order for your voice to really come through in your projects, you have to know yourself well, especially your pain, your trauma, and your fears. You never have to exploit them or expose more of yourself than you’re ready to, but if you’re not deeply in touch with them, your characters will probably feel flat, and/or their motivations won’t be clear. Whether you realize it or not, you’re all over the page. At your deepest core, who are you and what do you want to say to the world?
ACTION/ADVENTURE GENRE WINNER – KRISTI BARNETT – ELEPHANT KISS
What first got you interested in screenwriting & how long have you been writing?
I went to film school in 1999. I trained mainly as a video camera operator. I’d been working for a TV company as a camera operator for too long where I was simply being told what to do and there wasn’t much creativity. I felt like I hadn’t achieved much with my creative life, so I decided to teach myself screenwriting because I went to film school to be involved with filmmaking, but took the technical route. I always wrote short stories as a child, so it seemed natural to turn my love of storytelling and my love of genre films into a career.
Do you have a routine?
No not really. I write when I can have a clear 3-4 hours. I write when I’m refreshed and can clear my head. I write new spec scripts when I’ve formulated an outline in my head around the basic concept. These ideas could stay in my head for years before I begin a new script from scratch.
What gave you the inspiration for this screenplay & how long did it take to write?
I started on the draft in 2020. The idea has been in my head for 12 years after I wrote a short story that was inspired by the beloved poem Rainbow Bridge, often recited when a pet dies. In the end, I wanted to write a story that appeals to my spiritual side without whacking people over the head with it. I wanted to take the themes of grief, loss, and the power of belief and imagination, and offer them to children in a poignant heartwarming way.
What do you enjoy most about writing?
I love creating stories that move people. Whether it’s scary, funny, exhilarating, or sad. Having the ability to get people to emote with the power of your words and storytelling is wonderful. Finishing a screenplay is a thrill. Also, working with like-minded people who understand your messages within and or come up with their own that you empathize with, is a great feeling because it shows someone is passionate about your story! And knowing that, is beautiful.
What do you struggle with the most?
Perhaps reigning back my imagination. Sometimes the motivation to push through when you’re tired. But I’ve become good at self-editing during the rewrite to adapt to budgets and also finding my own way to discipline myself to write.
Do you feel that the film industry embraces new writing talent?
Yes, there are screenwriting competitions that give access to good industry players, including producers and managers. I think the industry just wants really good stories and professional screenwriters who are good at collaborating and understanding how the film industry works. So they are willing to use competitions as a way to see these new screenwriters and their work. There are even a few who will take unsolicited scripts which you will find on their websites. So there are many ways for new talent to get their work out there and it’s evident that the industry wants to embrace this.
Have you found it difficult to get your work out there and read?
When I was first starting out, of course, I had no real idea how to get people to read my work. You have to get a body of screenplays behind you so that you don’t appear to be a complete newbie who doesn’t know anything about storytelling. I did use online hosting sites where you could upload your script and I had a few connections from that. I have tried doing query letters as well which haven’t been that successful. But the competitions have done wonders, and of course, good old networking in your local area is probably the best thing you can do to get your work read.
How did you feel when your script was shortlisted, then a finalist, and then one of our winners?
I was elated. I knew the script was good but you never know who’s reading the script in some competitions, and there’s been a few times where it just didn’t place. So knowing that it’s shortlisted is a thrill. And then becoming a finalist is when your hopes go up and you just really want to win something. So being told that it has won something is just so thrilling, and it gives you validation as a writer and for the screenplay itself; especially because the judges are in the industry and so have good knowledge of the types of stories that will do well.
How did you hear about Shore Scripts?
I was searching for reputable screenplay competitions that had access to industry people and to be honest, cash prizes. And it came up on Google and I could see that the winners were getting good traction.
What goals do you have for this script and your future career?
I just know that people find this script really engaging and heartwarming. So my goal is for it to be produced, which is what every screenwriter wants for their stories. But I do believe that this particular story has the chops to be produced and released to the public. I would also dearly love to get representation as I’ve been in the industry for a while now and have the ability to write screenplays that are engaging. I’ve been commissioned to write screenplays I’ve worked with directors and producers and have had options. I have even sold a screenplay. So now I would like to have representation and have work come my way.
If you had any advice for upcoming screenwriters, what would it be?
Learn structure and understand storytelling. But mostly for film scriptwriting, one needs to understand how films cut together. If you can begin and end scenes, like an editor would think… and use your literary skills to describe the scenes, then your screenwriting will stand out. Because it will read like a movie in someone’s head.
Learn about contracts. How to read them and understand the terms, and how you can negotiate them. Writers are taken for granted and if one knows all this, it will empower you and your career.
Try to have something to say within your stories, even if it’s subjective to you. Never be afraid to push for your themes and messages within your story. Theme may feel like a feminine part of the storytelling process and action/plot is the masculine side. Both are necessary. Theme is what will make people remember the film, so don’t let anyone who doesn’t identify with the theme, tell you it’s not important. Know how to diplomatically endorse your themes and fight for the battles you think are important.
COMEDY GENRE WINNER – FRAN ERVIN – PRIDE AND PRUDENCE
What first got you interested in screenwriting & how long have you been writing?
I’ve always loved telling stories. I was that kid at the slumber party who kept the other kids up with funny tales or ghost stories. I spent (and still spend) a lot of time both reading and watching films. I wrote my first screenplay in middle school and even sent out query letters to agents for it. (I’m still waiting for responses on some of those so fingers crossed!) I don’t think it was a big surprise to anyone that I ended up getting a degree in Creative Writing and then went on to get my Master’s degree in Film. Writing has always been a part of my life since I was a child, and it’s been one of the great loves of my life.
Do you have a routine?
I’ve always been a night owl, so I write best late at night. If an idea catches me though, I’ll stop whatever I’m doing and just start outlining it. I think it’s important to try to write something…anything…at least for a little bit every day.
What gave you the inspiration for this screenplay & how long did it take to write?
My screenplay takes place in the universe of Jane Austen. I used to read “Pride and Prejudice” over and over because I didn’t want to leave the characters or the world in that book. I began to wonder what took place after the story ended and if there were more stories in that universe. This inspired me to write my script “Pride and Prudence”. This screenplay just poured out of me. Usually, it takes me months to complete a first draft, but I wrote the first draft of Prudence in a little over a week, writing non-stop pretty much. Of course, I’ve spent months and months on revisions since that first draft, and I’m constantly reworking parts of the screenplay. I’ve been working on it, on and off, for about a year.
What do you enjoy most about writing?
That moment when you know you’ve really written something good. It’s the best feeling!
What do you struggle with the most?
Outlining! Really working out the plot details and characters can be a source of frustration for me, but once I figure it out, I must admit, it’s the best feeling!
Do you feel that the film industry embraces new writing talent?
I think it does. Every successful writer I have talked to has a different story about how they got into the industry. The one takeaway that I get from them all though is that it is important to just be ready. You never know when you’re going to get an opportunity, and you need to be prepared for when you do. And also, don’t get discouraged. Rejections are just part of the path to success.
Have you found it difficult to get your work out there and read?
I am so grateful to contests like Shore Scripts! Using Coverfly and FilmFreeway has helped me immensely in getting my script out there!
How did you feel when your script was shortlisted, then a finalist, and then one of our winners?
I was very excited when I found out I was shortlisted, but when I found out I was elated. I know Shore Scripts receives a lot of screenplays from a lot of talented writers, so it was such an honor to make it that far. I felt encouraged to keep up the hard work, and I was pretty much happy just getting that far. When I got the email that I was a winner, I started crying. I was so happy. I had been having a tough week, and I was feeling discouraged, and the news came at just the right moment. I am beyond grateful to the judges and everyone at Shore Scripts for this opportunity.
How did you hear about Shore Scripts?
I found it on Coverfly, and I applied right away.
What goals do you have for this script and your future career?
I would love to make this into a film. I have plans to actually write two similar scripts with two of my other favorite Austen novels, so maybe I’ll have a trilogy. I am still hoping to reach the point where I can make a living as a writer and filmmaker. This whole experience has definitely encouraged me so much, and I’m so grateful for all the support Shore Scripts is giving me.
If you had any advice for upcoming screenwriters, what would it be?
Write on…don’t give up!
DRAMA GENRE WINNER – LOGAN MITEV & TSOANELO RANTSHO – SHADOWBOXING
The answers below are from Logan
What first got you interested in screenwriting & how long have you been writing?
I started out writing for theatre about 10 years ago since my degree was theatre-based. A Toronto producer liked one of my plays and wanted to turn it into a feature film, so I wrote and directed that to nice success around the world. While that was being developed, I ended up writing a TON until it became my full-time job.
Do you have a routine?
My routine is pretty steady. The morning is largely based around the organized chaos of my kids and dog. At around 8 am, I get my kids out the door to daycare/ school, then I take my dog for a hike so that he lets me write. After that, I set up either in my office (with my dog) or in my local coffee shop (stereotypical writer) and I write until around 4:30 or 5 pm when I pick up my kids. When I pick them up, there’s no more work until the end of the day. I used to write late at night as well, but I can’t do it anymore.
What gave you the inspiration for this screenplay & how long did it take to write?
Nelo had already researched George Dixon quite extensively before he brought me on. He started with a lot of history for the piece, laying the groundwork for the voice, tone, and message. After that, he hired me to write the script and really let me go to town on the story and concept. I wrote the first draft in 1 month, which was shocking since I’m normally quite slow and deliberate. After that, we fine-tuned, went through different rounds of Hollywood evaluating, and finally settled on something we were very pleased with.
What do you enjoy most about writing?
Attempting to impress myself, since I’m my own biggest critic. If I hold myself to a very high standard but can still get a piece to the point of being proud of it… then that is a huge victory.
What do you struggle with the most?
Censoring my creativity. Since I come from the world of indie theatre/film producing, I find that sometimes I think too logistically while in my writing process. Will a producer want to pay for this? Maybe I should cut this out to save money? etc.
Do you feel that the film industry embraces new writing talent?
Not particularly. It’s still a ton of work to get noticed and there will always be the questions of “Who do you know?” and “What have you done?” But persistence and creating a body of work are super important. This industry’s not for the faint of heart.
Have you found it difficult to get your work out there and read?
Anyone can get professional coverage on a script or enter it into competitions. There are always ways to get your scripts read. After that, it’s about making sure your stories are truly polished and learning how to query.
How did you feel when your script was shortlisted, then a finalist, and then one of our winners?
It was great news! Our script is so new and this was one of the first competitions we entered, so it was nice to hear back so quickly. The communication has been stellar.
How did you hear about Shore Scripts?
We were targeting competitions that have useful rewards for writers. To us, prize money is the last thing on our minds. We look for competitions like Shore Scripts that actually help get the script into the hands of key decision-makers within the industry.
What goals do you have for this script and your future career?
We’re pushing to see this film get made at a high level, one that does George Dixon’s life justice. In my career, I just want to continue to make work that leaves an imprint in people’s memories. I want the audience to feel something real. Making them cry is always a plus.
If you had any advice for upcoming screenwriters, what would it be?
1. Make your own work. 2. DEADLINES. No one is going to give you a job right away. Start writing and producing your own things: Plays, shorts, and indie features. Find ways you can tell a high-quality story for the lowest amount of money possible. After that, you can leverage those things into more work. Keep writing. Keep planning the next project. Hold yourself accountable.
HORROR GENRE WINNER – JAKE LAZAROW & GRETA GUTHRIE – BABY TEETH
What first got you interested in screenwriting & how long have you been writing?
Greta: I’ve always loved writing, particularly dense, descriptive prose – something that made screenwriting seem like a complete mismatch for me. However, once I realized I could make something just as vivid, descriptive, and emotive in as few words as possible, it was a challenge that made me love the art of screenwriting more than I could have thought. It’s an intimidating thing, but, once you start, you begin to realize how open-ended and approachable it really is– I just became fascinated with it! I’ve been writing silly stories my whole life but began trying my hand at screenwriting about five years ago.
Jake: As the son of a high school English teacher, I grew up in an environment heavily promoting the arts and literature. I wrote my first (horrible) novel with a friend on the playground during 4th grade (it’s not as sad as it sounds, I promise). My dad was kind enough to take time out of his high school curriculum to give me notes — he always asked if I wanted “the big red pen or the little red pen” and I proudly always asked for the big red pen, although he certainly gave me the little red pen until I was old enough for actual critique.
I fell in love with screenwriting during high school after watching Linklater’s BOYHOOD in theaters and then DAZED AND CONFUSED followed by fellow New Jersey native Kevin Smith’s CLERKS. A close friend and I Kickstart fundraised $2,000, rented equipment from a rental house in Philadelphia, and set out to make our 120-page coming-of-age epic with all of our friends over the course of 10 days. When the dust settled we shot less than half of the original script and barely had enough to cobble together a final edit, but the damage was done. I was hooked on screenwriting (or at least the concept of it, it took me a while to actually learn the craft).
Do you have a routine?
Greta: No routine is the best routine! I find if I force myself, my mind will revolt and shut down. If the mood catches me and I start thinking and brainstorming, I have to drop whatever I’m doing and ride the writing wave until it’s over. I’m envious of those that can tolerate more structure!
Jake: I wish I could say that I do, but honestly it’s mostly when inspiration comes to me. If I’m not connecting with what I’m writing I physically cannot make myself do it. But if I’m in it then I can’t be pulled away, and I can’t stop until it’s done. Healthy, for sure!
What gave you the inspiration for this screenplay & how long did it take to write?
Greta: The inspiration for this screenplay came directly from the first time we began to contemplate our parents’ mortality. It’s easy to accept one’s own death, but as we grew older, we noticed a grey hair in our dads’ beards or a lousy heart that used to be strong. That idea, that our parents won’t outlive us and the fear and guilt that can come with it, directly resulted in the inception of Baby Teeth, which we’ve been toiling on for about a year.
Jake: When I was a kid I lived down the street from a house similar to one in BABY TEETH — right down to the decaying cemetery next to it (there were actually two cemeteries on the street but that seemed excessive). It was torn down when I was in elementary school, and within a few years, I started to think about how much I wished I’d gotten to see what was inside. I wrote short stories about it but never quite scratched the itch, so just over a year ago (November 2021) I decided to explore it further in a new direction. I started writing the first pages, brought it to Greta, and we got to work.
What do you enjoy most about writing?
Greta: I love the freedom of it! The way that I write would probably frustrate the average writer to no end, but there are no rules to it. Suggestions, sure, but there’s no cut-and-dry way to write a story. Even if I write the wackiest dream I’ve ever had on paper, no beginning, middle, end, or coherent story, that can be the beginning of a very real story. I write a sentence or two a day in my notes app, whether a one-sentence poem, a lyric I like from a song, or funny subway interaction, and almost everything is a seed of inspiration sooner or later.
Jake: I never thought I’d ever find myself saying this because I grew up absolutely loathing the editing process, but I’ve found it to be the most fulfilling part of screenwriting. The first draft is cathartic in its own right, but workshopping new drafts Is when the ideas I so desperately want to get out in the first draft come alive. I discover why I’m actually writing it and why the story compels me in ways that the first draft only scratches the surface.
What do you struggle with the most?
Greta: Again, structure. The freedom that comes with writing, which I love, is also the thing I can’t stand about it. As a songwriter, I know how the convention goes: four-chord progression, two verses, chorus, bridge, etc. At the end of it, you can end up with a song. Maybe not the best song, but a song nonetheless. The struggle is the same in writing. Following convention can be helpful but may not lead you to the most interesting version of your story. Coloring outside the lines will lead you to a more interesting story but may lack cohesion. Bridging those two things is a struggle when looking at a blank page, but that’s what makes writing so exciting!
Jake: I’m incredibly impatient by nature — waiting to hear back from competitions or to receive feedback is excruciating. For better or worse we’re stuck using that as a barometer for what’s working and what’s not, so it’s scary to put a draft we love and we’re excited about into the world knowing full well we won’t find out for weeks or months what they thought of it.
Do you feel that the film industry embraces new writing talent?
Greta: Yes and no. I think there’s always a hunt for new, hungry talent, but the industry tends to latch onto those that they think will get them the biggest pull. “Brand” is such a commodity these days, and I fear that sometimes we get caught up in the trendiness of certain things, or the broadest possible appeal, that extreme talent, particularly from marginalized voices without resources to establish themselves in the industry the way many companies desire, is overlooked. That’s why I love competitions like Shore Scripts!
Jake: I think it’s less of an embrace and more of a demand — it demands dedication, drive, and a lot of humility to force the door open. There is an endless supply of children of nepotism that have access to resources and introductions, so to be outside of that circle and make it in requires not just a love of the craft, but the ability to recognize you may be good, but good on its own doesn’t get you noticed. It takes commitment to the pursuit of success to be noticed, even at a passing glance.
Have you found it difficult to get your work out there and read?
Greta: Yes! I’m fortunate to have a pool of writer-friends and non-writer friends alike who are willing to spare their own time to look over draft after draft and give feedback. However, it’s hard not to feel like your close friends and family aren’t biased in your favor, leading us to pay for coverage with each draft. Though the feedback can hurt
from a stranger at times, I’m confident that our script wouldn’t be the winner it is today without it. I wish there was a way for young writers to be able to get quality feedback from industry professionals that might not be able to pay for coverage.
Jake: The most difficult part of getting our work out there is the barrier of money — there are boundless opportunities to get work in front of industry readers, top-tier festivals, and working professionals, but nearly all of them come at a cost. We work in production as a means to remain connected to the industry and to be able to submit to amazing contests like Shore, but it does come at a price that isn’t accessible for all writers.
How did you feel when your script was shortlisted, then a finalist, and then one of our winners?
Greta: My co-writer, Jake Lazarow, and I couldn’t believe it. I mean, we really couldn’t believe it. Each round we thought “how special to get to this level! Never thought we’d be here!” and each round, we’d continue to be wildly surprised to hear that we progressed. I honestly don’t think it’s set in yet, even weeks later.
Jake: Every step of the way has been an unbelievable joy — it got to the point where I had figured out Shore would drop the results around 1 PM EST, so at around 12 PM on an announcement day my brain couldn’t really focus on much else. This was our first big win so at every step of the way we both assumed that we’d reached the disappointing but understandable end of our run. But it never came, and we’re so thrilled to be in such good company with all of these incredibly talented winners, as well as all of our fellow horror finalists.
How did you hear about Shore Scripts?
Greta: When we began submitting Baby Teeth to festivals, Shore Scripts was one of the first we found when researching the best festivals for writers. We submitted to plenty of smaller festivals, to varying levels of success, and once we felt our script was in a good place, we committed and submitted to Shore. What a journey it’s been since then!
Jake: An unhealthy obsession with Coverfly.
What goals do you have for this script and your future career?
Greta: Becoming a full-time screenwriter is something that sounds like a job a Barbie would have – and something my parents still don’t quite understand. Being a writer/director is even less likely, but it’s where I see myself, and I’d love to be able to take Baby Teeth from conception to the screen. I hope that I can keep doing this thing I love for as long as I can, and I’ll do everything to make it happen.
Jake: Greta and I are no strangers to directing and our vision for this is so strong that we’d love to push hard enough to get to a point where we can bring this to life ourselves. We’re currently in pre-production on our proof of concept for the script that we’re aiming to shoot in February of this year. But, ultimately, we’re just thrilled and excited to see where we go from here, with this script and the rest of a career we hope is just getting started.
If you had any advice for upcoming screenwriters, what would it be?
Greta: It’s not as hard as you think it is. The first thing you write may not be great – in five years, you’ll probably look back at it and cringe, but that goes with the territory. Because by that point, the hardest part is over — you’ve written your first screenplay, which is the biggest hurdle of them all! Open up your laptop or journal or notes app, and just write. Future you will thank you!
Jake: It’s weird to consider myself speaking to upcoming screenwriters since I still very much consider myself to be one, but if I had to give advice it would probably be to understand that you’re not owed anything. You might love your script and love how you write and believe you deserve greatness, but unless you’re putting in the work to get there it’s not going to happen. There are plenty of people out there working harder or are lucky enough to be born with better connections and you just have to go into it with the idea that there are going to be setbacks, there’s going to be feedback that makes you feel like giving up. But if you want it that badly, you’ll pick yourself up and take that feedback and learn from it and work as hard on yourself and your work. Because otherwise, it’s just a fun writing exercise.
SCI-FI GENRE WINNER – JOHNNY GILLIGAN – REVELATIONS
What first got you interested in screenwriting & how long have you been writing?
My screenwriting journey began four years ago when I was researching an acting role. I discovered a company called The Last Mile (thelastmile.org) that teaches coding classes to inmates in San Quentin prison. I was so inspired by this company and the redemptive stories of its graduates I decided to write a TV pilot about inmates who’d graduated from a similar program.
I’d never written anything before. So, I used my namesake Vince Gilligan’s Breaking Bad pilot as a guide 😊 He’s no relation, unfortunately. Believe me, I checked…
Anyway, people really responded to the script. So, I wrote some more pilots, then some features, leaning more and more into what would become my brand, character-driven grounded science fiction.
Do you have a routine?
I write every day. On weekdays, I try to get 20-40 mins of writing between getting the kids out for school and starting my day job in the morning. I then try to squeeze in another 20-40 min session later that day. On weekends, I try to get in 2 hours each day.
What gave you the inspiration for this screenplay & how long did it take to write?
Two things inspired Revelations.
Firstly, the desire to create a character searching for forgiveness relating to the death of a loved one.
And secondly, a physics question: ‘What if the speed of light changed?’.
There were four months of up-front research work on the science and physics side. Then a month to outline, and around six weeks to write the first draft.
What do you enjoy most about writing?
The escapism part is huge for me. As I’m writing, I’m there in the scene, playing all the roles, saying all the dialogue, and watching the conflict unfold. It’s exhilarating 😊
What do you struggle with the most?
I’m constantly trying to layer more depth into my characters. In science fiction, it’s very easy to get caught up in the spectacle or coolness of everything. For me, the bulk of my rewrites is geared towards developing richer characters, creating more conflict between them, and giving them more satisfying emotional arcs.
Do you feel that the film industry embraces new writing talent?
I believe that if the script is great, I mean, truly undeniably great, it will get you seen. It will get you work.
Have you found it difficult to get your work out there and read?
Yes, it’s enormously hard. You just have to keep writing. Keep improving.
How did you feel when your script was shortlisted, then a finalist, and then one of our winners?
It was incredibly exciting. I kept saying to myself, I’m just happy I made it this far, anything more is just icing on the cake. And then I was SF, then Finalist, then I won! Crazy! Amazing I felt so lucky, honored, and humbled.
How did you hear about Shore Scripts?
I think I first heard about Shore Scripts on Twitter.
What goals do you have for this script and your future career?
My next career goal is to get repped. I’m hoping this script will help with that 😊
If you had any advice for upcoming screenwriters, what would it be?
Try not to compare yourself, your work, or your career progress to any other writers. Just focus on being that little bit better of a screenwriter today, than you were yesterday.
And try to commit to doing that for at least 15 minutes every day. Be that writing, reading, or just sitting at think about how to move forward in your screenwriting career.
Making this a daily habit is key, IMHO.
THRILLER GENRE WINNER – KARIM HALWAGI – THE LION’S DEN
What first got you interested in screenwriting & how long have you been writing?
As a child, I was always interested in storytelling, whether hearing them from my mother or myself telling stories to friends.
I always had a huge love of films growing up and as I got older, I started to write stories mainly for myself. In 1993 when working abroad I dived into the idea for a film and wrote my first treatment. That lit the touchpaper and I have been writing intermittently ever since.
Do you have a routine?
I don’t have a writing routine as I have to marry full-time work with writing, so it’s more a case of evenings and weekends. I spend quite a while planning, but when I start to write I get very committed as I like to stay ‘in the zone’ until a first draft is finished. Then begins the procrastination and editing!
What gave you the inspiration for this screenplay & how long did it take to write?
The idea for THE LION’S DEN came from a brilliant and truly interesting South African guy who was at the time helping me to move house. We sat and chatted over a coffee with him telling me about his family back in South Africa and their time out in the bush veldt. It was then that he started to relay what he referred to as ‘a bit of an urban legend’ about a group of Mozambican migrants who had embarked on a rite-of-passage trek to South Africa called the ‘Jompejozi’ but when they reached the border fence they were attacked by a rogue pride of lions and scrambled up a tree. He went on say that of the nine men that went up, a week later only two had survived. My hair (on my arms!) stood on end and I got excited to see this story on screen. After researching the story (it wasn’t a legend but actually happened), and considering the dynamics that would have been at play among the men within the tree, I set about writing and finished the first draft in a month.
What do you enjoy most about writing?
Writing is a great release, allowing my imagination to run wild before tightening up the story. Exploring characters is deeply rewarding and repeatedly getting drawn into the story I am writing is incredibly fulfilling.
What do you struggle with the most?
I find the hardest part of writing is trying to clearly express what I see in my head in the first draft. I always feel a little deflated after the initial draft is finished because I know that the work is only beginning and usually I take a little time away from the script to re-energize myself for the next stage. Feedback is the biggest key to progress and having a small group of great friends who will be honest is an invaluable asset for me.
Do you feel that the film industry embraces new writing talent?
The industry is vast and filled with amazing creatives who have worked hard to get ahead, so it can be incredibly difficult to break through as a new writer, but I have always felt that you must simply believe in what you are doing… and be very patient.
Have you found it difficult to get your work out there and read?
It has been incredibly difficult, even with a few contacts within the industry. It was for this reason that I entered the Shore Scripts competition.
How did you feel when your script was shortlisted, then a finalist, and then one of our winners?
I entered the competition in May of 2022 and being honest, forgot about it as I moved on with my day-to-day life. I was truly blown away that I reached the Quarterfinals and was so happy as this might have been enough to get some interest in the script. I didn’t really think I would progress but was totally okay with that. Then I got to the Semis, then the Finals, and again was just so thankful that I didn’t really think about actually winning. When the message came through that I had won I just felt an incredible sense of achievement, relief, and validation – industry professionals had taken the time to read and consider my work … and deem it worthy of winning! That’s a special feeling!
How did you hear about Shore Scripts?
I had been on the Coverfly website researching competitions and that’s when I came across the Shore Scripts competition.
What goals do you have for this script and your future career?
I am lucky enough to have found a great producer and can only hope that I can see this film made and released in the not-too-distant future, mainly because I have always believed it is a great story that should be told.
I really hope that this is the beginning of a full-time career as a writer because I have a lot of stories to tell, and the medium of film is a real passion of mine.
If you had any advice for upcoming screenwriters, what would it be?
Throw away your ego when writing – constructive criticism is the bedrock of success. Listen to the feedback and learn to understand it. Then crack on with editing and rewriting. You’ll be amazed at how much you can improve your work…
GRAND PRIZE WINNER – KEVIN NOONAN – THE BERLIN AGENT
What first got you interested in screenwriting?
I’ve always loved writing, and movies even more so, and grew up with older siblings who introduced me to a far broader scope of film than they probably should have at my age (I still occasionally get nightmares in the style of the opening credits of Se7en, but they’re cool nightmares). I read William Goldman’s books in college which opened my eyes to screenwriting as a craft and a profession, and made the idea of sitting down to write a screenplay feel like a much more tangible goal. And now nothing gives me a rush of adrenaline and anxiety quite like staring at a blank final draft document and starting to craft a story.
How long have you been writing?
I’ve written for as long as I can remember in some form or fashion – writing for newspapers and magazines, the first chapter of half a dozen abandoned novels, comedy sketches and live theater pieces, and eventually screenplays and pilots.
I took a sketch comedy writing class from Eric Moneypenny at The Pack Theater in Los Angeles in 2017, which helped me convert my desire to write into functional, practical, and economical writing skills that I apply to everything I’ve written since, whether it’s a four-page sketch in a black box theater that will only ever be seen by 15 people or a 57-page pilot that may never be seen by anyone but would be cool if it did.
Do you have a routine?
No – I wish this were not the case, but I thrive in a bit of chaos. Working in journalism should have taught me brevity and proper punctuation, but unfortunately, my biggest takeaway was the ability to write in almost any circumstance except for a calm, planned, coordinated routine. Number two takeaway, I can usually instinctively tell if there’s free coffee nearby, which is often when I end up doing my most satisfying writing.
How do you find time to write?
I have a broad and fairly generous definition of “writing,” so I try to write anytime I can, often when I’m on the train, either jotting things down in the notes app on my phone or just staring into space and thinking through a story problem while fully disassociating, or eavesdropping on people at the grocery store or a coffee shop to steal dialogue or patterns of speech. When I do get time to sit at my laptop and actually type out a script, I like to feel like I have so much rattling around in my head on this particular story already that I’m just dumping it all out on the page (and then, of course, editing).
How many TV pilots have you written?
A couple of good ones and a couple of bad ones, and which script goes in which list changes by the day.
What gave you the inspiration for this Pilot?
I love spy and crime fiction, particularly authors like John Le Carre and Elmore Leonard, whose works helped inspire the setting and tone of the script. But more importantly for this script, they’re authors whose stories are always grounded in much more human concerns and motivations than might be obvious from the plot summaries of their novels.
For me, reflecting on a decade spent working in journalism and the startup tech world, observing power struggles that seemed monumental in our bubble and often meaningless outside of it, watching colleagues and friends work themselves to the point of mental breakdown for a goal that could never be achieved or an authority figure who would never show them the recognition or support they needed, seeing the same cycles of ego and power rising and despair and desperation falling repeated over and over again to no apparent end goal beyond the obtaining and maintaining of power itself – I wanted to pour those feelings out of myself, but do it with spies.
How long did it take to write?
I wrote a sort of logline down and an idea for an opening image on my phone in the Summer of 2021 while I was working on a different script, and returned to it a few months later in earnest after thinking about it on the train every day for weeks (see above, staring into space/disassociating counts as writing). I wrote an outline over a weekend and then spent three or four weeks on the first draft. Feedback from friends helped shape it into more or less its current form over the next month or two from there, and then I’m never quite finished tinkering with something I love.
What do you enjoy most about writing?
Everything, I just like telling my little stories to myself.
If I had to pick one thing, I often find myself writing, consciously or subconsciously, trying to make tangible an emotion that I can’t quite put into a word or a sentence in a satisfying way – and when I can realize that feeling through a story, through characters that only existed in my head until now, that really gets me.
If I had to pick two things, I would say that and money.
What do you struggle with the most?
There are days when it feels like I have taken on a second full-time job, only one that no one knows that I’m doing, no one is paying me for, no one is asking me to be doing, and only exists in an imaginary world inside my head, which for me at least can make me question my confidence. But then there are days when I think that sounds like a pretty decent starting point for a character in a fantasy script, and I figure I might as well write that down and see if it has legs.
Do you feel that the film industry embraces new writing talent?
Patrick Mahomes sat on the bench and waited his turn for nearly one full NFL season – I am willing to be patient for the equivalent length of a screenwriting career.
Have you found it difficult to get your work out there and read?
Sure, the process of going from “no available routes to getting something read in the industry” to “could possibly get a script read by someone other than a friend, relative or someone who owes you money” can feel somewhat opaque and difficult to navigate.
How did you feel when your script was shortlisted, then a finalist, and then one of our winners?
I was thrilled, mostly because I spend a lot of the time when I’m writing – particularly, when rewriting – asking myself “hey does this all just kind of suck?” So it’s really nice to get some external validation to say, at least for these guys, no they don’t think it sucks. And I only entered the Shore Scripts contest because it felt like the prizes and benefits were legitimate opportunities to further my development as a writer, so I was genuinely overjoyed to be named a winner amongst all these other incredible scripts (I accidentally hit a friend in the arm instinctively when I got the email – they are fine).
How did you hear about Shore Scripts?
A friend recommended Shore Scripts’ coverage service, and I just lucked out for timing that when I went to look up the website happened to be right around the final deadline for the 2022 contest.
What goals do you have for this script and your future career?
I’d love to get this show to stop just playing in my head on a loop, so ideally I’d hope to work with creative partners to develop the script for production down the road. I’d like to work in a writers’ room, and long term would love to work on features – is anyone writing Uncharted 2 yet? I have thoughts!
If you had any advice for upcoming screenwriters, what would it be?
Come to Chicago, buy me a beer, and I will ask you the same question.
SECOND PLACE WINNER – JESSICA MCLAUGHLIN – IMMACULATE
What first got you interested in screenwriting?
From a very early age, I loved stories and knew I wanted to be a writer. It wasn’t until high school that I realized I could turn my stories into films. Movies and TV were an obsession of mine, but I’d never considered them as a viable career. Once it clicked in my head, there was no going back. Ever since then, I’ve been fascinated by the magic of turning words on a page into worlds on a screen that connects with an audience in a way, unlike any other art form.
How long have you been writing?
I’ve been writing in some form for as long as I can remember, but I seriously started pursuing screenwriting as a career when I entered grad school in the fall of 2020. My goal was to have the deadlines hold me accountable to get the writing done that I wanted to do. That decision was one of the best I could have made for myself.
Do you have a routine?
I’ve had a lot of changes in my life and routine over the course of the past few years, due not only to the continuing pandemic but to job changes, and cross-country moves. So, whenever I seem close to establishing some consistent practice it usually has to change. I’ve accepted it and know the writing will get done because I will prioritize it and make the time to fit it in.
How do you find time to write?
Going back again to prioritization, that’s the key. It’s always a struggle. There are times when I want to hang out with friends or do other things, but I force myself to sit down and do the work. Whenever my balance starts to skew to where I’m neglecting the writing, “the itch” to get back to the story kicks in. Deep down, I want to write. When I miss it, I get mad at myself that I’m keeping myself from doing it.
How many TV pilots have you written?
I have written three TV pilots: a spec episode of an existing series, and two original series pilots including the project that I won second place with, IMMACULATE. I have several other ideas in different stages that I am currently working on.
What gave you the inspiration for this Pilot?
There were a lot of different pieces that had to come together. I had a religious upbringing in Christianity, so the story of the Immaculate Conception was something I’d had in my head for a long time. Since it was a story you didn’t question the probability of, I remember being younger and being terrified that at some point I could magically be impregnated with no notice as well.
The main seed of the idea for the series came from a conversation I had with one of my best friends. We were talking about pregnancy and motherhood, and how much it terrified us. This sent me down a road of what was inherently scary about these experiences, and how you could explore this from the perspective of someone who thought they could no longer participate in them.
The other elements revolving around women’s autonomy throughout history, corruption in systems of power, and the extreme lengths that people will go to for dominance are all things I like to investigate in my work.
How long did it take to write?
This pilot was my thesis project for grad school, so I worked on it regularly over the course of an academic year. After graduating, I workshopped it with fellow writers and got copious amounts of notes and coverage that all informed me about where the project is at now.
What do you enjoy most about writing?
The transformation of the story and the characters, and the way the work connects with others. Getting to know the characters is one of the best parts of the process but can also be the most labor-intensive, since you have to make sure they feel honest, authentic, and like full human beings. The transformation of the story is always fun because even when you are going in with an outline, the way scenes unfold or new connections you find while writing never cease to surprise you. However, the best of all is when the work goes out and touches the audience. When people connect with your characters or have an emotional response to the story, it’s unlike anything else.
What do you struggle with the most?
I probably struggle the most with being long-winded in my writing. I go into first drafts knowing I will probably write the piece too long and need to condense it, but at least all the pieces are there for me to work with and I’m just crystallizing the ideas.
On a side note, all writing is hard and the struggles can change from project to project. You just have to stay flexible and committed to figuring out whatever is causing you to hit a roadblock.
Do you feel that the film industry embraces new writing talent?
Sort of. There are a lot of caveats and conditions to this, but the industry likes new talent when they are already successful. It’s like the mentality of when you’re first looking for a job with a sparse résumé: employers want someone with prior experience, but you need someone to hire you at some point in order to get that experience.
It takes faith, trust, and money to bet on new writers. Not everyone wants to make this investment, but continuous support leads to sustained careers. There are definitely those in the industry who care and who work very hard to seek out and support new voices, but there needs to be more of them.
Have you found it difficult to get your work out there and read?
I have found opportunities through contests and hosting sites to have industry members read my work, but it can feel difficult to find those who connect with what I write. Due to the themes, I focus on and the fact that I primarily work within the horror genre, my scripts can be divisive or even political. I center on women, women’s experiences and rights, and LGBTQIA2S+ characters and stories. I’ve had some actively negative responses to my work, and while I would love for those who have those types of reactions to open themselves up to my point of view, I know some won’t.
How did you feel when your script was shortlisted, then a finalist, and then one of our winners?
Surreal. I was very happy with each stage that the pilot reached, and I told myself each time that if it stopped there, I would still be proud of myself and thrilled with the recognition. When I got the email that I had won second place for hour-long TV, I couldn’t quite believe it at first. I still think it’s only halfway sunk in even now. It’s very validating, though. I feel like the judges and team at Shore Scripts see the heart of the project and appreciate it, which in turn means they see and appreciate me as a writer, which feels amazing.
How did you hear about Shore Scripts?
I initially found their competitions on Coverfly, then further researched the organization on their website. I submitted a pilot to the 2021 TV Pilot contest and made the Quarterfinals. This put me on the radar of Shore Scripts, and they followed up with me later in the year to see how I was doing post-contest and to check if I had any questions or needed any advice. This made me feel supported, especially since with a lot of contests you submit into a void and don’t feel like you are actually connecting with someone. This effort on their part made me want to continue to submit to their contests.
What goals do you have for this script and your future career?
I want IMMACULATE to be made. We need a series like this to highlight so many stories and fears we don’t talk about as a society. Plus, with the overturning of Roe V. Wade, a lot of these fears in IMMACULATE are not far-fetched and are an everyday reality for many women. These issues are pervasive and have been around forever.
For my career, I want to create both TV and features. I want to write the screenplays and be in the writer’s rooms for the next big horror properties on both theater and TV screens.
If you had any advice for upcoming screenwriters, what would it be?
Write what you would want to see. The stuff you would nerd out and obsess over. Don’t write what you think you’re “supposed to”, or what you think will sell. Keep doing you and when the time comes for an opportunity, be prepared so you can act on it!
GRAND PRIZE WINNER – IAN MASTERS & JON SMITH – MONKEY WRENCH
What first got you interested in screenwriting?
IM: I grew up on the Congo river in a small village without electricity or tv. It’s the kind of childhood that makes you want to travel and tell stories. In 1999 I founded a small project to work with new voices in Africa and Asia by linking them with film school lecturers and working screenwriters. I ran this in Ghana, Sierra Leone, Sri Lanka, Pakistan, and northern Nigeria for eight years. That’s when I really got the screenwriting bug. I did a distance learning Master’s in Screenwriting at Bournemouth University in 2008 where I met my writing partner Jon, and I’ve been writing screenplays ever since.
JS: I feel like an artist who can’t draw, screenwriting was a way to ‘paint’ in words.
How long have you been writing?
IM: I’ve been writing since 2010 but really focused on it when I returned to the UK in 2018.
JS: The best part of fourteen years.
Do you have a routine?
IM: I’m a morning writer – I try to be at my writing spot by 8.00 and work through til 1. I don’t find it easy to work at home so I write in the lobby of a hotel in the Somerset village where I live. In the afternoon I’m toast.
JS: Yes, late nights and Saturday mornings.
How do you find time to write?
IM: I’m fortunate in that I have a freelance job in a related field. I work for BBC Media Action (the BBC’s international development charity) storylining and writing tv and radio dramas in Africa and Asia. It’s anything from a few weeks to a few months, and in between, I have the time to work on my own projects… and keep the lights on.
JS: A delicate balance of bribery, bartering, and begging. Usually the latter.
How many TV pilots have you written?
Since coming back to the UK in 2018, Jon and I have written 10 tv pilots and developed one-pagers on dozens more.
What gave you the inspiration for this Pilot?
We were fascinated by how characters maintain a passion for a cause in later life. That’s what got us thinking about an aging activist as a central character. It started with a moment – a foiled eco-terrorist attack in which the only witness is an old lady who appears to be suffering from dementia. As she’s questioned, we’re pulled into a story in which she quickly reveals herself to be a playfully unreliable narrator. We were both really drawn to a character who is considered invisible because of her age, but who still has a lot of fight left in her. A woman who is in complete charge of the narrative; who exploits other people’s easy dismissal of her, and manipulates the police and security services in order to make her point, carry on the fight that she started in her twenties, and find justice.
At the same time, I was also fascinated by nuclear power. I have Ukrainian relatives and have visited Chernobyl – a kind of Soviet Pompeii. As we were writing this, the news coming out of southern Ukraine highlighted how quickly “safe” nuclear power can become militarized. Coincidentally, another one of our scripts focuses on the true story of a nuclear event at the tail end of the Vietnam war. We wanted to write a show that mattered without being preachy or worthy.
How long did it take to write?
The first idea stayed as a one-pager for a few years. But when we were choosing an idea to develop as our next spec, this one jumped out for a number of reasons. Jon and I spent a week in Liverpool developing the project and outlining episodes. Then wrote the first draft in a few weeks. But we made a decision to shift it from a one-hour to a ½ pilot and that led to a lot of rewriting which took a further month.
What do you enjoy most about writing?
IM: The buzz of the first burst of inspiration, a rush of possibility as you play with the idea. The first draft tends to be a bit mechanical with bits that seem to flow effortlessly and sections that are like pulling teeth. The real enjoyment for me comes with the rewriting – when you’re confident with the story itself so you’re focused on trying to tell it on the page in the best way possible.
JS: Killer dialogue that still works the morning after.
What do you struggle with the most?
IM: Writing pilots! It’s rare to get the opportunity to finish the story. We start it off and have a detailed idea of where it goes, but it remains a pilot – a set-up, a calling card script, a means to meetings and networking. That can be quite demoralizing over time, so we have also written a few feature and short film scripts — where we can actually see the projects to the end – and maybe even on screen. In the last year, we also pivoted to writing novels. I have my first novel being published later this year which started life as a script back in 2017 and Jon has three novels coming out this year.
JS: Pacing – I can become very self-indulgent with scenes or characters I’m having fun with. Enter stage left: Ian with some very sharp scissors…
Do you feel that the film industry embraces new writing talent?
That’s a really difficult question to answer and I can only share observations from the UK perspective. From what I can see there are a lot more opportunities at an entry level to develop interest and skills in screenwriting – opportunities that are more open, diverse, and exciting. That’s great. But it doesn’t move up the system as much as it could – in other words the space shrinks when it comes to actually making a living from screenwriting. Despite the growth, there still seems to be a bottleneck in commissioning processes in the UK which doesn’t easily allow new writers to break in. In fact, I see the development space shrinking. Why would production companies spend money, time, effort, and risk on developing new voices, when it’s hard enough to get commissions from their existing proved talent? That means that the gap between the quality of writers already in the system (who’ve been through numerous development processes), and new writers (with their spec scripts trying to prove themselves) is expanding, unfortunately reinforcing the reliance on established talent.
Have you found it difficult to get your work out there and read?
Of course. Jon and I had quite a portfolio of scripts and some completed feature films with international awards – but nothing set in the UK. We were able to get a UK agent when a spec tv series was optioned – and spent a few years taking general meetings and introducing ourselves. The feedback was mostly positive and encouraging but it didn’t turn into any concrete. A combination of health factors and a shrinking client list meant we amicably parted ways with our agent, and we are now looking for representation again. Without representation, it can be even harder to get work out there in any meaningful way.
How did you feel when your script was shortlisted, then a finalist, and then one of our winners?
IM: There’s no better feeling. As a script progresses from QF to SF, to Finalist you try not to invest too much in the outcome. It’s a subjective process. But honestly, 2022 was such a challenging year that hearing we were winners kept us in the game. It’s a fantastic platform from which to launch ourselves into 2023. Thank you.
JS: Pleased. Delighted. Spat out my coffee.
How did you hear about Shore Scripts?
Shore Scripts is regarded as one of only a handful of reputable script competitions and has been on our radar for many years. We chose Shore Scripts after looking carefully at what industry exposure winners would receive. This is more important than any prize money and Shore Scripts have an excellent track record with previous winners.
What goals do you have for this script and your future career?
For the script, we always hope that there’s a production company out there that will share our excitement for it and work with us to develop it further. That process of development improves your writing for this and subsequent projects. Of course, there’s the holy grail of seeing this show on screen. After two difficult years, it’s also a project to get us back onto the radar of development execs and producers in the UK.
Going forwards we’re looking to find representation again, especially because we now have a TV series (in Belgium) and a feature (Australia/Vietnam) that are in the contracting stages. We’re looking for agents/managers who can represent us in international markets, not just the UK as there is an international dimension to a lot of our output.
If you had any advice for upcoming screenwriters, what would it be?
IM: Buckle in and get ready for the long haul. Spend time deciding on what ideas to spec up. Yes, you have to love your story – it’s that passion that will carry you through the process. But also think strategically about what showcases you as a writer, where a spec fits with other scripts in your portfolio, where it might fit in the industry, and answer the “why now?” question.
JS: 1. Turn up. 2. Write. 3. Sit on a completed script for a week or two before re-reading, fixing, and sending out
SECOND PLACE WINNER – SYDNEY GIACOMAZZI – HIDDEN SPRINGS
What first got you interested in screenwriting?
I watched 30 Rock and The Office religiously while they were on broadcast TV. Still young and not reading the news, I’d asked my dad why there weren’t new episodes, and later, why some felt off. He pointed to the 2007-2008 Writer’s Strike. I’d never considered how the writers were the reason my favorite entertainment even existed.
How long have you been writing?
I’ve been seriously pursuing TV and Film writing for 4 years and writing stories otherwise for as long as I could hold a pencil. I’ve also been writing my friends’ captions and emails since 2011.
Do you have a routine?
I clean the entire house, baseboards, and all before I pick up the pen. Kidding, but I do find that some sort of puttering — a walk, tidying up, quick errands—centers me before I sit down for a writing sprint. Often, my mind works out dialogue while I’m doing other mindless things.
How do you find time to write?
It takes a conscious effort. The advice I’ve seen from seasoned writers is to frame it as “make” time rather than “find” time. I’m most creative and energized in the morning when the world is still quiet, so I do my best to hold the dawn hours for writing (inclusive of that mindless putter) before I jump into my day job.
How many TV pilots have you written?
I’ve completed two. After the initial draft of my first pilot it was clear — I don’t know, what I don’t know! I’m grateful for the opportunity to have participated in writing programs and access to incredible mentors to shape out where I am today as a writer.
What gave you the inspiration for this Pilot?
Hidden Springs is inspired by the juxtapositions in life and within people. My ideas often spiral from “What if?” questions. Hidden Springs came from one of those on a boring Monday morning walk…what if a pastor moved into a neighborhood full of swingers?
How long did it take to write?
I’ve ideated on the plot for about a year but ultimately wrote it in three months.
What do you enjoy most about writing?
A line that perfectly reveals or conceals. A comedy callback or a closing zinger. Figuring out a combination of dialogue that hits exactly how it needs to.
What do you struggle with the most?
Striking a scene I love when it doesn’t do any work for the story. It’s hard to let go, but I’ve found that keeping an appendix of what I cut alleviates some of the sting and allows me to refer back for future inspiration.
Do you feel that the film industry embraces new writing talent?
I’m pursuing this dream with the hope that it does, but with the caveat that it’s been historically more difficult for women, especially women of color, and members of other marginalized groups to break through. In the last two years, I’ve seen more successful breakthroughs for these groups than I had ever before. I’m optimistic that a shift to embracing all new writing talent is here.
Have you found it difficult to get your work out there and read?
Coverfly has been a vital platform for me. Outside of it, the process to get work read feels uncertain and unverified. Coverfly levels the playing field and gives all writers the same tools and access to submit their work.
How did you feel when your script was shortlisted, then a finalist, and then one of our winners?
I was thrilled, of course! The validation that Hidden Springs was enjoyed by others as much as I enjoy it snowballed with each advancement. A few tears may have been shed in the frozen section at Trader Joe’s when I read the winner announcement…
How did you hear about Shore Scripts?
I heard about Shore Scripts on Coverfly! Hidden Springs was my second submission.
What goals do you have for this script and your future career?
Hidden Springs is a comedic world that needs to be produced. My goal is to continue writing within it and watch it on a screen, alongside you all! In the immediate future, I’m working towards finding representation and networking with potential collaborators.
If you had any advice for upcoming screenwriters, what would it be?
Pay some attention to ideas and advice that doesn’t immediately resonate with you. You’ll either find a blind spot in your approach or affirm that you’re on track. Give yourself kudos for what you do well, and honesty for what you don’t.
