Ashleigh Powell made waves as a BlueCat finalist with her script MALLPOCALYPSE.  

A Mallpocalypse is… 

A youngA down-on-her-luck nail salon employee is happy making the world a better place one pedicure at a time, until a near-death experience awakens within her strange supernatural abilities, and she suddenly becomes part of a giant battle of Good vs. Evil… played out in a shopping mall. 

When did you start writing screenplays? 

I discovered screenplays during my junior year of college. I went to college in my home state of Virginia, and I was an English/Creative Writing major. We had no real film program to speak of, but we did have an Introductory to Screenwriting course. I took it as a fun departure from the prose medium, and immediately fell in love.

Why did you start writing screenplays? 

First, I’ve always loved movies. And the stories I’d written up until that point all had cinematic qualities. But what really pushed me toward screenplays was the structure. I’d written two novels by my junior year of college (neither of which will ever see the light of day), and each one was several hundred pages that took several years just to get through a first draft. I found the idea of being forced to tell a full story in 120 pages or less completely refreshing. I also got it in my head that it would be easier to break into the screenwriting world than the book-writing world. I don’t know if that’s true or not… but, for me, it’s a choice that seems to be paying off.

How many screenplays have you finished? 

Over a dozen, though I only have two or three that I’ll actually show people. Every new project has been it’s own  learning process, and I like to think I’m improving my craft with each new script.

How do you find time to write? 

I can’t tell you how many times I’ve heard someone say, “Yeah, I want to write… I just don’t have time.” The truth is, everyone has the same amount of time. There are a million other things you could be doing with your 24 hours a day besides writing screenplays. Dedicating a specific time for writing takes discipline and sacrifice. In my case, I decided to sacrifice sleep. I was an executive assistant at a production company for a few years, which meant 80-hour work weeks and bringing work home on the weekends. Since I’m a morning person, I’d wake up at 5:45am and write for about an hour and a half every morning before I had to start my day. And that way, no matter what else happened during the day, I’d feel a sense of accomplishment knowing that I’d already met my writing goal by 8am.

What aspects of the writing process do you struggle with the most? 

Strangely, getting a foot in the door by getting representation has made the process of finding a new project more of a struggle. It’s no longer as easy as coming up with an idea that appeals to me personally. Now I’m learning to take into consideration things like – Is there an audience for this script? Will it sell? Is it commercial? How does it define me as a screenwriter? Now that I have a strict vetting process, it means a lot of my new ideas get pushed to the side, which can be frustrating. But it also means that, once I’ve found an idea that meets all the criteria, I know it has a strong potential for success.

Why do you feel like you do well as a screenwriter? 

I feel like I’m a natural story teller, and have been since childhood. And I like to think I have a good ear for dialogue, which is important in any writing medium, but perhaps most important in screenwriting.

How does screenwriting make you happy? 

Ha, you should ask my husband! He can always tell when I’m in between projects or stalled on an idea because my mood noticeably shifts. I get dark and gloomy and preoccupied. For me, writing is more than just a passion – it feels like a compulsion. 

What do you think is the biggest problem with storytelling in Hollywood? 

I think Hollywood tends to be a bit conservative about embracing new ideas. Studios seem to always be on the hunt for something that’s “the same, but different” – they’re looking for a new twist on a familiar genre or convention that audiences have proven to love… which can make them hesitant to take a chance on a project that’s too “outside the box”. It can be frustrating, but thanks to all the leaps that we’re making in new media, it’s easier than ever to circumvent the Hollywood system and get new ideas out there. 

How can you improve in how you handle feedback?

I’m learning that a big part of handling feedback involves understanding which notes to use and which notes to disregard. This is especially true if you’re in a writers group, and you get half a dozen conflicting opinions on one topic. Ultimately, it comes down to having an innate understanding of the story you want to tell. That said, if you keep getting the same note from multiple sources, chances are it’s a note you should use. 

What are your greatest fears about screenwriting? 

Just the usual – complete and utter failure. But I find it comforting that even established and award-winning screenwriters have this exact same fear. Comes with the territory, I guess.

What is your highest screenwriting goal for yourself? 

To be able to make an actual living off telling stories. That’s the dream. 

What do you do to achieve that goal?

Write, write, write. That’s what’s so great about screenwriting, as opposed to say acting or directing. It costs no money to do what you do, and there are no limitations to what you can create. Also, I’m not sure I could be where I am now without living in LA and immersing myself in the industry. And you can’t be afraid to put yourself out there and get people to read your stuff. Competitions (like BlueCat!) can be extremely helpful in that way – especially competitions whose judges work in the industry and can pass your work on to producers, managers, and agents.

If we had to describe Nick Luddington in three words, we’d probably say ‘dashing, talented, English.’ Of course, then we’d be leaving out that his script Life In A Box won the most recent Cordelia Award for outstanding script from the United Kingdom. So let’s just say that you’re about to read an interview with Nick Luddington, Cordelia winner and all around good chap.

Life In A Box is…

A young man struggling with the death of his girlfriend unwittingly commits suicide, condemning himself to purgatory. Now in a world where memories are all that is left, his desire for life is renewed and a desperate fight to escape begins

When did you start writing screenplays?    

I have been playing around with a number of screenplay ideas for a few of years now, but only seriously starting writing a year ago. Before this I was concentrating on other writing mediums and had to learn the format of proper film writing etiquette before starting out.

Why did you start writing screenplays?    

For me I’ve always had these other worlds inside my head, I know that sounds cheesy but for as long as I can remember I would immerse myself in an idea and create whole storylines within it. This led me to writing short stories, a book, short films and eventually into the world of feature screenplays. Without this outlet I’m pretty sure I would have gone crazy, or at least people would have thought I was crazy if I ever told them what was in my head.

How many screenplays have you finished?    

LIFE IN A BOX is actually my first completed screenplay, so in a way I feel like I’ve cheated in getting this recognition. However, I am on the verge of completing my second and I have a number of others and two TV series that I’m now writing.

How do you find time to write?    

It’s a struggle I’m not going to lie, but I generally try and write late each evening, starting around 10pm. This way I get the quiet and solitude I need.

What aspects of the writing process do you struggle with the most?    

The planning of a screenplay is something that I always struggle with. You have to be meticulous in the structure of your acts, know the backstory of every character and understand what it is you are trying to tell the audience. However, I’m always over eager. I get this great idea and straight away I’m ready to write the first 15 pages, but unless you take the time to plan, I guarantee you’ll hit a brick wall. I know I have many times.

What do you feel like you do well as a screenwriter?    

I believe that I can create a world that engages a reader; submerging them into a story that takes them somewhere they haven’t been before.

How does screenwriting make you happy?    

Ha that’s a good question! Screenwriting for me is something that provides massive highs and lows, that initial idea springing into your head and driving you to write page after page of concepts and story arcs or the completion of a first draft is truly amazing! However, there are days when you are in the midst of your screenplay and you just don’t know what you’re doing, sure you carded the script, wrote a treatment, but until you start writing you never know where you’ll end up. It is a daunting and challenging thing, but the personal sense of achievement at the end is incredible.  

What do you think is the biggest problem with storytelling in Hollywood?    

For me Hollywood is all about “tentpole” films, those blockbusters they pour hundreds of millions of pounds into and hope they create a franchise. While this isn’t necessarily a bad thing, as I’ve paid my money to watch a fair few, I always feel that this limits the cinema experience. It is a rare occurrence that I can go to my local cinema and find something truly inspiring or engaging to watch.

How can you improve in how you handle feedback?    

Feedback is one of those strange things that every writer needs to make their work better. I know this and actively ask people for it, yet there is always that brief 30 second period when you get criticism where you immediately want to defend your work. As time has gone on I’ve become a lot better at receiving it, swallowing my pride in order to make something I love even better. Without feedback I wouldn’t have got where I did in Bluecat.  

What are your greatest fears about screenwriting?    

Every time someone reads my work I fear that they will come back with a generic “yeah it’s good”. I want to connect with people and create a reaction; if I don’t then I’m doing something wrong.

What is your highest screenwriting goal for yourself?    

To sit in a packed cinema and experience an audience’s reaction to my work on screen. Hopefully it won’t be awful.

What do you do to achieve that goal?   

I constantly play around with new worlds inside my head, re-working ideas, characters and backstories. Above all I continue to write.

Do you feel that life in the United Kingdom has uniquely affected your writing and creative output, and if so, how?   

Naturally my life here in the UK can’t help but influence my creative output and give me a certain perspective, but to say exactly how it has been affected is difficult to say. Everything that I write, like all writers, comes from something I’ve experienced, seen, read or connected with; none of which might be British. Writing is an incredible thing that can lead you anywhere and more often than not I use it to go somewhere else other than the UK. 

Zeke Farrow won $2000 for his screenplay Untitled Sarah Palin Sex Doll Project, the screenplay so controversial that the title alone made one newsletter subscriber request that we quit sending him newsletters.   

Untitled Sarah Palin Sex Doll Project is..

When the last virgin in high school creates a fake girlfriend on Facebook as part of an elaborate scheme to get a real one, the woman whose pictures he stole shows up and his fiction becomes a reality. 

When did you start writing screenplays?    

Can we get one quick thing out of the way before we get started? Zekeness™, @Zekeness, #Zekeness, /Zekeness.  Okay, I can relax now.   I started writing screenplays in 1999.  

Why did you start writing screenplays?

Picture it, New York City.  Summer.  Y2K was fast approaching.  Drastic times.  I had been acting in some amazing downtown theater with a radical group of awesome people who are still a big part of my creative life today.  I was a bit of a spaz and more than a bit directionless.  I ran into a friend of mine from college on the subway.  He was going to NYU Film School and asked me to write his thesis film with him.  It was a real movie moment.  My life could have gone in two different directions separated by the heavy-handed metaphor of sliding subway doors.   Just think, I could have ended up like Gwyneth Paltrow.  Luckily I found screenwriting.  I mean, can you imagine the pressure of coming up with content for Goop.com?      

How many screenplays have you finished?

I just looked on my active hard drive, the old orange LaCie in my closet, my defunct laptop which miraculously booted, Dropbox, and iCloud, and counted 20 features and a dozen or so teleplays and shorts.  A few of these projects I had totally erased from my memory — swings and misses.  Some of the older concepts are like totally dated.  Others I may revisit one day with fresh eyes.

How do you find time to write?

Well, after my morning Bootcamp™ class, what else am I gonna do with my day?  I read this essay once by some really smart guy who talked about how you can be a Consumer or you can be a Creator.  The more you consume, the harder it is to create.  The more you create, the less you need to consume.  A lightbulb went off in my head.  The less media I consume, the more I will create.  The more I create, the less I need to consume.  I limit my movie watching because it’s important to keep movies special to me.  I like an engaged viewing experience, not a mindless one.  I try to not “zone out” to media.  I could be engaged and writing instead…

What aspects of the writing process do you struggle with the most? 

Plot.  And it’s silly because plot is the easiest thing to steal and change when you write genre movies, which I often do.  I think it feels stifling to me if I know too much plot before I start.  I usually know the beginning, the middle, the end, and a bunch of fun stuff that could happen along the way.  Some of my best set-ups and payoffs come to me during the act of writing.  It keeps the project alive and thrilling.

Why do you feel like you do well as a screenwriter? 

(I love how your questions have subtly built-in compliments.  I appreciate them and hope they keep me from sounding smarmy.)

I do well because I’ve put the time in and worked hard to learn how to write.  If you were born with the ability to write perfectly structured, entertaining, original, compelling scripts, then you were touched by angels.  I meet a lot of people who confound their knack for writing quippy Facebook status updates with a preternatural skill for writing screenplays.  It takes just as much practice to be a writer as it does to be a painter, violinist, or ballet dancer.      The practice of writing is like the practice of yoga.  The thought of doing it is romantic.  The motivating to do it is excruciating.  The doing it is challenging, but stimulating.  The having done it is ecstasy.  If you want to get better, you have to practice, and like with yoga it becomes bearable.  I hate yoga and love writing.  You pick your battles.  

How does screenwriting make you happy?

The cafe where I write is filled with writers and bound by strict rules.  We sit, silently working, for hours on end.  Answering an iPhone call will elicit the wrathful eyebrow of a dozen scribes.  For me, the best moments are when I fall into a writing trance.  The story sort of leaps onto the screen as quickly as it comes into my head.  And suddenly a character reveals something unexpected or says something amazing.  There was one line that a character in one of my scripts said once that was so funny I jumped up, threw an air basketball, and yelled “Two points!”  I’m not kidding.  I ran around the cafe for a round of low-fives from all the other writers.  Is that totally embarrassing?  If it makes any difference, I eventually cut the line from the script.  

What do you think is the biggest problem with storytelling in Hollywood?

The biggest problem with storytelling in Hollywood is not enough Zac Efron, though I’m not sure my thoughts on the matter mean much to anyone.  I mean, who do you think I think I am?   But since you asked…

Implicit in your question is an agreed upon deficit in Hollywood storytelling that I can’t get onboard with.  This is what I know:

It’s really, really, really hard to tell a great story.  I see a lot of bad movies, both independent and Hollywood.  I see a few outstanding movies, both independent and Hollywood.  At the end of the day everyone wants to tell great stories. Movies require teams of people, working on multiple story incarnations (script, direction, acting, editing) leaving plenty of opportunity for everything to go terribly wrong..

Some Hollywood films suffer from the compromise necessary to make something that costs 100 million dollars happen.  The result is usually a story with no subtext.  Then again, indie films often suffer from an under-developed script because there are limited resources on the front end of most indie projects.  The unfortunate result is the feeling of subtext where there is none.  If a film has no subtext, I don’t care who made it, there is nothing that will keep me awake.  

If I’m going to pay 15 bucks to get lulled into a hypnotic state, it had better be the most vivid and experiential event possible.  So would it hurt people to give me a little subtext?   

What are your greatest fears about screenwriting?

My greatest fear is always that I won’t be able to figure a story out.  It’s like a constant suspense that keeps me going.  I have to find out how it’s gonna end.  Am I gonna do it?  Or am I gonna fail?

What is your highest screenwriting goal for yourself?

I want to win an Emmy for my Oscar acceptance speech.  

What do you do to achieve that goal?

Keep fooling myself.  Luckily, I am most happy when I’m alone, typing away at my coffee shop.  And I figure, as long as I keep practicing, I’ll keep getting better.  The rest is circumstantial.  Who knows, someone like REALLY important could be reading this interview like RIGHT NOW. Be on the look out.  Hopefully you’ll get to see more of my movies on the big screen really, really soon.

Oh, and don’t forget to tweet this link and follow me…  Who knows where we’ll end up… 

New Zealand-based screenwriter Guy McDouall won this year’s $1000 Joplin Award, given annually to an outstanding script written outside of the US, Canada, and the UK, for his script Random Acts of Violence. Now, as is the tradition, he answers our questions.

Random Acts Of Violence is… 

A quarantined pacifist fights to help find a cure for the fits of murderous rage he and other test subjects have become afflicted with. 

When did you start writing screenplays?

 I sat down to write my first one over ten years ago but didn’t do anything for years after. It’s only been about the last five years that I’ve got my act together and started writing with a bit more discipline, focus and consistency.

Why did you start writing screenplays?

Creative writing was the only thing I had shown a natural flair for in school and one of the few things I really enjoyed. I also love cinema, so it seemed like a natural thing to try my hand at.  

How many screenplays have you finished?

Five features and eight shorts. I’ve established contact with some producers for my shorts via inktip. Production was completed on one of them three weeks ago in Ireland, my first produced credit! Producer/director Steve Hall is releasing it under the title “Harvey: The Monster Catcher” and will be trying to get it to screen at some festivals. Keep an eye out for it if you’re in Ireland or the UK.  You’ll look very cool a few years from now when you can say you were watching Steve Hall’s films before his career blew up.

How do you find time to write?

I didn’t have a steady job for a lot of the period for the time I did the bulk of the work on my screenplay that did well in the 2011/2012 Bluecat contest. While this created some problems of its own, it was fantastic for writing! Now that I have a job, I just don’t tend to be as sociable as I’d like to be.  I spend a lot of Friday and Saturday nights alone at my computer writing. Not ideal, but necessary as I still need my day job.  

What aspects of the writing process do you struggle with the most?

Striking a balance between having a well paced story and having great, well fleshed out, characters. I think the ideal is to have things happening in your script that simultaneously reveal things about your characters and drive the story. However, I often feel like I’m trying to balance character against story. This usually ends up in me creating a very story driven script, without characters that are not as engaging as I’d like them to be.

Why do you feel like you do well as a screenwriter? 

I feel workshopping has been really helpful to me. Not just because of the feedback I’ve received but because of the feedback I’ve given. Really taking the time to examine another writer’s work and provide honest, respectful feedback that examines both what you liked and didn’t like is, in my opinion, a practice that benefits the writing of both parties involved.  I sometimes swap notes with people on zoetrope.com but spend most of time online on a web forum called thewritersbuilding.org. I’ve had some great support and encouragement there over the years but our number of active members keeps yo-yoing. We could use some fresh talent, especially from motivated writers who can give and receive constructive feedback in a respectful manner.

How does screenwriting make you happy?

It actually drives me mad sometimes! That aside, I get a real sense of satisfaction and fulfillment from carrying out my own creative ideas. There are also a few magical times when I get into a mental state of flow, where I’m fully immersed in what I’m doing and a lot of the ideas my subconscious spits out seem pretty decent when I go back and critically examine them later. I’m a big believer in outlining, planning and being your own worst critic but there’s also times where it’s extremely useful and enjoyable to let go and let things flow.  

What do you think is the biggest problem with storytelling in Hollywood?

For the record, I’m not anti Hollywood. It’s chock full of talented people and still turns out some pretty amazing films. The biggest problem from a story telling perspective is, in my opinion, that studios are hesitant about backing films that push creative boundaries and deal with challenging subject matter.   I would love to see more films that take risks and break new creative ground. I think a lot of the best narratives do this. That said, some the worst ones do this as well, they just don’t do it as successfully. With those kinds of stories there’s a pretty thin line between getting it right and getting it really wrong, without a lot of middle ground in between. With the huge costs involved in making a movie, I think Hollywood will always be justifiably reluctant to take a risk investing millions and millions of dollars on an avant-garde, execution dependant project that will die a horrible financial death if it falls anywhere short of brilliance. However, when they do take that risk, and it does work out, we get some fantastic cinema.

How can you improve in how you handle feedback?

I normally get feedback via written online correspondence. This is pretty good for me, as it gives me a chance to digest what’s been said and “cool off” if my fragile ego has taken a beating, before getting back into a dialogue. This means I’m always able to express gratitude and build relationships with people who are comfortable giving me useful and honest feedback. Where I need to improve is with personal interactions where there is no cooling off period. This way, my poor, long suffering and all around wonderful fiancée doesn’t have to deal with my tantrums every time she has the audacity to point out a gaping plot hole in my work. (Please note, that they are quite manly tantrums.)

What are your greatest fears about screenwriting?

That my hopes, dreams and ambitions will go forever unfulfilled. That and coming across as arrogant or too self assured by forgetting to thank the academy in my acceptance speech.

What is your highest screenwriting goal for yourself?

To be able to execute creative projects that I am genuinely passionate about, to a high enough standard to make a good living doing it.

What do you do to achieve that goal?

This year I’ll be putting myself out there a lot more to try to build more connections with people in the New Zealand film industry. I’ll continue to write, workshop and, of course, read the Bluecat newsletter religiously!

Alex Eylar made it to the final round of BlueCat and won $2000 with his script The Prime Mover. Now, as is customary for BlueCat winners and finalists, he answers our invasive questions about his creative process!

The Prime Mover is..

A young man witnesses a glitch in time itself, and becomes a target of the individuals tasked with protecting the system the world relies on. 

When did you start writing screenplays?

High school. I’ve always been a film geek, so in my junior year I tried my hand at screenwriting. The result was a shoddy, uninspired, patchwork collection of inside jokes and bad gags; something I would take pleasure in burning if I had a hard copy. Once I started reading more scripts and watching more (and better) movies, my sensibilities matured. I wrote a script I could be proud of, which paved the way for film school, where I learned the ropes and honed my skills. Fast forward to today and I’m a finalist. 

Why did you start writing screenplays?

The folly of youth. I read a script to a movie I liked and thought “I could do that”, and I did. I had ideas to share and stories to tell, and that’s all I needed. 

How many screenplays have you finished?

I have five completed screenplays and two halfway completed. But a script is never finished: there’s always more that can be done. 

How do you find time to write?

I keep the early hours of the morning free. 12:00-3:00 a.m. is prime writing time, for me personally. The ideas just flow. 

What aspects of the writing process do you struggle with the most?

Character. I’ve always been more plot-focused and dialogue-focused than character-focused; I’ve been told my protagonists need a little depth. But it’s a shortcoming that gets easier to overcome with every script I write. 

Why do you feel like you do well as a screenwriter?  

They say I nail dialogue, and can tune into the “awesomeness” frequency very effectively. Other than that, your guess is as good as mine. 

How does screenwriting make you happy?

When the complexity of the plot and character dynamics pay off in the third act without leaving any loose ends, it’s a feeling of satisfaction like none other. Also, writing an action sequence that’s never been done before is a sublimely giddy moment. 

What do you think is the biggest problem with storytelling in Hollywood?  

Too often, Hollywood can’t see the forest for the trees. It’s a trap that’s easy to fall into, even for a screenwriter: you focus on the individual elements – the “God, this is awesome” bits; the Rule of Cool; the marketability – at the expense of story. Blinded by the flash in the pan, you ignore how poorly those elements may fit in the story you’ve so delicately crafted. You can’t just shoehorn in a skydiving gunfight because it’d be neat: you’ve got to make it organic, or the audience will call bullshit. 

How can you improve in how you handle feedback?

Humility helps. There’s a temptation to think of a script as your baby that no one else should touch, and that attitude will only hurt you. It’s an industry of collaboration, so if you’re not open to second opinions, your Citizen Kane will never see the light of day. I don’t have much of a problem taking feedback, because more often than not, my response is “Damn, I wish I thought of that first.” 

What are your greatest fears about screenwriting?

Mediocrity. The worst circle of Hell is the one you land in when you’ve got a script that’s good, but not great. People like it, but not enough to do anything with it. It’s got potential, but it’s just not there yet. That perpetual arrested development is all the incentive I need to knock it out of the park. 

What is your highest screenwriting goal for yourself?

I interned at Scott Free Productions a few months ago, and spent a lot of time preparing the conference room for Ridley Scott’s and Tony Scott’s script meetings. I’ve made it my mission to one day return to Scott Free, and return that very conference room, under different circumstances. 

What do you do to achieve that goal?

Write and don’t stop.

BlueCat Finalist Anthony Easton won $2000 for his script ‘The Hosanna Tree’.  Now, he answers our questions. 

The Hosanna Tree is..

A tale of good versus evil set against the desolate backdrop of Dust Bowl era Oklahoma. 

When did you start writing screenplays?  

I’ve been writing since I was a little kid, and I’ve always loved movies. I don’t know when I actually started to write screenplays, because I’d always make up movies in my head, but I remember the first one that I attempted. It was probably around my sophomore year in high school when my friend and I wanted to make a really stupid mockumetary. (I mean really stupid). We tried writing a script for it that failed miserably after about eight pages. We had no idea what we were doing. It was typed up in Microsoft Word with absolutely no formatting… Recently, I actually found that script on a really old hard drive I discovered in my attic. It was hilarious.    

Why did you start writing screenplays?


I wish I had some super cool reason, but I really don’t. I’ve just always loved movies, watched way too many of them, loved writing, and decided to try to write one. After I wrote one, I found out that I loved writing them. From there, I just have continued to hone my craft. I’m guessing that’s about as unoriginal of an answer there ever could be, but it’s the boring truth.    

How many screenplays have you finished?


I’ve written 9 full features, and started/worked through about probably a dozen more. However, I have 4 that I’m quite proud of and satisfied with. I also just started another one that, so far, I’m madly in love with. Basically, I’m always forcing myself to write. If I’m not writing, I feel rather bad about myself.    

How do you find time to write?


I have to write. It’s a priority. If anyone wants to be a writer, yet they don’t force themselves to write, or find time to write, then they aren’t doing themselves any favors. Between classes (I’m still a student) and work, I find time to write at night, very early in the morning, and in my head throughout the day. I’m always writing somehow. I think any writer is the same way – always looking for stories in every mundane thing they see, almost to the point where it drives everyone around them crazy.    

What aspects of the writing process do you struggle with the most?


Breaking the story. What I mean by that is the process of breaking down my screenplay to its engine. I do this with every single thing I write – Before I continue past the first act, I find the catalyst, the heart, the engine. It’s a struggle. Sometimes I write something I love, but I can’t figure out the engine for it, and it forces me to abandon the script. However, when I finally break a story, it’s also the most rewarding part of writing – a true accomplishment.  

Why do you feel like you do well as a screenwriter?


I feel I have great skills to write cinematically. From my time as a reader in Los Angeles, reading every script I could get my hands on, I discovered the ones I loved the most were the ones that used specific language in their action descriptions that made the screenplays pop off the page and into the movie-projector in my head. I studied those scripts a lot (many of them were Black List scripts) and learned to craft my writing from that. A screenplay is a blueprint, but it should also be unbelievably enjoyable to read. I try to make my screenplays have specific tone that cannot be found in anyone else’s screenplays but mine. I feel like I have a very clear voice.    

How does screenwriting make you happy?


I don’t know if it really does! I’m only half-kidding, but writing is a struggle. The truth is that I struggle with writing just like everyone else. Sometimes that struggle is overpowering, but when I complete a story that I’m unbelievably proud of, the feeling I get is amazing. It’s a feeling made up of pride, glee, and often terror because if I’m writing something I love, I almost never want to finish it (because then the story is over!). But beyond that, I love being with other writers, too. I’ve made so many great friends through this process who are unbelievably kind and talented. For me, being with those important people and developing creatively as a writer and a human being are the most gratifying part of my short time as a writer.   

What do you think is the biggest problem with storytelling in Hollywood?


Personally, I don’t think a problem actually exists with storytelling in Hollywood. Of course, you have big budget movies that are spewed out year after year, but that doesn’t mean a problem exists. In fact, many of my all-time favorite movies are more recent movies. With the advancement of technology and the ability to bring to the screen nearly anything a person can imagine, I think Hollywood has the potential to reinvent storytelling. I believe the problem is perception. From my brief stint working in Hollywood, I can say that there isn’t a lack of creativity or storytelling – everyone is working as hard as they absolutely can. But, that being said, the movie business is still a business, and it is run like a business. Often, the best stories aren’t quite the best business, but there still is, and always will be, a market for great storytelling both in Hollywood and in the independent world.    

How can you improve in how you handle feedback?


I think the only way you can improve how you handle feedback is to get more and more feedback. Find people you trust in, and let them know they have permission to be as harsh as they want to be. Personally, I’m much more satisfied hearing something I did is not to its potential rather than hearing “I liked it,” or “It’s good.”   

What are your greatest fears about screenwriting?


Like many people, security is the biggest fear – making sure that I understand the unbelievably difficult road ahead and the constant struggle it is to be in any type of creative field (especially screenwriting). On top of that, though, my biggest fear would probably be becoming satisfied. I don’t think, as a curious being, that I could ever want to stop learning, growing, or exploring new possibilities in myself and my writing. I hope to never be satisfied with my experiences and I always want to yearn to keep growing and evolving.   

What is your highest screenwriting goal for yourself?


As boring as it sounds, I just have a goal of having a steady career doing something that I love. I think that if anyone just sits and thinks for a minute that their career is to write movies, that alone should sell how amazing of an adventure one’s life could be.    

What do you do to achieve that goal?


I work. I constantly, always, restively work. I’m writing persistently, reading relentlessly, and always staying current with events. I read Deadline like it’s the Bible, I familiarize myself with writers I love, I research companies and producers, I reach out to anyone who can help me grow (or I can help them grow), and I try my best to be a good person. If you are talented enough, and a genuinely good person to not only work with, but also be around, I honestly believe that you can achieve most any goal you set for yourself. It all just comes down to exactly how bad you want it.