ALISSA SLAWNIKOWSKI

ALISSA SLAWNIKOWSKI

How did you discover The Santa Barbara International Screenplay Awards and how did you decide to enter this contest among all the others?
I’ll be honest—I didn’t do a deep dive into every screenplay competition out there. I came across the Santa Barbara International Screenplay Awards while researching reputable contests, and something about it just felt right. At a certain point, I’ve learned to trust my instincts as much as the data. This one stood out—not just as another submission opportunity, but as a space where character-driven, emotionally honest storytelling could actually be seen. My work tends to live in the gray areas—identity, intimacy, psychological nuance—and I wanted to place it somewhere that felt aligned with that. Santa Barbara felt like the right home for it.

Where do you live (City, State, or Country)?
I live in Romeoville, Illinois, just outside of Chicago.

Your script stood out among hundreds of others. What was the inspiration for your story and why did you write a script instead of a short story or a novel? What inspires your overall journey into screenwriting?
My script, Violet, is a semi-autobiographical story inspired by my own lived experiences—specifically moments that felt too complex or emotionally layered to keep to myself. At a certain point, I realized I didn’t just want to process those experiences privately—I wanted to explore them through characters, and share them in a way that might resonate with others. It had to be a TV series, because this story isn’t something that could live in a single moment. It’s about evolution—how people change, how relationships shift, and how identity unfolds over time. Writing Violet allowed me to take pieces of my reality and shape them into something more intentional—something that could hold both the intimacy and the complexity of what I’ve lived. That process is what continues to drive me as a writer: the ability to take real, often messy human experiences and turn them into stories that feel seen, honest, and a little braver than silence.

How do you decide which stories to tell, and what draws you to these particular themes?
I’m naturally drawn to character-driven stories, especially those centered around women who feel deeply and who are navigating complex emotional realities. A lot of what I write is influenced by pieces of myself—my own experiences, observations, and questions—but I’m also interested in stepping into perspectives beyond my own. There’s something powerful about exploring both what you know intimately wans what you’re still trying to understand.
I’m especially interested in the psychology of a character—what drives them, what they avoid, and how their choices shape who they become. For me, the story unfolds through those decisions. At the core, I’m drawn to themes of identity, emotional evolution, and the quiet, often complicated ways people change over time.

What is your typical writing routine? How do you structure your workday to stay productive?
My writing routine isn’t rigid—it’s intuitive, and it shifts depending on where I am creatively. In an ideal moment, it looks like this: a quiet, early morning before my kids wake up, a candle lit, a few crystals nearby, and a notebook in front of me. That’s usually where everything starts—handwritten, unfiltered, just getting the scenes out of my head and onto the page. From there, I move into a more structured environment, usually the library where I’ll type everything out using screenwriting software to shape it into something more intentional. I also rely heavily on my phone—my Notes app is full of fragments, and anytime an idea hits, I record voice memos so I don’t lose it. Most of it probably wouldn’t make sense to anyone else, but it works for me.
I’m someone who writes in creative cycles. Some days, I’ll send my kids to school and go straight to the library and get a lot done. Other days, I don’t write at all and focus on real life—laundry, cleaning, resetting. I’ve learned to not fight that rhythm, but to work with it. For me, productivity isn’t about forcing consistency—it’s about recognizing when the creative energy is there and trusting myself to follow it.

How long did it take you to write your script...and what is your writing process? Do you outline...use index cards...white board...or just start with FADE IN?
My writing process is intuitive and a little chaotic—in a way that works for me. I don’t start with a full outline. I usually begin with fragments—scenes, moments, or ideas—and I get those down first. I’ve learned that if I force structure too early, I lost the emotional truth of the story. Once I have enough material, I step back and shape it into something more intentional, focusing on how everything connects and where the story is going. Writing Violet followed that same process. It started as a collection of moments aligned into a larger story. The full script came together over the course of a Summer. For me, it’s a balance between letting the story reveal itself and then stepping in to give it structure.
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How do you handle writers block or moments of doubt (we all have them) during your creative process?
I think every writer experiences doubt at some point, and I’m no exception. When I hit a creative block, I don’t try to force my way through it. I step away—sometimes for a few hours, sometimes longer—and give myself space to reset. Usually, when I come back, things feel clearer and easier to approach. I’ve also learned that a lot of those moments are tied to self-doubt or imposter syndrome. It’s easy to question whether what you’re creating is good enough. What helps push me through is remembering why I started writing in the first place. I don’t need to have all the answers—I just need to stay honest and keep going. At the end of the day, I think doubt is part of the process. It doesn’t mean you’re not a writer—it usually means you care.

What tools or software do you find essential to your workflow as a screenwriter?
The main software I use is Writer Duet. It’s what I rely on to format everything properly once I move my ideas into a script. Before that, though, most of my work starts in a notebook. I write everything out by hand first—scenes, dialogue, random thoughts—and then transfer it over once I’m ready to shape it into something more structured. I don’t follow a perfectly organized system. My notes can look a little chaotic, but that process works for me. Writer Duet helps bring everything together and gives it the professional structure it needs. For me it’s all about balancing creativity with clarity—letting the ideas come naturally first, and then using the right tools to refine them.

How do you approach competition entries, and what have you learned from participating in these contests?
I’ve learned to approach competitions as a learning opportunity first. Early on, I focused a lot on the outcome—whether I placed or not—but over time, that shifted. Now, I pay more attention to the feedback, the process, and how I can grow from it. Placing as a semifinalist in the Santa Barbara International Screenplay Awards was a meaningful moment for me. It showed me that the work I’m doing is resonating, but it also reinforced that there’s always more to learn. At this stage, I’m less interested in validation and more focused on growth.

Can you share a specific challenge you've faced in your screenwriting and how you overcame it?
One of the biggest challenges I faced was finding the balance between what was personal and what belonged to the story. Violet is semi-autographical, so there were moments where it felt very close to me. Sometimes the hardest part isn’t writing the story—it’s deciding how honest you’re willing to be. I had to learn how to take those real experiences and shape them into something that could stand on its own as a narrative.
What helped me was focusing on the themes—identity, relationships, and emotional complexity—and allowing those to guide the story, rather than getting stuck on the details. I also had to push through moments of self-doubt and hesitation, especially when the material felt vulnerable. Staying consistent, even in small ways, made a big difference. Over time that process helped me gain clarity and confidence— not just in the script, but in my voice as a writer.

Where do you see yourself in five years as a screenwriter?
In five years, I see myself actively working in screenwriting—developing projects for both television and film. Success, for me, isn’t just about the end result. It’s about building a sustainable creative life—one where I can continue telling meaningful stories while still staying connected to my personal life and the things that matter to me. Ideally, I’m building something that feels just as fulfilling personally as it does creatively. I’m open to where the path leads, whether that’s writing for television, developing original projects, or collaborating in different creative spaces. What matters most to me is continuing to grow as a writer and having my work reach people in a real way.

What is your ultimate ambition as a writer?
My ultimate ambition as a writer is to connect with people. I want to create stories that resonate on a deeper level—stories that make people feel seen, understood, or even just a little less alone. Whether it’s a large audience or a smaller one, what matters to me is that the work reaches people in a real way and leaves an impact. At the core of everything I write, that connection is what drives me. If someone sees themselves in something I’ve written, then I’ve done my job. The film and television industry is constantly evolving.

How do you see the role of screenwriters changing, especially with the rise of streaming platforms and emerging technologies like artificial intelligence?
The film and television industry is definitely evolving, especially with the rise of streaming platforms and emerging technologies like artificial intelligence. I think it’s important for writers to adapt rather than resist that change. Tools like AI can be useful when used intentionally—whether its helping streamline certain parts of the process or supporting development—but they shouldn’t replace the core of storytelling. At the end of the day, audiences connect to human experiences—emotion, perspective, and
authenticity. That’s something technology can’t fully replicate. Technology can assist the process, but it can’t replace lived experience. I see the role of screenwriters continuing to evolve alongside those tools, but ultimately becoming even more important in shaping meaningful human-drive stories.

Which film or television writers inspire you? Why?
Fleabag has been a big inspiration for me. Pheobe Waller-Bridge’s writing is incredible sharp, honest, and emotionally layered. She has a way of blending humor with deeper, more vulnerable themes in a way that feels very real. What stands out to me most is how the main character feels both specific and relatable at the same time. There’s a rawness to the storytelling that I connect with, especially in how it explores identity, relationships, and personal growth. That balance of humor and emotional depth is something I’m really drawn to, and it’s definitely influenced the ways I approach my own writing. It feels fearless in a way that I really admire.
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What’s your all-time favorite movie or television show?
Hands down, my all-time favorite TV show is Friends. Nothing really beats that kind of comfort. It’s one of those shows I can always come back to, and it still makes me laugh every time. It’s a classic for a reason—timeless, funny, and something I’ll probably keep watching forever.

What advice do you have for writers hoping to win a contest or place as a finalist as you have?
Never stop learning. Take classes, read scripts, and keep practicing your writing. The more you work at it, the stronger you become. Refinement is a huge part of the process. Rewrite, revisit, and don’t be afraid to make changes. It’s okay if it’s messy at first—that usually means you’re onto something. When it comes to competitions, try to approach them as a learning experience. Take what you can from each one and use it to improve your next script. Most importantly, stay consistent and keep going. It all pays off over time.

What else are you working on that the world needs to know about? (links to your projects?)
In addition to Violet, I’m currently working on a project called Fae Midnight. It centers around a character who lives in a darker, more chaotic world—someone complex, unpredictable, and driven by her own internal struggles. I wanted to explore a completely different tone than Violet, while still keeping that strong emotional and psychological depth. The story leans more into fantasy and danger, following a female lead who moves through a world filled with power, survival, and blurred moral lines. She’s not a traditional hero—she’s layered, sometimes reckless, and constantly evolving. She’s the kind of character who doesn’t always make the right choices—but that’s what makes her interesting.
What draws me to this project is the contrast. It allows me to step outside realism while still focusing on character, emotion, and identity—just in a much more heightened, visually dynamic way.

Where can the world find you online? (Social media links, etc.)
In true Violet fashion, you can find me on TikTok at @aly_foss, where I create character-driven, emotionally layered content that mirrors the tone of my writing—blending humor, vulnerability and a touch of chaos.