ALYSHA HARAN

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Where do you live (City, State, or Country)?
Southern California – I split my time between Los Angeles and San Diego.
 
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?
Researching the issue of veteran suicide led me to a statistic that hit hard. Although only 6.4% of the U.S. population are former service members, veterans account for 25% of suicides each year. Although I’m a veteran myself, and my transition out of military service was challenging, I was lucky to have a strong support system to help. But I know the emptiness that leads a veteran to feel like there is no other option than to commit suicide. Most of the time, they either feel like they never came home from war, or they miss the camaraderie so much, they can’t imagine going on with their life. I wanted to give people a chance to see some of the signs of PTSD in Luke’s behavior, but most of all I wanted to give him a reunion with the brothers he missed so badly. The short-film format fit the story the best, as this is just a chance encounter for Luke and Blake that didn’t need to be drawn out to feel impactful. 
 
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 commute between LA and San Diego each week gives me a lot of time in the car to think about my stories. Whether it’s a line of dialogue or a moment in a scene that comes into my head, I mull it over and figure out what led up to that point, or where the story goes from there. I take notes along the way, especially if there’s a particular voice I feel a character has and I can hear them say certain phrases, but mostly, I just come up with all these moments and figure out how I want to string them together. By the time I sit down to put words on paper, the story usually flows fairly well, though there’s plenty of problem solving I end up having to do once I get myself into those scenes. The Ride was written over the span of a weekend, but I spent a lot of time researching videos of veterans sharing their stories of healing from the wounds of war.

What is your ultimate ambition as a writer?
When I first retired from the Navy, I spent a year freelance writing. I had great projects and enjoyed working with my clients, but I quickly learned how much I need to be on a collaborative team. I enjoy the process of writing in solitude but because I suffer when I’m on my own for prolonged periods of time, I think the place I will find the most personal success will be in episodic TV. I find the teamwork, the individual challenge of meeting deadlines, and the constraints of writing within a prescribed voice to be very exciting.
 
Which film or television writers inspire you? Why?
My answer is always the same: Aaron Sorkin! Perhaps it’s his background as a playwright, but the “music” he finds in his dialogue is stunning. He is a master of pacing and ensemble work and depending which character you focus on in the scene, the material changes each time you watch it. The way he tackles ambitious material through intelligent (and flawed) characters is a constant source of inspiration in my writing.

What’s your all-time favorite movie or television show?
Unsurprisingly, The Newsroom by Aaron Sorkin. Though growing up, The Man from Snowy River was probably the most watched VHS in the house. That movie gave me my first understanding of the reluctant hero narrative and inspired me to keep going through difficult times.
 
What advice do you have for writers hoping to win a contest or place as a finalist as you have?
Love your script and only change what you feel needs to be changed. You’ll get feedback and advice along the way, but there is a big difference between reading a script to assess your skill as a writer and reading a script as a filmmaker. Make a beautiful roadmap that will inspire every crew member to do their best work. And while it’s important to follow the standard industry format, use the page to your advantage. Don’t give camera directions – find the words that create the intimate or broad feeling you think best represents the moment. This will help your audience remember the story and your characters well after they finish reading.
 
What else are you working on that the world needs to know about?
I’m working on a drama series about women who served in the military during WWII – at home and abroad. It’s incredible how much we still have to learn about our own history but also thrilling that there’s so much space opening to tell stories of heroes and heroines that have gone overlooked for decades.