BEN PARSONS
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BEN PARSONS

Can you tell us about your journey into screenwriting? What inspired you to pursue this career?
My journey as a writer began when I was in elementary school. I was already a passionate film lover and had taken up writing novelizations of my favorite moves, such as Star Wars, Lord of the Rings and Pirates of the Caribbean. When I was 14, I taught myself screenwriting format from the shooting script to Slumdog Millionaire, which was included in its DVD. From there I discovered a love for writing dialogue and how re watching my favorite films has given me an ear for how musical and rhythmic great dialogue could sound. At the end of the day, my pursuit of a screenwriting career is all in the hopes that I can have as many opportunities as I can to write witty, sarcastic banter between my characters, as well as spend time advocating for themes and philosophies I connect with that may not be part of the national conversation.

Your stories often focus on themes of resilience and personal growth. How do you decide which stories to tell, and what draws you to these particular themes?
I’ve always had a place in my heart for outcasts. I grew up with interests well outside the mainstream of my hometown and firmly believe all we really know how to write are versions of our own story, not just because it’s validating, but because we know they’re true, and if they’re true for us, maybe they’re true for someone else. I write scripts that I hope will be made into
someone’s comfort movie someday–something they can curl up with like an old friend and feel comforted by, cause that’s what I’ve been doing with films my whole life.

Could you walk us through your typical writing routine? How do you structure your workday to stay productive?
I try to write around three pages a day to consider myself productive. Sometimes three pages takes 45 minutes, sometimes it takes two hours, but I always find a way to meet or exceed my goal. It gets you to a full draft in around three months, depending on your length, which tends to hover around 107 pages for my first draft, and will later balloon to 115 as I begin rewrites.

When approaching a new screenplay, how do you organize your ideas before diving into the actual writing? Do you start with a detailed outline, or do you prefer to let the story unfold as you go?
I always spend a lot of time thinking about writing before I ever sit down to outline. I’ll spend weeks planning out where to go in my head so I’m not intimidated by a blank page. I think each story should be treated uniquely, so I don’t have one tried and true method of outlining, but I tend to tackle it with either a three-act or seven sequence approach. On the whole, the biggest
factor in what makes great art is its design, so it’s important for me to know where my act breaks and key emotional plot points are.

How do you handle writer's block or moments of doubt during your creative process?
I rely heavily on my outlines to help me find my way back on track. I always start out writing from the beginning, but it's inevitable that I’ll get stuck. More often than not, I’ll move on to a later scene I’d prefer to get out of the way or something fun in Act Two that I’d rather write before finishing Act One. I go wherever I feel most qualified to be, which is very freeing to
the entire process and ensures you’re always enjoying what you’re writing and it never feels like homework.

What tools or software do you find essential to your workflow as a screenwriter?
I write exclusively in Final Draft 12. In the past, I’ve written my outlines in the word processor, Bean, but for my last script, I wrote the outline on Final Draft’s Beat Board, which was more convenient because I didn’t have to open two files and swap between programs.

Your screenplays have earned over 20 laurels in contests. How do you approach competition entries, and what have you learned from participating in these contests?
The main lesson I’ve taken away from submitting to contests is how subjective the whole thing is. Some scripts I’ve written will place as a finalist in one contest and not place at all in another. One may make it as a semi-finalist, then only to the quarterfinals. The best way to approach contest submissions is to make a budget for how much money you’re able to spend on
submissions (whether it’s per month or per week) and to never take any lack of placement personally or as a comment on the strength of your work. As long as you’ve written the most emotionally engaging piece you can, someone will connect with it as long as you keep sending it out.

Screenwriting often requires a deep understanding of character. How do you develop characters that feel authentic and relatable?
Creating characters begins with understanding what you want to say with your script and how to use your characters to deliver on that theme/premise. Your characters will be defined by their flaws, how they react to setbacks and how much they invest in overcoming these obstacles. Better characters make better movies because the audience will be more willing to emotionally
invest in people they like and can relate to. If we genuinely care whether they succeed in their mission, we’re all the more likely to lean forward in our seats during the big plot twist.

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?
As the studios and streamers continue to try to invest in producing as much work as they can, it’s inevitable they’re going to try to cut costs somewhere. AI is a strong tool to use in cutting down the amount of work and how it’s done, but the work should ALWAYS be done by human artists. Expecting AI to be capable of replacing writers or any other creative profession is like expecting to have an intellectual conversation with a parrot–it cannot create anything new, only mimic what it’s already been taught. If anything, the role of screenwriters should expand with the demand of more film and television projects. Instead of executives trying to cut corners with AI, writing jobs and opportunities should multiply to meet up with that demand. Whether
they actually will is anyone’s guess.

What advice would you give to aspiring screenwriters trying to break into the industry today?
The only advice I feel qualified to give is to invest in yourself and your writing, both financially and temporally. Write your passion project, get feedback, make improvements and when you think it’s ready, which will differ for all writers and projects, start submitting to contests. If you prefer, there are services where you can send your work directly to an industry pro (producer, development exec, etc.) and they can give you advice on how to proceed. Find a process that works for you and, above all, keep writing, and once you think you’ve gone as far as you can with one script, write the next one and start the process over.

What are the key skills a screenwriter needs to succeed in such a competitive field?
Patience and determination, of course, but developing skills for networking is also key. Scripts become films when they’re put in front of the right set of eyes so getting the work out there and finding someone who really understands what you’re trying to do/say is paramount for success. Connecting with fellow writers who may already have managers/agents can help you find a way to getting your own. It also takes a dash of bravery to put yourself out there creatively, especially when you’re an introvert like me, but it’s always worth it even if you don’t get everything you wanted/expected.

How do you balance creative freedom with the demands and feedback from producers, directors, and studios?
The debate between art and commerce is the most frustrating for any young creative to be a part of. The last thing anyone wants to do is compromise their vision or intent in order to make a sale. However, it’s almost always worth listening to all the feedback you get, no matter where it comes from because, in a way, it's like reading reviews of the finished film, but you still have the opportunity to change something that isn’t working as well as it could. Not all notes will be helpful, and part of becoming in tune with your voice is learning which notes to take, but all feedback should be considered, even if you don’t act on it.

Can you share a specific challenge you've faced in your screenwriting career and how you overcame it?
The most universal challenge any screenwriter is likely to face is imposter syndrome. Some notes can be debilitating and make you doubt whether you’re good enough to ‘make it’ as a writer. How I’ve chosen to fight against this impulse is just to remember what influenced your decision to write this story, which more than likely was another story you already know and love. And if you love it, chances are someone else does too. It’s important to remind yourself of your successes so far and that you’re being graded on a rubric of how closely you’re following established screenwriting principles. If your project is more experimental or doesn’t follow a set structure, it may not be meant for screenplay contests, and that has nothing to do with your talent. Remember to maintain your passion for your characters and their journey and that passion will shine through on the page–and someone will be sure to recognize it and feel the same way.

What do you hope audiences take away from your work? Are there particular emotions or messages you aim to evoke through your storytelling?
I think the overwhelming majority of the stories I tell are about people who feel ostracized in one way or another, whether it’s their interests, their lifestyle, or their place in society. My main goal with these scripts is to bring audiences together by presenting an accurate portrayal of what it means to be in that character’s shoes. Those who have felt marginalized in one form or another will identify with and feel validated by the experience, and those who have never felt that way will be able to empathize with those who have.

You’ve written both feature-length scripts and TV pilots. How does your writing process differ between the two formats, and do you prefer one over the other?
I hope to work in film, television and theatre one day, but I primarily see myself as a feature filmmaker. When I come up with a story, I know where I want to go and how to get there. I usually plan out the beginning and the end first, then struggle with what happens in between. The two sitcom pilots I’ve worked on have come out of the idea of experimenting with writing an episodic story, something I’d be willing to give over to other writers and see where they take it. Choosing the format comes down to how attached I am to the story and characters and whether I’m open to collaborating with other writers on the trajectory of the project.

With several successful screenplays under your belt, what are your creative goals for this year? Any new projects or collaborations you're excited about?
I’m currently planning on structuring a rewrite on a project I wrote back in 2020, this time taking it in a different direction in a different location. Another potential project I may finish this year is about the star of a successful 1970s sitcom going on strike. Otherwise, I’m waiting to hear back from screenplay contests, whose notification dates extend to January.

What are your thoughts on diversity in Hollywood, particularly in screenwriting? How important is it to you to see more diverse voices and stories on screen?
Diversity in film and screenwriting will always be important. One of the best uses of film as an art form is to share experiences and viewpoints from all walks of life so we all feel connected to each other. Diverse storytelling builds bridges and helps us all understand each other a little bit better. It shares history, culture, language and getting as many diverse voices recognized in the way they deserve is the best way to help push the medium forward.

How do you keep growing and improving as a writer? Are there specific habits, workshops, or feedback processes you follow to sharpen your skills?
I try to always make each new script more challenging than the last. Sometimes that means tackling stories that are longer or have more set pieces. It can include writing for a higher budget or in a genre I’ve never attempted before. I enjoy experimenting with as many different stories as I can since I have such a wide taste in film. I have a preference for minimalist stories so writing action scenes and juxtaposing them with quieter character moments helps me bridge the gap between my instincts as a storyteller and pushing myself outside my comfort zone.

Lastly, where do you see yourself in five years as a screenwriter? Are there any dream projects or genres you’d love to explore?
Hopefully, I’ll have found a manager within five years time and I’ll be able to support myself through paid writing gigs. I have several dream projects I hope to tackle one day, including a faithful adaptation of “The Hunchback of Notre Dame”, my own take on “The Addams Family Musical” and an original fantasy franchise that follows a cocky farm girl building an army to fight a dangerous sorceress.

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