DOUGLAS SPALTRO
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Can you tell us about your journey into screenwriting? What inspired you to pursue this career?
I have always written in some sort - music/lyrics/poetry/short stories, but really wanted to act. However, when my Dad, a WWII veteran, let me know I had a face for radio, I decided behind the lens was not such a bad place! During my 20-years + in the USAF I was lucky enough to be an extra in 2 films: MOZART & THE WHALE (with Josh Hartnett) and TAKING CHANCE (with Kevin Bacon). I loved the experience and knew I wanted to write & direct film. After my USAF retirement in 2007 and 3 yrs living/working in the Middle East, I returned to the states and earned a BFA in Creative Writing for Entertainment (2014) and when I placed in my 1st feature script competition, I cried like a baby. I later read for 3 script competitions. I’ve been writing ever since with over 100 accolades in competitions and festivals.

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?
It always seems to be the story that keeps me from sleeping that I will break next. It’s like a thorn in my paw and there’s no comfort until it’s gone….or typed FADE OUT. My stories always circle around family, however dysfunctional, and what one is willing, or not, to do for another.

Could you walk us through your typical writing routine? How do you structure your workday to stay productive?
I still have my day job in defense aeronautics and now working from home…mostly. I find my writing its most productive at night and early mornings on the weekend when the house is sleeping. I can usually write for hours this way and this works best with a busy life. That’s a routine I stick to and works well, but when the inspiration hits me and I need to get it down, I follow that drive.

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 think no matter what a writer’s process is, it doesn’t matter as long as they get to FADE OUT. For me, it’s been different for each one. More commonly I let it unfold. I have an idea where it’s going but sometimes the characters will lead me to a better place and that’s such an amazing event. I have outlined and that has worked, too. But I prefer to let it happen organically. Sometimes I’ve had a pearl of an idea and will write the most amazing 5 or 6 pages….and that inspires me to continue.

How do you handle writer's block or moments of doubt during your creative process?
When I stumble I’ll go back to basics. I’ll look at my logline and determine if it suits where I want to go. Often I’ll reconsider my beat sheet and look at it from a bird’s eye view. This usually gets me typing again….moving forward, and that’s the battle to overcome…even if it’s crap.

What tools or software do you find essential to your workflow as a screenwriter?
I prefer FinalDraft. What’s funny is, I know I don’t utilize it to its full potential….someday! I also created a large whiteboard I map out the acts and character arcs on. It’s an easy visual representation of the story’s roadmap.

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?
Early on I had no real formula to choose, I was naive. I came in 3rd with a feature and they wanted $260 for my trophy I did not “buy” my trophy. Because I have 9 features, 4 1-hr pilots, and 6 shorts, it can get quite expensive, so picking & choosing which script and competition is a good fit is an ongoing process. I think what (we) screenwriters like to gain from competitions is exposure, meetings, a foot in the door. To me, this is certainly more important than $cash$.

Screenwriting often requires a deep understanding of character. How do you develop characters that feel authentic and relatable?
I’m a watcher & listener of people around me. Friends/family/strangers. I like to give people a voice through a broken character, a struggling character. It’s rewarding when an audience member in a film connects with a certain character and feel like they’re being heard. That’s a great “trick” to pull off. To empathize with a character is what a filmmaker hopes their audience will do.

As someone with Mexican-American, Native-American, and Azorean heritage, how do your cultural backgrounds influence your storytelling?
My script with the most accolades (19, to include: Nicholls SF/Page Finalist) closely mirrors my Italian-
American heritage, breathing life into the ensemble of ​characters. The sights, sounds, and smells of a Sunday dinner
translates perfectly to the page.
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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?
AI concerns me. Not so much taking jobs from walking- talking people, but unable to BE HUMAN in their storytelling. Nothing replaces that. Much like a fighter pilot in their innate instincts - - irreplaceable.

What advice would you give to aspiring screenwriters trying to break into the industry today?
Nobody ever made it by quitting is my mantra. Never quit. Always strive to polish your craft and take criticism.

What are the key skills a screenwriter needs to succeed in such a competitive field?
Know story structure and how to tell it in a compelling way. Make your characters interesting so that A-list actors will fight to play them. Tenacity in believing in yourself. Know the rules of writing and don’t be afraid to break them.

How do you balance creative freedom with the demands and feedback from producers, directors, and studios?
As a writer/director I believe in collaboration. I have my idea and how to tell my story but completely open to ideas. My mind has been changed, on set, with a new and exciting idea presented that made it on the film because it was brilliant. And it can come from anywhere, really. In this case it was my producer, and later my lead actor.

Can you share a specific challenge you've faced in your screenwriting career and how you overcame it?
I speak often about NOT quitting. There have been times when a script that has done extremely well in the competition arena does not even get an eye-blink from another (perhaps lesser) competition. It’s so easy to quit in this endeavor being outside the bubble of working screenwriters…trying to get noticed. So I’ll sulk briefly, then remember my belief on NOT quitting.

What do you hope audiences take away from your work? Are there particular emotions or messages you aim to evoke
through your storytelling?
I strive to make my audience/reader question themselves….dig deep. With my script in this competition, COMPASS HILL, I make one ask if their moral compass is askew or pointing true North. What is true North? What they think and believe is right or wrong measured against the barometer I set in the pages.

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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?
With features I will have the beginning, middle, and end, of course. It’s all there between FADE IN and FADE OUT. When I consider a pilot I need to know that it will have legs to carry it numerous seasons and we follow and care for these characters each episode. It’s tricky, I feel, not wanting to show your hand and grand plan in each episode.

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’ve written/directed/produced two short films and would like to shoot one more before planning a feature. I have a short in mind that deals with suicide I think will be my next project.

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?
I’m a true believer if alien life exists, they appreciate the beautiful and colorful array of humanoids scurrying around this blue-green ball spinning in space. How boring would it be to see only stories where everyone looked and sounded alike - - not a good representation at all. I think we need to see and learn about cultures other than our own.

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 read screenplays from all genres. I like to dissect them down to the basic elements and learn why they work…or don’t. I attend Austin Film Festival each year and glean what I can from working Hollywood writers at their conference panels. As for feedback, I’ve learned I don’t need to address every note, that could be quite dangerous and lead you far from your story intentions. Pick and choose notes that elevate the story.

Lastly, where do you see yourself in five years as a screenwriter? Are there any dream projects or genres you’d love to explore?
I will always write features, but because I’m a workaholic, being staffed in a writer’s room is where I’d like to be. Breaking story in a room of diverse creatives seems like the dream gig.