EMILY JOSHUA
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EMILY JOSHUA

What inspired you to write a script rather than a novel or short story?
I come from a theatre & performance background, so I naturally hear dialogue and see action in scenes. I want Foxton Hall to be a shared, visceral experience—actors, directors, designers and composers all shaping the world together. I’m also trained to write to screen industry standards through my MA at Falmouth University, so script is where my voice currently feels most “at home.”  However, having said that, I am going to write the series of Foxton Hall as a set of novels because that will really describe the fine detail of the world as it exists in my head, down to the fine china they are drinking tea out of!

Was there a specific film, TV show, or personal moment that first made you say, “I want to write like that”?
Not a specific, but over time, some favourites have resonated, from the original “Bladerunner”, to “Schindler’s List”, a French film called “Phoenix” and more recently, “Poor Things”. I notice that I love the stories about outsiders, or those persecuted for being in some way ‘unacceptable’ or ‘different’ and following their struggle to survive and succeed despite ruthless opposition. I read Shakespeare, Austen, the Brontes and the Russian novelists when I was young and decided I wanted to write passionate
characters struggling with their flaws and circumstances, but in the most accessible, contemporary format.

What’s your writing routine like? Do you follow a strict schedule, or are you more intuitive about when and how you write?
I try to have a Monday to Friday schedule of 5-8 hours per day to discipline myself into dealing with the admin around writing as a part of the process. The stories, their development and outlining are such a joy… they don’t feel like ‘work’ and I think about them all day, and whenever I wake in the night too! Entering competitions, trying to connect to producers and networking all take time that demands more discipline. As does understanding feedback, rewriting and checking for typos! But the stories are alive in my mind every minute…

When you're starting a new script, how do you shape your ideas? Do you use outlines, beat sheets, or dive right into scenes? What inspires your scripts? Characters? Plot? Theme? Action?
I love to research the world and push into its parameters. What are the rules? Those come first because they will shape the characters and how they interact. Second is the angle- whose viewpoint are we exploring the world through? Why? From there, the character narratives unfold and then I find the crucial, pivotal moment which presents a choice that will affect the protagonist’s life and outcome. That’s my starting point. Once I know the end, I start to balance the threads of story arcs using a 19-point story structure.

How do you handle writer’s block or those inevitable moments of self-doubt?
I have so many stories in my head waiting to get written that if I cannot see a way forward with one story, I let myself start researching another as a ‘break’. By the time I stop, the original impasse is resolved. Self-doubt is different. I see it as running along a track next to self-belief, like two trains on parallel lines. Self-doubt will always exist and so will self-belief. They are both integral to a balanced mind- without self-doubt, I would be arrogant and unable to benefit from helpful criticism, but without self-belief I wouldn’t start typing in the first place. If self-doubt wells up, it’s just the balance to self- belief and nothing to be overly worried about.

What tools—software, methods, rituals—do you consider essential to your writing workflow?
I research using the internet, often hand write initial ideas and characters because they might appear when I am out and about. Then I start to collate their details and fill out character bios and story structure details on word. When it comes to the script, I use Final Draft. It’s industry standard and formats everything automatically, so is well worth using. (There are other industry standard script writing software packages too.)

Do you write with production realities in mind, or do you let the creative vision lead first and adjust later?
I will try to think of costs when I write – could some scenes be filmed in a studio instead of location? But with a historical context, I realize it could be a colorist’s nightmare to try and switch between studio and location. I do try to use as few people as possible in a scene and be mindful not to be overly lavish. My first produced micro-short film (Olympian) had the challenge of being written for 1 person in 1 location to keep costs low. I am happy to write to the ‘rules’ of a budget… it’s a challenge!

When a scene isn’t working, what’s your go-to strategy for fixing it? Rewrite, workshop, walk away—or something else?
If a scene isn’t working, it’s usually because I have been too obvious about what it is supposed to do and someone else spots that and tells me to use subtext! I am quite direct, minimalistic and plot driven, so sometimes it just takes someone else to tell me to be more opaque. Script readers are invaluable for giving a lot of great feedback for rewrites. Friends and fellow writers will usually home in on a few things (& spot typos), but a script reader will be brutally honest. Both are fantastic and listening to them always helps me to improve my scripts. I rewrite a lot. It’s just a part of the process.
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How many scripts have you completed? How many have you started and not completed (we all have those)...and why are they still unfinished?
I have finished 2 1 hour TV pilots (and plotted seasons for each with pitch decks), 3 short scripts, and 2 animations so far. I am very disciplined about finishing a project before I let myself start the next. When I say ‘finishing’, I might mean the initial draft of the full script. I will still be open to rewrites. In collaboration, I currently have a horror feature outlined but am waiting for my colleague to add their ideas before starting the script, so I will start another solo project to stop me from nagging whilst they take their time to reply. We all work at different paces!

Have you earned recognition in this or other competitions? What’s your strategy when submitting your scripts, and how has contest feedback shaped your work?
I have started to win a lot of awards through global competitions for both pilots (but mostly Foxton Hall), a short and a micro short, and that is only because I have listened to the feedback and rewritten the scripts each time. Contest feedback is invaluable because the script readers are professionals who have often worked in film and TV for a long time. Some reports might not feel as valid as others, but overall, their advice is useful, even if it makes you defend your choices rather than change them.

Have you done anything at this point to promote yourself or your writing (besides entering online contests)? If so, how would you gauge the effectiveness of those efforts?
I am trying to share my ‘wins’ on LinkedIn, keep my website current and above all connect to other professionals via online webinars. This year, now that I have finished my Masters’, I am networking more and have some industry events to go to. But if you live in a rural community like me, online networking is a great start too. We cannot make films without collaborating, so connecting is vital. Once I get one of my TV series commissioned, I will tell you what worked for me.

Have you pitched to producers or taken meetings yet? What have those experiences taught you about the business side of screenwriting?
I am at the start of pitching to producers via the Lift-Off Global Network and also at the London Screenwriters’ Festival over the next few months. I feel I have a lot to learn to make sure I address the topics they need to discuss. It’s all a learning curve- in a couple of years, ask me again!

What do you see as your greatest strengths as a writer? Your greatest weaknesses?
Greatest strength as a writer is my ability to interweave complex story arcs and character narratives that inspire both connection and intrigue. I can also find a good story in just about anything… I am extremely imaginative and always wondering “what if?” My greatest weakness is my physical body because I have multiple disabilities to manage. (But that’s also a reason why my imagination is so well-developed, so it’s not that bad of a weakness for a writer- it just means I’m a bit of an accessibility Diva!)

How do you balance your writing with your “day job”?
My day job is Bookkeeping for our business, being a Mum and also managing my disabilities as well as the household. Writing is my escape from responsibility into the wonder of the mindscape. Balance comes by juggling and discerning which ball needs throwing next.

What message or emotional response do you hope audiences walk away with after experiencing your work?
I want to inspire empathy for those whose experiences might seem unusual or different. I want to provoke thought about life in a deeper way than the superficial and every day.

What are you working on right now the world needs to know about?
I am about to dive into the research for a 6-part regional detective series. I have been thinking about it for years, so am excited to finally start researching the small details for a procedural. Alongside that, I am writing a micro-short for an AI Animator, who wants to try and animate a narrative, rather than just music videos.

Where do you see yourself five years from now as a screenwriter—and how do you plan to get to that place?
Well, I would like to get onto a mentoring scheme to get my 2 television shows production-ready and see those both go into production. I would like to be known as a reliable, innovative, flexible writer who is easy to work with and delivers BEFORE the deadline! I will get there by hard work, staying open to feedback, networking more and applying for representation. Having an agent or manager would be crucial to free up writing time long term.

What advice would you give to any aspiring writer hoping to follow in your footsteps?
Get some formal training so that you can write to the acceptable standard. Have some interesting stories inside you waiting to get out. Be open to feedback – if someone isn’t ‘getting’ your story the way that you want them to, then you haven’t written it tightly enough. Keep going… but have something real to say before you write. Just being cool won’t take you very far! Live a bit first…