FORDANG NIBALUM

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FORDANG NIBALUM

What inspired you to write a script rather than a novel or short story? 
I’ve always been drawn to the visual and visceral nature of cinema. While a novel allows for deep internal monologues, a script requires you to show the story through action and behavior. I wanted to see the Oyo and Benin Empires brought to life with a scale and energy that only the screen can provide.

Was there a specific film, TV show, or personal moment that first made you say, “I want to write like that”?
Seeing Akira Kurosawa’s Ran was a turning point for me. The way he used massive visual metaphors to tell a deeply personal, tragic story of family and power was incredible. It made me realize that you can tell an epic story without losing the
human heart at the center of it.

What’s your writing routine like? Do you follow a strict schedule, or are you more intuitive about when and how you write? 
My routine is a mix of discipline and intuition. Working as an IT engineer means my day is full of logic and technical problem-solving, so I usually save my creative writing for early mornings or late nights when I can let my imagination take the lead. I find that the two types of work actually balance each other out quite well.

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 am a big believer in the incubation phase. I sat on the idea for Sankofa for years before I ever touched a keyboard. Because of my engineering background, I tend to be very structured once I start. I build detailed beat sheets and outlines to ensure
the foundation is solid. For me, the inspiration usually starts with a theme or a specific historical world, and then I find the characters who have the most to lose in that setting.

How do you handle writer’s block or those inevitable moments of self-doubt? 
I treat it like a technical bug. If a story isn’t moving, there is usually a logical break in the character’s motivation or the plot’s foundation. I step back and analyze the architecture of the script. If that doesn’t work, I walk away and do something
completely unrelated to give my brain space to reset.

What tools—software, methods, rituals—do you consider essential to your writing workflow? 
I keep it professional and efficient. Final Draft is my main tool for the writing itself, but I also rely heavily on digital organization tools to keep my research and world- building notes in order. My IT background makes me appreciate a clean, reliable workflow.

Do you write with production realities in mind, or do you let the creative vision lead first and adjust later?
I let the vision lead first, especially with an epic like Sankofa. If you worry too much about the budget in the first draft, you might accidentally kill the very thing that makes the story special. I believe in writing the most undeniable version of the story first, then working with producers later to find creative ways to bring that vision to life.

When a scene isn’t working, what’s your go-to strategy for fixing it? Rewrite, workshop, walk away—or something else? 
I usually start by stripping the scene down to its bare essentials. I ask what the character wants and what is standing in their way. If it is still flat, I try to come at it from a completely different angle or give the characters a different activity to do while they talk.

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 completed three feature scripts and I am currently deep into a pilot for a transmedia project. I have a few half-finished ideas sitting in folders. Usually, they are unfinished because the core theme wasn’t strong enough to sustain my interest for a hundred pages. I only finish the ones that I can’t stop thinking about.
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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? 
Sankofa has been fortunate enough to receive validation across several high-level platforms. It was a finalist in the Palm Springs Diversity Screenplay Contest and received recognition in the Final Draft Big Break Screenwriting Awards, the Los
Angeles International Screenplay Awards, and the Atlanta Film Festival Screenplay Competition. It also earned a recommended badge on the Black List, which was a major milestone for me. My strategy is to be very selective: I look for festivals that appreciate high-concept world-building and diverse cultural perspectives. The feedback from these various readers has been essential for debugging the narrative and helping me see where the pacing might be dragging or where a character’s motivation needs a bit more clarity.

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’ve started building a presence on social media to share my journey and connect with other filmmakers. It is a slow process, but it has been effective for finding a community of like-minded creators. It helps to have a place where people can see your voice and your passion outside of just a script file.

Have you pitched to producers or taken meetings yet? What have those experiences taught you about the business side of screenwriting? 
No. 

What do you see as your greatest strengths as a writer? Your greatest weaknesses? 
My greatest strength is definitely world-building and creating a sense of scale. I love the challenge of building an immersive environment. My weakness can sometimes be getting too caught up in the technical details of that world, but I’ve learned to use
my editing process to keep the focus on the emotional journey of the characters.

How do you balance your writing with your “day job”? 
It is all about time management. As an IT engineer, I spend a lot of time problem- solving, which can be mentally draining. I’ve learned to treat my writing time as a sacred space where I can switch from technical architecture to story architecture. It is a productive way to clear my head.

What message or emotional response do you hope audiences walk away with after experiencing your work? 
I want people to feel a sense of awe at the history they might not have known, but more importantly, I want them to feel the weight of the choices the characters have to make. I hope they walk away thinking about power, family, and what it truly means to build a future out of a complicated past.

What are you working on right now the world needs to know about? 
I am developing a transmedia project that explores a massive, fictional world across different platforms. The tone is like House of Cards driving a concept Ferrari armored in Vibranium. I’ve almost finished the pilot and the high-level world-building for that universe.
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Where do you see yourself five years from now as a screenwriter—and how do you plan to get to that place? 
In five years, I see myself with at least one produced credit and a seat in a writers room for a high-level drama. I plan to get there by continuing to hone my craft, entering the right competitions, and building a network of collaborators who value the kind of stories I tell.

What advice would you give to any aspiring writer hoping to follow in your footsteps? 
Focus on what you can control. You can’t control the judges or the market, but you can control the quality of the pages you submit. Use your professional tools effectively, lean into your unique perspective, and don’t hit submit until you’ve left no doubt about your skill on the page.