GREGORY PAUL
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GREGORY PAUL

What inspired you to write a script rather than a novel or short story?
I have a long history in theater and film so I guess scripts are how I naturally tell stories. My body of work contains more stage plays than screenplays, but as I’m finally starting to understand the nuts and bolts of screenwriting I’m finding myself more drawn to it.

Was there a specific film, TV show, or personal moment that first made you say, “I want to write like that”?
I definitely admire Christopher Nolan’s works especially his earlier works like The Prestige.  It’s so thematically focused and the hyper-competition of the two main characters works so well. When I think of character based storytelling it’s a story that immediately comes to mind.

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 depends on the time of year. My summers are pretty packed so writing often gets put on hold. This used to frustrate me but over time I realized that there were benefits to not writing for a stretch. It allows me refill my creative well and when I finally have the chance to write again I’m eager to do it. During the rest of my year my routine is morning based. If I have the morning free I will prepare myself by treating my writing like going to work. Showered, dressed (I don’t like writing in my pjs) and fed. So that part is kind of strict schedule. Then I go to my writer’s room and meditate for a while. I like to empty my head before starting. Then I write until I feel like it’s time stop.

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?
Sometimes I will use index cards on my wall, especially when working on screenplays. Initially I like to just fill up the cards with as many ideas as will come, then, over time I winnow out the ideas that don’t vibe and I’m left with the ideas that will form the core of my story. A lot of the time a situation will stick in my mind, like a character in a place doing something. A hatchling kind of thing . More than an idea but less than an actual scene. And if it keeps bugging me I’ll take the plunge and write it.

How do you handle writer’s block or those inevitable moments of self-doubt?
I don’t believe in writer’s block because nothing prevents me from actually writing. It may be crap but I can still write something. What I very much believe in is writer’s tangle, that lost feeling, What I get that feeling, I stop. I do not power through such moments. In my experience, powering through is almost always a mistake. What I will do is talk it though from the character’s perspective. That always helps me and usually untangles the tangle.

What tools—software, methods, rituals—do you consider essential to your writing workflow?
I’m a Final Draft guy. It’s a great program to write with. Calming my mind before I write is essential. Over time I’ve learned that successful writing, for me, isn’t about how clever I am, it’s about how open I am. Preparing but not planning too much.

Do you write with production realities in mind, or do you let the creative vision lead first and adjust later?
Many of my earlier scripts were very much about letting my creative vision lead, which was fun but ultimately led to scripts that were not producible on an independent budget. Then I pivoted to writing with production in mind, which was limiting, but in a good kind of way. It made me understand that it’s really about the characters and storytelling and not all the extra-extra. But of late I’ve allowed my creative vision some more space to play and that balance feels right.

When a scene isn’t working, what’s your go-to strategy for fixing it? Rewrite, workshop, walk away—or something else?
I back up the truck. Problems that emerge in one scene very often were seeded much earlier in the story. A character not being active enough. The obstacles not being formidable enough. The stakes being too low. More than anything I try to assess character change in the scene. Not just stuff the character does, but how they change. If there is little or no change that’s often the source of the trouble.
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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?
For full length scripts, I’ve completed probably around 25. As for short scripts, including 10 minute plays and YA plays, probably around 50. In terms of unfinished scripts, maybe 7? Probably more. Sometimes you just don’t finish. I have a graphic novelist friend who’s mantra is “Finish it.”
Excellent advice in general, but sometimes you just know that it’s not working and the enthusiasm has dried up, so it becomes a question of time. Is this the best use of my time or are there other projects itching to be worked on? I’m also not a big re-writer. Rewrites are certainly a big part of the process and I’ve never had a script that I didn’t have some rewrites on, but I’ve seen writers rewrite and rewrite and rewrite. It can become obsessive and I wonder if there isn’t some tyrannical spirit of perfection at play, the final result being a script that has lost the original spark that was behind it’s creation. For me personally, I’d rather jump into a new project than languish over an old one.

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’ve been fortunate to have a number of my works recognized in festivals and competitions. The award I’m currently most proud of is winning Best Stage  play at the 2025 Austin Film Festival. I had dreamed of going to AFF for years but couldn’t swing it financially, but when I finally broke through to semi-finalist for my play Shepherd I decided that it was time to buy that plane ticket. Once I had mentally committed to going the news that I was a finalist came, and the final result was winning. Winning was great and oddly terrifying but in all honesty it was being there, amongst so many amazing screenwriters and filmmakers that was the real win for me.
As far as strategy for submissions, I do my research to see if the particular competition or festival is a good fit. I doesn’t make sense to send your work to places that may not be looking for a voice like yours. So I do some research prior. In regards to feedback I always appreciate it and consider it thoroughly. I mostly like to see what the consensus from multiple readers is. That’s a pretty reliable way to see what is connecting with readers and what isn’t.

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?
Maintaining a website and regularly posting on social media is a relatively new thing for me but I have noticed that it has helped me to connect with fellow professionals. Part of it is the mindset behind it all. When I feel genuinely proud of an accomplishment then I’m happy to share it, otherwise I’m not a big self promoter. But I’m learning.

Have you pitched to producers or taken meetings yet? What have those experiences taught you about the business side of screenwriting?
Not yet. Looking forward to it though!

What do you see as your greatest strengths as a writer? Your greatest weaknesses?
I guess I would say that my greatest strength as a writer is that I really love to write. Nothing feels better than a good day of writing. I also think my experience as an actor has been helpful to getting inside my characters. And my experience as a carpenter helps me think in terms of structure. I suppose my greatest weakness is that I have a bit of an unruly imagination that can make simple things overly complex.

How do you balance your writing with your “day job”?
I have taught at the college level for years and the schedule usually gives me some freedom to write. It’s not the best for my finances but it’s good for my art.

What message or emotional response do you hope audiences walk away with after experiencing your work?
I suppose more than anything I would like my stories to hook my audiences and keep them there. To me there’s something so satisfying about watching a story that really captures my imagination and takes me on a satisfying journey.

What are you working on right now the world needs to know about?
Right now I’m in an early orbit of a couple of new projects. One is a screenplay about tulpas and tulpamancy. The other is a riff of Chekov’s The Cherry Orchard.

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 as professional screenwriter and playwright. I think the path to that place that seems to be self-producing and really putting myself out there any proudly promoting my work. And always focusing on the work, not the ego.

What advice would you give to any aspiring writer hoping to follow in your footsteps?
I would say trust your genius. Find your voice. Write. And when you’re ready put it out there. Let the world judge your work. Take your lumps. Toughen up but keep an open heart. Swing for the fences and don’t apologize for when you strike out, because you will. But eventually you’ll hit the ball.