LIANNE ROZZELL

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LIANNE ROZZELL

What inspired you to write a script rather than a novel or short story?
I think television is one of our most accessible art forms, and I really want to reach a lot of people with the story that I’m telling, so it was almost a no-brainer to tell it in that medium.

Was there a specific film, TV show, or personal moment that first made you say, “I want to write like that”?
Wandering the library’s DVD stacks, I came across “The West Wing,” and checked out the first season’s disks. This was before streaming and some years after the show’s release. I was instantly hooked, and binge-watched the whole series by going to
different library branches to check out each season in turn. Aaron Sorkin is a genius.

What’s your writing routine like? Do you follow a strict schedule, or are you more intuitive about when and how you write?
I block out time in my calendar to write so that I don’t fill up my time with everything else. I don’t have a set routine, but I find that I focus better in the afternoon. Sometimes I’ll use Focusmate.com to book a time to work virtually “with” someone else, where we’re each doing our own thing, but checking in and out at the beginning and end of the session. I find that a helpful way to be accountable for how I’m using the time.

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 may have some vague ideas about characters and scenes that I’ll jot down, but when it comes to really working on a script, I lean on tools like those from Script Anatomy, where you work out characters and their flaws and backstories, stories and beats, then build an outline. I can’t imagine just starting without that kind of road map. I find there’s still plenty of room for inspiration when working from an outline. For the script I entered in the contest, I wrote in the outline, “Damu tells a funny and poignant story about how he and Emma met.” When I started writing that scene, I had the context, but absolutely no idea what the story would be. I managed to come up with something that actually was funny and poignant, and I think it’s one of the stronger moments in the script — after much rewriting and polishing, of course.

How do you handle writer’s block or those inevitable moments of self-doubt?
Besides distracting myself with computer games? I focus on the story I want to tell and why. Try to get into a flow. Writing things down by hand helps me access creativity differently and slightly better than typing, so I’ll often start brainstorming that way, then shift to the computer.

What tools—software, methods, rituals—do you consider essential to your writing workflow?
Here are a few tools I use: a pad of paper for brainstorming and writing ideas by hand, Final Draft for scripting from my outline, Evernote for storing research, Nozbe for task management. I make a thermos of herb tea and keep it on my desk so I stay hydrated. I have a sit-stand desk and often stand as I work.

Do you write with production realities in mind, or do you let the creative vision lead first and adjust later?
I leaned into the creative vision for the contemporary drama I wrote. It doesn’t require special effects or chase scenes, though it does call for a lead actor who uses a wheelchair. I know there are actors who use wheelchairs out there; it may be an extra casting challenge to find the person who is best suited for that role. I do have a script I’m planning that is a period piece, and I know I will have to take production realities into account to some extent.

When a scene isn’t working, what’s your go-to strategy for fixing it? Rewrite, workshop, walk away—or something else?
Work on some other part and come back to it. I also have been part of an online group of screenwriters who share pages, and that’s helpful.
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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?
The script I entered is actually my first full script! I need to do quite a bit of preparation and research for my next projects, so we’ll see if I end up with some unfinished scripts.

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?
Honestly, this is the first script I have submitted to competitions. I was one of over a hundred “quarterfinalists” in one competition and then won this one (Diverse Writers Outreach, Summer 2025). I tried not to spend too much time and money sending it to competitions; I focused on those where I could get feedback from writers and where it seemed like a good fit. I’m going to use the contest feedback along with notes I’ve gotten from some other writers to rewrite the script and submit updated versions to a couple of other competitions. Submission dates also serve as good external deadlines so I can’t endlessly fuss with the script!

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’m just at the beginning of this stage. So far, all I’ve done is post on social media, which helped because someone in my network connected me with a working TV writer who was generously willing to give me notes about my script. I plan to build out a modest web page and dust off some samples from my magazine writing days as well.

Have you pitched to producers or taken meetings yet? What have those experiences taught you about the business side of screenwriting?
Not yet. I dream of taking meetings!

What do you see as your greatest strengths as a writer? Your greatest weaknesses?
I think I’m really good at rewriting and honing things down. Some of this comes from other kinds of writing I’ve done over the years. My greatest weakness is writing slowly and trying to get it perfect on the first pass. I need to get faster.

How do you balance your writing with your “day job”?
I’m at a point in life where I’m doing contract work and volunteering, so I am fortunate to be able to set my own schedule.

What message or emotional response do you hope audiences walk away with after experiencing your work?
I hope they will look anew at people and situations they might have not thought much about and become curious about what’s under the surface.

What are you working on right now the world needs to know about?
I’m still focused on the series for which I wrote the script. It is a counternarrative to the way we commonly think about how to deal with crime and its aftermath, and it feels especially important now.

Where do you see yourself five years from now as a screenwriter—and how do you plan to get to that place?
Working with a team of experienced writers, producers, directors, actors and crew to get my passion project on the small screen. Plus have some other viable scripts under my belt.

What advice would you give to any aspiring writer hoping to follow in your footsteps?
I don’t have much in the way of footsteps to follow yet, but I would advise an aspiring writer to take classes and to be part of a writer’s group if possible. Sharing your work with peers is very helpful. Taking a class gives you that plus invaluable structure and feedback from someone who knows what they’re doing.