LYDELLE JACKSON
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Lydelle Jackson

How did you discover The Santa Barbara International Screenplay Awards and how did you decide to enter this contest among all the others?
It’s nothing unique, I came across Santa Barbara International Screenplay Awards via FilmFreeway. Submitting to competitions and festivals can really add up, so I tend to approach them with a healthy amount of skepticism—especially since you don’t always know who’s reading your material or if it’s even being read at all. But the reviews for Santa Barbara International Screenplay Awards were strong and after doing a little online sleuthing I quickly came to the conclusion that the juice was, in fact, worth the squeeze.
 
Where do you live (City, State, or Country)?
I’m bicoastal, splitting my time between Los Angeles and Northern Virginia.
 
Your script stood out among hundreds of others. What was the inspiration for your story and why did you write a script instead of a short story or a novel? What inspires your overall journey into screenwriting?
The inspiration for Psychopomps came from my friend Arthur’s experiences during his seven-month tour in Iraq, where he worked in Mortuary Affairs. It’s a story he wanted to tell for years, but it’s a heavy subject, and finding the right way to approach it was a challenge. After collaborating on other projects, I decided to take it on. The script, Psychopomps, reimagines his story with a touch of heightened realism.
Initially, I considered translating it into a graphic novel since I’m also an illustrator. It’s still on the table, though. Right now, Psychopomps is a limited series—seven episodes, each covering one month of LCpl Mason’s deployment. I’ve outlined the episodes but haven’t written them all yet. Ultimately, my goal is to see this story brought to life on screen, whether live-action or animated.
I’ve been a filmmaker for nearly two decades, so visual storytelling is my natural medium. That said, exploring this story as a novel or graphic novel excites me too—it’s all about finding the right form to serve the story.
I can’t say that my overall journey is inspired by any one thing in particular. Gun to my head, I’d have to say that I’m probably inspired most by pain and absurdity. But mainly, I think it’s more a compulsion than inspiration which drives me on a daily basis.
 
How do you decide which stories to tell, and what draws you to these particular themes?
I’m drawn to outliers, the people living on the fringes. The weirdos. I think it’s because I see myself in them. They often can’t see their own beauty, but I do.
This perspective probably stems from my unconventional upbringing. My parents divorced when I was seven. My brothers and I grew up on a Military base with our father in Japan and my mother split to California where she started a new family. To this day, I’ve only seen her four times since I was a child. It gave birth to an unusual sorrow within me. I had to learn to lose the most important person in my life at the time. As a kid, I felt I was a step removed from being an orphan, and I never found anyone who could relate to my specific situation. Who’s mother abandons them and starts a new family? Especially because my father was, and still is, such a superhero of a man… Either way,  exploring my confusion and pain for so many years gave me a strong relationship with myself. A lifetime of self-exploration developed a deep sense of empathy. The isolation I once felt, luckily, developed into a strong sense of individuality – after many failed trials of trying to ‘find myself’.
These are the types of characters and themes that pull me in—stories about the unseen and the misunderstood. Misfits, weirdos, unique people – which, ironically, is each and everyone of us. For me, genres are secondary; they are nothing more than stylistic vehicles for the core humanity I’m exploring with my stories. Sheesh… Does that sound pretentious?
 
What is your typical writing routine? How do you structure your workday to stay productive?
My day usually starts with me staring into the abyss for a few hours. As the sun begins to wane, I finally get into a groove, and my fingers start moving across the keyboard. I tend to work through the night, pushing and toiling until something clicks—or doesn’t.
Some days I’ll barely get a page done despite hours at the desk, but once I’m locked in, I live for the script until the draft is done. There’s no set start or end time; it’s more of a continuum punctuated by the need to eat, sleep, or walk the dog.
 
How long did it take you to write your script...and what is your writing process? Do you outline...use index cards...white board...or just start with FADE IN?
It took about two years, starting with interviews to understand the timeline, events, and overall world of the USMC. I compiled notes, identified key moments, and searched for a theme to connect it all. Since the story is based on true events, the timeline was largely dictated by those interviews but finding the story hidden within it all was where I found a bulk of the creative challenge to be.
From there, I do the Blake Snyder shuffle and create a Save The Cat style beat sheet. Once that was completed, I took a detour from what I believe most writers would typically do – building a pitch deck. Doing so helps me see the project holistically. It forces me to hammer out the logline, synopsis, character bios, visual references, music cues, and many other details that ultimately work their way into the material. Once I felt I had a strong sense of the world, tone, and characters I then circle back around to the beat sheet and create an outline. At that point, I was then ready to open Final Draft.
When hammering out a rough draft I usually aim for five pages a day. Some days I fly through it; others, a single page is a struggle. Once the draft is done, I polish it, revise it, and get feedback from trusted peers. After three or four rounds of this, I know I’ve finally got a first draft.
 
How do you handle writer's block or moments of doubt (we all have them) during your creative process?
Not to say that I’m never there, but Writer’s Block is a place that I rarely ever visit. I’ve found all sorts of side streets to navigate around it.
What I’ve found works for me is redirecting my creative energy. I’ll draw, photograph, design, freestyle in the shower, exercise, philosophize with someone –  all sorts of stuff. If all else fails, I’ll immerse myself in other people’s work—film, TV, music, or art. Seeing what others have created inspires me and sparks ideas. 
As for doubt, I’ve reframed the way I see it. For me, doubt is nothing more than the line between what is and what could be. You’re damned if you do and damned if you don’t—so pick your poison and move forward. The rest will figure itself out.
 
What tools or software do you find essential to your workflow as a screenwriter?
I keep it simple: a physical notebook, Google Suite, Notepad, and Final Draft. When I’m searching for visual inspiration or building a deck I use Frame Set, Stills, and Shot Deck.  I’ve also used ChatGPT for fact-checking and research, but I’m too old-school to use it for writing my screenplays directly. If it’s not your words, it’s not your writing. As an artist, that matters to me.
 
How do you approach competition entries, and what have you learned from participating in these contests?
I look at reputation and timing. Entering early is key, I’d say—I always aim for the early bird deadlines. Having been a judge for a well-established film festival, I know firsthand how grueling it is to read and fairly evaluate a large volume of material. My theory is that submitting early gives your script the best chance to be read with fresh eyes. By the time late submissions roll around, the judges may have already fallen in love with certain entries, and breaking through that requires your material to be absolutely top-tier. That said, your script should be firing on all cylinders regardless of when you submit – but still, I think there’s something to it from a strategic standpoint.
 
Can you share a specific challenge you've faced in your screenwriting and how you overcame it?
My biggest challenge was transitioning from writing as part of a duo to finding my voice as a solo writer. I spent 15 years as part of a filmmaking team with a close friend. We co-wrote and co-directed projects, even optioned our first script together. But as the years went on, our creative paths diverged. Breaking away was difficult because of the loyalty and history we shared.
Looking back, while I’m grateful for the experience, I realize that work didn’t fully reflect who I am as an artist. It felt like something was missing—soul, perhaps. The separation forced me to be honest with myself about the kind of stories I want to tell and the art I want to create. It wasn’t easy, but it was necessary. That challenge helped me step into my own voice and create work that truly resonates with me.
 
Where do you see yourself in five years as a screenwriter?
In five years, I hope to still be alive, creating films that matter. Ideally, Psychopomps will have been produced, which would be a victory not just for me, but for my friend Arthur, whose experiences inspired the story. Helping him see his story told at a high level is one of my main goals.
Beyond that, I see myself continuing to write and direct unique, independent films (or TV projects). Whether that’s through narrative storytelling, documentaries, or even animated projects, I want to keep exploring different ways to tell stories that resonate deeply.

What is your ultimate ambition as a writer?
My ultimate ambition is to make a living creating stories that move people. That includes writing and directing my own films, but I also have a passion for other formats, like graphic novels and even children’s books. It might sound like an eclectic mix, but those are the stories I feel compelled to tell, and I believe there’s room for all of them in my future.
 
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?
Things are going to get weird—more so than they already are. Screenwriters will need to adapt by learning additional skills, essentially becoming creative producers to stand out. The rise of AI and streaming platforms will create a flood of new content, much of it low-quality.
To cut through the noise, writers will need to market themselves better and develop strong personal brands. While it’s unsettling to think about AI being misused to churn out scripts, it’s also an opportunity for writers who are willing to lean into their authenticity and originality. That’s something no algorithm can replicate – though I’m sure the industry will make a push for it regardless of that fact.
Ultimately, it’s up to us as writers to create work that reflects the human experience, flaws and all. AI can process data and even make mistakes, but somehow human flaws have a way of producing beauty—a depth and imperfection that only we can bring to storytelling.
 
Which film or television writers inspire you? Why?
I’m inspired by writers who are willing to push boundaries and create worlds that feel distinct yet universally relatable. David Lynch, David Simon, Mike Judge, Damon Lindelof, Sam Esmail, Noah Hawley, Aaron Sorkin, Richard Price, and Genndy Tartakovsky all come to mind. These writers have distinct voices and take creative risks that elevate their work.
  
What’s your all-time favorite movie or television show?
For film, Eternal Sunshine of the Spotless Mind and Whisper of the Heart. For television, it’s The Wire. Each of these speaks to me in different ways, but all of them have a depth and humanity that I admire.
 
What advice do you have for writers hoping to win a contest or place as a finalist as you have?
This applies both to writing and to life: Give it your absolute best. The way you approach one thing is how you approach everything. Somewhere out there, there’s a timeline where you achieve your dreams and surpass your goals. The key is finding it—and then doing the work to bring it to life. Genuine effort and persistence are non-negotiable. Tough stuff, but the good news is the further you’re willing to take it, the further you separate yourself from the competition.
 
What else are you working on that the world needs to know about? (links to your projects?)
I’m currently working on the next episode of Psychopomps. I’m also producing a YouTube docu-series called Naoyousimi (Now You See Me), which combines interviews with interesting people and my photography. Additionally, I’m preparing to direct a short film based on true events this spring and outlining what I hope will be my next feature film—my first as a solo director.
I’m also tinkering with the idea of paying my WGA dues. Once that’s settled, who knows what opportunities might come my way? For now, I’m but a lowly indie filmmaker trudging his way through the trenches.
 
Where can the world find you online? (Social media links, etc.)
Check out my reel, photography, and illustrations on my website: www.lydelle-jackson.com
Instagram: @lydelle_j

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