MATTHEW G STROUD

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What inspired you to write a script rather than a novel or short story?
I think visually. I notice how people move through spaces, how they act when they think no one is watching. Screenwriting lets me tell stories through behavior and image, which feels more natural to me than explaining what someone is thinking.

Was there a specific film, TV show, or personal moment that first made you say, “I want to write like that”?
It wasn’t a single film or show. Over time, I noticed that quieter, character-driven stories stayed with me longer. Work grounded in lived experience and human behavior, rather than big moments, felt closer to how I see the world. But some examples of films and TV that impacted me are the Red, White and Blue Trilogy by Krzystof Kieslowski, Waiting for Guffman, Somebody Somewhere…

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 write most days, but I’m not rigid about it. Drafting and rewriting require different energy. There are periods where I will be consumed by writing, as if I have to get the words and ideas out into the world. Then, I move to editing or revising which is more systematic and structured. My most recent pilot, Half Broke, was written in two very intense months and late nights.

When you're starting a new script, how do you shape your ideas? What inspires your work?
I usually start with character and theme, not plot. I sketch a loose emotional path, then let the scenes teach me what the story actually is. I’m drawn to people and places that are often overlooked. I see beauty in them, especially in characters who
are tough, who have lived, and who carry depth quietly. I also need to be able to see the world of the story clearly. If I can’t feel the place and the rhythms of the people, I can’t write it. My inspiration comes from daily life, people around me, travels, sensory experiences like food, smells, sights.

How do you handle writer’s block or moments of self-doubt?
Most of the time, being stuck means, something isn’t clear yet. I stop pushing and ask better questions about the scene or the character. Self-doubt never really goes away, but showing up consistently keeps it from taking over.

What tools, software, or rituals are essential to your writing workflow?
I write in Arc and keep notes very simply. I need to read it on paper over and over, feel the script in my hands as well. I print and then mark up in blue pen. I’ll take the papers with me everywhere because different moments will give me a different perspective. Long walks or time with my dogs helps me work through problems or ideas.

Do you write with production realities in mind, or let the creative vision lead first?
I let the story lead first. Once it’s working emotionally, I can think about practical considerations. I have started to learn more about production realities and how those could shape my work and do try to keep it in the back of my mind. If I start with limitations, the writing tends to shrink.

When a scene isn’t working, what’s your go-to strategy?
I ask what the scene is actually doing. If it doesn’t change anything emotionally, it probably doesn’t belong as written. Sometimes the fix is rewriting. Sometimes it’s cutting it entirely.

How many scripts have you completed? How many remain unfinished?
I’ve completed two full scripts and have a third in progress. I also have projects I didn’t finish because I realized I wasn’t ready to tell them yet. I don’t see those as failures, just part of learning what holds my attention.

Have you earned recognition in competitions, and how has that shaped your work?
My scripts have placed in multiple competitions, including finalist-level recognition. I submit selectively and use contests as one form of feedback, not a goal. The most helpful notes have pushed me to be clearer and more precise.
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Have you done anything to promote yourself or your writing beyond contests?
I’ve shared work thoughtfully and focused on real conversations rather than broad promotion. The most meaningful progress has come from relationships that develop over time.

Have you pitched to producers or taken meetings yet? What have you learned?
I’ve had early conversations and shared work with industry professionals. I’ve learned that strong writing still needs context. How you talk about a script matters almost as much as the script itself. As a gay writer based in Oklahoma, access doesn’t come easily. Most industry conversations still happen on the coasts or in larger cities, which means building relationships takes more intention and patience.

What are your greatest strengths and weaknesses as a writer?
My strengths are character, tone, and restraint. I pay attention to small moments. My biggest weakness is knowing when to stop revising and let something move forward.

How do you balance writing with your day job?
I treat writing as a long-term commitment. I protect time for it and try not to wait for the perfect conditions. I also do other forms of writing, including regular published op-eds, a children’s book and essays. Having different outlets for writing is important to me.

What emotional response do you hope audiences walk away with?
I hope people leave feeling seen and a little changed. I’m interested in empathy, in recognizing ourselves in people and places we might normally overlook.

What are you working on right now the world should know about?
I’m continuing to develop Half Broke, a character-driven drama rooted in lived experience. I’ve spent time in New Mexico and my most recent trip inspired the story. I’m also developing new projects built around similar ideas of identity, place, and quiet transformation all based on personal experience. The other piece is Unmoored which draws from personal experience. It follows a former political consultant who relocates to West Africa (I spent four years in the Democratic Republic of Congo) after a personal reckoning, only to find that the farther he gets from Washington, the less certain he becomes of who he is without it. As a gay man outside the structures that once defined him, he confronts questions of privilege, displacement, and identity in unfamiliar terrain.

Where do you see yourself five years from now as a screenwriter?
I want to be working professionally in television, developing original material and collaborating with others. I plan to get there by continuing to write, listening closely, and building the right relationships.

What advice would you give aspiring writers?
Pay attention to what actually moves you. Write consistently. Don’t chase momentum for its own sake. The work lasts longer than the noise around it.