MICHAL MOC
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MICHAL MOC

What inspired you to write a script rather than a novel or short story?
I love novels and short stories, but I believe that to write one well, one must read a lot in that format. There simply isn’t enough space for that in my life right now, with a full-time job and a family. So I went for a movie script instead. Whoever watches a lot of films (I do!) is, in my opinion, better equipped to write a screenplay than a novel or short story.

Was there a specific film, TV show, or personal moment that first made you say, “I want to write like that”?
I was 13 or 14, reading The Lord of the Rings long into the night in my room. That was when I first thought, “Wouldn’t it be absolutely amazing to write something myself one day?” A long time has passed since then, but I think that was my catalyst moment for writing.
What’s your writing routine like? Do you follow a strict schedule, or are you more intuitive about when and how you write?
Definitely intuitive. I think it was Charles Bukowski who said that no good writer ever has peace to write. My process is pretty messy in that sense. I write whenever I can and whenever I feel like it, with only one goal in mind: get it done, no matter how.

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’ve tried many approaches. What works best for me is Andy Gueardat’s “Ur moment,” hands down. I learned that I can’t carry the emotional charge through the story if I try to “think it up” or be too intellectual about it—at least at the start. There has to be one scene that truly moves me, and then I build the story around that. I use beat sheets and outlines, sure, but only after I’ve found and committed to that Ur moment.

How do you handle writer’s block or those inevitable moments of self-doubt?
I go do something else. I think writer’s block is the universe’s way of reminding us that we’re not fully in charge of the creative process. It’s frustrating, yes—but it’s the price we pay for that spark of the extraordinary in our writing. I’ll happily pay it if that’s the deal. 

What tools—software, methods, rituals—do you consider essential to your writing workflow?
Laptop, screenwriting software, and plenty of coffee. That’s all I need.

Do you write with production realities in mind, or do you let the creative vision lead first and adjust later?
I do keep some production realities in mind now as I’m working on my next script. But generally, I think vision comes before everything else. You can always trim and adapt later.

When a scene isn’t working, what’s your go-to strategy for fixing it?
Rewrite, workshop, walk away—or something else? Mostly I rewrite until the scene feels right. Only once did I realize—after rewriting it into oblivion—that I actually needed to remove it entirely. You can’t imagine the relief.

How many scripts have you completed? How many have you started and not completed (we all have those)...and why are they still unfinished?
One completed, another in the works. The one I finished had two earlier versions that were completely abandoned. It took me almost a year to come back to it with a whole new angle—but it finally worked, and I couldn’t be happier about it.

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?
The Santa Barbara ISA was my first attempt at festivals. I had several professional coverages before submitting, but the feedback I received from the Santa Barbara judge was the best. It helped me nail the story down into shape I was finally happy with.

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?
Nothing significant yet. I have shared my “Finalist” result on LinkedIn, that’s about it.

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

What do you see as your greatest strengths as a writer? Your greatest weaknesses?
I stick with the process and have patience with it. My weakness is that I sometimes get overconfident about a scene or plot device and struggle to see that it could be done differently—or that it didn’t need to be there at all.

How do you balance your writing with your “day job”?
It’s hard. But with a burning desire to write, one finds a way.

What message or emotional response do you hope audiences walk away with after experiencing your work?
Ideally, I want them to feel like they’ve just gotten off the emotional rollercoaster of their lives—and that they want to come back for more.

What are you working on right now the world needs to know about?
I don’t want to jinx it, but the next script I’m working on right now will knock your socks off—if I manage to pull off the idea I have for it. Let’s hope. 

Where do you see yourself five years from now as a screenwriter—and how do you plan to get to that place?
Nothing concrete. I just want to keep improving as a writer and have more people enjoy my work. I’ll keep doing what I’ve done so far: write, get feedback, rewrite—ad infinitum. 

What advice would you give to any aspiring writer hoping to follow in your footsteps?
Don’t force it. Wait. If it doesn’t work, wait some more. I think I’m quoting Bukowski again, but I fully agree with him on that. (By the way, I’m not a huge fan of Bukowski’s work—it’s too grim for me—but I love his quotes and his takes on writing. Highly
recommended for any aspiring writer.)

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