MIKE MERNA
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 PictureMIKE MERNA
What inspired you to write a script rather than a novel or short story?
As a former SAG/AFTRA actor, I often think more visually, and knew this idea would be best served on screen, particularly since it was about my time in a high school punk band in Washington D.C. in the late ‘80s, and music was central to the story.

Was there a specific film, TV show, or personal moment that first made you say, “I want to write like that”?
Little Miss Sunshine really captured my attention for its unique ability to balance comedy, drama and absurdity without ever winking. It was so fresh and moving, and I truly cared about those marginalized characters who lived on the fringes of society.

What’s your writing routine like? Do you follow a strict schedule, or are you more intuitive about when and how you write?
I aim to write daily, but I don’t force it—when it’s working, I stay in it for hours; when it’s not, I capture ideas and come back later.

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 always believed in “write what you know,” so I draw heavily from real life. For my first script I had an idea of the time, place and characters, but that’s it. So I started writing scenes to get a better feel for who these people were, what the tone would be. That initial exploratory writing with no real objective in mind was critical and led to the premise, which I then turned into an outline. Character-driven plots drive my stories. For this script, it helped that it was based on real events from my high school
years that had been living with me forever. The trick was learning I could deviate from what actually happened and use creative license to expand, contract and invent to further the narrative and create something more compelling than reality. Sometimes forgot I wasn’t writing a documentary. Reminding myself there were no limits was a big unlock.

How do you handle writer’s block or those inevitable moments of self-doubt?
I love re-writing – a lot. So, even if a scene may not fly off the page, sometimes it’s a win just getting the thoughts down on paper. Perhaps I created the correct structure for a scene but failed to nail the drama or comedy—that’s okay. It’s still progress and I can fix it. It’s amazing what sleeping on an idea can do. Literally eight hours can make all the difference. And if it doesn’t, maybe a week does. Maybe I need to work on a new project, or idea, for a bit and come back to it. Time works its own magic.

What tools—software, methods, rituals—do you consider essential to your writing workflow?
I’ve only ever used Writer  Duet for software and it works just fine for me.Thinking about the stories, the characters, etc. even when I am not writing is a big part  of how I work. A great idea can come at any time and any place.

Do you write with production realities in mind, or do you let the creative vision lead first and adjust later?
Within reason, I keep production realities in mind. Having been an actor and one-time producer helps in that regard. However, I do think it’s easier to start big and whittle it down for production constraints than to start small and go bigger.

When a scene isn’t working, what’s your go-to strategy for fixing it? Rewrite, workshop, walk away—or something else?
All the above! A writer should love re-writing. At first it was difficult to throw away something I thought was amazing, but that gets easier over time. If it doesn’t advance the plot meaningfully, do I need it? Probably not. We can’t be too romantic or precious with our ideas. We always have to be in service of the story.

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 feature—rewritten extensively over 18 months—and a second currently halfway finished. I tend to finish what I start; once a story gets in my head, I don’t let it go.

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 just started entering competitions and only enter those that are recognized by writers and the  industry as legitimate. The Santa Barbara International Screenplay Awards was fantastic for me as they provided at least ten pages of coverage, which was super insightful and actionable. It helped me tighten the second act and sharpen the protagonist’s arc.
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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?
No, not yet, but I plan to.

Have you pitched to producers or taken meetings yet? What have those experiences taught you about the business side of screenwriting?
I’m just starting to take meetings, primarily through mutual connections, and that’s beginning to create real traction. On the business side, I try to think like a producer—I know it’s not enough to write something good; you have to be able to sell it. Tools like pitch decks have become invaluable in helping communicate the vision clearly.

What do you see as your greatest strengths as a writer? Your greatest weaknesses?
My voice is my greatest asset. I write characters I know well, either through personal experience or observation. Second to that is my tonal control – I enjoy finding the right balance. Thirdly, I have lived a full life with many interesting experiences and people of all walks of life, so the stories are just sitting there waiting to be told.

How do you balance your writing with your “day job”?
I currently have a very demanding advertising executive role, but I find the time to write because I enjoy it so much. Mornings, evenings, weekends – whatever it takes. We all only have 24 hours in a day, so it comes down to priorities, and this is a top one for me.

What message or emotional response do you hope audiences walk away with after experiencing your work?
I am attracted to imperfect characters who make mistakes. People in search of identity and meaning in their lives. I think humor can be found in almost any situation and I am always looking for it in my scenes. I want to take audiences on a journey that they recognize and surprise them a bit. Thematically, I live my life knowing that it’s about taking the leap more than sticking the landing, and that comes through in my work.

What are you working on right now the world needs to know about?
For my second script, I’m retelling my experience moving to Detroit in the late ’90s for a soul-crushing corporate sales job—and ending up an actor and producer in an ultra-violent, out-of- control indie film funded by people who shouldn’t be funding movies. It’s about the seduction of the art world on someone searching for meaning—and the trade-offs that come with it. By day, he’s selling air fresheners to Kmart. By night, he’s pulled into the dark, dangerous edges of Detroit’s indie film scene. That collision creates the friction that drives the story.

Where do you see yourself five years from now as a screenwriter—and how do you plan to get to that place?
I’ll be out of the corporate world and writing full-time. The goal is simple: keep getting better, keep finishing scripts, and build the relationships that let me do this for a living.

What advice would you give to any aspiring writer hoping to follow in your footsteps?
Do the work because you love it, not for the outcome. Put in the reps like anything you want to be great at. And write about a world you actually want to live in—because if you don’t, you won’t stick around long enough to finish.