NOAH ROSENTHAL

What inspired you to write a script rather than a novel or short story?
I dreamt of being a novelist as a teen because I wanted to bring my stories to life. However, once I actually tried writing as an adult, I realized that my voice is best suited for the screen and stage. I suppose as a kid I was afraid to go in that direction because writing TV, movies, and plays seemed like such a big dream, but I’m not afraid anymore. I’m ready to tell my stories to agents, production companies, and audiences!

Was there a specific film, TV show, or personal moment that first made you say, “I want to write like that”?
So hard to pick just one. The 6 th Sense, Lord of the Rings, Stranger Things, Avatar: The Last Airbender, Attack on Titan, South Park, Curb your Enthusiasm.

What’s your writing routine like? Do you follow a strict schedule, or are you more intuitive about when and how you write?
When creatives try to follow a strict schedule, they fail real bad haha. I plan to make more time for writing now that I know I can make it to LA if I put the effort in.

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?
It varies piece to piece. For Spite Man, I had a clear vision for what it was, the tone, and many of the jokes just came to me. I did much more outlining for Dinomorph since it’s so high-concept. All the names came from a series bible where I listed a bunch of prefixes and suffixes that I got from the ancient Sumerian language. Additionally, each member of the 60 has a little blurb about their appearance, Dinomorph, and personality. I’m mainly inspired by concept, plot, and theme. But every narrative needs good characters.

How do you handle writer’s block or those inevitable moments of self-doubt?
By taking a step back, thinking about what needs to happen next, doing some outlining, and reapproaching what I’m working on.

What tools—software, methods, rituals—do you consider essential to your writing workflow?
Final Draft or Writer Duet, taking lots of notes, and taking a breather when needed.

Do you write with production realities in mind, or do you let the creative vision lead first and adjust later?
With production realities in mind, but writers have to know when something isn’t worth sacrificing. For Spite Man’s humor to be delivered effectively, it needs to be live-action, but who cares how cheesy the special effects are? It’s a comedy after all. I envision Dinomorph as a CG anime and wrote it with studios like Fortiche and Squeeze in mind, but it can work in other ways.

When a scene isn’t working, what’s your go-to strategy for fixing it? Rewrite, workshop, walk away—or something else?
I find that asking my writer friends for input when I’m stuck on something specific is usually helpful. Different minds can often see paths forward that we can’t see ourselves.

How many scripts have you completed? How many have you started and not completed (we all have those)...and why are they still unfinished?
Four. Spite Man pilot (which I’m expanding into a feature), Dinomorph pilot, The Pact (my play), and a fourth that I can’t talk about.
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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?
Spite Man is a Finalist, and Dinomorph is a Semifinalist. I’m still waiting on results for other contests. I prioritize contests that offer feedback. Also, for high-concept scripts like mine, it’s very important to set the tone with the logline. If readers go into it not knowing what they’re reading, they may get confused. For example, if someone were to read Spite Man without knowing it’s a cheesy comedy, then the jokes wouldn’t land effectively.
The feedback I’ve received so far has led me to reworking Spite Man into a feature. I think it’d make a great summer movie. I also think I should rethink some of the dialogue in Dinomorph’s opening scene, but not the parts that aren’t what they seem…

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’ve used LinkedIn to bother lots of people in the industry lol. Once I received the results of this contest I posted about my awards there too. I’ve also tried to get my foot in the door by applying to lots of production companies for jobs ranging from PA, editor, exec assistant, marketing rolls, and even some VP rolls lol. Oh and I recently joined a local writers group where we critique each other’s work. They like The Pact so far :D.

Have you pitched to producers or taken meetings yet? What have those experiences taught you about the business side of screenwriting?
No 

What do you see as your greatest strengths as a writer? Your greatest weaknesses?
Coming up with good ideas. I’ve written a bunch of different genres. Spite Man’s a comedy, Dinomorph’s a fantasy/action-adventure, The Pact’s a drama, but one thing they all have in common is they’re all unique ideas with interesting premises. My greatest weakness is writing transitional scenes. It’s hard to be excited about scenes that are just about moving the story along when I’m excited about getting to the next important scene.

How do you balance your writing with your “day job”?
Badly lol. I’ve been a YouTuber for the past 4 years, but it doesn’t look like I’ll ever make enough money from it to achieve my goals in life. So, now I’m looking for an additional day job to pay the bills while I try to fulfil my dream of being a writer. It’s a lot, but I often make time to write my scripts in the evenings. 

What message or emotional response do you hope audiences walk away with after experiencing your work?
Depends which one. For Spite Man jokes to laugh about for a while until a rewatch. I suppose I hope Dinomorph inspires self-reflection and reminds viewers to live examined lives as Socrates would say. For The Pact, a deeper understanding of the self
and it’s impermanence throughout life, and perhaps after…

What are you working on right now the world needs to know about?
Dinomorph is much deeper than meets the eye. It can be the next Attack on Titan with the right people working on it.

Where do you see yourself five years from now as a screenwriter—and how do you plan to get to that place?
Primarily writing TV shows in LA. I plan to get there by doing my best, accepting feedback, and entertaining my audiences.

What advice would you give to any aspiring writer hoping to follow in your footsteps?
Plan ahead. Write some scripts while you’re still a kid and you have time. Then go to film school, get an internship on a set and make as many connections as you can. Now look at your scripts with fresh eyes and revise them. Try to get an agent your senior year and if you can’t, then get an MFA, but don’t enroll in a program that’s not going to set you up with LA connections.