RITA HANNER WARD
​

RITA HANNER WARD

What inspired you to write a script rather than a novel or short story?
I’ve written novels, and while I love that form, it demands an enormous amount of detailed worldbuilding and interior exploration. Screenwriting, for me, is more cinematic — the characters drive the story, the momentum, the emotion. This particular story felt like it wanted to live on the screen. The characters were already moving, already talking, already inhabiting scenes in my head, so writing it as a screenplay felt like the most natural fit.

Was there a specific film, TV show, or personal moment that first made you say, “I want to write like that”?
I’ve been inspired by many films over the years, but these three hit home: Thelma Louise, Out of Africa, and Fargo.

What’s your writing routine like? Do you follow a strict schedule or are you more intuitive about when and how you write?
I write constantly — if I’m not at my computer, I’m writing in my head. I’m always plotting, hearing dialogue (and yes, talking to myself), and getting ideas down as fast as they show up. When I’m in a groove, I’ll write for hours, then step away to walk my dog, keep appointments, eat, reset, and then I’m back at it. It’s intuitive and ongoing. In between all of that, I sleep.

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?
When I start a new script, I usually begin with an idea and loosely plot it out. I spend a lot of time thinking about my main characters — who they are, what they want, how they move through the world — and once I feel grounded in them, I sit down and write. My process is organic and always evolving. By the time I reach the end, the script has usually shifted in surprising ways from what I first imagined. This one is a perfect example: it began as a romcom, but almost immediately the tone deepened, everything shifted, became more grounded, and it revealed itself as a dramatic romance.

How do you handle writer’s block or those inevitable moments of self-doubt?
I’m no stranger to self doubt. It definitely affected my early writing, but writers always find a way through it — we write anyway. As for writer’s block, I don’t really believe in it. I think we hit obstacles, we get stuck, we question ourselves, but we can work through all of that by trusting our ability and believing in the story we’re trying to tell.

What tools—software, methods, rituals—do you consider essential to your writing workflow?
For me, it all comes down to discipline — sitting down and writing, then walking and thinking about writing. I really do live and breathe it. In terms of tools, I use Movie Magic for screenwriting, a whiteboard for jotting down ideas and tracking shifts, and my trusty laptop — my version of pen to page. The methods matter, but the commitment matters more.

Do you write with production realities in mind, or do you let the creative vision lead first and adjust later?
Always, the creative vision first. The rest will follow.

When a scene isn’t working, what’s your go-to strategy for fixing it?
Rewrite, workshop, walk away—or something else? When a scene isn’t working, I always think of that line from Buckaroo Banzai: “No matter where you go, there you are.” Walking away doesn’t mean leaving the story — you’re still carrying it with you. Rewriting is basically my middle name. I’ve probably tweaked this script forty times, and it’s still not perfect, but it’s getting there. That’s the process: step back, rethink, rewrite, repeat.

How many scripts have you completed? How many have you started and not completed (we all have those)...and why are they still unfinished?
I’ve completed one full feature screenplay and have another halfway written. I’ve also finished two short scripts, with two more currently in progress — and at least two dozen ideas waiting their turn. Some are unfinished simply because the timing isn’t right yet. I’ll keep writing until I run out of stories to tell, and that doesn’t seem likely anytime soon.

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’ve earned Finalist, SemiFinalist, and QuarterFinalist placements for my feature screenplay, and the same for a short screenplay that’s also making the rounds on the festival circuit. My strategy is to submit to mid to toptier competitions that genuinely align with the story I’m telling. Nothing is random — I choose contests carefully, with clear goals in mind. The feedback has been invaluable. It’s helped shape my work, making it stronger, tighter, and more focused. Contest notes are an important part of my development as a screenwriter and the evolution of each script.
​

---

​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 joined the ISA and a local screenwriting group, and I’ve expanded my social media presence. I promote my work consistently on my websites and send out media releases whenever I have something new to announce. Attend festivals whenever I am able to. All of it has helped build visibility and momentum. I’m also planning for the next stage of my screenwriting journey — always looking ahead and preparing for whatever opportunities come from the work itself.

Have you pitched to producers or taken meetings yet? What have those experiences  taught you about the business side of screenwriting?
Not yet, but I have my pitch sheets ready, and I look forward to the experience.

What do you see as your greatest strengths as a writer? Your greatest weaknesses?
People often tell me I write very cinematic stories. Characters, dialogue, and strong story ideas are my greatest strengths — that’s where I feel most at home. My biggest weakness is overcomplicating the action. I can get ahead of myself, and sometimes I just need to slow down, breathe, and let the scene unfold more simply.

How do you balance your writing with your “day job”?
I’m retired, but for me writing is my life and work – my preferred day job.

What message or emotional response do you hope audiences walk away with after experiencing your work?
I hope my stories — the characters and the worlds they inhabit — truly resonate with audiences. I want them to laugh, to be moved, maybe even to shed a tear, and ultimately walk away feeling inspired. If someone finishes one of my scripts and thinks, I’d like to tell a story like that, then I’ve done what I set out to do.

What are you working on right now the world needs to know about?
I’m not ready to announce the plot of my current project, but I can share that it’s another emotionally grounded drama. It’s taking shape in ways that genuinely excite me, and I’m looking forward to revealing more when the time is right.

Where do you see yourself five years from now as a screenwriter—and how do you plan to get to that place?
Five years from now, I see myself still writing — with at least two  dozen scripts completed and two or three in production. Consistency and momentum are how I’ll get there.

What advice would you give to any aspiring writer hoping to follow in your footsteps?
Believe in yourself and your work. Trust your instincts as a storyteller. And don’t let fear of failure stop you — outwrite it. Keep showing up to the page, keep pushing through the doubt, and keep telling the stories only you can tell.