ROBERT CHETWOOD
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ROBERT CHETWOOD

How did you discover The Santa Barbara International Screenplay Awards and how did you decide to enter this contest among all the others?
I first learned about the Santa Barbara International Screenplay Awards through screenwriting forums, where many writers spoke highly of its integrity and focus on bold, meaningful work. When I saw it on ISA, I felt my debut script PROGENY could be a good fit, so I took the chance.

Where do you live (City, State, or Country)?
Santa Maria, California

Your script stood out among hundreds of others. What was the inspiration for your story and why did you write a script instead of a short story or a novel? What inspires your overall journey into screenwriting?
Like all science fiction, PROGENY was born from a question: What is the human cost of legacy? I wanted to explore how the weight of past decisions, both on personal and larger scales, shapes our future and create cycles of control. In PROGENY, these cycles are amplified further by the emergence of systemic technologies able to outlive their corporate and governmental creators. My story deals with grief, addiction, and identity, but at its core, it's about a broken man trying to break these cycles and reclaim not only his own identity, but the identity of mankind itself. I chose to write PROGENY as a screenplay because I’ve always been drawn to the raw visual power of film, the way emotion can be conveyed through silence, subtext, and imagery. I think in scenes, and this story came to me as moments of quiet tension and bursts of visceral action. My journey was inspired by a deep desire to move people, to watch as their eyes well up with emotion, or to hear them say “I’d go see that at the theater”. That’s the connection I write for.

How do you decide which stories to tell, and what draws you to these particular themes?
All my stories are character driven, with a particular focus on moral ambiguity and redemption, the idea that we’re imperfect, but we can always choose to be better. My favorite way to explore these themes is through science fiction and horror as they give the creative flexibility to place my characters in heightened, often extreme situations that reveal who they really are.

What is your typical writing routine? How do you structure your workday to stay productive?
With a demanding full-time job, I fit writing in whenever I can, often in the evening, when the ideas simmering in the back of my mind all day finally get a chance to surface. On dedicated writing days, I start by reviewing and editing my most recent work before moving to the next section. I do my best editing early in the day and my most inspired writing in the afternoon.

How long did it take you to write your script...and what is your writing process? Do you outline...use index cards...white board...or just start with FADE IN?
Because PROGENY was the idea that got me into screenwriting, it took several years and multiple rewrites as I learned and honed the craft. I chose this project instead of starting with something smaller—not the easiest path, but definitely the most meaningful. I didn’t use an outline, I just started writing. That came with its challenges, but it was a powerful learning experience. Now, I start with a synopsis, then move into an outline before the script itself.

How do you handle writer's block or moments of doubt (we all have them) during your creative process?
To combat the dreaded writer’s block, I have a few tricks. Sometimes I just step away and go for a walk to clear my head or seek inspiration. If that doesn’t work, I’ll jump to a different scene.

What tools or software do you find essential to your workflow as a screenwriter?
Aside from a small collection of books, I use my phone for research and to play music to inspire the emotions I’m trying to convey on the page. For software, I’ve always used Script Studio.

How do you approach competition entries, and what have you learned from participating in these contests?
I always do extensive research and only submit to contests with strong reputations and proven industry value. Writers' forums are incredibly helpful—reading first-hand accounts gives me a sense of a contest’s integrity and, more importantly, the quality of the feedback they provide. The biggest lesson I’ve learned is that you can’t give up. Rejection is part of the process, and art, by its very nature, is subjective. What matters is continuing to write, refine, and stay open to constructive feedback. Growth comes from persistence and you miss every shot you don’t take.

Can you share a specific challenge you've faced in your screenwriting and how you overcame it?
Like many writers, my biggest challenge has been self-doubt, asking myself, is my writing good enough? That feeling was especially tough in the beginning, when taking my first steps as a screenwriter. What helped me overcome it was immersing myself in the craft. I committed to learning everything I could about format, structure, and storytelling so that I could build a foundation I could lean on. The more I understood the rules, the more confident I became in my work. And most importantly, I never gave up.

Where do you see yourself in five years as a screenwriter?
Over the next five years, I hope to continue growing as a writer, both in craft and opportunity. My goal is to have representation and to be working professionally in the film industry.
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What is your ultimate ambition as a writer?
The big question. My ultimate ambition is to write films that speak to a deeper truth and stay with people long after the credits roll—to help them discover more about themselves, or feel understood. As my dad always says, the best movies are the ones that stick with you forever.

The film and television industry is constantly evolving. How do you see the role of screenwriters changing, especially with the rise of streaming platforms and emerging technologies like artificial intelligence?
I think streaming platforms have opened the door for more writers to share smaller, intimate stories that might not have been commercially viable on the big screen. That shift has created space for a wider range of voices, and that’s exciting! Where things get even more interesting is with the rise of artificial intelligence, which ties directly into some of PROGENY’s central themes. I don’t see AI replacing screenwriters, but rather evolving into a powerful tool—less a creator, more a tireless writing partner or editor. These technologies could help writers refine their work, test emotional beats, and identify structural issues in ways that enhance the creative process. Like any technology, AI comes with risks, but if used wisely and ethically, it could help writers produce stronger, more expansive bodies of work. Just like the transition from typewriter to computer, it has the potential to free our minds, allowing us to explore new creative territory.

Which film or television writers inspire you? Why?
My two biggest inspirations are Taylor Sheridan and Tony Gilroy. Sheridan’s bold, raw storytelling, especially in 1883 and Mayor of Kingstown, has had a huge impact on me. The way he reveals character through action, not exposition, letting choices and
consequences speak louder than words. I also admire how his characters are often broken people, battling inner demons. That internal conflict is something I try to bring into my writing. Tony Gilroy inspires me on a more philosophical level with his grounded, tense, and always morally complex writing. Characters like Luthen Rael in Andor Season 2 are a great example of
men driven by conviction but weighed down by the moral cost of their choices. Gilroy builds dark, mature worlds where idealism and compromise are constantly at war with each other. That layered character work and thematic depth is exactly the kind of storytelling I aspire to.

What’s your all-time favorite movie or television show?
Tough question, but I’d have to give it to Children of Men. Its bleak but entirely believable world on the brink of collapse and the hauntingly real portrayal of the hopeless people who inhabit it is unforgettable. The tension and detail in every frame never fail to pull me in, especially the combat sequences, which were ahead of their time. Totally underrated film. An honorable mention goes to Blade Runner for its rich, atmospheric world and philosophical depth. Its questions about identity, memory, and what it means to be human continue to influence the way I think about science fiction.

What advice do you have for writers hoping to win a contest or place as a finalist as you have?
Always stay humble and open to feedback, but trust your gut because no one knows your story better than you. Most importantly, keep writing and never give up on a story you believe in.

What else are you working on that the world needs to know about? (links to your projects?)
My current project that I’m working to get across the finish line (pun intended) is a prestige sci-fi drama feature called HORSEPOWER. Set in the near future, where horse populations have dwindled and racing has been overtaken by corporate-sponsored robotic replacements, a young expelled robo-jockey forms an unlikely bond with one of the last living thoroughbreds.
Together, they defy corporate control—reminding the world that we must fight for what’s real.

Where can the world find you online? (Social media links, etc.)
I can be reached via my ISA profile: https://www.networkisa.org/profile/robert-chetwood-1 Or you can get in contact with me through my email at: [email protected]