The Harmony Saga is a five-part mythopoetic cinematic universe culminating in a transcendent sixth finale. Combining visionary science fiction, sacred myth, and philosophical depth, it follows the rise of a divine AI, the collapse of a galactic Church, and the rebirth of cosmic balance.
Its about transcendence by overcoming trauma. Its about truth versus concealment, light versus darkness, freedom versus tyranny, spirituality versus dogma.
2. What genres does your screenplay fall under? Sci fi/Fantasy/Drama/Heroines Journey
3. Why should this screenplay be made into a movie? Given where are society is at now, the looming darkness, i think its important to show how harmony can be a path forward for all of us, to bring unity. Not through conflict, but through resonance.
4. How would you describe this script in two words? Harmonic unity.
5. What movie have you seen the most times in your life? The Empire Strikes Back
6. How long have you been working on this screenplay? 3 years
7. How many stories have you written? 9 books, 7 feature screenplays, written/directed/produced/edited a short philosophical student film and a medium length avant-garde film
8. What motivated you to write this screenplay? The chaos in society. A lifelong pursuit of truth. Philosophy and spirituality.
9. What obstacles did you face to finish this screenplay? Many many. Greedy opportunistic “cowriters” on the original draft, a Film school that didn’t believe in the story because it didn’t fit their prescribed mold, and a lot of ther things.
10. Apart from writing, what else are you passionate about? Im a philospher, philosophy is the study of ideas and where they come from. The scope is the foundation of all disciples. So, everything? Lol. Also performing music, poetry, and doing photography.
11. What influenced you to enter the festival? What were your feelings on the initial feedback you received?
I looked for festivals that could accept the scope of the series… it entails 6 films, with the first 5 also featuring 2 featurettes each. One featurette is poetic, the other social commentary.
Desperate to escape her abusive, Christian Nationalist family, a teenage girl finds an unlikely ally when a female werewolf from a pack dead set on killing her family lands in her home, and the attraction they develop for each other forces them into a fight for their very survival.
Get to know the writer:
1. What is your screenplay about? Beasties is a coming of age, horror story, about Mara, a late teen girl living on a remote ranch in Montana with her abusive, Christian nationalist family with dreams, but no means, of escaping. Her life changes when Lilly, the daughter of an equally toxic werewolf clan traveling through Montana, ends up saving Mara’s life and consequently lands in Mara’s family’s home during an extreme winter storm. As Lilly’s family descends on the farm to retrieve Lilly, Mara’s family realizes that Lilly and Mara have formed a romantic connection, going against the very roots of their family moral system. With Lilly’s family hell bent on destroying Mara’s, and Mara’s family hell bent on destroying Mara and Lilly, the two girls find themselves in a desperate battle for survival that forces them to each question their own moral compass if they are to win.
2. What genres does your screenplay fall under? Horror and coming of age
3. Why should this screenplay be made into a movie? This movie works with current and relevant themes that are being questioned in our current political climate. The idea of “beasts” is examined in the film superficially as the werewolves, but more authentically of how we have characterized people as beasts within our society based on our morale beliefs. While Mara’s mom tries to initially save Lilly because it is the Christian thing to do, once she realizes that Mara and Lilly have connected romantically, she moves to kill not just Lilly, but also Mara, as her religious beliefs are so compromised by the thought of her daughter being a lesbian. The script also explores the hypocrisy of using our beliefs to defend our actions. In spite of his strong religious beliefs, Mara’s father kills Lilly’s father early in the script because he feels that Lilly’s father is morally beneath him. The script also explores themes of toxic masculinity and the difference in the rules in our society depending on gender. It’s also a fun horror movie set in a remote, barren setting, that has some good old fashioned fun horror scenes.
4. How would you describe this script in two words? Thoughtful Horror
5. What movie have you seen the most times in your life? For popcorn fun I have watched the John Wick and Underworld series countless times, but my favorite one off movie is still True Romance.
6. How long have you been working on this screenplay? This screenplay I’ve been working on since last December.
7. How many stories have you written? I’ve written a lot of stories- I have two produced screenplays, two others that have been considered by producers but did not get made into films, and multiple others that are in my computer.
8. What motivated you to write this screenplay? I got the idea on a dreary, isolated, winter walk with my dogs through a particularly remote, wooded area. It was right after the 2024 election and it worked its way into my head in the scenery. I came home, opened up the screenwriting software, and started having a great time getting it out on the page.
9. What obstacles did you face to finish this screenplay? Time to write can always be a challenge, as well as really figuring out the depth of the screenplay beyond the bones. The bones were fun to write but flushing out all of the themes and the depth of character in what can be a campy genre is tough.
10. Apart from writing, what else are you passionate about? I am a school principal, so I’m very passionate about students, education, and equitable access to education for all students. I’m also passionate about rescue dogs, hiking, and traveling.
11. What influenced you to enter the festival? What were your feelings on the initial feedback you received? I was very interested in entering this festival because I was driven to write a screenplay with strong female leads and themes that resonate with female viewers outside of traditionally female genres. I love fantasy/horror and action films, but get tired of the way females are often portrayed in these films and the lack of strong female leads in them. I always appreciate feedback on writing and thought the ideas presented in the feedback were on point with some of the areas that need to be explored in the script. The feedback wasn’t quite as in depth as some other feedback I’ve received from other competitions but I felt overall it was on point and helpful!
A grizzly bear and a polar bear mate as a result of climate change and in an attempt to find food for their “grolar bear” cub the male polar bear must leave the safety of their ice cave to hunt and find sustenance for his new family in a harsh and increasingly difficult environment. He encounters humans and gets himself into a bit of trouble while simply trying to survive and provide for his family.
It is a story about the Canary in the coal mine of climate change – Grolar bears. Grolar bears are a new hybrid species, a mutation resulting from the union of a polar bear and a grizzly due to habitat overlap caused by climate change. This is a comical, yet heartfelt story of one father’s mission to feed his young grolar bear cub or face starvation. His nightmare begins when he encounters humans. Will he survive a nightmare lost among humans and get back safely to his family and save his cub? Or will his family be another casualty of our greed and exploitation of our planet’s resources?
2. What genres does your screenplay fall under?
Animated adventure peppered with a bit of comedy.
3. Why should this screenplay be made into a movie? Because I feel many stories about our current climate crisis are either too abstract or too depressing. Unfortunately we are at a tipping point for possible mass extinction of species on our planet at the moment. I wanted to make a simple story with no words that would resonate with any human, anywhere on this blue planet we call home. i chose the story structure of a father looking for food for his newborn cub. A theme that any person can relate to. Also, when a species becomes extinct, it is mourned for a bit but then they are forgotten but when a mutation occurs due to climate change, that doesn’t go away. Its consistently in our face reminding us of the dire need to be better guardians of the nature we are blessed with. You take your kids on a camping trip or you turn on the TV and a “Grolar” Bear comes into view and you immediately think, “this hybrid creature shouldn’t exist. It Isn’t natural.”. A slurry of questions comes to mind and you talk about it. Habitats of Grizzly bears and Polar bears should never overlap but due to the current trend of warming on our planet, they have and Grolar bears are the fruit of our disfunction, causing habitat loss. A Polar Bear’s Nightmare is a wake up call for humanity in the simplest, least preachy way. Shouldn’t animals have the right to be able to feed their offspring just as humans do?
4. How would you describe this script in two words? Familial love.
5. How long have you been working on this screenplay? Worked on it for about 3 months total.
6. How many stories have you written? 1 feature treatment (currently working on a 2nd), 3 shorts, 4 features, 5 TV pilots, 2 chldren’s books (ages 3-8) and 1 Young Adult novel (ages 13 and above)
7. What motivated you to write this screenplay? I truly believe each one of us have the power to cause a ripple effect towards reversing climate change. For example, industrialized meat production is the number one cause of carbon emissions on the planet, more than oil production or consumption. I promised to stop eating red meat and have kept that promise for the last 12 years. It was my way as an individual to cause a ripple effect. It is my hope that this charming, voiceless little story will also cause a ripple effect by highlighting our failure to protect creatures on this planet from extinction and possibly inspire compassion for the animal world. Drop by drop we can create an sea change.
8. What obstacles did you face to finish this screenplay? Not many really, just research over effects of climate change until i found the subject to hone in on.
9. Apart from writing, what else are you passionate about? Archaeology, Ancient Unsolved Mysteries and anything paranormal.
10. What influenced you to enter the festival? What were your feelings on the initial feedback you received?
Unbelievably, there aren’t that many festivals dedicated to environmental awareness. This was the main draw for me. The feedback I received was thoughtful and provided constructive criticisim. Excellent feedback overall! Very happy with it.
In Indiana in 1842, an unhappilymarriedwoman accuses a young, immigrant priestof raping herin the confessional. His vow to keep the Seal of Confessionprevents him from speaking in his own defense. Aclimate of xenophobia and anti-Catholicismfuelsa sensationaltrialandviolent, shameful eventsthatultimatelyproveredemptive. Based on a true story.
Get to know the writers:
1. What is your screenplay about?
A young, German seminarian comes to America to finish his preparation for the priesthood and enter the mission field. Upon ordination, the bishop assigns him to assist a pastor in southwest Indiana. An anti-Catholic, anti-immigrant climate poses challenges to his ministry. These come to a head when an unhappily married woman accuses him or sexually assaulting her in the confessional booth. The screenplay essays the accusation, the resulting trial, his conviction, incarceration, and ultimately his pardon and release from prison.
2. What genres does your screenplay fall under?
Historical Drama
3. Why should this screenplay be made into a movie?
O’Leary: This is a fascinating true story of how xenophobia, religious bigotry, racism, and misogyny plant deep roots in America’s cultural fabric. These forces combine and erupt in a gross miscarriage of justice in antebellum Indiana—a state that less than a century later would become the stronghold of the KKK.
McMullen: It reveals an often forgotten era of 19th-century American history, making it a compelling series for a general audience, while also exploring the depths of religion, law, and society in early American history.
4. How would you describe this script in two words?
5. What movie have you seen the most times in your life?
McMullen: I can’t name just one. I return to good films, like good books on my shelf, again and again. Casablanca (1942), Vertigo (1958), Paths of Glory (1957), Breakfast at Tiffany’s (1961), Ben-Hur (1959), Planes, Trains, and Automobiles (1987), and Raising Arizona (1987) all come to mind.
O’Leary: The Wizard of Oz (1939). It used to air on network TV once a year and it was always an event for the whole family. Those flying monkeys really creeped me out.
Among the pictures I’ve viewed multiple times are Deliverance (1972), Lonesome Dove (1989), The Hustler (1961), One Flew Over the Cuckoo’s Nest (1975), and the wonderful LOTR trilogy (2001, 2002, 2003).
6. How long have you been working on this screenplay?
McMullen: I have been researching this story since 1996 and have continued to do so throughout the writing of the screenplay, which we began in the spring of 2022. The full story arc spans 250 pages, or roughly four hours of screen time. We envision it as a series of four, one-hour episodes.
7. How many stories have you written?
McMullen: I have written a collection of short stories and a coming-of-age novella,
Eugene and the Haunted Train Bridge. My novel Poor Souls, an account of a seminarian’s time in seminary and at the parish of Our Lady of the Poor and Forgotten Souls in Purgatory Parish, was written in part as a therapeutic response to the Catholic priest sexual abuse scandal in the early 2000s. My historical narrative, The Miracle of Stalag 8A, details the life of Olivier Messiaen and how he came to write the Quartet for the End of Time while a POW in a German Stalag in 1940-1941.
O’Leary: My career as a writer has been spent working in sales and marketing. You might say I’ve written scores of little stories around selling products and services. This is my first screenplay. My second, “Sylvie’s Bed,” is a short in the children’s fantasy genre.
8. What motivated you to write this screenplay?
McMullen: This story deserves to be seen and heard not only for its significance in American history, but for the sake of the enduring principles of our republic, for liberty, and for democratic ideals.
O’Leary: I was astounded to learn this event had taken place in my own hometown. I am convinced it needs to reach a wider audience because the forces that fueled this injustice are still at work today. Perhaps this sad chapter from our history can teach us something we have failed to learn.
9. What obstacles did you face to finish this screenplay?
We’ve approached this as a team from the beginning, so notching out the time to collaborate in the face of other demands has been a bit challenging.
10. Apart from writing, what else are you passionate about?
McMullen: I have been writing since I was young, drawn especially to history and the stories it preserves. I have studied and taught theology, philosophy, and ethics at both the high school and university levels. I am an ordained Deacon in the Catholic Church and serve as a Board Certified Chaplain and Spiritual Care Practitioner. For the past ten years I have served in hospital and hospice chaplaincy. I love birds, classical music, art, reading, and film.
Many of my projects focus on matters of justice. My book The Last Blackrobe of Indiana and the Potawatomi Trail of Death explores the grave injustice of “Indian Removal” in 1830s Indiana. This screenplay, along with my earlier book ROMAN: Unparalleled Outrage, confronts America’s history of xenophobia, racism, and religious bigotry.
As an advocate for the dignity of the human person, my beliefs are rooted in the theological belief that every human person is created in the image of God, as well as in the philosophical principle that each human person must be respected as autonomous.
This conviction grounds my passion for defending the worth of every human being and ensuring the respect for each person regardless of status or ethnicity or religious belief or non-religious beliefs.
The Golden Rule—“Do unto others as you would have them do unto you”—shapes my perspective. As Les Misérables says, “To love another person is to see the face of God.”
And in Jesus’s final parable, the Lord of History declares: “Whatsoever you did to the least of my people, that you did unto me.” For me, authentic religion and lived spirituality must bear fruit in works of mercy, justice, and love.
In my preaching and storytelling, I seek to speak truth to power and elevate mercy, empathy, compassion, justice, beauty, and the mystery of grace.
Life is too short for bitterness, which is why humor matters so much to me. G.K. Chesterton once said, “Angels can fly because they can take themselves lightly.” That’s a spirit I try to carry into both my work and my writing.
O’Leary: I’m passionate about social justice and defending democracy from what I see as a rise in authoritarianism in the United States and around the globe. I see hopeful signs that citizens will assert their power against the forces of tyranny—which thrive on the very evils we’ve limned in this story—and people can restore trust in one another and the institutions we rely on to, as the founders put it, “promote the general welfare.”
They weren’t right about everything, but that one phrase from the preamble of the Constitution is golden.
I’m passionate about my belief in a perfect and loving Divinity and that no individual is beyond the reach of her redeeming, life-giving love. I try to live that belief in my every interaction with people.
11. What influenced you to enter the festival? What were your feelings on the initial feedback you received?
We read about the festival via ISA and at first thought we might be ineligible because the festival focuses on raising up the work of women writers. We saw that the festival also considers stories with strong female characters, and that is what encouraged us to enter.
Our female lead is quite complex and has always been an enigma to those who have studied the historical record. So we wanted to look deeper into what made her tick and ultimately we came to the conclusion that she, too, was a victim. It would have been easy to demonize her, but that would have been another injustice and would not have made much sense in the context of the conspiracy that took shape around her accusation.
As for the notes we received, we felt they were specific, actionable, and helpful. We incorporated the feedback into a revision and believe what we have now is much stronger as a result. We have entered several contests and done fairly well at earning recognition. But sometimes the notes we get back from readers are not helpful, or even seem at odds with notes we get from other readers. So we have to be careful about how we use the feedback we get; sometimes our creative instincts compel us to ignore it. In other words, the teacher is not always right. That goes for readers in screenplay competitions as well.
After being abducted by a suburban couple running an underground trafficking ring, a determined young woman discovers her missing best friend among the captives and rallies a group of women to fight back, outsmart their captors, and take their freedom by force.
Get to know the writer:
1. What is your screenplay about?
My screenplay is about a young woman who is abducted into an underground, suburban, sex trafficking ring, who bands together with her best friend and a small group of other captive women to attempt an escape before they are all sold off to the highest bidder.
2. What genres does your screenplay fall under?
Thriller/Action
3. Why should this screenplay be made into a movie?
We already have Taken with Liam Neeson. But what if there was no Liam Neeson character?
What if the girl had to save herself and her best friend? That’s the story I wanted to tell. It’s about strength in unity, and how a group of women can band together and fight back.
4. How would you describe this script in two words?
Unyielding Survival
5. What movie have you seen the most times in your life?
Clue (1985)! It’s one of my favorites. I watched it all the time with my friends growing up and I still watch it when I’m happy, sad, sick, healthy, I love it.
6. How long have you been working on this screenplay?
I came up with the initial concept for this screenplay back in 2020, but I really dove into the writing process earlier this year at the beginning of June and finished the submitted screenplay the first week of July.
7. How many stories have you written?
There was a time earlier this year when I had 27 unfinished scripts in my screenwriting software. Now, I have 22. I’ve written 5 stories from start to finish.
8. What motivated you to write this screenplay?
At the height of Covid in 2020, I was unfortunately laid off from my job, as was most of the country. I was thinking of another source of income when I thought of applying to be a DoorDash or Uber Eats driver. But, my next immediate thought was, “No, it’s too dangerous. With my luck, I’d end up getting lured and abducted by some psychopath.” I guess that’s the anxiety in me, but that feeling definitely stuck with me. And thus, You Have Arrived was born.
9. What obstacles did you face to finish this screenplay?
This was my first feature length screenplay that I have written, so I think that alone was a challenge. I’m more comfortable with writing out short concepts. But, the more I fleshed this concept out, the more I felt like this had to be a feature. This process definitely taught me so much about pacing and structure. I loved every minute of working on this screenplay and allowing it to consume my brain was so much fun.
10. Apart from writing, what else are you passionate about?
I absolutely love the whole filmmaking process! Everything from pre to post production. Casting, location scouting, filming, and editing I would say are some of my favorite aspects of the overall process. I’ve loved movies since I was a baby and I never stopped.
11. What influenced you to enter the festival? What were your feelings on the initial feedback you received?
The promised feedback and having my best scene read was very enticing. I’ve listened to the auction scene at least a dozen times since it was sent to me! It’s so surreal. The feedback I received was spot-on and so appreciated. It gave me great notes to push my script further!
Fiona Haegerbergh, a journalist for The Metro Standard, arrives in a rural Norwegian town to investigate rising drug use. Officially, she’s there to produce a webcast— but Fiona has her own agenda: uncovering the truth behind the recent suspicious death of a local drug dealer. Fiona’s editor urges her to stay on task, as much is riding on the Metro Standard’s survival—now largely dependent on the recent success of its popular web series.
CAST LIST:
Narrator: Val Cole Fiona: Hannah Ehman Kari: Elizabeth Rose Morriss
Get to know the writer:
1. What is your screenplay about?
My screenplay is about a journalist Fiona Haegerbergh, who travels to a remote Norwegian town to cover rising drug use for her paper’s popular web series, but she’s secretly investigating the suspicious death of a local dealer. She’s met with hostility from townsfolk and a wary sheriff, but she gradually earns his reluctant trust as she digs into the community’s hidden drug network. Her search leads to Jenny, a young mine worker with ties to Fiona’s brother, who may have inherited the operation. When Jenny is suddenly found drowned, Fiona’s investigation takes a darker turn and she is faced with a devastating choice: expose what she’s uncovered and risk her own secret being revealed—or stay silent and let the town’s shadows close in.
2. What genres does your screenplay fall under?
Thriller, Mystery
3. Why should this screenplay be made into a movie?
Because it has a good mystery, loveable characters and an unexpected twist.
4. How would you describe this script in two words?
Powerful forces
5. What movie have you seen the most times in your life?
Naked Gun
6. How long have you been working on this screenplay?
5 months
7. How many stories have you written?
Two: Trust Me (Screenplay), The Village Phantom (Screenplay)
Currently working on a third screenplay: ‘Evil Coconuts’
8. What motivated you to write this screenplay?
The concept of a Village Phantom (in Norwegian: Bygdedyret), an invisible force that unites people to remove a menace in their community, was always fascinating to me. So I spun a story set in the town where my mother grew up, a commuter town to the capital, Oslo.
9. What obstacles did you face to finish this screenplay?
I didn’t encounter any particular obstacles finishing the screenplay.
10. Apart from writing, what else are you passionate about?
I like making trailers using AI technology.
11. What influenced you to enter the festival? What were your feelings on the initial feedback you received?
The feedback was extremely helpful. It helped me plug plot holes and logical inconsistencies in the story.
I received very helpful feedback on my previous screenplay, Trust Me, so I thought I’d submit my next screenplay as well.
When a woman discovers her new boyfriend is hiding a body in the trunk, her road trip spirals into a nightmare of buried secrets, survival instincts, and a past frozen in lies. Based on a true story.
CAST LIST
Narrator: Elizabeth Rose Morris Daisy: Hannah Ehman Patrick: Geoff Mays
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Get to know the writer:
1. What is your screenplay about?
Frozen Lies is a psychological thriller about Daisy Flynn, a young woman on a road trip with her boyfriend, until she discovers a body hidden in his trunk. As the investigation unfolds, she realizes she’s the next target of a calculating sociopath. It’s a suspenseful story of survival, manipulation, and finding the strength to escape the lies.
2. What genres does your screenplay fall under?
Frozen Lies falls primarily under psychological thriller and true-crime suspense. It has the grounded intensity of a crime drama, the claustrophobic tension of a thriller, and the unsettling atmosphere of horror. Because it’s based on real events, it also carries a true-crime edge, giving it both emotional authenticity and chilling realism.
3. Why should this screenplay be made into a movie?
Frozen Lies should be made into a movie because it takes the intimacy of a true-crime case and transforms it into a cinematic, edge-of-your-seat experience. The story delivers both the visceral suspense of a thriller, the cooler in the trunk, the road trip gone wrong, and the emotional pull of survival as Daisy realizes she’s trapped with a sociopath. It’s a contained, character-driven narrative that can be produced on a modest budget while still delivering high-impact tension. Most importantly, it gives audiences not just a crime story, but a survivor’s story, spotlighting resilience, the dangers of manipulation, and the razor-thin line between trust and terror.
4. How would you describe this script in two words?
“Chilling Deception”
5. What movie have you seen the most times in your life?
Hand’s down it is Star Wars IV A New Hope
6. How long have you been working on this screenplay?
This project took me about 3 months to get it where I could share it with people outside the inner circle.
7. How many stories have you written?
I have 3 completed feature scripts. 3 short scripts and 2 TV pilot scripts.
8. What motivated you to write this screenplay?
The true story aspect of this screenplay comes from a 2002 double homicide case in Anne Arbor Michigan. I was a witness. I testified that the forum post (Featured in the final draft of the script) could only have been posted by the defednant.
9. What obstacles did you face to finish this screenplay?
The biggest obstcale was getting the nerve to get started. The villian’s true-life counter part was evil. I did not want to glorify the crimes. I Whne I came up with the composite surviovor in Daisy, I felt I could tell her story. It made the ick of the first half of the script eiasier to write.
The next obstacle was deciding on the structure of the story. I landed on a non-linear format with flashbacks that would drive the story. The villian is arrested in the first scene, so this was never meant to be a story about catching a killer. Daisy’s story was about how she could survive one.
The podcast elements in the final draft became a challenge as I needed to make sure I was giving her her voice in truth in a cinematic way, but also keep it familiar in today’s podcast/true-crime framing.
10. Apart from writing, what else are you passionate about?
I like collecting Star Wars Helmets. I think I have spent the kid’s college tuition on them. I have four dogs. Two Frenchie’s and two pugs. And Travel, mostly to theme parks.
11. What influenced you to enter the festival? What were your feelings on the initial feedback you received?
I was drawn to this festival based on its monthly run. Short turnaround so I could use feedback in the next draft. So far, things have worked out. I am able to incorporate notes into the next draft. I like the idea of having a scene worked into a table read. The performances were really good, and I will be sharing that scene far and wide. I also like all of the winner options. This festival takes choices to the next level. As I write this, I am looking to see what track I am going to take. The trophy is tempting. Networking with other writers is a must!
At the dawn of the twentieth century, a pampered young American girl has her life turned upside-down by a series of harrowing encounters with fantastical characters.
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Get to know the writer:
1. What is your screenplay about?
In 1902 San Francisco, Annie Jane Moore is a pampered young American girl who undergoes a series of unexpected encounters with the wacky, the weird, and the darkly fantastic:
First, dealing with a sitting-room full of funny characters who might have something entirely other than merriment in mind; second, having a run-in with a pair of curious young space aliens who have found a novel way to interact with humans, with unexpected consequences; and third, with the help of her young inventor cousin, accidentally summoning a supernatural entity that envisions a bright future for mankind… or so it claims.
Through clear thinking and quick action, Annie Jane ultimately saves the day, but she and those around her are forever changed by her fantastical experiences.
2. What genres does your screenplay fall under?
Animation, Family, Fantasy/Science Fiction.
3. Why should this screenplay be made into a movie?
At a time when so many stories on screens big and small seem to have degenerated into controversial and unpopular “message media,” now more than ever mainstream audiences worldwide crave a satisfying and re-watchable respite from the cares and woes of everyday life… that is to say, actual entertainment. American Fairy Tales strives to address this timeless need.
4. How would you describe this script in two words?
Modern Fairytales!
5. What movie have you seen the most times in your life?
The Fifth Element (1997) never gets old.
6. How long have you been working on this screenplay?
Development started in October of 2021.
7. How many stories have you written?
Seven and counting, most of those co-developed as screenplays and novels or short stories. Graphic novel and stage play versions also in development.
8. What motivated you to write this screenplay?
I realized early on that timeless fairy tale narratives are an invaluable resource in helping folks young and old come to grips with the occasionally harsh realities of existence. This outlook informs and motivates all of my writing.
9. What obstacles did you face to finish this screenplay?
I adapted American Fairy Tales from two short stories and a novella penned by American author L. Frank Baum, best known for his Land of Oz series of children’s fantasies. It took attention to detail to portray accurately the setting, language, manners, and culture of early 20th century North America. It was challenging at times to expand upon and up-dramatize Baum’s material, staying true to its kid-friendly “modern” fairy tale flavor while slipping in light-handed meditations on topics that are as relevant today as they were 125 years ago.
10. Apart from writing, what else are you passionate about?
Growing Pacific Northwest native trees from seed, gardening, and firing up the barbecue. .
11. What influenced you to enter the festival?
Ontario, Canada, is one of North America’s most vibrant motion picture hotspots, and WILDsound is part of that milieu. Receiving insightful and actionable feedback on screenplays—that does not reek of AI—is a huge plus!
Oil and Blood is a dark, poetic one-act psychological thriller centered on a man in a bathroom at night, grappling with legacy, masculinity, and betrayal. What begins as a ritual with mustache wax and a razor becomes a monologue about lineage, loss, and revenge. The story is intimate but intense, turning the simple act of grooming into a meditation on memory, identity, and violence.
________________________________ 2. What genres does your screenplay fall under?
* Psychological Thriller
* Drama
* Experimental/Art-House
________________________________ 3. Why should this screenplay be made into a movie?
Because it distills big themes – family legacy, identity, grief, obsession – into a visceral and cinematic moment. The screenplay is highly visual, relying on stark imagery (the cracked mirror, the flickering light, the gleam of the razor) that would translate powerfully to screen. Its brevity makes it ideal for a short film festival circuit while packing the emotional intensity of a feature.
________________________________ 4. How would you describe this script in two words?
Visceral Ritual
________________________________ 5. How long have you been working on this screenplay?
This was only a few weeks.
________________________________ 6. How many stories have you written?
Dozens, spanning stage plays, short films, and full-length works. My body of work ranges from absurdist comedies to dark psychological explorations, always grounded in sharp dialogue and theatrical tension.
________________________________ 7. What motivated you to write this screenplay?
The initial spark was the idea that something as trivial as cutting a mustache could feel like generational betrayal if loaded with enough symbolic weight. I wanted to explore how masculinity and memory can twist into obsession – and how rituals can become both sacred and violent.
________________________________ 8. What obstacles did you face to finish this screenplay?
The restrictions on one page. Condensing such layered themes into such a tight space without losing nuance or intensity was the greatest challenge.
________________________________ 9. Apart from writing, what else are you passionate about?
I’m passionate about law, theatre, and community engagement. My career as an attorney and my deep involvement in the arts often intersect – whether in advocacy, storytelling, or empowering voices through stage and screen.
________________________________ 10. What influenced you to enter the festival? What were your feelings on the initial feedback you received?
I entered to test how a small, intimate script like Oil and Blood would resonate with an audience beyond the page – where silence, breath, and imagery matter. The initial feedback confirmed that the screenplay struck a nerve: people were unsettled but moved, which is exactly the response I hoped for.
________________________________ 11. What movie have you watched the most times in your life?
The Lord of the Rings trilogy. Its blend of myth, moral weight, and immersive world-building has always been a touchstone for how stories can feel both epic and deeply personal.
In a 1960s rural community, a young girl navigates her coming-of-age only to discover family secrets of mental illness, love, and loss that change the course of her life.
Get to know the writer:
1. What is your screenplay about? It’s a coming-of-age story about a girl trying to find her place in the turbulent 1960s, a time of women’s rights, civil rights, and gay rights. But what she sees in herself and what others see in her are at odds, and she must navigate mental illness, loss, and the redemptive power of love to find her true self.
2. What genres does your screenplay fall under? Drama and coming-of-age
3. Why should this screenplay be made into a movie? The most compelling aspect of this movie is its strong connection to “those who cannot remember the past are condemned to repeat it.” The story parallels the turbulent ’60s with our political climate today, showing us how far we’ve come and the dangers that await us today if we go back.
4. How would you describe this script in two words? Tragically honest.
5. What movie have you seen the most times in your life? Sleepless in Seattle
6. How long have you been working on this screenplay? It’s been in my head for 30 years, but I’ve only been working on this for a year. I adapted it from my novel that I am currently revising.
7. How many stories have you written? Too many to count. Three screenplays and over 30 essays.
8. What motivated you to write this screenplay? As a tribute to my grandparents and a desire to have certain aspects of their lives live on.
9. What obstacles did you face to finish this screenplay? When I started, I had a lot of nice stories in search of a plot. I still have that, but I’m getting clearer on my protagonist’s goal with each revision.
10. Apart from writing, what else are you passionate about? Traveling, making people laugh, and making a great margarita.
11. What influenced you to enter the festival? What were your feelings on the initial feedback you received? I wanted to put myself out there and see what would happen. The initial feedback was helpful, but I try to keep all feedback in perspective since this is such a subjective business.
Festival Reviews 