Screenwriting

IFH 835: What Really Happens After You Write the Script with Michael K. Snyder

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On today’s episode, we dive deep into the long game of screenwriting and career-building with Michael K. Snyder, a writer and producer whose journey is a masterclass in patience, preparation, and persistence. Michael’s story isn’t about overnight success or viral moments—it’s about understanding how the industry actually works and learning how to navigate it without losing your creative voice. From film school to studio meetings, his path reveals what happens after the script is written, when development, relationships, and timing become everything.

Michael began his career at Full Sail University, later earning a master’s degree before making the leap to Los Angeles. Unlike many aspiring writers, he didn’t move west blindly. He arrived with a plan, a growing network, and a willingness to work his way up. One of his earliest breakthroughs came from reaching out directly to Lloyd Kaufman of Troma—an act that taught him a crucial lesson early on: opportunities are rarely handed out, but they often appear when you’re willing to ask professionally and follow through. That mindset became the foundation of his career.

Once in Los Angeles, Michael balanced day jobs with constant writing, producing short films whenever possible. Access to a massive warehouse space allowed him and fellow filmmakers to shoot projects on their own terms, building real credits instead of waiting for permission. During this time, he continued developing feature scripts and pilots, understanding that every script serves a purpose—even if it never gets made. Some are calling cards. Others are doors to conversations that lead somewhere unexpected.

That philosophy paid off when a script he shared online attracted a manager’s attention. While the majority of feedback was harsh and dismissive, one email changed everything. Instead of focusing on the negativity, Michael leaned into the opportunity, turning that script into a relationship that opened doors across town. Meetings followed—not because the script was guaranteed to sell, but because it demonstrated voice, ambition, and storytelling instinct. In Hollywood, that’s often enough to get you in the room.

Michael’s experience highlights a critical truth about development: selling a script is rarely the goal. Selling yourself as a writer who understands story, character, and collaboration is what matters most. He explains how development can stretch for months or even years, involving outlines, treatments, rewrites, and constant conversations with producers. It’s not glamorous, and it’s rarely fast—but it’s where careers are built.

One of the most fascinating parts of Michael’s journey is his work adapting existing material. From pitching large-scale biographical projects to developing treatments for iconic properties, he learned how executives evaluate writers not just on originality, but on how they handle legacy, tone, and character. Adaptation, he explains, is about honoring the heart of a story while making it relevant for a modern audience—a skill that has become increasingly valuable in today’s IP-driven marketplace.

At its core, Michael K. Snyder’s story is about loving the process. He emphasizes that if you don’t enjoy development, collaboration, and long stretches of uncertainty, this industry will wear you down. But if you can learn to embrace the grind—rewriting, networking, pitching, and waiting—you give yourself a real chance to succeed. His journey is proof that careers aren’t built on single moments, but on years of showing up, doing the work, and staying ready when opportunity finally knocks.

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IFH 834: How to Build a Screenwriting Career That Actually Lasts with Bob Saenz

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On today’s episode, we welcome Bob Saenz, a working screenwriter and actor whose career quietly dismantles many of the myths surrounding Hollywood success. Bob has written big-budget studio projects, indie features, and multiple Hallmark movies, while also building a long acting career that includes Zodiac, Nash Bridges, and voice work as the iconic villain in the Syphon Filter video game series. What makes Bob’s journey compelling isn’t flash—it’s longevity, adaptability, and a deep respect for story.

Bob’s career began as an actor in the San Francisco Bay Area, where he spent years performing in theater before making a conscious decision to balance family life with creative ambition. Rather than chasing the traditional Los Angeles path, he built his career largely outside of LA, commuting when needed and proving that proximity matters far less than preparation. His years on Nash Bridges became what he calls “the Don Johnson film school,” where he absorbed everything he could about directing, cinematography, sound, and production by simply asking to learn.

That on-set education shaped Bob’s writing philosophy. He believes that the only thing that truly matters in a screenplay—especially a spec—is story. Not structure formulas. Not screenwriting “rules.” Story. He openly admits he’s never read a screenwriting book, instead learning by reading produced scripts, watching films, and studying what doesn’t work as much as what does. In his words, many scripts fail because writers force stories into rigid templates instead of letting the narrative breathe naturally.

One of Bob’s most defining moments came early in his writing career, when the first script he ever wrote was optioned by a studio. The sudden validation inflated his ego—something he now looks back on as a painful but necessary lesson. When the project ultimately fell apart, he gained perspective: most optioned scripts never get made, and success in Hollywood is rarely fast or permanent. That experience reshaped how he approached relationships, collaboration, and professionalism.

Bob’s willingness to break conventional rules eventually became his calling card. His script Extracurricular Activity intentionally defied standard storytelling expectations—the inciting incident occurs long before the movie begins, the protagonist isn’t clearly defined, and traditional character arcs are ignored. Instead of hurting him, that boldness got him noticed. The script later became a produced feature nearly two decades after it was written, proving that originality often has a longer shelf life than trend-chasing.

In addition to studio and indie work, Bob has carved out a successful niche writing Hallmark films. He explains that while the brand has clear guidelines, there’s still room for strong character work and emotional storytelling if you understand the sandbox you’re playing in. Hallmark didn’t limit his creativity—it rewarded his ability to tell compelling stories within defined boundaries, a skill many writers overlook.

Perhaps Bob’s most valuable insight is his perspective on networking. He rejects the idea of transactional relationships, emphasizing that real careers are built through genuine human connection. Networking, he says, isn’t about asking what someone can do for you—it’s about building trust over time. His career, sustained across decades, genres, and mediums, stands as proof that being easy to work with is just as important as being talented.

In the end, Bob Saenz represents the kind of career many writers aspire to but rarely hear about—one built not on hype, but on consistency, curiosity, and respect for the craft.

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IFH 832: The Filmmaker Who Refused to Tap Out: The Making of Heel Kick! with Danny Mac

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On this episode, we sit down with Danny Mac, a Canadian filmmaker, actor, and producer whose story is a masterclass in indie filmmaking grit. Best known for his mockumentary Heel Kick!, Danny proves that passion and persistence can turn any dream—no matter how outlandish—into cinematic reality. Without the luxury of film school or industry connections, Danny started his filmmaking journey in Edmonton, Alberta, a city without much of a film scene. With determination as his tuition, he taught himself the craft by writing, producing, and shooting his first feature, Love/Hate, entirely on weekends while working full-time during the week. That film, made with a mere $40,000 budget scraped from his and his co-producer’s life savings, became his film school—and, against all odds, it sold to a Canadian broadcaster, allowing him to break even on his very first project.

Danny’s path wasn’t without struggle. As a first-time filmmaker, he wore every hat imaginable—writer, producer, actor, and sometimes even location scout and transporter. The grueling process taught him one thing: passion can push you through exhaustion, but preparation and teamwork are what truly make a film succeed. His next project, Heel Kick!, would be an evolution of everything he learned—bigger in ambition, sharper in execution, but still rooted in the DIY spirit of indie film.

Heel Kick! follows two backyard wrestlers who decide to “go pro” after years of goofing off, only to discover how brutally difficult the dream really is. Inspired by Danny’s childhood fascination with wrestling and his cousin’s real-life experiences at a wrestling academy, the film explores both the absurdity and humanity of chasing an impossible goal. What makes the story shine is its authenticity—Danny and his co-star actually trained at a professional wrestling school for six months to perform the stunts themselves. This dedication gives Heel Kick! a raw, physical realism rarely seen in low-budget comedies.

When it came to funding and promotion, Danny combined old-school hustle with modern strategy. He launched a short GoFundMe campaign—not to start filming, but to finish it. Since the movie was already complete, fans could trust that their donations were going toward its release and screenings. That transparency paid off—literally. In just three weeks, he raised $12,000 to cover post-production and distribution costs. And while many filmmakers dread crowdfunding, Danny approached it with honesty and gratitude, proving that if you show people real progress, they’ll show you real support.

Danny also secured the backing of Greg Miller, a YouTube and gaming personality known for his Kinda Funny network. Their friendship began after a charity event in Vancouver and evolved into a partnership when Greg joined as co-producer to help spread the word. His involvement brought Heel Kick! a new wave of attention, particularly from online audiences passionate about wrestling and indie entertainment.

Ultimately, Danny Mac’s story is about more than filmmaking—it’s about perseverance, community, and creative resourcefulness. His success with Heel Kick! reminds filmmakers everywhere that you don’t need a massive budget or a Hollywood connection to tell a great story. You just need to believe in your vision, work harder than anyone else, and embrace every lesson along the way. Whether you’re wrestling in a ring or fighting for your first film, the key to victory is the same: never tap out.

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IFH 831: Making Independent Films Without Hollywood or a Huge Budget with David Ash

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On today’s episode, we welcome David Ash, a filmmaker who proves that creativity and responsibility can coexist. Based in the Twin Cities, Ash has built a life that blends a demanding corporate career, a family of four, and a thriving passion for storytelling through film. With a background in business administration and a full-time job as a treasury director, he is the definition of a weekend warrior — someone who squeezes every possible moment out of his schedule to write, direct, and produce movies. His journey shows that you don’t need to quit your job, move to Hollywood, or have a massive budget to make great films. What you need, according to Ash, is commitment, consistency, and the willingness to learn by doing.

David’s filmmaking journey began not in a studio, but in a contest. After entering a screenwriting competition that brought him to Los Angeles, he realized that while Hollywood admired talent, it rarely offered open doors to outsiders. Instead of waiting for someone to hand him an opportunity, he decided to make his own. He immersed himself in local workshops, learned camera techniques, studied editing, and began working on short films. His first feature-length experiment, Love: A Documentary, was a mockumentary produced for just $800 — a testament to what can be accomplished when creativity is prioritized over resources. That project, humble as it was, gave him the confidence and hands-on experience to take the next step toward more ambitious films.

As his storytelling evolved, Ash developed a style that combined emotional realism with psychological depth. His most acclaimed work, Twin Cities, explores themes of identity, mortality, and redemption through a lens of everyday realism. The film was a turning point — both artistically and personally — showing how powerful stories can emerge from seemingly ordinary lives. With no studio backing, he handled nearly every aspect of production himself, from writing and directing to navigating the complex logistics of filming around work and family obligations. His process may not have been glamorous, but it was deeply fulfilling. For David, filmmaking is less about chasing fame and more about personal expression — an act of discovery that connects his inner world with the outside one.

One of the most inspiring aspects of David’s journey is his practical approach to the creative process. He emphasizes planning and structure but always leaves room for experimentation and intuition. He doesn’t believe in waiting for perfect conditions — because they never come. “If you wait for the right time to make a movie,” he says, “you’ll never make it.” That philosophy has not only driven his filmmaking but also influenced his outlook on life. By treating creativity as a discipline rather than a luxury, he’s managed to produce meaningful work while maintaining balance in his career and home life.

Beyond his own films, David encourages other aspiring filmmakers to start wherever they are. He often mentors local creators and reminds them that filmmaking is more accessible than ever. Affordable digital cameras, editing software, and online resources have eliminated many of the old barriers to entry. What remains, he insists, is the challenge of motivation — the courage to take the first step. His own story is living proof that passion and persistence can turn the impossible into reality.

David Ash represents the new wave of independent filmmakers: grounded, determined, and driven by purpose rather than prestige. His career is a masterclass in making art on your own terms — carving out time, embracing constraints, and never losing sight of the joy of creation. In an industry obsessed with overnight success, he stands as a reminder that the most meaningful journeys are built one weekend at a time.

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IFH 827: Turning a Script into a Movie: The Indie Filmmaking Story of Jamie Buckner

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Every filmmaker has that moment when the light turns on — when they realize storytelling is the one thing they simply must do. For Jamie Buckner, that revelation came after dabbling in nearly every creative field imaginable — art, music, architecture — before realizing film combined all of them into one powerful form. From there, he immersed himself in cinema, devouring screenwriting and production books, and hustling his way onto sets like Seabiscuit and The Departed. He worked his way from production assistant to production coordinator on John Wick: Chapter Two, all while nurturing his dream project — a romantic bowling comedy called Split.

What makes Jamie’s story stand out isn’t just his impressive resume but his relentless commitment to writing and creating despite the chaos of production life. Between long hours on major film sets, he carved out time to develop Split — a movie he describes as “a bowling rom-com that just makes people smile.” Over several years, he wrote, revised, and self-financed his film, turning a short proof-of-concept into a full feature distributed across dozens of streaming platforms. His journey offers an unfiltered look into indie filmmaking: making time to write, raising funds through Kickstarter, calling in favors, and managing endless post-production delays.

Jamie Buckner also offers valuable insight for aspiring screenwriters: creativity is a muscle that must be exercised constantly, even when you’re exhausted. He credits years of reading production scripts — including works by Cameron Crowe — for refining his sense of structure, tone, and pacing. His advice is refreshingly grounded: “If you can do anything else, do it — because this industry takes everything you have. But if you can’t not make films, then you’re one of us.”

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IFH 826: How to Turn a Script Into a Movie Without Hollywood’s Help with Chris Jay

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Every creative career has a turning point — for Chris Jay, it came when his rock band Army of Freshmen hit the wall of a collapsing music industry. Years of touring and chasing label deals ended with the rise of digital downloads and the 2008 financial crash, forcing him to rethink everything. Out of that chaos came a bold new pursuit: filmmaking. With no formal training, Chris and his bandmate Aaron Goldberg set out to write and produce a comedy called The Bet. They weren’t chasing approval from Hollywood — they were determined to make their movie, no matter the odds.

The idea for The Bet came from Chris’s own curiosity about reconnecting with old crushes from school and wondering how those stories might turn out decades later. The script, written entirely from scratch and formatted by hand before they even discovered Final Draft, became a crash course in DIY filmmaking. They didn’t have a studio or a rich backer; instead, they raised funds through family, friends, and a pair of theatre producers from the UK who believed in the project. That resourcefulness defined every part of production — from filming in Ventura, California, to juggling countless roles on set, from catering to prop design.

Chris and his team faced every imaginable indie film obstacle: tight budgets, long hours, and post-production delays that nearly derailed the entire project. Yet through determination, collaboration, and sheer grit, they finished The Bet, securing distribution on iTunes, Amazon, and cable VOD. The film also features one of the final appearances of wrestling legend Roddy Piper — a personal highlight for Chris, who grew up a wrestling fan.

What began as a long shot became proof that independent filmmaking still thrives on passion over privilege. For Chris Jay, The Bet wasn’t just a film — it was a statement of creative survival. It showed that even when the industry turns its back, you can still make something lasting with the right mix of heart, humor, and hustle.

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IFH 824: The Screenwriting Secrets Every Indie Writer Needs to Know with Dan Benamor

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Every writer’s journey begins with a blank page, but for Dan Benamor, it also began with an internship that grew into a career in film development. Starting at a small production company, he worked his way up from intern to head of development, gaining hands-on experience that taught him how vital confidence, responsibility, and strong opinions are in the industry. He saw firsthand how scripts live or die not just by their story, but by the conviction with which they’re written and pitched. “If you project confidence on the page, people will come with you,” Dan explained, underscoring the importance of writing with authority and clarity.

While Dan has directed, he realized his true passion lies in screenwriting. He thrives on crafting stories, breaking down structure, and refining characters until the narrative feels inevitable. His development background gave him “muscle memory” for story, allowing him to navigate theme, character, dialog, and pacing with ease. For him, the planning stage is where the heavy lifting happens — once the blueprint is clear, the writing itself becomes the fun part. This approach served him well on Initiation, a film he co-wrote with his cousin Oren, who also directed. The movie, distributed by Gravitas Ventures, follows strangers forced into a deadly cult ritual, blending action, horror, and a deeper message about inner strength.

What makes Dan’s story compelling is not just the film’s success, but the lesson it carries: you don’t need a massive budget or studio machine to create meaningful, marketable work. Initiation was made independently, yet earned legitimate distribution and strong reviews, proving that ingenuity and story can outshine resources. For aspiring filmmakers, Dan’s career is a reminder that discipline, persistence, and a fearless approach to writing can turn a simple idea into a film that audiences around the world can watch.

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IFH 823: The Secret to Getting Noticed as a Screenwriter with James Moorer

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The first spark of storytelling for James Moorer came in the fifth grade, when he wrote a play that hinted at the career he would one day pursue. But the path from childhood curiosity to professional screenwriter was anything but simple. James’s journey moved through Ohio State and eventually Los Angeles, where he started at the very bottom of the industry ladder. Even as a PA fetching water on set, he absorbed everything, knowing that each small step was part of a much larger climb.

Early experiments with short films exposed gaps in his craft, but those failures became his greatest teachers. James doubled down on learning, attending Robert McKee’s Story seminar not once but twice, and taking every screenwriting class he could find. It was here he discovered that writing alone wasn’t enough — success required understanding the business of Hollywood. “Half of the work is writing,” James said, “the other half is being a people person.” Screenwriting, he learned, demands not just strong pages but the ability to navigate relationships with producers, managers, and collaborators.

His real breakthrough came after joining Screenwriting U, a program that emphasized the industry side of the business. James realized credibility matters more than cash at the start of a career. He took on assignments not for big paychecks, but for credits that proved he could deliver. This “move the needle” approach — where every script, meeting, or assignment pushed his career forward — became his guiding principle. It wasn’t about chasing a golden ticket, but about building a consistent track record.

Networking, for James, isn’t about forced schmoozing — it’s about building real relationships. Whether it’s connecting through social media or face-to-face on set, he insists that a writer’s reputation is their most valuable currency. He often shares his passions online — from screenwriting tips to his love of pancakes — because being authentic and consistent makes people want to work with you.

The pivotal moment came when he signed with Purple Skull Management, not through blind queries but thanks to a trusted referral. What sealed the relationship wasn’t just his script, but his openness to feedback. Instead of resisting notes, James embraced them, expanding on producers’ ideas to make the story stronger. In his words, rejecting feedback is “the ultimate screenwriter’s fatal flaw,” while collaboration shows professionalism and staying power.

James also stresses the importance of paying it forward. He credits mentors and peers for opening doors and believes sharing knowledge with other writers strengthens the entire community. For him, progress in screenwriting is about steady improvement — reading scripts, writing daily, and treating every interaction as part of the bigger picture of a career.

In the end, James Moorer reminds us that screenwriting is both art and business. It’s a craft honed by constant practice and a career built on trust, adaptability, and persistence. His story shows that success doesn’t come from one big break, but from the accumulation of small, deliberate steps forward.

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IFH 822: From Video Games to the Big Screen: The Filmmaking Journey of Nicole Jones-Dion

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The lights of Los Angeles flicker differently when you’re chasing stories instead of stars. On today’s episode, we welcome Nicole Jones-Dion, a screenwriter, director, and producer whose journey took her from the world of video games and comics into the unpredictable realm of filmmaking. Her work spans from co-writing Tekken 2 to crafting the supernatural thriller They Found Hell for the SyFy Channel, to directing her first feature film, Stasis.

Nicole’s creative path began in the interactive worlds of games and graphic novels, where storytelling was often bold, visual, and larger than life. That same sensibility carried over into her screenplays, which naturally gravitated toward sci-fi, horror, and action. With a love for genre storytelling, she found herself writing for projects that demanded both imagination and grit — Dracula epics, video game adaptations, and stories designed to thrill audiences while tapping into familiar myths.

What makes Nicole’s story remarkable is not only her resilience but her ability to adapt. Before breaking into films like Dracula: The Dark Prince, she had already written over fifteen spec scripts, proving that persistence is as essential as talent. Many of her earliest opportunities weren’t born from original pitches, but from being brought in to rework or refine existing scripts — a reality she stresses is the bulk of Hollywood writing. “If you’re writing for someone else, your job is to give them the best possible version of their idea,” she explained.

She also experimented with crowdfunding to bring her short film Debris to life. Originally seeking just $5,000, she raised nearly $20,000 — 330% over her goal. The film, centered on a cursed samurai sword that washes ashore after the Fukushima tsunami, struck a chord with audiences and festival juries alike. For Nicole, the campaign revealed the power of a strong concept: if the hook is intriguing, audiences will rally to see it made.

Her passion for character-driven storytelling shines in her approach to screenwriting. Nicole Jones Dion works from detailed outlines and insists on strong titles and character names before diving into pages. She draws from methods like Save the Cat and the mini-movie structure, blending them into her own system. For her, clarity in the outline stage prevents wasted effort later. She builds stories where protagonists and antagonists clash as equals, each the hero of their own narrative. “The antagonist is the engine of the whole story,” she noted, underscoring how much weight villains carry in shaping drama.

Nicole also cautions against soapbox storytelling, advocating instead for themes that pose questions rather than dictate answers. Whether tackling sci-fi adventures or occult horror, she wants stories to leave room for audiences to think and engage with the material. Her love for speculative fiction — tales that echo the spirit of The Twilight Zone — continues to guide her work, from her award-winning samurai scripts to the YA sci-fi of Stasis.

Through all of it, Nicole embodies the philosophy of persistence. She writes daily, often at night, and embraces the idea that growth never stops. Even after multiple films, she continues to study, refine her craft, and chase new challenges. From feature films to shorts, from crowdfunding campaigns to international distribution, her career is proof that genre filmmaking thrives on both discipline and passion.

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IFH 820: Screenwriting, The BAM Method, And How To Write A Screenplay That Stands Out with Mike Bierman

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The lights of Hollywood may glitter, but behind them lies the quiet, disciplined work of the storyteller. On today’s episode, we welcome Mike Bierman, a 45-time award-winning screenwriter and the founder of the Facebook group Screenwriters Who Can Actually Write. His path is not a typical one, for he began not from film school corridors but from a father’s intuition, reading his daughter’s audition scripts and thinking, “I can do better.” That spark ignited a journey into screenwriting that has not only led to awards but also to a philosophy of writing that challenges the very conventions so many cling to.

Mike’s story begins with a simple observation: much of what passes for screenwriting is less than inspired. As he dove into the craft, he discovered both the rigid rules that bound beginners and the profound freedom of bending or breaking those rules once mastered. “Every writer is different,” Mike explained, “what works for me works for me. That’s a good place to start to look at. But it doesn’t mean it’s going to work for you.” His wisdom is clear: writing is less about formulas and more about discovering one’s unique method of bringing stories alive.

One of the most fascinating aspects of Mike’s process is what he calls the BAM method—the Bierman Asynchronous Method. Instead of marching forward from page one like a dutiful soldier, he starts with the ending. Knowing where a story resolves anchors the journey. He writes from the outside in, weaving scenes like a puzzle, placing them out of sequence until the picture emerges whole. This approach, he says, prevents the dreaded writer’s block and keeps the story tethered to a meaningful destination. To know where you are going, after all, is to never be truly lost.

And yet, Mike’s tough-love philosophy is equally important. He pulls no punches when it comes to the common mistakes of new writers. Formatting errors, bloated scripts, and the belief that software can replace skill are illusions that must be shattered. “You’re not a writer if you don’t write,” he says with conviction. Fear of failure, fear of the blank page—these are ghosts that vanish the moment one dares to type anything at all. A poor script can always be rewritten, but a script unwritten is nothing but dust in the imagination.

Beyond his personal method, Mike has also created a community. His Facebook group was born out of frustration with shallow discussions elsewhere, but it has grown into a gathering place for professionals and serious learners alike. Within that group, contracts have formed, films have been optioned, and wisdom is freely shared. It is, as he describes, a place where screenwriters commit to treating the craft not as a hobby but as a vocation worthy of study, rigor, and respect.

His upcoming book, Secrets of Screenwriting: Collected Essays, continues this mission. Unlike traditional manuals that promise formulas for success, Mike’s book is a raw compilation of essays, reflections, and, at times, rants that emerged from his years of guiding and challenging fellow writers. It is filled with cursing, passion, and honesty—meant not to coddle, but to awaken. Readers may feel scolded one page and inspired the next, but they will always feel challenged to rise higher in their craft.

In listening to Mike, one can sense the deeper undercurrent: screenwriting is not just about structure or technique—it is about truth. Flawed characters, difficult choices, and endings that reveal the essence of a story. Scripts are not machines to be engineered; they are living things to be breathed into existence. And like any living thing, they grow best in the soil of discipline, vision, and a willingness to face one’s own creative challenges.

In the end, Mike reminds us that the screenwriter’s path is both solitary and communal. Solitary in the hours spent with words that only we can birth, and communal in the shared wisdom, encouragement, and hard truths of those who walk beside us. Every page written is a step closer not only to a finished script but to a deeper understanding of the craft.

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