Interview: Rebecca Sonnenshine

Here is an interview with screenwriter Rebecca Sonnenshine. Her credits include Happily Even After (2004), American Zombie (2007), The Haunting of Molly Hartley (2008), and Within (2009). A few excerpts:

How do you prepare before you begin a script? Do you write an outline or treatment?

I believe in outlining and careful preparation — but that’s very much in line with my personality. Outlining is not the fun part of writing a script — it’s the heavy lifting. My process goes something like this: I have an idea, I write a bunch of notes and decide if it’s a movie or not. I do a loose outline of scenes, then I try and structure it with index cards on the wall. From those cards, I write a detailed outline. Rearrange the index cards. Rewrite the outline. And then I’m ready to write the script. If it’s an assignment, then I usually have to write a treatment from the outline before I can go forward with the script. I think everyone has to experiment and come up with their own process. When I was first starting out, I’d always think, “I don’t know how to write a script!” and crack out all the screenwriting books. Now I have a method that works for me.

How do you tackle rewrites?

Every rewrite is different. I always print out my script and mark it up like a development executive. I like literally seeing the red pen. Sometimes, if I’m in serious trouble, I have to re-outline the whole script and re-do the index cards. But I feel like my careful preparation now prevents me (I hope) from making critical structural errors.

What things do you feel more writers need to recognize about themselves and the industry as a whole?

I think everyone realizes screenwriting is a difficult road. A big gamble. It will probably take longer to succeed than you imagine, though some people get lucky very quickly. It’s a hard thing to pursue part time, so I’d suggest throwing yourself into it as completely as possible.

I think when we’re young, we want to believe that if we just write a great script, our talent will see us through. Simple. But a lot of other factors are involved — luck and timing and serendipity. Some people find this randomness discouraging, but I find it gives me a reason to persevere. Hope is the thing with features, you know. Persistence is the shiny golden sparkly key in this business.

Also, making your way in the film business requires a laundry list of “other” skills. You have to be disciplined, a self-starter, a fast worker. When you go to meetings, you are expected to be charming, fun, entertaining. Good in a room, as they say. Someone that people want to work with. You have to be able to pitch a story, take notes, accept rejection graciously. Screenwriting is more social that you might imagine. Embrace it.

And never forget karma. Try to be kind and helpful to others, and don’t trash each other’s scripts. Or strangers’ scripts. Be nice! It will make you a better writer.

I can vouch for the karma thing. And because Hwood is such a small community, sometimes the karma payback can be instant!