Interview (Part 6): Sean Harrigan

My interview with 2023 Black List writer for his script First You Hear Them.

Sean Harrigan wrote the screenplay First You Hear Them which was named to the 2023 Black List. Recently, I had the opportunity to chat with Sean about his creative background, writing his Black List script, and the craft of screenwriting.

Today in Part 6 of a 6-part series to run each day this week, Sean answers some craft questions, then shares his best piece of advice for aspiring screenwriters.

Scott: You talked a bit about your process in terms of crafting the story. I’d be curious to hear a little bit more about your prep process. What do you tend to focus on? Brainstorming, character development, plotting. Do you use cards? Do you use whiteboards? How do you break the story?

Sean: Mostly, it’s pretty similar for every script that I do. I used cards early in but now it’s all in docs or bullet point beat sheets.

One place can be starting with theme and character, once I have the concept. I find there’s two broad versions with that approach. My protagonist’s journey is either the person who most wants to go on this journey or most wants to avoid this journey and from there, I figure out whichever feels the most interesting.

This one actually had both different versions, since the script changed. The addict/Trainspotting version had the person who most wants to go on this journey, and by getting the thing that they want, this perfect drug, they end up finding that actually they rebel against that. That’s their arc.

The final version now is the Shae who doesn’t want to take this drug. She doesn’t want to go on this journey. By doing it, by being forced to take this action, she ends up confronting her demons and becoming a better version of herself.

That’s usually one place that it starts with. That gives me a sense of the arc and where the character’s going, and also, it gives an idea of who that character is to a degree.

I still think in the terms of my old screenwriting teacher from Santa Barbara City College, where he called it the character’s crisis. What is that missing component in themselves that they need to solve? That at least gives me a sense of the character’s need and emotional trajectory.

Then from there, it’s usually plotting some of the events, some of the images that pop out. Figuring out where those belong. Then outlining some of the big moments. Where is the act one, the break into two? Where’s that inciting incident? Where’s the break into three?

It’s usually very structured from that approach. I’ve thought of and wanted to write things from a little bit more of the Stephen King/George Saunders approach. Follow the character or just write one scene at a time. Discover the story along the way.

Usually either the idea hasn’t lent itself to it, or there’s just the logistics of, I’ve often been with reps, wanting to get their input from the earlier stages. If I’m just handing over a completed script, I’m not getting the best of our relationship and their perspective. So I’m outlining to give us a shared vision.

It doesn’t mean that things don’t end up changing along the way. They do a lot. But it gives me the shape of it to then refine in the writing.

Scott: Are you sharing your work along the way? I think you’re with Empirical Evidence. Is that your management?

Sean: Yeah, with Derrick Eppich there. And yeah, I’m sharing work all through the process. Usually starting with a logline that feels compelling and also has legs in the marketplace. I typically come to things with a very high concept lens for a lot of the stuff that I work on.

I know some people caution against thinking that way, some people don’t but for me, the concept is what first gets me excited about writing. It gives guidance and a structure. And just from a business perspective, I want to write an idea that has the best chance of succeeding.

Then, every script is different but typically you have that idea, then that might turn into a paragraph, that might turn into a page, that might turn into a three‑page write up. Sometimes that turns into a six‑page write up. Along the way, with each version, I’m getting feedback, bouncing ideas back and forth, trying to find the best version of it. And making sure that we have a shared vision for this idea. Derrick and I have a great relationship and a real shorthand to be able to collaborate and find the best version of an idea before starting on writing.

Scott: What do you think about when you’re writing a scene, what are your goals?

Sean: Usually I have that plotted out as far as what it’s accomplishing for both the character journey and for the story. You want to have it be purposeful for those things and for where they are in their journey.

Beyond that, it changes scene to scene. And for all my earlier talk about outlining, so much of things within that structure is following what the characters would say, what their experience is moment to moment, what I picture them doing.

With action or horror, I’m imagining the moments like I’m watching the movie. But really, for any scene with dialogue, it begins with that. So much so that I’ll often write the descriptions last. I’ll think through a lot of different starting points for the dialogue but once one hits, it hopefully gets to that nice spot of just following the rhythm and flow of the dialogue from there.

Scott: One last question. If someone comes to you and says, “I’m an aspiring screenwriter. I’m trying to learn the craft and break into the business,” what is that one piece of advice you would give them to say, “OK, this is the single‑most important thing you need to do?”

Sean: I would say, the obvious thing is to always be writing, and, yes, that is a huge component, just keep doing it.

But there’s also this idea I’ve heard a lot and think about a lot. I’ve heard in interviews or in school this idea that, “If you can do anything else other than acting, other than writing, do that thing. This is way too hard to do, so don’t do it if you can be happy doing anything else.

I like that advice, but I twist it a little for me and for what I would tell a writer, which is, “Only do this if you would do it anyway.” If you would be writing regardless if you ever make a cent or if a script ever got made. Or maybe even ever got read. For me, I’ve learned over time that I’m always going to be writing. Even if it just sits in a drawer.

Of course, I’ve worked hard at this in the hopes that my work gets made. That’s part of the reason to continue to do it. Along with having the most time and ability to write as much as I want to, without having to focus on other jobs or priorities.

But there is something that is democratic about writing. From the highest‑paid writer out there down to the person who is just starting off, no matter all of the other trappings, you ultimately still have to just come back to your computer and do the writing. It’s not the only component to the job. But it still all comes back to having to do the work on the page.

That isn’t to say that I always want to write or it’s this continually joyful experience. But I feel it when I don’t. I feel incomplete when it isn’t part of my day. So that feels like the reason to pursue this. If you want it to be part of your life no matter what happens or what form the writing takes.

If you feel that way, keep doing it. Do it regardless of what the end result is. Then hopefully, the end results end up coming.

For Part 1 of the interview, go here.

Part 2, go here.

Part 3, go here.

Part 4, go here.

Part 5, go here.

Sean is repped by Empirical Evidence.

Twitter / X: @swharrigan

For my interviews with dozens of other Black List writers, go here.