Sherry Louise Frasier

What initially inspired the concept or the central conflict of your latest screenplay?

A: The initial conflict of my screenplay came about by my asking myself “what if?” I wanted to write a western. So I started with that. Then I applied “what if” I wrote it with a female lead? Then I went a step further and asked “what if” she wasn’t the traditional female portrayed in the westerns? Surviving in the 1800s American West was difficult for regular folks. But “what if” my protagonist had extra challenges? I wanted to bring something unusual and different to the western genre, something we’ve never seen.

Could you walk us through your creative process – from the initial “logline” and outlining to the final polished draft?

A: I start with a very broad idea and brainstorm things about it. I write it all down in a notebook. In the beginning, it doesn’t matter if certain details will be fleshed out or dropped, I write it all down. With no prior outline experience, I found “The Screenplay Outline Workbook” by Naomi Beaty and began doing the exercises in it. I worked and reworked my ideas several times and completed the exercises in the book. Finally, from my worksheets and exercises, I had an outline and began typing it out. After a few months, I had a final draft. I left it alone for a week or so and did another read through looking for typos, errors, holes in the story, things which didn’t line up. Fresh eyes gives you a fresh perspective. Then, when I was satisfied it was the best I could make it, I focused on the logline. After that, I submitted it to the film festival circuit, where it is performing so well I can hardly believe it. From start to finish, it took a little over three months and 106 hours.

How do you establish the visual style and tone of the story using only action lines and description?

A: I try to convey on paper what I see in the scene. I try to be tactile in my descriptions. I don’t know if I’m succeeding or not, but I also try to be simple.

What were some of the biggest structural challenges you faced in the script, and how did you solve them?

A: Applying the three-act structure, we know there’s a beginning, middle, and end. The beginning is where we meet the main character and find out his / her goal. What does he / she want? What propels him / her from their normal world into a new world of Act 2. In Act 2 we are introduced to supporting characters, challenges, and watch how the main character tries to meet their goal. Then, the ending shows us the protagonist has either met the goal or not. What happens? How does it all wrap up? Is the reader / viewer left fulfilled, or are they let down? Uninterested? All of that is a challenge. The biggest structural challenge I found was my Act 2. This is about 50% of the story, so you need the material to fill up half the story. I had to think things through and keep asking “what if?” in certain situations. I tackled it in small pieces, in scenes, sometimes line by line, but I got through it. Professional screenwriter Mark Sanderson’s book “A Screenwriter’s Journey to Success” is also an excellent resource in motivation and dedication.

Was there a particular scene or sequence that was especially difficult – or rewarding – to get right on the page?

A: I am very proud of every scene in my story. Some are more emotional than others. Some are funny. Some are lonely. Some are downright heart-wrenching and heart-warming. My western has a courtroom scene which is particularly difficult AND rewarding. I hope I got it right.

How do you approach character arcs and developing distinct “voices” for your protagonists to bring them to life?

A: I approach character arcs from a “before and after” standpoint. What is each character like before? Before the inciting incident. Before something happens to them. Before they find out some life-changing information. Do we see them grow in the story? Do they mature? Do they have to reevaluate their plan(s)? What do they do when things go wrong? Each of these questions are applicable to our real life. How do we grow? Do we feel the same about things now than we did in our twenties? Our thirties? Do those things even matter anymore now that we’re in our fifties? Priorities change. We change. Life changes. So it’s important we see changes in our characters. There has to be points in their lives when they learn the lesson, or give up, or quit, or fight back, or change their mind. Something has to change. And once they learn whatever it is, are they the same? Just like how characters have to change, each character has to have his / her own voice. It’s hard to give all the characters in your story their own voice when they all come from your own imagination. Sometimes it’s easy, sometimes it’s not. Make each character sound authentic, behave authentic, and seem authentic to a reader. Give them quirks, ticks, attitude, things which make them “them.”

Independent writing often requires “writing for a budget” – what creative narrative solutions did you use to keep the story impactful but produceable?

A: I’m not sure I understand what “creative narrative solutions” mean.

How did you first get into screenwriting? Was there a specific script or movie that made you realize this was your path?

A: Decades ago, I watched a movie only because of the actors who were in it. When the movie ended, I was so disappointed. I remember thinking, “I could write a better movie than that.” And so I set out to do that. I won’t say the movie because lots of folks loved it.

Which screenwriters or storytelling styles have influenced your work the most?

A: The storytelling style which influences me the most is the simple story. We see this in Billy Bob Thornton’s 1996 movie “Sling Blade.” In the adaption of Cormac McCarthy’s 2006 novel “The Road,” the 2009 movie of the same name starring Viggo Mortensen is another example of a simple story. That one is between a father and a son. Recently, the 2025 western “Long Shadows” is another influence since it’s a simple story of a young man; only it ends with a twist you don’t see coming. Those kinds of movies stay with me long after they end. We also see simple but poignant writing in the novels of John Boyne, Frank McCourt, and Rick Bragg.

How do your personal experiences or background influence the themes and “truth” of the stories you choose to tell?

A: Being from a poor, rural community of Louisiana in the Deep South of the United States, everyone struggled. Lots of folks still do. That kind of background keeps one humble. Humility is foundation of a simple story written in simple words.

In your opinion, what makes a unique screenplay so essential to the survival of independent cinema today?

A: If a screenplay is powerful enough, someone somewhere will discover it. It doesn’t have to be the Hollywood big leagues. Several independent movies have been blockbuster successes. For example, “The Passion of the Christ,” “Dances with Wolves,” “The King’s Speech,” and “The Silence of the Lamb” were all independent films which were extremely successful.

How has completing this script changed you as a writer or storyteller?

A: As an unknown writer, completing this screenplay, submitting it to the film festival circuit, and watching it perform on its own, shows me I absolutely CAN do it. To bring a project from a simple idea in your mind, to a final draft, to have it win awards all across the world, is such a surreal feeling.

What lessons about craft did you learn from this project that you’ll carry into your next script?

A: This project taught me lots about the craft of screenwriting. Structure. Conflicts. White space on the page is good. On outline is vital. When you take your time and work out your story before you start typing, you seriously save lots of time. Don’t give your reader a reason to stop reading. Every scene must work. Is the scene necessary to the story? Or can the scene be deleted? Don’t be afraid to delete. The main lesson I learned about the craft of screenwriting is: A craft is learned and it takes time to learn, and a regular person can learn it if we want it bad enough.

Can you share any details about the genre or world you’re exploring in your current work-in-progress?

A: I haven’t started a new screenplay yet, so I don’t have a work-in-progress.

Finally, what advice would you give to emerging screenwriters trying to get their first scripts noticed?

A: As an “emerging screenwriter,” I encourage anyone trying to write a screenplay to don’t give up. Keep practicing. Keep trying. Keep writing. Keep learning. Stay with it. Be patient. Do your homework. Be willing to challenge yourself. Write something you would want to see. Because if you don’t want to see it, why should others? Understand, not everyone will like your story so don’t take rejection personally. There will be folks who love your story and support it. When you get to a point in your writing, if you can, invest in professional analysis but be wary of those who promise the world. Do your homework in this area as well. Everyone’s writing journey differs, but we are all in it together. There is room for us all to succeed. Invest in your dreams and don’t give up. Life really will pass you by and in the blink of an eye, you’re no longer 25, you’re 50.

Sherry Frasier

Screenwriter “FOR THE BIRDS”

Utah, USA