KEN MIYAMOTO has worked in the film industry for two decades, most notably as a studio liaison for Sony Studios and then as a script reader and story analyst for Sony Pictures. He has many studio meetings under his belt as a produced screenwriter, meeting with the likes of Sony, Dreamworks, Universal, Disney, Warner Brothers, as well as many production and management companies. He has had a previous development deal with Lionsgate, as well as multiple writing assignments, including the produced miniseries BLACKOUT, starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner.
He is a film and television industry blogger for ScreenCraft and has been published by the likes of ScreenCraft, The Script Lab, The Huffington Post, Thought Catalog, Business Insider, MovieMaker Magazine, etc. Follow Ken on Twitter @KenMovies.
Check out his ScreenCraft author page for some "amazing" screenwriting and Film/TV industry advice. Find his eBooks here - THIS and THIS ONE are best.
Dave Watson: What's new since we last chatted?
Ken Miyamoto: Wow, it’s been a while for sure. 2014, I believe. Family is doing well. I’m still a work-from-home dad/writer, which I find is a blessing.
Screenwriting career-wise, on the screenwriting front, I’ve had two paid writing gigs, one of which went into production in 2017-2018. It's an indie faith-based thriller that I was hired to write. I also have a co-producing credit.
The film’s director, Justin Jackola, and his production company, JJack Productions, are based out of Chicago’s Cinespace Studios. The film was financed by Chicago Media Angels and Throughline Films came aboard to handle the sales. It’s been a long process, but there is some exciting news coming up on the sales front.
What’s kept me most busy was my career shift to industry blogging. In 2014, I had entered an action thriller script to ScreenCraft’s Action Thriller contest. I won and befriended ScreenCraft’s founding members, which led to an opportunity to become a Film/TV blogger for their screenwriting blog. I started in 2015 and am still their lead blogger after all of these years with over 700 articles and many screenwriting and Film/TV industry eBooks.
It has opened up a lot of doors for me, but I really love it because it allows me to take the knowledge and experience I’ve picked up on over the last 20 years in the Film/TV industry and share it with those thousands of up-and-comers throughout the world. My favorite and most fulfilling moments are when I get Twitter notifications with people giving thanks for the articles I’ve written.
My perspective is unique, having worked on both sides of the table. One on the development side as a major studio script reader and story analyst for Sony Pictures. And the other as a produced and working screenwriter that has worked directly with major studios, producers, development executives, etc.
So my ScreenCraft work has led to much exposure and many open doors.
DW: Do screenwriting articles help you as a writer?
KM: Yes, a thousand times. Reflection on the craft and business of screenwriting is a must. I’m very lucky to have been able to use this platform to not only help others but also to help my own screenwriting perspective.
When I tackle a common question or subject for screenwriters, I dive into all angles of it. What I don’t outright know, I research. What I know, I delve deeper for enhanced perspective. The skills and tricks of the trade I’ve picked up along the way I organize and develop even more as I explain them to others.
And it’s great because I’ve been able to make a living writing about what I’m passionate about.
DW: As a writer, do you write every day?
KM: I’ll be honest. I’m not the type of writer that needs to sit down in front of my laptop every single day, typing away.
Yes, the blogging job keeps me writing. But when it comes to screenwriting, I focus on my own process.
One caveat to that is paid assignments. If I’m on a paid assignment, I have no choice but to write almost every day. That’s necessary because I have a deadline to make.
But when I’m in between paid gigs and writing on spec, my process is much more organic.
What many forget is that most writing takes place before you type a single word. Visualization is SO key to my process. Even the scripts of mine that producers and development executives pass on always come with a note that they were great cinematic reads. As a former studio reader and story analyst, I know how crucial that is for each and every screenplay.
So, generally 75% of the story and visuals are in my head before I type a single word. My early process involves research, which includes watching similar movies to the story I’m conjuring. Certain movies will have similar genre beats, atmosphere, character archetypes, story archetypes, etc.
It’s all about feeding and watering that seed, the concept/idea, that’s been planted within my imagination. So many writers forget that part of the process, instead jumping into the outlining and writing of it the moment the concept comes to them. That’s a mistake.
And even during the writing process when I’m actually at the point where it’s time to type, I won’t be writing every single day. I’ve created a process, born through the strict paid writing assignment deadlines, that allows me to write fast and write well. And a lot of that is thanks to visualization between writing sessions.
Each writing session I challenge myself to write 10 pages. No more, no less. Even if I’m on a roll, I’ll stop because I want that excitement and energy to be carried over. That’s why I don’t believe in vomit drafts where you spew out big sections or whole scripts in a short amount of time. To me, that’s counter-productive. You have to do the front-end work first and go in with a vision and a plan.
So I write ten pages AND THEN STOP.
The next writing session, whether it’s the next day or two days later, I read those pages and touch them up. Then I write pages 11-20. Off days are for visualization and any work/dad/husband/life duties. When I return, I re-read pages 1-20, touch them up quickly, and continue on having visualized what happens next in the story during my time off.
This process continues on. And yes, it’s ALWAYS important to reread those previous pages because it gets you on the right page (pun intended) with yourself and the story you’re trying to tell. The pacing is clear and concise. The atmosphere and tone are spot on and consistent. The story and character beats are flowing. It’s an exhilarating way to write. And it’s FAST, which is what ALL screenwriters should be shooting for — being able to write fast AND write well as you’re doing so. Because that is what the industry will expect of you once you DO get those coveted writing assignments.
I can finish a first draft in just ten writing sessions. And that first draft is more like a second or third because of that process.
You can check out this process through my ScreenCraft eBook The 10-Day Screenplay Solution: Learn How to Write Lightning Fast.
But, I guess you could say that I’m writing every day. In my head. I’m just not typing every day. Visualization is key. I can write in my head while watching movies, walking the dog, running, driving through the countryside of Wisconsin, etc. Typing is the easy part.
DW: Hunter's Creed: what's it about? What drew you to it?
KM: Well, money is always a good draw (laughs). This was an indie flick, so it wasn’t life-changing stuff, but whenever you get approached by a producer to get paid to write, it’s a good thing.
But you have to be able to find passion for the project as well. And luckily the producer/director Justin Jackola had a unique type of genre story to tell.
The story follows a widower who reunites with his old church buddies to film a hunting show in the remote woods, where a supernatural presence forces him to confront his faith.
How many faith-based, found footage, horror/thriller movies have you seen? That’s what intrigued me. The challenge of presenting an otherwise somewhat standard “something in the woods” flick within the context of a character-driven faith-based story. And the true challenge of it was balancing those two elements without going too far in one direction where you cancel out the other.
We couldn’t have blood and gore in there, because the faith-based audience would balk at that. And we also couldn’t have the Christian elements too much in your face because we’d alienate those wanting to experience suspense and thrills.
So we had to create a hybrid. And it worked wonderfully with the excellent story Justin wanted to tell. We co-wrote the script, based on his story, and it was an amazing experience.
I also learned a lot about the selling process once we shot it. Production was great. We had awesome locations. But it can take a year or two to sell these types of indie films. What helped us along the way was connecting a name star to the picture in post-production — Dog the Bounty Hunter.
While he’s not a cinematic star, Dog has an amazing following through his bounty hunting work and his multiple shows. He’s a franchise, so connecting him with this film was key in getting it sold. I can’t go into any details of that, but it will surely be exciting to share them all when I can.
And it’s always nice to see your project in the Hollywood trades.
DW: What's next?
KM: I’m thankful to say that there are always projects with Hollywood being juggled. The sad part is that I can’t talk about most of them.
We had a big script deal in the works for one of my specs, which would have been my first spec sale (I’ve only been a paid screenwriter through writing assignments, which is usually the case with most screenwriters), but then this pandemic hit and the investors backing the project hit the pause button. The project has a director and two producers — a talented group that have been pitching the project throughout Hollywood for the previous year. We have some name actors verbally committed, but this pandemic has halted most Hollywood productions. Time will tell on that one.
I’m currently working with one of my former executive producers on a number of exciting prospects. Beyond that, I can’t say much.
I continue on with the Film/TV blogging through ScreenCraft and am writing a lot — whether it’s in my head or through the keys.
DW: What's your favorite cinematic moment?
KM: My gosh, that’s impossible. There are just too many to choose from, whether it’s:
Clip: Close Encounters of the Third Kind
Founder and editor of Movies Matter, Dave Watson is a writer and educator in Madison, WI.
He is a film and television industry blogger for ScreenCraft and has been published by the likes of ScreenCraft, The Script Lab, The Huffington Post, Thought Catalog, Business Insider, MovieMaker Magazine, etc. Follow Ken on Twitter @KenMovies.
Check out his ScreenCraft author page for some "amazing" screenwriting and Film/TV industry advice. Find his eBooks here - THIS and THIS ONE are best.
Dave Watson: What's new since we last chatted?
Ken Miyamoto: Wow, it’s been a while for sure. 2014, I believe. Family is doing well. I’m still a work-from-home dad/writer, which I find is a blessing.
Screenwriting career-wise, on the screenwriting front, I’ve had two paid writing gigs, one of which went into production in 2017-2018. It's an indie faith-based thriller that I was hired to write. I also have a co-producing credit.
The film’s director, Justin Jackola, and his production company, JJack Productions, are based out of Chicago’s Cinespace Studios. The film was financed by Chicago Media Angels and Throughline Films came aboard to handle the sales. It’s been a long process, but there is some exciting news coming up on the sales front.
What’s kept me most busy was my career shift to industry blogging. In 2014, I had entered an action thriller script to ScreenCraft’s Action Thriller contest. I won and befriended ScreenCraft’s founding members, which led to an opportunity to become a Film/TV blogger for their screenwriting blog. I started in 2015 and am still their lead blogger after all of these years with over 700 articles and many screenwriting and Film/TV industry eBooks.
It has opened up a lot of doors for me, but I really love it because it allows me to take the knowledge and experience I’ve picked up on over the last 20 years in the Film/TV industry and share it with those thousands of up-and-comers throughout the world. My favorite and most fulfilling moments are when I get Twitter notifications with people giving thanks for the articles I’ve written.
My perspective is unique, having worked on both sides of the table. One on the development side as a major studio script reader and story analyst for Sony Pictures. And the other as a produced and working screenwriter that has worked directly with major studios, producers, development executives, etc.
So my ScreenCraft work has led to much exposure and many open doors.
DW: Do screenwriting articles help you as a writer?
KM: Yes, a thousand times. Reflection on the craft and business of screenwriting is a must. I’m very lucky to have been able to use this platform to not only help others but also to help my own screenwriting perspective.
When I tackle a common question or subject for screenwriters, I dive into all angles of it. What I don’t outright know, I research. What I know, I delve deeper for enhanced perspective. The skills and tricks of the trade I’ve picked up along the way I organize and develop even more as I explain them to others.
And it’s great because I’ve been able to make a living writing about what I’m passionate about.
DW: As a writer, do you write every day?
KM: I’ll be honest. I’m not the type of writer that needs to sit down in front of my laptop every single day, typing away.
Yes, the blogging job keeps me writing. But when it comes to screenwriting, I focus on my own process.
One caveat to that is paid assignments. If I’m on a paid assignment, I have no choice but to write almost every day. That’s necessary because I have a deadline to make.
But when I’m in between paid gigs and writing on spec, my process is much more organic.
What many forget is that most writing takes place before you type a single word. Visualization is SO key to my process. Even the scripts of mine that producers and development executives pass on always come with a note that they were great cinematic reads. As a former studio reader and story analyst, I know how crucial that is for each and every screenplay.
So, generally 75% of the story and visuals are in my head before I type a single word. My early process involves research, which includes watching similar movies to the story I’m conjuring. Certain movies will have similar genre beats, atmosphere, character archetypes, story archetypes, etc.
It’s all about feeding and watering that seed, the concept/idea, that’s been planted within my imagination. So many writers forget that part of the process, instead jumping into the outlining and writing of it the moment the concept comes to them. That’s a mistake.
And even during the writing process when I’m actually at the point where it’s time to type, I won’t be writing every single day. I’ve created a process, born through the strict paid writing assignment deadlines, that allows me to write fast and write well. And a lot of that is thanks to visualization between writing sessions.
Each writing session I challenge myself to write 10 pages. No more, no less. Even if I’m on a roll, I’ll stop because I want that excitement and energy to be carried over. That’s why I don’t believe in vomit drafts where you spew out big sections or whole scripts in a short amount of time. To me, that’s counter-productive. You have to do the front-end work first and go in with a vision and a plan.
So I write ten pages AND THEN STOP.
The next writing session, whether it’s the next day or two days later, I read those pages and touch them up. Then I write pages 11-20. Off days are for visualization and any work/dad/husband/life duties. When I return, I re-read pages 1-20, touch them up quickly, and continue on having visualized what happens next in the story during my time off.
This process continues on. And yes, it’s ALWAYS important to reread those previous pages because it gets you on the right page (pun intended) with yourself and the story you’re trying to tell. The pacing is clear and concise. The atmosphere and tone are spot on and consistent. The story and character beats are flowing. It’s an exhilarating way to write. And it’s FAST, which is what ALL screenwriters should be shooting for — being able to write fast AND write well as you’re doing so. Because that is what the industry will expect of you once you DO get those coveted writing assignments.
I can finish a first draft in just ten writing sessions. And that first draft is more like a second or third because of that process.
You can check out this process through my ScreenCraft eBook The 10-Day Screenplay Solution: Learn How to Write Lightning Fast.
But, I guess you could say that I’m writing every day. In my head. I’m just not typing every day. Visualization is key. I can write in my head while watching movies, walking the dog, running, driving through the countryside of Wisconsin, etc. Typing is the easy part.
DW: Hunter's Creed: what's it about? What drew you to it?
KM: Well, money is always a good draw (laughs). This was an indie flick, so it wasn’t life-changing stuff, but whenever you get approached by a producer to get paid to write, it’s a good thing.
But you have to be able to find passion for the project as well. And luckily the producer/director Justin Jackola had a unique type of genre story to tell.
The story follows a widower who reunites with his old church buddies to film a hunting show in the remote woods, where a supernatural presence forces him to confront his faith.
How many faith-based, found footage, horror/thriller movies have you seen? That’s what intrigued me. The challenge of presenting an otherwise somewhat standard “something in the woods” flick within the context of a character-driven faith-based story. And the true challenge of it was balancing those two elements without going too far in one direction where you cancel out the other.
We couldn’t have blood and gore in there, because the faith-based audience would balk at that. And we also couldn’t have the Christian elements too much in your face because we’d alienate those wanting to experience suspense and thrills.
So we had to create a hybrid. And it worked wonderfully with the excellent story Justin wanted to tell. We co-wrote the script, based on his story, and it was an amazing experience.
I also learned a lot about the selling process once we shot it. Production was great. We had awesome locations. But it can take a year or two to sell these types of indie films. What helped us along the way was connecting a name star to the picture in post-production — Dog the Bounty Hunter.
While he’s not a cinematic star, Dog has an amazing following through his bounty hunting work and his multiple shows. He’s a franchise, so connecting him with this film was key in getting it sold. I can’t go into any details of that, but it will surely be exciting to share them all when I can.
And it’s always nice to see your project in the Hollywood trades.
DW: What's next?
KM: I’m thankful to say that there are always projects with Hollywood being juggled. The sad part is that I can’t talk about most of them.
We had a big script deal in the works for one of my specs, which would have been my first spec sale (I’ve only been a paid screenwriter through writing assignments, which is usually the case with most screenwriters), but then this pandemic hit and the investors backing the project hit the pause button. The project has a director and two producers — a talented group that have been pitching the project throughout Hollywood for the previous year. We have some name actors verbally committed, but this pandemic has halted most Hollywood productions. Time will tell on that one.
I’m currently working with one of my former executive producers on a number of exciting prospects. Beyond that, I can’t say much.
I continue on with the Film/TV blogging through ScreenCraft and am writing a lot — whether it’s in my head or through the keys.
DW: What's your favorite cinematic moment?
KM: My gosh, that’s impossible. There are just too many to choose from, whether it’s:
- Russians parachuting onto American soil in front of a high school set within a small town in Red Dawn.
- A little wide-eyed boy outside, lit only by the light of a shed where an unknown but friendly creature hides in E.T.
- An endless spaceship chases another in the depths of space above a desert planet in Star Wars.
- Or nearly every frame of my favorite film of all-time, Close Encounters of the Third Kind.
Clip: Close Encounters of the Third Kind
Founder and editor of Movies Matter, Dave Watson is a writer and educator in Madison, WI.
