In 2020, screenwriter Desa Larkin-Bouté did something to supercharge her career. She entered the Creative Screenwriting Magazine Unique Voices Screenplay Competition with her television script Zora And Zizi – and won. We invited her to share her thoughts on how a contest win boosted her writing career.

What were your key motivations to enter THIS screenplay contest?

What drew me to the Creative Screenwriting Unique Voices Screenplay Competition was the word “Unique.”  Today, if I were to describe my writing style I’d say I’m genre-agnostic with an eye toward generational trauma.  I am both bleak and bubbly.  Back in 2020, I had yet to find adequate vocabulary to define myself.  “Unique Voices” felt like an invitation to be weird and untraditional.

How did you decide on what project to submit to the competition and how did you prepare your screenplay?

I had just completed Zora And Zizi when the competition opened. Prior to this script, I had written a TV pilot and a movie about subjects I was dispassionate about, but had been told they were the types of stories people wanted to read. Neither of those pieces felt satisfying.They showcased a technical ability, but they felt incredibly hollow.

Like a school assignment your heart really isn’t in. Zora And Zizi was a script I wrote for myself. I wasn’t worried about how it would be received. I didn’t try to edit myself for an audience.When I was finished, it felt most true to my writing voice.

Describe the follow up process from the Creative Screenwriting team in terms of script feedback and getting your work out there.

Creative Screenwriting was integral to getting my work in front of industry professionals.  Within months of the win, I was approached by, and signed with, an agent. Creative Screenwriting also provided me time with Jess Hinds and her Meditative Writing program. Jess is a brilliant teacher, and her approach to writing is inspiring. I recommend anyone, at any stage in their career, check out her classes. 

How did this feedback influence the next draft of your script?

Jess’ approach to writing is something that influences all of my work.  She broke down the technical nuances of storytelling, and discussed the psychology behind how audiences ingest a script.  Through a one-on-one session, and series of group classes, I picked up tools that I still pull out of my writing toolbox today.

How did you leverage the contest win to advance your career?

The contest win gave me such great exposure, and I was quickly signed to an agency.  Additionally, it gave me credibility as a writer. While I was an assistant on Westward, a writer left and there was half a script open.  I raised my hand, and in addition to a writing sample, I sent a link to the Creative Screenwriting profile article about Zoe And Zizi. It was my way of saying, “See?  I’m vetted!”

Was Zora & Zizi used more as a writing sample or circulated for production?

Initially, Zora And Zizi was circulated for production. At the time, the market’s response was YA projects needed to have a tragic edge. If there was no cancer, there was no sale. It has since been used as a sample, which landed me a few development opportunities. 

Most recently, I paired it with my Westworld script in a bid for The Getaway, which I’m now co-writing with Denise Thé. In early conversations with Sony and This Radicle Act, Westworld showed that I could write a dark drama set in a theme park. Zora And Zizi  highlighted my ability to discuss race and class through a teenage lens.

What is the current status of Zora And Zizi?

I have it on deck to send as a sample once the A Different World sequel starts staffing. Though, it would still be great to see these characters come to life one day. I’m hearing the market is taking a turn toward lighter, hooky concepts, so it might be a great time for a revival!

How would you describe the current status of your writing career?

It’s been an interesting few years.  Back in 2022, industry work was scarce and I ended up taking a job with an interior designer. My plan was to only stay for a few months, but then the writers’ strike hit. My six month stint turned into eighteen. 

Then, at the end of 2023, Third Rail Productions was formed by Denise Thé, Amanda Segel, and Melissa Scrivner-Love. They’re three women writer/showrunner powerhouses, and I am thrilled to be working with them as a Development Executive.  In addition, they continue to shepherd me as a writer.  I’m very optimistic about this next year.

What nuggets of screenwriting advice would you give to writers looking to build a sustainable career?

“Sustainable” is an interesting word.  I think it’s important to remember that there is no sure-footed path in this industry. Development doesn’t always land, projects lose funding. There are gaps in-between work that can feel like dead-ends. But stagnant periods can often be a time for unexpected inspiration. 

To quote the great philosopher Dory, “Just keep swimming.”