Interview - Screenwriter Birgit Syran Myaard

Birgit Syran Myaard is the writer of A WOMAN'S HAND, the well-written action screenplay about a young, nomad bride caught up in the conflict between two nations who must use stealth, wit, and courage to defy a lecherous, pagan general in order to protect her marriage, restore peace, and fulfill a prophecy.

We spoke with Birgit about her background as a screenwriter.

How did you first become interested in writing?
As with many of the unusual activities/careers I've pursued over the decades (CIA Soviet biographic analyst; piano tuner; gatherer of war crimes information to pass to the US government and the International Court), I fell into screenwriting. After living over half my life on four continents and working at embassies overseas, I had an idea for what I thought would be a great thriller novel. Many rejections from literary agents later, I consulted my sister, an English and Drama teacher who writes stage plays, to ask what I was doing wrong. She said: "Try writing it as a screenplay to practice showing and not telling." During my research into how to write a screenplay, I learned about screenwriting contests. Once my first script was "finished," I entered a couple and made it into the finals. I've never looked back.

Who or what inspired you to write this particular story?
I had just finished an action adventure script inspired by the tales of Norwegian trolls I'd heard as a child, which won the family category of a contest, and was looking for a new project. During a sermon by a guest speaker, Joe Stowell, former president of Cornerstone University, on chapters 4 and 5 in the Book of Judges, I was struck by the cinematic potential of the story, which has two strong, female leads, a wonderfully evil antagonist, battle scenes, and themes of valor and overcoming adversity through faith. Jael is the only woman other than the Virgin Mary to be called "blessed above all women" despite her hand in one of the most gruesome deaths in Holy Scripture (she is certainly not the usual, bland, faith-based character), but while the overall story laid out in Judges is full of details of the conflict between the Israelites and their oppressors, not much is provided about Jael. I set out to give her a backstory worthy of a Biblical woman of note.

What movies or filmmakers would you consider your greatest influences as a screenwriter?
A number of screenwriters have entertained/enthralled with their ability to paint a cinematic picture in my head. But I've used examples from two scripts in a screenwriting workshop I was asked to teach a year or so ago: Schindler's List (Thomas Keneally-book; Steven Zaillian-screenplay) from 1993, and Charade (Peter Stone-screenplay/story; Marc Behm-story) from 1963. The first for its poignant descriptions and the second for its creative use of scene transitions (for example: the morgue drawer closing/the police inspector's office drawer opening).

How much planning and outlining went into your process of writing this script?
I don't outline. It brings back memories of a teacher in the 1970s who made most of our class despise outlines. I spend lots of time thinking of the overall story and, when I'm writing a scene, work to drive it toward the planned ending.

What advice would you give to aspiring screenwriters who are working their first script?
Read lots of scripts. Even older ones. Realize that scriptwriting has evolved, but good writing can be identified despite differences in format. Also read "bad" scripts. You should quickly be able to spot what is wrong and, hopefully, avoid making those kinds of mistakes. Also, and perhaps most important, get out and live life so you will have a well of experiences, sights, sounds, and situations you can draw upon for your writing.

A big thanks to Birgit Syran Myaard for her time and congratulations!