Joshua Fox is a talented Australia-based screenwriter who's passionate about "developing gripping character-driven stories that translate across a global audience." His edgy one-hour TV Drama "Castle of Glass" translated nicely into a Filmmatic Season 9 Drama win. Some Q&A with this Aussie writer-on-the-rise:
1) How long have you been writing?
All my life. For as long as I can remember, I’ve always loved writing stories, and consuming them. A precocious reader, and avid watcher of TV and Film, I feel like I was always bound to storytelling. Screenwriting didn’t become a passion until I started my Media Degree in 2013. Offered as an assignment in one class, I dipped my toe in, and I’ve been hooked ever since!
It opened a creative avenue that I didn’t know I needed and allowed me to find an escape from my everyday life. Little did I know that come Covid, I already had the perfect isolation hobby!
2) What screenwriting training have you received?
For a majority of my screenwriting journey, it was all self-taught. Consuming as many scripts as I could proved to be an effective way to begin grasping the formatting. From there it was just a case of trial and error – now that I think about it, that’s what it still is.
In 2023 I worked on this screenplay with Script Compass, a development company in the United Kingdom. What started as a decent first draft was systematically pulled apart, re-designed and re-built. It was an invaluable lesson in the lengths you need to go to get a grasp on story and character. The lessons from that time were invaluable and continue to inform my writing today.
I've also been fortunate to make some great connections in the writing world over social media, and I’ve learnt so much from all of them. You learn by surrounding yourself with a range of people and experiences – shoutout to those who keep answering my calls for help!
3) What writing habits work for of you? Do you write in short or long shifts, at scheduled times?
My writing habits are a bit all over the place – some days I’ll sit at my computer for twenty minutes and agonise over four lines, others I’ll glide through fifteen pages in an hour. I’ve learned over time to just let it be – if the ideas are there, and the words are flowing, capitalise on it and try not to force it when it’s not. The work will always be there tomorrow.
4) How does being a screenwriter based in Australia affect your project choices and industry reach outs?
I’d be naïve to say I understand enough about the Australian industry to answer this truthfully, but by that token I’d be lying if It wasn’t a thought. I try to ensure the theme or character drives the story, irrespective of setting (or specific market choices), but naturally some ideas work best set in Australia, where others work best overseas.
It should be said that the Australian market has broadened its storytelling base greatly in recent years. Be it original Australian stories like The Newsreader or productions based here like The Tourist or Gold – it does lend itself to taking some more risks when forming your stories and opportunities to see them come to life.
5) Our judges loved "Castle of Glass", how would you describe the project to our readers?
It’s always flattering to hear that – thank you. The elevator pitch I’ve given people before is that it’s Homeland meets Little Drummer Girl set in Europe during World War Two.
6) How did it you land on the concept for "Castle of Glass"?
I am a history buff and particularly espionage throughout history – it’s just always fascinated me – so the desire to write a story in a cross-section of these two areas was always there. I’d tried and failed previously, but then this came up. The story is inspired by real lives of two World War Two spies – Eddie Chapman and Arthur Owens. Both men worked as double agents during the war. I came across their stories and the world just flowed from there.
If nothing else, it was just a perfect excuse to go back and watch some of my favourite TV and films and call it ‘research!’
7) What are you working on now? What do you plan on writing in the near future?
I’m working on a new Western pilot script, which is going through first draft re-writes now. I’m also about a quarter of the way through a spy/action pilot that I’m selling as Jack Ryan meets Condor. I have a real hard time working on one script at a time!
As for writing plans for the future – I am trying to crack my first feature film screenplay. It’s something that still alludes me. I’ve got a few ideas outlined, but I’m looking forward to the challenge.
8) Where would you like to be writing-wise, and career-wise, in 2 years?
I just hope that in two years’ time I’m still passionate about writing and storytelling. I don’t want to kid myself; this is a very tough industry to crack. There are plenty of people far more talented than I will ever be who are on the outside looking in. I figure if I’m still passionate about it, and have the work to back up that passion, I’m in a better position that I am now to take advantage of any opportunities that may come my way.
All that is to say, that I'm doing my best to ensure I don't tie my sense of accomplishment to outcomes I can't control. Should these outcomes occur, fantastic - but I'm trying to be very deliberate in letting my passion for telling stories guide me, more so then the thing I'll never have control over.
9) Any good advice for those about to create their first one-hour TV project?
Be naïve enough to start, and stubborn enough to finish. If you’ve got those two things, you’ll figure it out.
Congratulations once again to screenwriter Joshua Fox, our Season 9 Drama Screenplay Awards Winner. All contact and script requests for Joshua will be forwarded to his attention.
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