In 2020, the film and television industry, like most industries, ground to a halt during the global pandemic. Productions were cancelled altogether or delayed for years. The industry adapted to a way of making things that prioritized profit and ease of production. Last year, longstanding issues in the film industry culminated in strikes and drawn-out negotiations, as film and television writers and actors fought to protect their livelihoods in the face of artificial intelligence. Agreements were made, writers were promised better protections and streaming residuals, and strikers returned to work. But in many cases, there wasn’t a lot of work to return to. It has been a rough couple of years for the industry, both internationally and at home in Canada. Where do we go from here?
Matt Doyle is an award-winning television writer known for his work in genre fiction, particularly within science fiction, horror, and mystery. His writing is characterized by its escapist themes, blending genre storytelling with inclusive narratives. Doyle has written for various film and television productions, including Wynonna Earp, Odd Squad, Frankie Drake Mysteries, and Cardinal, showcasing his versatility across different genres and formats. In recent years, he has pivoted to writing for video games, audiobooks, web series’, and original scripts—the kind of flexibility and ingenuity that the present state of the industry requires. Doyle sat down with us to talk about his career as a television writer, his process, and finding ways to stay writing in the face of an industry in crisis.
What was the first script you ever wrote?
Non-professionally, the first thing I ever wrote was an adaptation of a VI Warshawski detective novel, to be performed on the schoolyard by a cast of sixth graders. This was written by hand and photocopied using my dad’s work copier and likely didn’t follow proper screenplay formatting rules, so I’m not sure if it counts. Also I got fed up with the performances of the kids and cancelled the whole thing during the first rehearsal.
I wrote a lot of scripts as a teenager, with friends and alone, and most of them were about me and my friends or just myself. I didn’t know it at the time, but these were all terrible, but necessary steps towards becoming a slightly more real writer.
How did you get your start in screenwriting?
When I graduated school I got a job transcribing closed captions for DVD releases of television shows, and I kind of see this as my first gig related to screenwriting. Watching dozens of episodes of Golden Girls and Xena in a week definitely helped me internalize episodic story structure more than already being a TV obsessive already had.
How did you first break into the industry?
I went the production route. I moved to Toronto (where the Canadian industry is centred), I started volunteering and then working for money on film and TV sets. One gig led to another, and once I was working on more established episodic TV seasons as a PA and then AD, I did my best to ingratiate myself to the writers—basically by being nice and not messing up the lunch order. Eventually I was in the right place at the right time and one of these writers was nice enough to think of me for one of the lowest-rung jobs in the writing room, as an assistant and proofreader of all the scripts. Of course, before they could actually hire me they wanted to read some scripts of mine and thankfully I had a hard drive full of specs and pilots ready to go. I doubt any of them were good, but they did show I was serious about becoming a writer.
What does your writing process look like, from idea to finished script?
It’s different depending on the project and showrunner I’m working for at any given time.
Generally speaking, the room will do what’s called “breaking the story” together for about a week per episode, then the person who’s been assigned to write that episode will sum that story up in a one-page prose document called a “one-pager.” That’s the first time the network sees what we’re thinking of for the ep, and gives them a chance to say no, yes, or raise any big flags. From there, we’ll go on to an outline, then a first, second, third, etc draft… and usually still be writing while they’re shooting the episode because TV is always behind schedule and under-budget. Of course, maybe this is just how the shows I’ve been on do it and some other show or writer does things entirely differently.
When I’m writing something on my own it can be a lot more frustrating and alienating. I’ve been spoiled by the hive mind of a writers room where you get immediate feedback on every idea. It’s much harder to work on things alone and just kind of hope other people think it’s as exciting, interesting, or insightful as I do.
Do you always outline your scripts, or do you just wing it?
Before I started writing professionally I would 100% wing it. Since then, though, I can’t remember the last time I did that. After being in writing rooms, and immersing myself in the whole process of “breaking the story,” I’d find it pretty difficult to go back to just making it up as I go. Of course, writers are always just making it up, but the idea of sitting down to write the screenplay without knowing where it’s going is terrifying to me.
What kind of characters do you like to write?
This is probably an unfashionable view, but I like to write characters that are as far away from myself as possible. I’m stuck with my own thoughts all day, so it’s nice to get into the mindset of someone who thinks differently, and has had different experiences. Being a staffer in a TV room allows for that, because you really have to be able to write for all the characters in the cast—even if you may only gravitate towards one or two.
What is the most important element of a compelling script?
I wish I knew! The screenwriting books and gurus I’ve turned to during my more tortured moments probably say it’s something like A Distinct Voice or a Compelling Reason to keep turning pages, but personally I might say it’s something like a fun Gearing Up montage set to music.
Which filmmakers or screenwriters influenced you the most?
People I admire are James L. Brooks, Elaine May, Mike Nichols, Billy Wilder, Amy Heckerling, Danny McBride, Chris Carter, Mike White, Nora Ephron. It’s hard to say if any of them have actively influenced my style so much as that’s wishful thinking. But they’re all writers who I admire and I’ve tried to watch everything they’ve made. My favourite screenwriter is probably some staff writer on a TV show who was uncredited for the episode but did a full rewrite hours before it went to camera.
What are your thoughts about the current state of the industry?
Right now I’m writing a few episodes of an animated comedy called Gone to Hell and that feels pretty appropriate. It was never easy, but it feels even harder now. I’ve been lucky enough to work in the past, so it feels a bit garish to complain at all—and there are many who are worse off—but it all feels a little existential, and that’s not even addressing the threat of AI…
All that aside, it’s a good chance to kind of rediscover what you love about writing in the first place, since the odds of doing it for money right now are increasingly slim. So, I’ve been reading lots of books and having a fun time working outside of my wheelhouse writing an action video game. It’s been a great way to hone specific skills. Since video game cinematic scenes are by necessity super short, I’m finding it a bit like a scene-writing boot camp. The big question I ask myself when writing any scene is “How can I make this so dramatic that the player doesn’t click “skip”? So it’s a challenge to deliver a bunch of information, all while also finding room for conflict and character so the actors have something fun to actually perform.
What advice would you give to aspiring screenwriters today, trying to work in an industry that feels pretty broken?
When I first broke into writing, all the senior writers around me told me that the golden days were over. And then all that changed once streaming and co-pros came around. I try to remind myself of that when I get more doomy about the industry.
As far as advice goes, I’m a big fan of the adage “nobody knows anything.” More practically, I’d say to just keep writing and writing so when the industry inevitably (hopefully) bounces back, you’ve got a ton of samples at the ready. And I guess say yes to every single job that comes your way, even if it’s only tangentially related to writing. There’s no shame in paying the bills.
What projects are you currently working on?
I’m freelancing a few episodes of a new animated comedy, and working as a lead writer on a Tom Clancy video game for Ubisoft. While I’m not doing those paid gigs, I’m trying to pitch a few shows and browbeat myself into writing a feature script.
It feels like there are so many workshops, courses, books etc on screenwriting—is there any advice or learning materials that you’ve encountered that you think are actually valuable?
My favourite is On Writing by Stephen King, which is more about writing prose, but it’s all the same principles, when it comes to getting first drafts done and keeping things as short as possible. Even if you’re not a fan of him (I am), it’s a great portrait of what it’s like to be a writer, and he gives you a ton of great tips. And while I’ve never actually finished the program, The Artist’s Way seems to help a lot of people, and I know I feel more like a real writer anytime I commit to morning pages.
An Interview with Screenwriter Matt Doyle
By Esther Dale
In 2020, the film and television industry, like most industries, ground to a halt during the global pandemic. Productions were cancelled altogether or delayed for years. The industry adapted to a way of making things that prioritized profit and ease of production. Last year, longstanding issues in the film industry culminated in strikes and drawn-out negotiations, as film and television writers and actors fought to protect their livelihoods in the face of artificial intelligence. Agreements were made, writers were promised better protections and streaming residuals, and strikers returned to work. But in many cases, there wasn’t a lot of work to return to. It has been a rough couple of years for the industry, both internationally and at home in Canada. Where do we go from here?
Matt Doyle is an award-winning television writer known for his work in genre fiction, particularly within science fiction, horror, and mystery. His writing is characterized by its escapist themes, blending genre storytelling with inclusive narratives. Doyle has written for various film and television productions, including Wynonna Earp, Odd Squad, Frankie Drake Mysteries, and Cardinal, showcasing his versatility across different genres and formats. In recent years, he has pivoted to writing for video games, audiobooks, web series’, and original scripts—the kind of flexibility and ingenuity that the present state of the industry requires. Doyle sat down with us to talk about his career as a television writer, his process, and finding ways to stay writing in the face of an industry in crisis.
What was the first script you ever wrote?
Non-professionally, the first thing I ever wrote was an adaptation of a VI Warshawski detective novel, to be performed on the schoolyard by a cast of sixth graders. This was written by hand and photocopied using my dad’s work copier and likely didn’t follow proper screenplay formatting rules, so I’m not sure if it counts. Also I got fed up with the performances of the kids and cancelled the whole thing during the first rehearsal.
I wrote a lot of scripts as a teenager, with friends and alone, and most of them were about me and my friends or just myself. I didn’t know it at the time, but these were all terrible, but necessary steps towards becoming a slightly more real writer.
How did you get your start in screenwriting?
When I graduated school I got a job transcribing closed captions for DVD releases of television shows, and I kind of see this as my first gig related to screenwriting. Watching dozens of episodes of Golden Girls and Xena in a week definitely helped me internalize episodic story structure more than already being a TV obsessive already had.
How did you first break into the industry?
I went the production route. I moved to Toronto (where the Canadian industry is centred), I started volunteering and then working for money on film and TV sets. One gig led to another, and once I was working on more established episodic TV seasons as a PA and then AD, I did my best to ingratiate myself to the writers—basically by being nice and not messing up the lunch order. Eventually I was in the right place at the right time and one of these writers was nice enough to think of me for one of the lowest-rung jobs in the writing room, as an assistant and proofreader of all the scripts. Of course, before they could actually hire me they wanted to read some scripts of mine and thankfully I had a hard drive full of specs and pilots ready to go. I doubt any of them were good, but they did show I was serious about becoming a writer.
What does your writing process look like, from idea to finished script?
It’s different depending on the project and showrunner I’m working for at any given time.
Generally speaking, the room will do what’s called “breaking the story” together for about a week per episode, then the person who’s been assigned to write that episode will sum that story up in a one-page prose document called a “one-pager.” That’s the first time the network sees what we’re thinking of for the ep, and gives them a chance to say no, yes, or raise any big flags. From there, we’ll go on to an outline, then a first, second, third, etc draft… and usually still be writing while they’re shooting the episode because TV is always behind schedule and under-budget. Of course, maybe this is just how the shows I’ve been on do it and some other show or writer does things entirely differently.
When I’m writing something on my own it can be a lot more frustrating and alienating. I’ve been spoiled by the hive mind of a writers room where you get immediate feedback on every idea. It’s much harder to work on things alone and just kind of hope other people think it’s as exciting, interesting, or insightful as I do.
Do you always outline your scripts, or do you just wing it?
Before I started writing professionally I would 100% wing it. Since then, though, I can’t remember the last time I did that. After being in writing rooms, and immersing myself in the whole process of “breaking the story,” I’d find it pretty difficult to go back to just making it up as I go. Of course, writers are always just making it up, but the idea of sitting down to write the screenplay without knowing where it’s going is terrifying to me.
What kind of characters do you like to write?
This is probably an unfashionable view, but I like to write characters that are as far away from myself as possible. I’m stuck with my own thoughts all day, so it’s nice to get into the mindset of someone who thinks differently, and has had different experiences. Being a staffer in a TV room allows for that, because you really have to be able to write for all the characters in the cast—even if you may only gravitate towards one or two.
What is the most important element of a compelling script?
I wish I knew! The screenwriting books and gurus I’ve turned to during my more tortured moments probably say it’s something like A Distinct Voice or a Compelling Reason to keep turning pages, but personally I might say it’s something like a fun Gearing Up montage set to music.
Which filmmakers or screenwriters influenced you the most?
People I admire are James L. Brooks, Elaine May, Mike Nichols, Billy Wilder, Amy Heckerling, Danny McBride, Chris Carter, Mike White, Nora Ephron. It’s hard to say if any of them have actively influenced my style so much as that’s wishful thinking. But they’re all writers who I admire and I’ve tried to watch everything they’ve made. My favourite screenwriter is probably some staff writer on a TV show who was uncredited for the episode but did a full rewrite hours before it went to camera.
What are your thoughts about the current state of the industry?
Right now I’m writing a few episodes of an animated comedy called Gone to Hell and that feels pretty appropriate. It was never easy, but it feels even harder now. I’ve been lucky enough to work in the past, so it feels a bit garish to complain at all—and there are many who are worse off—but it all feels a little existential, and that’s not even addressing the threat of AI…
All that aside, it’s a good chance to kind of rediscover what you love about writing in the first place, since the odds of doing it for money right now are increasingly slim. So, I’ve been reading lots of books and having a fun time working outside of my wheelhouse writing an action video game. It’s been a great way to hone specific skills. Since video game cinematic scenes are by necessity super short, I’m finding it a bit like a scene-writing boot camp. The big question I ask myself when writing any scene is “How can I make this so dramatic that the player doesn’t click “skip”? So it’s a challenge to deliver a bunch of information, all while also finding room for conflict and character so the actors have something fun to actually perform.
What advice would you give to aspiring screenwriters today, trying to work in an industry that feels pretty broken?
When I first broke into writing, all the senior writers around me told me that the golden days were over. And then all that changed once streaming and co-pros came around. I try to remind myself of that when I get more doomy about the industry.
As far as advice goes, I’m a big fan of the adage “nobody knows anything.” More practically, I’d say to just keep writing and writing so when the industry inevitably (hopefully) bounces back, you’ve got a ton of samples at the ready. And I guess say yes to every single job that comes your way, even if it’s only tangentially related to writing. There’s no shame in paying the bills.
What projects are you currently working on?
I’m freelancing a few episodes of a new animated comedy, and working as a lead writer on a Tom Clancy video game for Ubisoft. While I’m not doing those paid gigs, I’m trying to pitch a few shows and browbeat myself into writing a feature script.
It feels like there are so many workshops, courses, books etc on screenwriting—is there any advice or learning materials that you’ve encountered that you think are actually valuable?
My favourite is On Writing by Stephen King, which is more about writing prose, but it’s all the same principles, when it comes to getting first drafts done and keeping things as short as possible. Even if you’re not a fan of him (I am), it’s a great portrait of what it’s like to be a writer, and he gives you a ton of great tips. And while I’ve never actually finished the program, The Artist’s Way seems to help a lot of people, and I know I feel more like a real writer anytime I commit to morning pages.