Lacye A. Brown

Where do you live (City, State, or Country)?
Atlanta, GA, USA

Your script stood out among hundreds of others. What was the inspiration for your story and why did you write a script instead of a short story or a novel?
I actually did write a novella. Screenwriting came later. Dr. Apples’ Lazy Lounge is an adult animated comedy about an arcane wizard running an interdimensional therapy practice, where the clients are usually their own biggest problem. Dr. Apples felt like a key—he opened a door to an endless number of stories I wanted to tell. At the time, I was exploring his world through physical art, including a three-foot sculpture of him and an art doll connected to his fantasy storyline. But I wanted to write, work with voice actors, and bring those stories to life. Creating his world gave me permission to stop keeping myself in a box. During a solo exhibition featuring Dr. Apples and characters from his world, someone suggested adapting the novella into a podcast. I did, and that became two successful seasons. Eventually, I wanted to explore what the audience could see as well as hear. A character can say one thing while their expression, behavior, or surroundings tell a completely different story. That contradiction is especially useful in comedy.
I wanted the audience in the room with these characters—watching their reactions, catching the visual jokes, sitting through the uncomfortable pauses. That’s what drew me toward a television pilot. Each medium opened another part of the world, and I kept following it.

How long did it take you to write your script...and what is your writing process? Do you outline...use index cards...white board...or just start with FADE IN?
Forever. That’s the emotional answer. Itwas one of my first scripts, and I kept returning to it as I developed my craft. I attended Mike Disa’s screenwriting workshops every other weekend for five years. Five years, religiously. Along the way, I ghostwrote, reviewed other writers’ scripts, and wrote other projects that won awards at film festivals. Studying the mechanics of comedy changed how I approached the pilot. I developed a much stronger appreciation for setup, escalation, and payoff, then brought that understanding back to the rewrite. My process always begins with an outline. That’s how I was trained, and it remains my foundation. If a scene isn’t working, I’ll strip it back and outline it again: What needs to happen? What changes?

Why does this scene belong here?
I want to know the structure works before I start polishing the dialogue.

What is your ultimate ambition as a writer?
I want my stories to be watched, read, and discussed around the world. I have a point of view, and I believe it deserves to be heard. Like my visual art, my writing has layers. Comedy is a great love of mine, and I respect the craft. Underneath the humor are things I’ve experienced, observed, and have something to say about. Take a miserable manager. The behavior interests me: the insecurity disguised as authority, the friendliness that feels rehearsed, the unfunny jokes everyone feels obligated to laugh at. Those details tell a story. Someone watching has worked for that person. They know exactly what that room feels like. I want to create that recognition. I want people to laugh, recognize something they’ve lived through, and feel seen. There’s a conversation underneath the comedy, and I want my work to start it.

Was your entry at The Wiki Screenplay Contest a full script or “the first ten pages”?
I entered the first ten pages because the opening has to earn the reader’s attention. Those pages establish your voice, introduce the world, and give someone a reason to keep reading. The more I write, the stricter I become about the first five pages. Those need to be pristine. You can’t ask a reader to wait for your script to get good.

What’s your all-time favorite movie or television show...and why?
This question isn’t fair. I have favorites for different reasons. I love 30 Rock for its quick wit. It feels like everyone in the writers’ room was trying to outdo the previous joke or scene, and the audience benefited from that competition. I love Veep for its storytelling and how quickly the jokes land. There’s so much precision behind that speed. Then there’s The Shield and Sons of Anarchy. Those take me into a very different space from the work I’m currently producing, and I enjoy that distance. Since I’m working in adult animation, I tend to watch live action. I’m mindful of what I might absorb subconsciously, so I like some separation between what I’m watching and what I’m creating. When I return to live-action writing, I’ll switch that balance. My favorites stay; my viewing habits move around.

What advice do you have for writers hoping to win a contest or place as a finalist as you have?
Write, write, write. Give writing an actual place in your schedule. If you work a nine-to-five, write before work, during a break, or on your day off. Protect whatever time you have and use it. Learn the fundamentals of the genres you want to write. Read other writers’ work. Study how scenes are built and why something succeeds or falls flat.
And learn to give useful feedback. Your job when reviewing another writer’s script is to help them tell their story more effectively. Understand what they’re trying to accomplish before suggesting changes. Help strengthen their voice; don’t replace it with yours.

What else are you working on that the world needs to know about?
I’m finishing post-production on Dr. Apples’ Lazy Lounge, an adult animated comedy about an arcane wizard therapist trapped in an interdimensional lounge with some of the craziest characters around. I’m also developing Season 2’s lobby storyline. The outline is complete, and I’m fleshing out the scenes. What excites me is how the storytelling, dialogue, and visuals work together. There are double entendres, visual jokes, and moments when a character’s appearance reveals something their words won’t admit. Sometimes the dialogue delivers one joke while the image delivers another.
I want people to have fun with the story, then watch again and catch something that was right in front of them. The second viewing should earn its own laughs. I also have other projects in production, so there’s more on the way beyond these scripts.