Neil Graham’s writing is deeply influenced by the emotional weight of everyday moments. While he admires grand cinematic spectacles, his true passion lies in stories that evoke real human emotions— joy, frustration, nostalgia, and connection. He credits American short story writer Raymond Carver and filmmaker Mike Leigh as key influences, both known for their ability to craft powerful, human-centered narratives.

“As a writer, what fascinates me is how a story makes you feel,” Neil shares. “Whether you’re sharing in someone’s happiness or their heartbreak, that emotional connection is everything. Technology is advancing, AI can do incredible things, but what it can’t do is feel. That’s what makes storytelling so powerful.”

Neil’s award-winning short screenplay, Something Pointless, explores the idea of whether actions have value if they yield no tangible reward.

“It was inspired by a feeling— this shift in the world where everything was becoming transactional,” he explains. “It made me wonder, is there still worth in doing something purely for its own sake?”

While inspired by this feeling, he stumbled across the CSSC while actively exploring opportunities in screenwriting.

“The CSSC stood out because they weren’t just offering a cash prize; they were committed to getting scripts produced— That’s rare, and it was a huge motivator.”

Winning not only affirmed his talent but also reinforced the importance of writing for its own sake, regardless of accolades. As a past CSSC winner and even a judge for the competition, Neil has valuable advice for aspiring screenwriters: keep it concise and impactful.

“One of the biggest mistakes new writers make is trying to cram a feature film into a short, short scripts should be sharp and focused, capturing a single idea or emotion. The best ones connect with the reader immediately, rather than making them wait until page 10 to feel something.”

His tip? Share your script with friends, but instead of asking if they liked it, ask how it made them feel.

“If they say they laughed, or felt sad, or understood a character’s struggle, then you’ve succeeded. If they say, ‘I don’t really know what it was about,’ then you have work to do.”

When asked about his writing process and how he overcomes writer’s block, he said he doesn’t believe in writer’s block— at least not in the traditional sense.

“For me, the hardest part is getting started,” he admits. “But once I begin, the ideas flow. Writing is like solving a puzzle— your characters evolve, and sometimes they surprise you by leading the story in unexpected directions.”

He also writes by hand before transcribing to screenplay format, a process he finds helps with creative clarity. “It forces me to slow down and really think about each sentence,” he explains.

Outside of writing, Neil enjoys engaging with the arts, whether it’s theater, cinema, or simply observing the world around him.

“I live in London, surrounded by inspiration. I make an effort to watch films in cinemas rather than just streaming them. There’s something magical about that experience.”

Winning the CSSC in 2010 was a validating experience for Neil, but he believes writers shouldn’t measure their worth by competitions alone.

“Winning was incredible, but I’d still be writing regardless. The real value is in the process itself.”

Now, he continues to explore storytelling, even as life gets busier. His latest idea? A short about the paradox of the Christmas season creeping earlier and earlier each year. “Everyone complains about it, yet they keep buying decorations in September. That contradiction fascinates me,” Neil laughs.

Neil’s biggest takeaway for writers considering entering the CSSC? Just go for it.

“You never know what’s going to come of a script. I wrote Something Pointless over a decade ago, and here we are, still talking about it. Writing isn’t about guarantees— it’s about creating something meaningful, for yourself and for others.”