Vanessa King
Originally from Saint Andrews, Vanessa King is a New Brunswick-based producer, story editor and screenwriter with nearly two decades of hands-on entertainment experience spent working with an Oscar-winning actress in New York City. Her award-winning scripts have been recognized by industry giants AMPAS/Oscar® Nicholl Fellowship and Sony Worldwide Entertainment and showcase her storytelling expertise. She co-founded the free, educational-based, 10,000-member strong New York Screenwriters Co-Op and was a faculty member at a UK university where she taught both beginner and graduate-level screenwriting. She currently teaches Writing for TV as a part of Gotham Writers Workshop as well as a free, monthly screenwriting class in Hampton, NB. For four consecutive years, Vanessa was named to Vanity Fair’s “Downtown 100” List, recognizing New York City’s top networkers in the entertainment industry. She is a four-time appointee of The Diversity List and, after a brain injury, in 2019 was named an “Industry Thought Leader” by Forbes Magazine for her work on the development of a built-in D/E/I/A analysis for Final Draft’s screenwriting software. She has both coordinated and judged dozens of film festivals during her career, frequently consults for Harlem Film House and is a final round judge for UCLA’s Masters Screenwriting Showcase. She is passionate about making no- and low-cost film education accessible to all and is currently heading up entertainment-related education and workforce development initiatives in the province. She is a Board Member of Media NB, a member of WIFT-AT (Women in Film & TV - Atlantic), a member of the NB Film Co-op, and is on the filmmaker advisory board of AIFF (Atlantic International Film Festival). She lives in Smithtown, NB.
Who or what inspires you and why?
I am inspired by the process of artistic creation - I have a deep appreciation for storytelling, human resilience, and transformation and I am drawn to the ways art can shape, heal, and provoke thought. I also enjoy the creative problem-solving required to shape raw material into a refined work and I am inspired by artists that seem to do so, effortlessly.
What drew you to working in the film industry? Describe how you were inspired to explore film.
I’ve always been a storyteller, and film and television offered one of the most immersive storytelling mediums out there. From a young age, writing became my “escape hatch” from reality, and I quickly realized that this niche gave me the space to craft narratives that resonate deeply with myself, first, but also my audience. I thrive in a collaborative environment, and love working with others to refine ideas and bring them to life.
I was inspired to explore film and tv producing after reading so many final draft scripts that looked nothing like their finished product. Working in the industry in NYC, I was fortunate to have the opportunity to read hundreds of scripts written by some of the industry’s top screenwriters. I saw the impact of what they call “script to screen”: oftentimes, stories and characters that jumped off the page were lost in the production process. To me, a screenwriter producing their own work is like an architect becoming a builder: you have the unique opportunity to ensure your vision is executed as intended. Screenwriter-producers don’t just create the story, we actively shape how it comes to life, ensuring our vision survives the realities of production, which is a challenging feat, to say the least.
What do you enjoy most about creating films?
The parts of writing for film and television that I enjoy most include the process of discovery, the transformative character reveals, and the lasting impact that a well-thought out, well-told story might leave on an audience. To me, writing for film and tv is a puzzle. I call it screenwriting math. I need to be able to balance structure, pacing, dialogue and character development and do it all in a set number of pages. I love shaping a messy idea into something tight, clear, and resonating.
What do you enjoy most about being an artist living in New Brunswick?
I love being an artist living in New Brunswick because of the feeling of possibility, the tight-knit creative community, and the impact we have in shaping our provincial film industry. Each of us has the power to make a tangible difference in its future, all while working in a beautiful, peaceful, and creative environment. We have the freedom to define our own artistic paths, pursue projects on our terms, and build careers that align with our values. It’s a unique opportunity that I am very grateful for and that I don’t take for granted.
What is your artistic approach and/or philosophy to creating films? Describe your artistic process and/or influences.
I think my screenwriting approach is rooted in authenticity, resilience, and social impact, and I love to write character-driven stories with underrepresented perspectives. I try to craft thought-provoking narratives that challenge power structures or humanize the complexities of life, but I’m influenced by grounded, realistic storytelling. I develop characters from the inside out, starting with a “what if” that explores theme through conflict. And while I leave room for organic storytelling, I’m a structure-nerd at heart. I love having a roadmap of the peaks and valleys of the stories I write. As for influences, I began my career wanting to create compelling characters like Nora Ephron’s, but twenty years later, I find myself aligning more with Margaret Atwood’s deeply personal storytelling (with a hint of social critique.) I studied Sociology, so screenwriting is my way of exploring how we, as characters, lose ourselves to outside influences, and how we might find our way back to our original selves.
Who is your favourite film producer and why?
Can it be a toss up between Isabel Coixet and Sarah Polley? They are each writer-producers who write deeply personal stories with sharp social critique and character-driven narratives that challenge perspectives. They also champion strong, layered, female-identifying protagonists who are often exploring their own personal agency. And then as producers, they see their compelling stories through to the final cut and fade out.
What is your long-term vision and what do you hope to achieve?
I hope my writing and producing continue to tell impactful, character-driven stories that challenge perspectives and highlight underrepresented voices, especially those of New Brunswickers, from historical figures who left their mark to characters reflecting the struggles of our province, today. Beyond my own work, my long-term vision is to help build a thriving, sustainable film and TV industry in New Brunswick by fostering creative talent and workforce development, ensuring local artists and crews have the skills and opportunities to succeed - so New Brunswickers don’t have to move away (like I had to) to find a career in the industry. Through Media NB, educational initiatives with NBCC, and industry-building efforts with CrewUp NB, I hope to continue to work with my colleagues to lay the foundation for a stronger, more inclusive industry. Ultimately, I want to see New Brunswick become a hub for meaningful storytelling and skilled filmmaking, so local talent can tell their own stories on their own terms.
Describe what you are most proud of in your career.
I’m probably most proud of my resilience. In 2015, a car accident left me with a traumatic brain injury. I was left with permanent short-term memory issues and for about two years after the accident, the inability to effectively communicate and process information. I am fortunate as it could have been worse, but during those months of recovery, I stopped reading, I stopped writing, I stopped teaching screenwriting. I stopped communicating with friends and loved ones, all because my brain couldn’t process dialogue and organize thought like it was supposed to and there was a long time that I thought I might never be able to write again. I recognize how fortunate I was to have been able to recover to a point where I’ve not only rebuilt my creative life after my brain injury but I’ve also expanded my impact on the industry in little ways I might not have imagined before the accident. My recovery was about redefining what storytelling and creativity meant to me: I was forced to face something deeply personal - my own journey of loss, adaptation and perseverance. I try to weave those experiences into the characters I write today.
What advice would you give to young, emerging artists in the film industry?
My advice to emerging filmmakers is to be resilient: setbacks are inevitable, but persistence is key. Build your community and create opportunities instead of waiting for them. Stay open to different paths because flexibility can lead to unexpected opportunities. Tell stories that matter to you because authenticity makes your work stand out. Learn the business side of the industry. Understanding producing and financing gives you more control over your vision. And when you can, give back because mentoring and supporting others strengthens the industry for everyone.
