by Writing Workshops Staff
7 months ago
Few genres challenge and reward a writer quite like satire. Heidi Lux is a screenwriter whose sharp wit and keen eye for the absurd have earned her credits with Nickelodeon and Tubi, and she is the managing editor of The Belladonna Comedy and a seasoned satirist for McSweeney’s and Reductress, Heidi has honed the craft of making audiences laugh while forcing them to think—a rare and powerful combination.
As she prepares to teach Writing the Satirical Screenplay 8-week Zoom workshop at WritingWorkshops.com, we sat down with Heidi to delve into her approach to crafting comedies that not only entertain but also resonate with deeper meaning. This course is a unique opportunity for aspiring satirists to develop their voice and learn the intricacies of transforming sharp, comedic ideas into fully realized cinematic scripts.
During our conversation, Heidi shared insights into what makes great satire tick, how to navigate the delicate balance between humor and critique, and why understanding the three-act structure is essential for any screenwriter. Whether you’re looking to perfect your screenplay formatting, create compelling loglines, or simply bring a fresh perspective to your comedy writing, Heidi’s workshop promises to equip you with the skills needed to draft a satirical screenplay that stands out in today’s crowded landscape.
In this interview, Heidi Lux unpacks her creative process, shares her experiences from the writer’s room, and offers a glimpse into what makes her workshop an unmissable opportunity for writers eager to master the art of satirical screenwriting.
Hi Heidi Lux, Please introduce yourself to our audience.
I'm Heidi! I'm a LA-based satirist and screenwriter. I'm a managing editor for The Belladonna Comedy, and have written for publications like Reductress and McSweeney's. I've also written for Nickelodeon and Tubi. I'm a Taurus, an ASA certified sailor (who currently does not sail), and cat mom.
What made you want to teach this specific class? Is it something you are focusing on in your own writing practice? Have you noticed a need to focus on this element of craft?
When you're doing a specific genre - like satire or comedy - it comes with its own rules that aren't always covered by a blanket screenwriting class. You don't really get to dig into the ins and outs with a "one-size-fits-all" approach, and there are a lot of traps that are easy to fall into just because nobody warned you about them. I'm on the tenth draft of a project right now, fixing a satire-specific mistake that could have been prevented if I had had this class when learning the screenwriting rules. I want to make sure other people don't waste their time like I did! It's always easier to learn from someone else's mistakes, so please, learn from mine.
Give us a breakdown of how the course is going to go. What can the students expect? What is your favorite part about this class you've dreamed up?
We're going to go over screenwriting basics (like structure, character arc, formatting) and then dive into satire-specific tools and how they can be used in a cinematic way. But the focus on this class is going to be cranking out a draft, so you'll have something to keep on working on after the class is over.
What was your first literary crush?
Louis Sachar! Are you kidding me? An adult saying it's okay to be bad? I child-mainlined those anarchistic stories (and learned what obstreperous means).
What are you currently reading?
The Anatomy of Genres by John Truby and The Secret History of Women in the CIA by Liz Mundy
How do you choose what you're working on? When do you know it is the next thing you want to write all the way to THE END?
I have a list of all the projects I'm focusing on in order of importance, which is determined by how close they are to being done, if they have a deadline, and what's the most commercially viable. Ideally, I work on the project at the top of the list first then go to the next project on the list when I'm feeling stuck. But if I feel like I have a gust of inspiration on a particular piece, I'll focus on that piece. It's like catching a wave - I want to ride to it shore before it breaks. (Is that correct as a surfing metaphor? I don't know. I've never done it. I'm scared of drowning and/or breaking my nose.)
Where do you find inspiration?
I'm a big walk girl. I feel like ideas flow more freely when I'm on my feet. I like to take a look at whatever project I'm working on, then immediately go for a walk, and it always ends up being like coffee and cigarettes for ideas.
What is the best piece of writing wisdom you've received that you can pass along to our readers? How did it impact your work? Why has this advice stuck with you?
The advice to just sit down and write even if you don't want to has been invaluable, and is something I live by. But recently, I heard someone on a podcast say that he didn't notice a difference in quality between the work he did when he felt inspired and the work he did when he was forcing himself, which really stuck with me. Because I definitely *feel* like my writing is worse when I'm forcing myself to write, but in reality, it's probably not the case. So hearing that has made me feel a lot better when I'm staring at my computer trying to rub two brain cells together to spark an idea - it's not going to automatically be garbage just because I'm pushing.
What is your favorite book to recommend on the craft of writing? Why this book?
The Elements of Eloquence by Mark Forsyth. Making something sound pretty usually gets treated like an "extra," but it's an essential.
Bonus question: What’s your teaching vibe?
Chill and hippie. We did a lot of sitting in a circle barefoot talking about art in college, and it's hard to get it out of my system - but I think diving into heady concepts, like how story structure is pattern and pattern is life is SO helpful in learning why we do these things instead of just, like, learning structural beats.
Instructor Heidi Lux is a produced screenwriter and satirist. Her screenwriting credits include Nickelodeon and Tubi. As a satirist, Heidi is currently a managing editor for The Belladonna Comedy, and has written for McSweeney’s, Reductress, and more.
