Member Spotlight: M.B. Stevens

I started screenwriting because I wanted to see authentic stories about people who looked like me. Black, complex, vulnerable, and resilient. Growing up, I saw the gaps in representation and wanted to create characters that reflected our truth, our magic, and our struggle. Over time, my writing has evolved from raw personal stories to layered genre pieces that still carry a social core. Now, I write with the purpose to entertain and to liberate.

I’m currently developing a hour-long pilot GHOST METAL, a sci-fi drama about an undocumented janitor with the ability to harden anything she touches. She’s being blackmailed by a crooked immigration agent and ends up manufacturing ghost guns to avoid deportation. What excites me most is that beneath the tech and tension, it’s about survival, power, and reclaiming dignity—especially for those who are perceived as powerless.

My hour-long pilot THE 40, is definitely at the top. It blends satire, social commentary, and speculative fiction in a way that feels fresh and urgent. It’s also a nod to Black resilience and ingenuity, especially for Black men who are criminalized just for existing.

Yes, SoCreate has helped me visualize story structure in a more fluid, accessible way. The simplicity of its platform lets me focus on rhythm, character, and story logic without getting bogged down in formatting. It is especially useful when I’m trying to visualize my story.

I start with music. A specific playlist can lock me into the tone of a scene or character. I also storyboard and sketch visual ideas for animation. And when I hit a wall, I talk out loud to my characters like they're in the room with me.

I usually start with a logline, main characters and a theme. Then I outline using the Save the Cat beats or a hybrid version of Jamie Nash and Corey Mandell’s methods. Once I’ve got the bones, I layer in character arcs and emotional truth. Final drafts come after multiple rounds of feedback from trusted readers.

I move. I’ll go for a walk, watch a new TV show, or revisit a favorite scene from another project. I also write short bursts with no pressure, just 10 minutes at a time, to keep the muscle moving. And sometimes, I let the block teach me something. It usually means I’m not being honest in the scene.

The most challenging part has been believing I belong in this industry. Rejection can make you second-guess your voice. I overcame it by building a community of other creators who affirm each other’s work and push each other to keep showing up. That’s been everything.

I love how user-friendly it is, especially for visual thinkers. It breaks down the intimidating parts of screenwriting and gives me more space to play with story.

Yes, I’ve been a quarterfinalist, semifinalist, honorable mention, and finalist, in several major screenwriting competitions including Austin Film Festival, WeScreenplay, StoryCraft, and BlueCat, and I’ve won a few smaller ones. Recognition is nice, but more than that, it’s proof that my stories resonate.

Launching Slushboxx Films and starting pre-production on my short film ideas. It marked the moment I stopped waiting for permission and started building the world I wanted to see.

To normalize Black excellence in any genre. I want to tell stories where we’re the leads, the dreamers, the survivors, and not just the sidekicks or the struggle. My ultimate goal is to make the kind of stories that our kids will grow up seeing as completely normal, because they should be.

Engage with the platform consistently. Don’t just post. Give feedback, build relationships, and stay curious. The community only works when we all bring something to the table.

“Don’t write what’s trendy, write what’s true.” That advice keeps me rooted. No matter the genre, the truth is what cuts through and connects with people.

I grew up in Illinois, but I now live in Arizona with my wife, five kids, and our orange tabby, Flap Jack. I’ve worn a lot of hats over the years. Creative entrepreneur, Real Estate professional, and Assisted Living Business owner. All of it shows up in my characters and worlds.

Being a Black man raising a family in a complicated world means I’ve seen how policies, systems, and silence shape lives. My stories are always about disruption. Flipping the script on what people expect from us, and reclaiming space in places we’ve been excluded from.

I’d love to talk more about why animation and sci-fi are powerful tools for healing. They let us imagine new futures, and sometimes, that’s the most radical thing we can do as storytellers.