Olivia Webb's Beguiling Siren Saga

Olivia Webb is a gifted screenwriter who gravitates toward narratives that explore feminism, folklore, and the complexities of human connection. Her pilot, Waters of Hedeby, a dark fantasy rooted in Norse mythology, took top prize in Filmmatic's Inroads Fellowship competition. A look into this deserving, up and coming industry talent and her project....

1) How long have you been writing?

I've been writing since middle school, where I first fell in love with storytelling through prose. I discovered screenwriting in undergrad and have been seriously pursuing film and television ever since.

2) What screenwriting training have you received?

I hold an MFA in Dramatic Writing from SCAD (Savannah College of Art and Design), where I focused on both television and feature writing. Beyond my formal education, I try to watch as much television as I can—there’s so much to learn by studying what resonates and why. I’m a big believer in lifelong learning.

3) What writing habits work for you? Do you write in short or long shifts, at scheduled times?

I’m definitely a morning writer—my creativity tends to set with the sun. I often start my day with coffee and a playlist tailored to the project I’m working on. I do a lot of my early drafting by hand; Waters of Hedeby was nearly fully handwritten before I ever opened Final Draft. Writing by hand taps into a different part of my brain and is especially helpful during early development and plotting.

4) What is your current day job, and how does it influence your writing & project choices?

I worked as an office PA on 911: Lone Star (Seasons 3 & 4) and then transitioned into freelance work as a set PA and non-union 2nd AD in the commercial and promo space. I’ve had the chance to work on promo for projects like Dune: Part Two and Sinners, which gave me the experience of hearing filmmakers and cast talk passionately about their craft. Being on set and seeing the collaborative process up close has deeply inspired my own storytelling.

That said, due to chronic pain and disability, I’m currently stepping back from physical production work. It’s a challenge and being on set will always have a special place in my heart—but it's also reaffirmed my commitment to writing. If anything, it’s reminded me that storytelling is something I can always return to, regardless of circumstance.

5) Our judges loved your edgy one-hour fantasy TV pilot Waters of Hedeby. How would you describe the project to our readers?

Waters of Hedeby is an hour-long, HBO-style fantasy drama in the vein of Vikings, but with mythological twists akin to Game of Thrones. Set in 810 CE in the Viking settlement of Hedeby, the series follows an ancient demigod siren disguised as a human who must protect her secret when mangled bodies begin washing ashore and a monster hunter arrives in town. The show explores power, myth, and survival, with a strong focus on complex female relationships in a patriarchal world.

6) How did you form the concept for Waters of Hedeby? How much historical accuracy is woven into the story?

The concept grew out of my own Nordic ancestry and a desire to explore feminine rage through mythology. I've always been fascinated by Norse folklore, and much of the mythology woven into the script is historically grounded. That said, the lore surrounding the man-eating mermaids—how they function, how they feed, how they hide—is where I took creative liberties. The series walks the line between grounded historical fiction and dark, immersive fantasy.

7) What are you working on now? What do you plan on writing in the near future?

Right now, I’m juggling several projects. I’m polishing a new drama pilot called Project Cipher, about a teenage girl in foster care with a 175 IQ who blackmails an AWOL government scientist to join his unsanctioned time-travel experiment. I’m also working on a novel about a retired monster hunter forced back into the fight when she discovers the vampire who killed her father is still alive. And my indie feature, The Last Supper—which I wrote and co-directed—is currently in post-production.

8) Where would you like to be writing-wise, and industry career-wise, in 3 years?

In three years, I’d love to have representation, be staffed in a writers' room, and have sold one or more of my original scripts. More than anything, I want to be telling stories that resonate—whether that means working on a prestige drama or continuing to write and direct my own indie projects. No matter what, I’ll still be creating. Sometimes you have to make your own luck in this industry.

9) Any advice for those about to write their first TV project?

Read scripts—lots of them. Study shows you know well and break down the structure: where the inciting incident lands, what shifts at the midpoint, how the third act hooks the audience. For sitcom writers, I highly recommend The TV Writer’s Workbook by Ellen Sandler. For drama, the Breaking Bad and Criminal Minds pilots were incredibly educational for me.

And most importantly: write what excites you, not what you think will sell. Passion on the page is what gets people’s attention.

Congratulations once again to screenwriter Olivia Webb, our Season 8 Inroads Fellowship Winner. All contact and script requests for Olivia will be forwarded to her attention.