Maryan Haye is a Somali-Canadian screenwriter who has built a reputation for herself in Toronto writing rooms after graduating from Ryerson University’s Media Production program in 2020. Having noticed a lack of on-screen representation for the nuanced communities she grew up in, she is passionate about writing roles for characters who vibrantly reflect her lived experience. In true INFJ fashion, Maryan is thoughtful, articulate and deeply insightful. Here’s how Maryan landed her first writing gig, where she hopes to go next, and her advice for aspiring screenwriters.
Where did your initial spark for screenwriting / acting come from?
Acting came first. When I was a kid, I would always see cartoon characters and mimic their voices. Whenever we had drama class in school, that was where I shined. I loved doing drama, I loved acting— but we didn’t have much of that in my neighbourhood. I think that was the initial roadblock. It was just not something people around me did at all so I just pushed it off. I started to gear more towards creative writing as I got to middle school. In high school, they just kind of merged. I was like, “Oh, I want to act, but I don’t see people like myself on TV, so I guess I would have to write roles.”
What career path did you take towards screenwriting after graduating Media Production?
Writing is so unconventional in the sense that there’s no linear path to it. You have to figure out your own path through networking and doing different programs. I took a couple months after graduation to be like, “Okay, this is a pandemic, let me relax, let me see what my next steps are. Let me do some research in Toronto on how I can network with people.” I started joining different writing groups on Facebook and community groups. It was a really interesting time when I left school because the “Black Lives Matter” protests were happening, so all these conversations about diversity in film and TV were starting to bubble up. A lot of broadcasters and companies were like, “We need to start meeting with young diverse talent.” I joined whatever training programs I could and went to different networking coffee chats. That’s what got the ball rolling for me.
How did you transition from attending writing workshops to working in writers rooms?
There was a program called “BIPOC TV and Kids” that had a children’s writing boot camp. I’ve always loved youth and children’s media, so I applied and got accepted to be one of the participants. At the end of that program, we got the chance to pitch projects to different networks in Canada, like CBC Kids, Nelvana and MarbleMedia. My project got good feedback and from there on out I started getting hit up for different opportunities. People were like, “Hey, we saw the script you did in the program, would you be interested in working on this project?”
Which roles in writers rooms did you get your start in?
The biggest role in TV, if you want to work your way up to staff writer, is being a story coordinator. Even though you don’t get a script assigned to you, you get to pitch ideas. That was a really valuable role in the sense that you get comfortable pitching ideas. I would also take down notes and send them to the writers at the end of our session. As story coordinator, you also get to talk to networks. I’m the one who edits the final scripts and sends them off to the networks, then I take the notes that are sent in and get them to the writers.
How did you land your first job as a story coordinator?
I had a network chat with an established writer. I think I found out about the opportunity on Twitter or Facebook and I sent him a script that I did in university. He was helping me with the script and really liked my voice. A couple months went by and he was like, “I have a friend who’s doing a room. I know you haven’t done story coordinating before but I really liked your script. I think you would be good for this position.” That’s how I got my first role. After that, someone referred me for another development room. So that’s how I got my second role. That’s what it’s like working with writers— they’ll refer you.
What does the importance of Somali-Canadian representation on screen mean to you?
I just want to see us represented in a way that feels nuanced, true, and also showcases us with joy. I think being Somali-Canadian— we live at the intersections of many of us being Black and Muslim. We face Islamophobia and racism, but we also face a lot of xenophobia. Our culture is often degraded; we’re told we don’t belong or deserve to be here in Canada. It’s really frustrating, and I think as a community we’re constantly mourning. Our country back in Somalia is still going through a lot, and when we come here, we continue to face issues. So I just want to showcase us being joyful and vibrant. If you talk to Somali people, there are people who are so funny and hilarious, who just bring me so much joy. I want to see that represented. I want to see a girl with a Hijab laughing, goofy and who is a popular kid— someone that other people want to aspire to be like.
What advice do you have for aspiring screenwriters?
It’s so cheesy, but believing in yourself and believing in what you want to do. I think for a lot of us, especially for folks who are more introverted, we often put ourselves down. We succumb to imposter syndrome and we’re like, “I’m a writer, but I’m not a professional writer, so I can’t call myself that.” Own your voice and own what you want to do. If there’s a specific role that you want to do, be vocal about it. When you introduce yourself, say, “Hey, I’m a writer.” That helps go a long way too, because when you start networking with people and an opportunity comes up for a writer, they’ll think of you. Don’t be afraid to apply for different opportunities, even if you don’t feel like you have the experience. Everyone always says, “Fake it till you make it,” but in this industry, you kind of have to be that way.