Behind the Scenes in Hollywood: Kyrgyz Screenwriter Guljan Toktogul on the Industry Without the Glamour
Screenwriter Guljan Toktogul spent nearly a decade in Hollywood. She wrote the script for the movie Salam, New York, about a Kyrgyz man adapting to life in America, and also has writing credits for the short films I’ll Be A Star and Alexandra. A graduate of the American Film Institute (AFI), she now plans to continue her screenwriting career in her native Kyrgyzstan, having recently returned to Bishkek.
The Times of Central Asia spoke with Toktogul about how screenwriters sell scripts in the U.S., how much they earn, what the bidding process entails, and whether it’s all worth it.
TCA: What was it like living in Hollywood? Did it ever feel like home?
Toktogul: It became comfortable, but not immediately, only after I built some connections. I first arrived in the U.S. in 2016 with my brother, who was there for work. We lived in Washington, D.C. for two years. When he left, I suddenly felt anxious. The thought of being alone so far from family, literally a day’s flight away, was overwhelming. I cried. But when I moved to L.A., completed a semester, and made friends, things improved quickly. I was lucky to be studying screenwriting at film school.
TCA: Did the school feel like a second family?
Toktogul: Exactly. Writing and working together means sharing deeply personal memories and thoughts, so people bond much faster than in everyday life. The school created a very supportive environment, full of people just as obsessed with film as I was. You live and breathe cinema, nothing else seems to matter.
TCA: How are screenwriters treated in the U.S. compared to Central Asia?
Toktogul: In the U.S., screenwriters are respected, but still often in the background. Producers and directors are the main creative forces. That’s why many screenwriters eventually try directing, to retain more control. You hand over your script, but what happens next is out of your hands. We don’t just write randomly, there’s meaning in every scene. When a script is mishandled on set, it’s painful. Many screenwriters avoid being on set for that reason.
TCA: Are screenwriters usually present during filming?
Toktogul: Yes, and rightly so. Unexpected problems always arise, maybe an actor drops out or a location falls through, so changes must be made on the spot. This is especially true for low-budget projects. I once worked on an indie film in Chicago and realized just how crucial a screenwriter’s presence can be.
TCA: But aren’t things in the U.S. locked down by contracts before filming begins?
Toktogul: Only if you’re someone like Aaron Sorkin. He insists on filming scripts exactly as written. He’s known for demanding that actors deliver 10 pages of dialogue in nine minutes with no cuts. And it works, his dialogue has a musical quality. But most writers aren’t in that position. Ideally, scripts would be treated with more care. We’re not trying to take over, we just want the best version of the story to be told.
TCA: Were you a member of the Writers Guild of America (WGA)?
Toktogul: I was, briefly. Before the strikes and restructuring, graduates of top film schools could apply for associate membership. It wasn’t full membership, but it lasted three years and offered perks, meetings with top writers like James Cameron, free screenings during awards season, and discounted tickets to premieres. If you proved yourself, you could apply for full membership.
TCA: What are the costs and benefits of membership?
Toktogul: It costs about $3,000 annually. The biggest benefit is top-tier health insurance, priceless given how expensive healthcare is in the U.S. But you can’t just pay your way in. You need to earn a certain number of credits, 24 for working in a writers’ room, more for selling scripts. The Guild also keeps a blacklist of production companies.
WGA membership offers both protection and limitations. You can’t work for less than the minimum rate or with non-American studios unless they have Guild-approved contracts. Some members remain unemployed because they’re restricted from working on web series, animation, or independent projects unless they meet WGA rules.
TCA: Does the Guild protect against plagiarism?
Toktogul: Not really. You can register your script, but if it’s stolen, the Guild only verifies the registration date. You’d still need to sue independently. Most people use the U.S. Copyright Office, which only confirms authorship, it doesn’t offer real protection.
TCA: So there’s no foolproof way to protect your work?
Toktogul: Unfortunately, no. The best defense is to write personal stories, they’re harder to steal and easier to defend. That’s also why studios don’t accept unsolicited scripts. Everything goes through agents to avoid legal issues. Still, studios often find it cheaper to buy an idea than face a lawsuit. For instance, HBO bought the rights to Svetlana Alexievich’s Voices from Chernobyl to avoid any potential plagiarism claims, even though Chernobyl creator Craig Mazin was only loosely inspired by it.
TCA: How much does a Hollywood screenplay cost?
Toktogul: It varies. For Writers Guild members, the starting rate is around $100,000, and it can go up to several million depending on experience and reputation.
TCA: Robert Rodriguez wrote that studios fought over his script when he arrived in Hollywood. How does that work?
Toktogul: That’s the agent system. If your script is strong, the agent sends it to multiple studios, which can trigger a bidding war. These days, agents often shape the project from the start, matching ideas to studio demands. Once a deal is made, the agent takes a percentage.
TCA: What’s the biggest amount you’ve heard a newcomer earn?
Toktogul: I don’t remember the project, but the number stuck $7 million. After taxes, agent fees, and legal costs, the writer kept around $3 million.
TCA: Would you return to Hollywood?
Toktogul: Definitely but on my own terms. Hollywood is unlike any other place. It has the highest concentration of people just like you, driven by the same passion for film, eager to support your success. Because if you make it, they believe they might too.
