Gregory Allen Howard’s screenplay for Harriet was not the product of a single fevered year but the end of a quarter‑century struggle against an industry that often decides who’s “bankable” long before scripts are read. According to Howard, the film was 25 years in the making — a patient, sometimes humiliating process of shopping, reworking, and waiting while Hollywood’s risk calculus and racial gatekeeping shifted only incrementally. Howard repeatedly told interviewers that the film industry was only just becoming ready for a Black‑led biopic of Harriet Tubman, invoking movements such as “Oscars so White” as part of the cultural turn that finally made financiers and studios take the project seriously. When Harriet did arrive in 2019 — with Howard credited for story and as a co‑producer/co‑writer on a project he’d nurtured for decades — it was more than a creative win: it was a rebuke to the slow, conservative machinery of studio decision‑making that had shelved or diluted Black history for years. The film’s release culminated in recognition for Howard (a 2020 NAACP Image Award nomination for Outstanding Writing in a Motion Picture), but the long lead time remains a testament to how entrenched industry barriers can stall even determined creators for decades.
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