From SFS to Stories That Matter Interview with Paul Yoo ’87

By Cyrielle Bazin Director of Strategic Communications

It’s not every day that a former SFS alumna returns to campus after four decades, especially someone as endearing as Paula Yoo—a multi-talented author, TV writer/producer, and musician whose career has spanned some of the most beloved and influential television shows of our time. Paula’s journey took her from the halls of SFS to Hollywood, where she’s written for The West Wing, Supergirl, and more, while also authoring award-winning children’s and young adult books.

We were thrilled to welcome Paula back to SFS as a guest author, where she spent time connecting with students of all ages and sharing stories from her remarkable career. In this conversation, Paula reflects on her experiences at SFS, her thoughts on the global rise of Korean culture, and what it means to tell stories that matter. Whether you’re an aspiring writer, a fan of Korean dramas, or just curious about Paula’s creative journey, her story is nothing short of inspiring and heartfelt.

TB: Welcome back to SFS, Paula! We’re so excited to have you here. Could you start by introducing yourself and sharing a bit about your background with SFS?

PY: Hi! My name is Paula Yoo, and I attended Seoul Foreign School from 1977 to 1982. I started here in the third grade and left after seventh grade. I haven’t been back to Korea or SFS since then, so it’s been 42 years. It feels surreal to be back.TB: Welcome back to SFS, Paula! We’re so excited to have you here. Could you start by introducing yourself and sharing a bit about your background with SFS?

I’ve spent much of my career as a TV writer and producer in Hollywood, and I’m also the author of children’s books and young adult nonfiction. I’m very excited to be here and to reconnect with the school that had such a profound impact on me growing up.

TB: It must feel strange coming back after such a long time. How did it feel stepping onto campus again after 42 years?

Paula: Honestly, I expected it to be more emotional—I thought I’d be tearing up and singing some sort of dramatic song about returning home. But it felt oddly normal. The biggest thing that struck me was the contrast between the Korea I knew and the Korea of today. The city has transformed into this amazing fusion of old and new. You have these beautiful tiled roofs, but also towering modern skyscrapers, and the fashion here is just incredible. Everyone looks like a K-pop star! But at the same time, you walk by a group of ajusshi smoking on the corner, and it feels like I’m back in 1979. It’s been fascinating to see how some things have changed so drastically while others remain so familiar.

TB: Speaking of K-pop, as a TV writer, what do you think about the global explosion of Korean culture, particularly Korean dramas and TV shows? It's been a phenomenon in the past decade.

PY: I think it’s amazing, and I’m not surprised at all. Korea has always been rich in storytelling traditions, and I think the world is finally catching up to it. When you think about Korean history—our occupation by Japan, the civil war that technically hasn’t ended—it’s no wonder we have so many compelling stories to tell. Korean dramas are intense, emotional, and deeply rooted in our culture, but the themes they explore are universal: love, loss, family, identity. That’s why they resonate so well with global audiences. I think the rest of the world is finally realizing that Korea is a hotbed of creative talent.

TB: You’ve had a very diverse career in the entertainment industry, writing for shows like The West Wing and Supergirl, as well as publishing books. How did you get started in TV writing?

PY: It was kind of an accidental career move. I was always a writer at heart. I majored in English at Yale and got my master's in journalism at Columbia. I worked for newspapers like The Seattle Times and People Magazine, and I had also started writing children’s books. A friend of mine knew how much I loved TV and said, “You write books, and you watch so much TV—why aren’t you writing for television?” So, just for fun, I wrote a TV script and sent it to the Warner Brothers workshop. Six months later, they called and said, “You start on Monday.” I couldn’t believe it! I ended up working on The West Wing as a staff writer, and one of the first episodes I wrote was about a North Korean pianist who wanted to defect during his recital at the White House. That’s how I began my career in TV.

TB: The West Wing is such a prestigious show to have on your resume. What was it like working on a show of that caliber, and what did you learn from that experience?

PY: It was a dream to work on The West Wing. Aaron Sorkin’s writing is legendary, and being part of that Emmywinning team was an incredible opportunity. What made it challenging, though, was that Aaron wrote most of the episodes himself, so staff writers like me didn’t get to contribute as much in writing full episodes. But I learned a lot about storytelling, structure, and how to collaborate in a writers’ room. After The West Wing, I moved on to shows like Eureka, Supergirl, and Defiance, which allowed me to stretch my creative muscles even more. In those roles, I had more responsibility and got to work on producing the episodes, which was a whole new learning curve.

TB: What was it like working on Eureka? It sounds like a very different show compared to The West Wing.

PY: Eureka was so much fun! It’s a light-hearted family drama about a secret town filled with genius scientists working on top-secret government projects. The only person who isn’t a genius is the town’s sheriff, who uses his common sense to solve problems when the scientists get in over their heads. Working on Eureka was my first real experience with producing special effects-heavy episodes. We filmed in Vancouver, and I learned that all those cool sci-fi effects—like flying cars or robots—are just guys in cargo shorts holding tennis balls on sticks in front of green screens! It kind of ruins the magic when you see it from behind the scenes, but it also taught me how much work goes into creating those effects.

TB: Paula, you’re also an accomplished author, and you’ve written several books, particularly focusing on Asian American history and narratives. What inspired you to write these stories, especially for young audiences?

PY: I’ve always been passionate about telling stories that haven’t been told before, particularly those of Asian Americans. Growing up, I didn’t see myself represented in the media, and I wasn’t aware of key figures in Asian American history because they weren’t part of the curriculum. My first book, Sixteen Years in Sixteen Seconds, was about Dr. Sammy Lee, the first Korean American man to win an Olympic gold medal. I found out about him almost by accident, and I was shocked that I hadn’t learned about him sooner. This inspired me to write children’s books that could teach young readers about these important figures, and to help Asian American kids see themselves in stories.

TB: Your young adult non-fiction book, From a Whisper to a Rallying Cry, delves into the murder of Vincent Chin and its impact on the Asian American movement. What drew you to this story?

PY: The killing of Vincent Chin in 1982 was a pivotal moment in Asian American history, and yet, so many people still don’t know about it. Vincent was killed at the height of anti-Japanese sentiment in America due to the layoffs in the auto industry, even though he was Chinese American. His killers received very light sentences, which sparked outrage and led to the first federal civil rights trial on behalf of an Asian American. This event galvanized the Asian American community and laid the foundation for the activism we see today. I wanted to tell this story in a way that would engage young readers, using narrative non-fiction to make it feel like they were reading a novel while also learning about history.

TB: That’s a powerful story. How do you approach writing about such heavy topics for younger audiences?

PY: I think it’s all about balance. You have to be sensitive to the subject matter, but you also have to trust that young readers are capable of understanding complex issues. My journalism background helps a lot in this regard. I conduct extensive research, interviewing people, reading court transcripts, and gathering primary sources. Then, I craft the narrative in a way that feels accessible while still retaining the gravity of the story. I focus on the human aspects—the emotions, the relationships—so that readers can connect with the people involved, even if they don’t have personal experience with the events.

TB: Do you find that your experience as a TV writer influences your approach to writing books?

PY: Absolutely. TV writing has taught me a lot about structure and pacing. When you’re writing for TV, you’re always thinking about how to keep the audience engaged from scene to scene. That’s something I carry over into my books, especially my non-fiction work. Each chapter has to feel like it’s driving the story forward, with cliffhangers and emotional beats that make the reader want to keep going. I also think about my books cinematically, almost like I’m writing a script for a miniseries. It’s about creating a visual and emotional experience for the reader.

TB: You’ve accomplished so much in both TV and publishing. What advice would you give to students at SFS who want to pursue a career in writing, whether for TV, film, or books?

PY: My biggest piece of advice is to stay curious and be prepared for rejection—lots of it. Writing is a tough industry, and you’ll hear “no” more often than you’ll hear “yes.” But every rejection is a learning experience. Find mentors who can guide you and help you improve your craft. Most importantly, focus on your voice. Don’t try to write like someone else or chase trends. Write the stories that matter to you, the ones that only you can tell. And don’t give up. It can be a long road, but if you’re passionate about it, it’s worth the journey.

TB: That’s wonderful advice. Let’s talk a little bit about your time at SFS. What was it like being a student here in the late 70s and early 80s?

PY: I have such fond memories of my time at SFS. The teachers here were incredible—they really shaped who I am today. I still remember the names of my teachers: Mrs. Furman in third grade, Ms. Stanfield in fourth, Ms. Amnell in fifth, and Dr. Moon in sixth grade. I participated in everything from soccer to performing arts. I loved Field Day, even though I wasn’t the most athletic; I always got my participation ribbon, and I was proud of it! I also remember spending recess reading books in my favorite tree on campus. I even named it “Tree,” which, in hindsight, wasn’t very creative, but it was my special spot.

TB: It sounds like SFS played a big role in shaping your interests and passions.

PY: Absolutely. I was involved in so many activities here, from playing the violin to being in school plays. In sixth grade, I got to play Pinocchio in our annual elementary school play! I still remember the songs we sang and the excitement of performing on stage. The teachers and the community at SFS gave me the confidence to pursue my creative passions, whether it was in music, theater, or writing.

TB: Coming back after 42 years, does the campus still feel familiar to you?

PY: It does, surprisingly! When we drove up the hill, I immediately recognized the guard house with its Korean pagoda roof. The soccer field is still there, though a lot of the other areas have changed. The middle school building is new, and there are a lot more high-tech facilities now. But it still feels like home. That’s the magic of SFS—it’s not just about the buildings; it’s about the people. The teachers, the students, the community—that’s what makes SFS so special.

TB: Lastly, with everything you’ve accomplished and your deep connection to your roots, how do you see your identity as a Korean American shaping your work today?

PY: My identity as a Korean American is at the heart of everything I do. Growing up, I didn’t see people who looked like me in the media, and that had a huge impact on me. I think that’s why I’m so passionate about telling stories that center on Asian American experiences. It’s not just about representation; it’s about making sure our stories are told with authenticity and care. I feel a responsibility to the next generation to make sure they see themselves in the stories they read and watch. And for me, that mission is deeply personal.

Thanks a lot to Paula for taking the time to talk to us