Journalist: Alan, congratulations on the success of "The LAST SCREENWRITER." Can you tell us how you came up with the idea for the main character's stage of life, and why this sequence is so vital?
Alan Nafzger: Thank you! I wanted to create a hero that audiences could relate to, someone with an emotional flaw like "blind ambition." It's about showing their positive traits but also how they're messing up, all within the first sequence. This initial glimpse sets the tone and allows the audience to understand the main character's journey. It's about presenting them in their current state, but with hints at what they need to overcome.
Journalist: It's a compelling start. Can you delve into the theme? How did you avoid clichés while developing such a core concept?
Alan Nafzger: Theme is often a mystifying word, but I tried to find something specific to my story that would help me create active and memorable scenes. Instead of going with something generic like "love conquers all," I looked deeper into what that means in the context of my story. It's all about making the theme resonate with the character and plot, not just a hollow statement.
Journalist: How do you balance character development with plot movement, especially in genres that require immediate action like in "DÉJÀ VU"?
Alan Nafzger: It's essential to remember that character always drives plot. Even in action-packed stories, we need to establish who the characters are and what their emotional issues might be. By focusing on character and emotional journey, you create a more rewarding read for the readers, and that's where it all begins.
Journalist: Many aspiring writers struggle with structure. Can you explain how your 12-sequence approach helps in writing a coherent script?
Alan Nafzger: Breaking down a feature script into 12 sequences simplifies the task. It's not always about page count; it's about understanding why a sequence exists and its purpose in the overall story. Some sequences may be longer or shorter, but it helps to have this bird's-eye view and then swoop down into the details as you go.
Journalist: You've talked about the main character's emotional flaw. Can you provide an example from "The LAST SCREENWRITER" of how you showed this?
Alan Nafzger: Certainly. In the screenplay, our hero is striving for something important to them but doing so with complete disregard for anyone else affected. The audience can see them wanting and striving for their goal but also hurting someone, maybe emotionally, in the process. This duality helps the audience relate to the character while also recognizing their flaw.
Journalist: This book is filled with wisdom and guidance for writers. Do you have a favorite quote or piece of advice that has guided you in your writing career?
Alan Nafzger: I love Mark Twain's quote: "The two most important days of your life are the day you were born, and the day you find out why." It's a reminder for writers to discover their "why" and to help their characters find theirs. It keeps me inspired.
Journalist: Alan, thank you so much for sharing your insights. It's been a pleasure learning about the process behind "The LAST SCREENWRITER."
Alan Nafzger: Thank you for having me. Happy to share, and I hope it helps other writers on their journey.