Vehicle Magazine Journalist (VJ): Thank you for joining us today, Alan. Your screenplay, "The Last Screenwriter," has been a massive hit. Many aspiring screenwriters are looking up to you. What was your approach when you were developing the story for this screenplay?
Alan Nafzger (AN): Thanks for having me. Well, one of the primary things I did was to get at least FIVE people to read the draft. They weren’t professionals, but they loved movies. Their feedback was crucial. And yes, as a token of gratitude, I did bribe them with their favorite bottles. laughs
VJ: That’s an interesting approach. Did you find any recurring notes or suggestions from them?
AN: Absolutely! I believe that if two people point out the same issue, there's definitely something to look into. And, it turned out they were right in most cases. It's amazing what fresh eyes can bring to the table.
VJ: You also organized a staged reading. How did that come about?
AN: I connected with a local theatre department. A staged reading is like a crash-course in seeing what works and what doesn't. It was fascinating and nerve-wracking to watch the actors bring the words to life. Plus, bagels were involved, which is always a win. laughs
VJ: How valuable was the feedback from the staged reading?
AN: Invaluable. When you hear dialogue out loud, you immediately spot awkward lines or places where the pacing drops. Also, audience reactions, their laughter, or lack of it, tell you volumes.
VJ: Moving to the professional side of things, how did you make sure your script was ready for the industry standards?
AN: I firmly believe in getting a professional reader to evaluate the script before taking it to producers or agents. I didn’t want to spend a fortune, so I kept my budget under $500. I explored options like script consultants and even approached a few production companies. Their insights were priceless.
VJ: Let's dive into your story's core. You’ve talked about the importance of an "elevator pitch." How did you hone yours?
AN: Ah, the elevator pitch – the bane and boon of every writer. The key is making it compelling and concise. The formula I follow is a person who MUST do something significant, or a significant BAD THING will occur. In my screenplay, the protagonist's journey and conflict had to be strong, personal, and ironic. For instance, imagine a librarian who must go undercover as a stripper to find her missing sister. It's unexpected, but it promises conflict and growth.
VJ: So, it’s about high stakes and a sense of opposites?
AN: Exactly! Opposites create conflict. A mild-mannered person thrust into an intense, unfamiliar environment promises a journey – both internal and external. Plus, the stakes need to be personal, like the relationship between two siblings. This adds emotional depth.
VJ: Well, Alan, it’s evident your methods and dedication have paid off with "The Last Screenwriter." What advice would you give to budding screenwriters?
AN: Thank you. Firstly, always be open to feedback, even if it stings. Secondly, know your story inside out, and be able to pitch it concisely. And most importantly, never lose the passion. It’s a tough industry, but if you love what you do, it's all worth it.
VJ: Wise words. Thank you for sharing your journey and insights with us, Alan. We look forward to your future projects!
AN: It was a pleasure. Thanks for having me.