Can you please tell us about yourself?
Mine is a unique, traumatic, and glorious life…but that’s for the memoir.

I began writing when I was very young, when the numbers counting the years of my life were still in the single digits. It was what I was born to do. But life and fate will have their way, and I didn’t dedicate myself to writing full-time until later in my life when I was battling Lyme disease (which has become chronic). It was as if the fates were showing me the way with a harsh finger. I followed, preserving and achieving despite all the obstacles.

Since then I have had ten books traditionally published, many translated into multiple languages, a couple of bestsellers among them.

I love stories; I love the power of them. I have been so very blessed with great critical acclaim. Much of that acclaim spoke of the imagery of my work, how—with words—I made the story come to life…like a movie. Once more, I listened.

It was during Covid that I wrote this script, MURDER IN THE DUOMO, a TV pilot adapting my Da Vinci’s Disciples trilogy. Though I had to learn a new form of writing, it felt right; it came naturally. Prior to this award, the script has placed very high in five other contests. The Golden Draft Award win is yet another sign. Once more, I will listen and follow.

In addition to my own writing, I am a ghostwriter, writing instructor, book coach, and editor (and painter). I live by the gorgeous beaches of Rhode Island. My sons—Devon an opera singer, and Dylan a chef—will always be my greatest works.

To learn more about me and my work, please visit my website www.donnarussomorin.com

How do you motivate yourself to write?
No matter how natural writing may be for some of us, there are still those moments when the path of words between the brain and the page gets jammed up. Often it is a looming deadline that evokes that blockage. When it happens to me (which, gratefully, doesn’t happen often), I bring my mind back to the beginning, back to when the story first germinated in my mind. I remind myself of the creative urge to tell that story, of the excitement of its discovery…and there it is, the push I need. The reminder of why a story needs telling, the power in it. And when I do, the power to write returns.But if all that fails, I put on my favorite classic rock music, and dance around for at least fifteen minutes, letting the music and lyrics free my mind. It invigorates both my body and my mind and I can get back to it.

How does it feel to have your work recognized?
I love this question. I know so many writers who enter the game for fame and fortune. Don’t get me wrong, both are great. But it shouldn’t be the driving force of creativity. To have your craft—your artistic vocation that comes from your soul—recognized in such a way…this, for me, goes far beyond fame and fortune (though I wouldn’t turn a little fortune away, lol). It gives me such strength to carry on in an industry that is so very challenging. It keeps me at my keyboard for hours and hours at a time. It ignites a small yet powerful voice in my head that tells me, ‘keep going, girl; you’re getting it!’ I couldn’t be more grateful.

How did you come up with the idea for your winning project?
As I stated previously, this script is an adaptation of my Da Vinci’s Disciples trilogy of books. The story is one I wanted to tell for a while. Many of my books are set in the Renaissance, during the explosion of art, artists, architecture, and literature at a nearly unprecedented pace, both in number and expertise.But all my writing—no matter the form—has been dedicated to revealing the hidden stories of women in any era, to acknowledge the women of the past who wanted more, fought for it, and made great strides in achieving it. As I wrote those stories—of Michelangelo, da Vinci, and Botticelli—I wondered how intellectual and ambitious women of the era would have felt, and what would they have done. Da Vinci’s Disciples is my answer to that question. In it, a secret society of women artists and one legendary master attempt to thrive and survive the most glorious and terrifying years in Florence’s history while trying to bring their talent out to the world. An assassination conspiracy that reaches the Vatican embroils them in turmoil when one of their own goes missing. Fearing for her life, these women are willing to put their loves and their lives on the line for her and their art. For these women, Time’s Up happened a long time ago.

Do you recommend screenwriters to submit to Golden Draft Awards?
I highly recommend the Golden Draft Awards to all screenwriters. Win or lose, the experience is an invaluable one. You must put yourself and your work out there to be seen, to improve, and the Golden Draft Awards gives you that wonderful opportunity.

Did you find the feedback helpful?
The feedback from the Golden Draft Awards is some of the best I’ve received. Concise, skilled, and precise, it gave me a fresh insight into my script that I hadn’t had but which spoke distinctly to ways in which I can improve it. Invaluable!

What are the best thing and most challenging things about screenwriting?
For me, a long-time novelist, learning the techniques of screenwriting has been the most challenging aspect. On top of a highly competitive industry, I’m delving into unknown territory. But I’m a firm believer in pushing myself, of discovering where my creative acumen can take me.One of the best facets of screenwriting is watching the film or television episode play in your mind as you put the words on the page. There’s an immediate satisfaction to it that is wholly unique.

Can you please give us a few screenwriting tips?
As Tony Gilroy (The Bourne movies, Michael Clayton, Rogue One, and more) says… ‘Make stuff up, but keep it real.’ No matter how fictional your story is, remember to keep it within the realm of believability. Our job as writers is to force the reader/watcher to suspend their disbelief. Keeping even the most fictional story based on plausible reality will resound and capture your audience.Dialogue, dialogue, dialogue! Make sure you know what your characters sound like. Make sure they sound distinct to their character. And make sure the dialogue is tight yet evocative.

Create characters that will drive your story to the finish line. In all the courses I teach on writing, I always tell my students that people want to know about people…their lives, loves, and losses. They want to relate to them. While a sterling plot and premise are essential, it is inimitable and captivating characters that will bring it to life.

How often do you write? Do you have a writing routine?
I try to write every day, even if it’s only a few sentences. But my normal routine is five-to-six days of writing a week, typically from ten in the morning (I am not a great morning person) to seven or eight in the evening. I think the most important facet of a writing ‘routine’ is to find the one that works best for you. We are all distinct individuals, and so should our writing routines be. Don’t let anyone tell you the best way. Conform a routine to your life so that you can stick to it and may prolificacy and excellence be yours.