ANDRE NOLAN
Where do you live (City, State, or Country)?
Southern California. Your script stood out among hundreds of others. What was the inspiration for your story and why did you write a script instead of a short story or a novel? The inspiration for Beyond the Veil came from that space between sleep and waking, where something feels real before you can explain it. But the story is grounded in something much more personal—the experience of loss, and how it changes the way we see the world. I chose to write it as a script because the concept relies on atmosphere and perception. It’s not just about what’s happening, but how it’s felt—visually and emotionally. The story is built as a series engine, designed to unfold over time and allow the audience to piece together the mystery the same way the characters do. How long did it take you to write your script...and what is your writing process? Do you outline...use index cards...white board...or just start with FADE IN? The development of Beyond the Veil took about eighteen months. I began with the pilot, and as I built out the series bible, the two started to inform each other. The world, mythology, and character arcs became clearer—and the pilot evolved alongside it. It wasn’t just about finishing a script—it was about understanding the long-term shape of the story and making sure the foundation could sustain it. My process is treatment-driven. I begin with world-building and move into a detailed treatment where I work through the story and character arcs before writing the script. By the time I get to the page, I’m not discovering the story—I’m executing it. What is your ultimate ambition as a writer? My ambition is to see the work fully realized. Writing is only one part of it. What matters to me is how the story holds together once it moves beyond the page—how it’s interpreted, how it’s executed, and whether the tone and intention survive that process. I’m drawn to projects where the writing is just the foundation, and the real work is carrying that vision all the way through. That’s the level where the responsibility isn’t just to write something strong, but to make sure it translates. Was your entry at The Wiki Screenplay Contest a full script or “the first ten pages”? Why did you make that choice? I submitted the full series bible. For a project like Beyond the Veil, the story really lives in the larger structure—the mythology, the character arcs, and how everything connects over time. smaller excerpt wouldn’t have reflected what the project actually is. It felt more honest to present the full scope of it, so the work could be seen for what it actually is. What’s your all-time favorite movie or television show...and why? One film that has always stayed with me is Birth. I’m drawn to stories that don’t resolve themselves cleanly—where meaning depends on how closely you’re willing to look. It’s the kind of film that invites interpretation rather than handing you an answer. On a more emotional level, Cast Away had a strong impact on me. There’s a moment where he talks about reaching a point where he had no control over anything—not even his own end—and then choosing to keep breathing anyway, simply because you never know what the tide might bring. That idea stayed with me. When it comes to television, Game of Thrones stands out for its scope and character work. What impressed me most was how many storylines it sustained while still grounding everything in character. Even at its largest scale, it always felt driven by human choices. What advice do you have for writers hoping to win a contest or place as a finalist as you have? The best advice I can give is to write something that feels honest to you, but also holds up under pressure. Emotion matters, but so does structure. If the foundation isn’t solid, the story won’t carry. I tend to think of it like a sculpture. You don’t stop at the first version—you keep shaping it, refining it, going back over it until it starts to take on weight and clarity. Most of the work happens in that process. And once you think it’s finished, give it another pass. The difference between something good and something that places usually comes down to how far you’re willing to push it. What else are you working on that the world needs to know about? I’m developing a supernatural mystery called Manor in the Mist. It’s built around the idea that places don’t forget—that what’s happened there leaves a mark, whether anyone understands it or not. It operates at a different frequency than Beyond the Veil, but with the same focus on building a world that feels real and grounded. It’s a project that’s still evolving, but the foundation is there. It’s the kind of story that requires time to shape, especially when it’s working across layers of history and consequence. |
