Hi Leslie, First things first, what inspired you to write Child of Dawn?

 

I was inspired to write Child of Dawn from a mix of dreams, mythology, and a deep fascination with the balance between light and darkness. The story came to me in fragments—images of a lone figure standing at the edge of a vast, dying world, a prophecy whispered in forgotten tongues, and a journey that felt both inevitable and impossible.

My love for mythology played a huge role. I’ve always been drawn to creation stories, tales of destiny, and the idea that light and shadow are not simply good and evil but forces that must exist in harmony. I wanted to explore those themes through characters who struggled with their own identities, who carried both burdens and blessings within them.

Some of it, I think, came from personal experiences—moments of doubt, resilience, and finding my own way through darkness. Writing Child of Dawn was, in many ways, a journey of self-discovery, just as much as it was about crafting a new world.

And then, there were the dreams. Vivid, cinematic dreams that refused to let me go until I put them into words. I still remember the first time I “saw” the opening scene—it was like I was standing right there, watching it unfold, and I knew I had to write it.

At its heart, Child of Dawn is a story about transformation, about embracing the unknown, and about the light we carry even in our darkest moments.

 

When did the idea for Child of Dawn first come to you?

 

During Covid, I read a beautiful version of Beauty and the Beast to my kids. And I thought, “What if the beast never changed? What if he never became a prince? Would Beauty still love him?” And that was the beginning of Child of Dawn. 

 

In the script, you blend elements of fantasy, romance, and action. Was this intentional or did the story demand it?

 

It was absolutely intentional, but at the same time, the story naturally demanded it. When I first started writing The Child of Dawn, I knew I wanted it to be more than just a straightforward fantasy adventure. The world itself felt too rich, the characters too layered, to confine them to a single genre. Fantasy was the foundation—it gave me the freedom to build a world that felt both mystical and real. But romance? That came from the characters. Their relationships, their struggles, and the emotional stakes were just as crucial as the battles they fought. And action? Well, that was inevitable. A world like this, filled with ancient magic, warring factions, and destiny-driven heroes, was always going to demand moments of high intensity.

So, while I wove these elements together intentionally, I never forced them. They belonged in the story. The balance between fantasy, romance, and action was simply the most authentic way to tell The Child of Dawn.

 

Why did you choose the title Child of Dawn?

 

The title refers to the main male protagonist. Dagsbrún is half elf, half vampire – he is a creature caught between the light and the dark – and in nature, dawn is the personification of that – a time caught between the night and day. It also refers to the fact that his father was a vampire and his mother was an elf – so he lingers between these two very different identities. 

 

Elves and vampires come from two different worlds, but you integrate them seamlessly in the script. What motivated you to combine these elements?

 

I’ve always been fascinated by the contrast between light and dark, the ethereal and the primal. Elves and vampires embody those extremes—elves, often depicted as luminous and wise, and vampires, shrouded in darkness and hunger. Bringing them together felt like a natural way to explore deeper themes of identity, survival, and the blurred lines between good and evil.

As I wrote, I wanted to challenge the idea that these beings are bound by their myths. What happens when an elf, born of light, is drawn into the shadows? Or when a vampire, a creature of the night, yearns for something beyond the hunger? That tension, that push and pull, was what drove me. It wasn’t just about blending two fantasy worlds—it was about creating something entirely new, something that questions the nature of destiny and choice.

And along with that, my vampires are not always evil, and my elves are not always good. And that is intentional. What is light is not always good, and what is dark is not always evil. One of my favorite lines in the book series is, “There is beauty in the gray.” That comes from the sequel to Child of Dawn, Silken Waters. It means that often, the most beautiful relationships and experiences come from balancing between the lines. To be completely perfect means you miss out on learning and growing – but to be totally corrupt means you are morally lost. So to balance between the two means you are constantly evolving and growing and changing. 

 

Did you have anyone specific in mind while writing Anda’s character? 

 

That one is easy. Myself. I have always struggled to fit in and feel like I belong. My red hair sets me apart, and my desire to imagine and create in a world that I believe is losing its sense of wonder often makes me be labeled “weird.” I don’t like perfect and value flaws because I find beauty in them. When I write Anda and her conversations, and her interactions, I am writing them for myself. 

 

The script is 142 pages long, suggesting the film could be about 2 hours and 30 minutes long. Are you planning to keep it this length or will you make adjustments?

 

I mean, in this world, anything goes. Honestly, the original script pushed 200 pages, but my brilliant editor was brutal and got it down to 142. We had to cut a few scenes that I really did not want to. If I had it my way, it would stay. But the likeliness of me having the final say is unlikely. However, if there is anyone out there reading this that wants to collaborate, I’m game. 

 

Lastly, can you share your journey as a screenwriter?

 

It began with a challenge. I was doing a press tour for the book version of Child of Dawn and someone commented on how I should turn it into a screenplay. Challenge accepted. In the beginning, it was like learning a new language. As an author, you add, add, add. As a screenwriter, you delete, delete, delete. So that was a challenge. But I discovered that I loved all the various aspects of screenwriting, promoting, applying for grants, budgets, etc. The ultimate dream is, of course, to be able to shout, “Action!” and one day walk the red carpet… here’s to dreaming. 

 

Our final question is: what advice would you give to aspiring screenwriters who are working on their first script?

 

Just Write the Damn Thing – Don’t get stuck in endless outlining or waiting for the perfect idea. Get words on the page. A bad first draft is better than no draft.

Characters First, Always – Plot is important, but if the audience doesn’t care about your characters, they won’t care about your story. Make them real. Give them flaws. Give them something to fight for.

Read Scripts, Watch Movies, Repeat – Don’t just watch films—read their screenplays. See how the pros do it. Study structure, pacing, and dialogue.

Rewrite, Then Rewrite Again – Your first draft is just the beginning. Be brutal in your rewrites. Kill your darlings. Tighten everything.

Get Feedback, but Choose Wisely – Not all notes are created equal. Find people who will give honest, constructive criticism—preferably other writers, not just friends who’ll tell you it’s “great.”

Know the Rules, Then Break Them – Once you understand structure and conventions, you can experiment. But earn that right by knowing the craft first.

Don’t Wait for Permission – Put yourself out there.