In 1994, Martin (Marty) Fox, the longtime editor of Print, for which I was a senior editor, proposed that he and I start a new quarterly publication that would bring attention to the of art of screenwriting. Marty had enjoyed reading the interviews I had conducted with filmmakers in publicsfear—the art zine I worked on after hours at Print's offices—and he suggested that the screenplays featured in this magazine could be accompanied by my in-depth conversations with the writers. The publisher of Print signed on, and a year later, the first issue of Scenario appeared. This was not the first, or last, time Marty would serve as both a supporter and mentor to me.