The Trianon Trilogy

Written by Dianna Anastasia Diverno

Dianna Anastasia Diverno
was born one year 4.11.1981. She is the Croatian-Hungarian writer and screenwriter of Subotica. She has a typical genetic heritage in the family and expresses herself through art.

Dianna Diverno wrote many number of novels, a number that exceeds hundreds, which tell you enough about her dedication to the work she does. She is a member of two German associations and the American Corner.


Dianna is a very stubborn, confident and ambitious person that know has no limits and barriers and sets for herself high goals. What is always entwined, apart from affinity for mafia and often politics, is love and passion. She is always trying to create a difference between sex and love because as she says “there is whole world between sex and love and it is sad that people equalize those two things”.

She often looks for inspiration through music, any music, classic, jazz, pop or rock. She is devoted to her work with her whole being-writing because she believes that a man is not made by what he wants to be, but by what he is, and with his work that man confirms it…
Her favorite subject is – mafia and military.
Dianna Diverno is also the mother of two adult children - daughter Dita and son Jessie, who has autism. As she was quite devoted to the treatment of her son, she could not actively engage in literary presentations. Jessie is currently modeling.


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Can you tell the story of how you became a screenwriter? What led you to take this creative path?

There is no single or hidden reason for my journey as a writer and screenwriter. Rather, I could say that through the search for true literary expression, many writers meet precisely through several different forms and forms of literature. The script is actually my written and published novels, only expressed through this literary word format. I think it is important to know how to do and write a good script, primarily because in this way, in this case the novel is written, which is presented in a different but in a way that is identical or approximately similar to what I wrote through the literary form of the novel. On that side, I am glad that now, after ten years, I have presented to Hungary my literary work "Trianon", which speaks about Hungarian history and what happened after the First World War. First of all, I think it's important to mention that my children are part of Hungarian origin, so that's our history.

Which genre of storytelling do you find most appealing and why? Are there any specific topics that you often explore in your scripts?
I like to write novels that belong to the literary form of criminology. By that I mean military and detective novels, it's something that comes closest to my character as well. As far as I can see, comedies have been accepted at other numerous film festivals with which I collaborate. Of the topics I like to explore everything, because I am primarily, I would say a multi-genre author of numerous, literary works. Although there is always something that through the spectrum of my literary engagement always remains as a topic that I have not explored and which I have not touched with my literary pen.

Walk us through your typical creative process when developing a script. Where do you usually find inspiration?
I find inspiration in music most of the time. Although mostly when I create a novel, then I see the entire literary work in my imagination and thoughts, so I usually try to transfer it all to paper in a shorter period of time so as not to lose the thread of the creative work. Trianon, which is closer to 1,000 pages long, was created in less than two months in 2010. I found inspiration mostly in the ''Vienna Waltz'' and some other classic performances.

Can you talk about the importance of character development in your writing? How do you bring your characters to life on the page?

Since I am an author who has published more than a hundred literary works so far, and I have written many literary works that have not yet seen the light of day, I can easily access the process of inventing and creating a character. The novel itself or the script must have standards of things and literary schemes in it such as – the beginning, elaboration and ending, all through the process of literary creation and processing of a theme, in this case the character of Veronica Dunafalvi is presented in the epoch of a great and historical Hungarian theme called Trianon.

Have you encountered any significant challenges during your writing journey? How have these challenges affected your writing development?

So through the process of writing novels and screenplays, I did not find any kind of challenge, because literary works are created in silence and require only the dedication of the author. What is a specific challenge for me now is that in a relatively short period of time, from June 2023 until now, I have stepped into the film world. So, from a quiet creative life, I met with almost 80 film festivals that actively invite me to cooperate and to come to visit numerous international film festivals that work according to the already established program. What presents me now is a kind of challenge for me is whether the film "Trianon" will be made and how this film would be welcomed by hungarian and world audiences.

Are there writers or directors who have significantly influenced your style or approach? How did they inspire you?

I wouldn't consider it valid enough to point out a particular screenwriter. Among the writers, I could point out, for example, Sidney Sheldon or Agatha Christie as modern creators of crime genres that are approximately the kind of literature that I myself deal with through my literary works.

How do you strike a balance between your creative vision and the practical aspects of filmmaking, such as budget constraints?

If I look at the novel "Trianon", which is now presented as a script for the film and which you had the opportunity to see, it is important to know that in this one topic should understand the history itself, and all this presented through the classical expression of literary work and simplified understanding of the functioning of literature. First of all, it must be emphasized that "Trianon" is something that records the history of this Pannonian region, so this scenario was made on the basis of historically significant facts and is placed in three European countries – Hungary, France and a small part of Czechoslovakia. The practical aspect of making this film would mean that Trianon should go through 5 stages in film production - development, pre-production, production, post-production and distribution. As it is a scenario based on historical motifs, this would mean that everything should be presented approximately identical to what it was in 1920, I mean the ambience of the interior, exterior, as well as fashion details on people, this would mean and require significant financial investments by film production.

What advice would you give to aspiring screenwriters who want to advance their artistry and leave a mark on the industry?

As I am a very persistent person, I think it is necessary to know that screenwriters should never and never give up. The very process of creating a script may or may not fit into the current course of literary and film etradition. In doing so, I mean that it can happen, as is now the case with "Trianon", that only 10 years after the publication of a literary work, the theme and script offered to Hungarian film productions that are willing to work on this literary romance accompanied by crime notes and historical décor are taken.

Can you share a project that is particularly important to you? What has made this project stand out in your career?

Currently, my scripts include "Samba To Death" and "Last Wedding" as interesting scripts set in the American climate and are gladly sought after at film festivals. I have also won numerous film awards for these works. Although I think that both Trianon novels and scripts viewed through all three works would be a very interesting concrete literary and film choice, either as novels or as films. First of all, I think to note that there are three Trianons: "Trianon", "Last Second for Brasov" and "I loved the president". Through all three parts there are interesting elements: adventures, kidnappings, historical agreements that change the maps of Europe, unexpected miracles and a fantastic escape, secrets, a monastery, betrayals, top ballet...

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Looking ahead, what are your aspirations and goals as a screenwriter? Are there any new genres or topics that you're happy to explore?

My goal is that most of my scenarios, and there are all 47 of them, are filmed in the coming years ahead. It seems like a big mouthful for an author, but I'm really movie hungry on that side. And I think that's what I will be dedicated to in the coming period, that's why I'm glad to present myself in this way and in this way at your festivities where the Trianon script got the status of "Finalist", which really pleased me, especially since this is the first time that we, as it were, meet and get to know each other.

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Find out more about Dianna and her projects: