Character first

Every script starts with a character facing a problem they cannot walk away from. Not a concept, not a twist, a person. If the character is right, the story tends to follow. I write and develop drama and dramedy, set in the modern day, with situations and settings that are grounded enough to be within reach of most productions rather than requiring a budget most short films will never see.

Why I write this way

Years spent on the other side of the camera, editing and grading other people’s projects, showed me the same problem again and again. Scripts that ask for locations, casts, or effects no low-budget shoot can realistically deliver. Scripts that read fine on the page but fall apart the moment an actor tries to say the lines out loud. I write to avoid both. A script only earns its place once it has been tested against what a real production can actually pull off.

How does this benefit you?

If you are developing your own script, I can work with you as a co-writer or script consultant. That might mean structural notes on an existing draft, a full rewrite pass, or building a story with you from the ground up. I have co-written and script-consulted on several short films now in festival release, including L’Odeur du Kérosène and À La Porte with director Armin Mobasseri, and additional writing on Sheldon Armstrong’s feature Mezzanine.

My own work

Alongside client and collaborative work, I write and develop my own scripts under Kitchen Synch Films. The Mosquito Palace, a WWII chamber drama, is the latest of these to reach production as a short, adapted from a feature-length script currently in development.

So, if you are a director or producer looking for material, I’m ready with a growing slate of short and feature scripts to discuss, or I can work on your pre-existing script(s) that either need a polish or analysis ahead of shooting.