"...when I made the jump to screenwriting, my writing world went from black & white to Technicolor..."
I’ve been a film buff since I was seven years-old and saw Breakfast at Tiffany’s for the first time. My early years were spent on a speck of an isle near Manitoulin Island with just one grainy TV channel; but at night, if the rabbit ears were just right, we could pick up a US signal from the other side of Lake Huron.
Fast-forward 50 years and I’m a flip-flop wearing, freelance writer who snowbirds in San Diego six months a year avoiding the cold. And my love of the silver screen has never wavered.
My first exposure to screenwriting was offering feedback on a friend's scripts. At that point, I was strictly a non-fiction writer of over 200 magazine articles and a couple of non-fiction books. But living in California cracked open my world and before long I signed up for some classes at UCSD--first fiction writing, and eventually screenwriting with Warren Lewis.
When I made the switch to fiction, it was like somebody turned on a light. But when I made the jump to screenwriting, my writing world went from black & white, to Technicolor. I wanted to rewrite everything I’d ever written as a screenplay. I’d finally found the medium in which to tell my stories.
My first script, Husband with Benefits, started out as fifteen pages for a log line contest by Susannah Grant, one of my favourite writer-directors. I didn’t win, but I was hooked. I had to follow my characters, see how they ended up, and an early version of HWB was a semi-finalist in Table Read My Screenplay 2014.
I’ve read McKee, Fields, Selbo, Snyder, Hauge and Vogler. I’ve studied the three-act structure, the five, seven and even the eleven-act structure. I’ve worked one-on-one with the brilliant and kind, Jim Bonnet. And lately I’ve been taking classes with the ever-enthusiastic Jake Krueger, a renegade storyteller who espouses a more organic way of storytelling that simply allows structure to take care of itself.
Kind of like life.
Funny, how that works.
I love to write character-driven pieces—long or short—and am currently working on a couple of other feature-length dramas.
Please contact me if you’d like to see a log line, a spec script or a writing sample.
Script Consultant, It's a RAP Production, Enjoli Taylor, TV mini-series, 4 episodes, 2018 (pre-production)
Script Consultant, It's a RAP Production, Disruption, feature film, 2018 (post-production)
Consulting Producer, Michael’s Storytime, children’s web series, 12 episodes, 2017
Script Reader, YouGoFar Productions, London, UK (2015-current)
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