“STORY FIRST”
From my Austin Film Festival™-placing script, Wildernets, to my latest mysterious family drama, Calico, my work is driven by an unwavering commitment to story. Stories resonate with us—young or old—because they reflect our own lives. Even when we’ve only known a character for an hour, we weep when they suffer, and we rejoice when they succeed. Why? Because we instinctively project our personal experiences onto the characters we see on-screen.
It’s interesting to think about the psychology behind an audience experiencing a movie. Their emotional investment is most profound when we honor our characters by telling their stories with reverence and care. I enjoy writing in a way that reveals exposition (or “backstory”) as the plot unfolds. This gradual reveal of information shows respect for the audience’s intelligence. By trusting them to piece together the story as it progresses, we create a more engaging and immersive storytelling experience. Conversely, we can also reveal information to the audience before our characters know it. Ugh, this is so fun. Dramatic irony is one of my favorite things in film. The audience subconsciously likes to “work” but they also like to feel superior. Dramatic irony does exactly that: revealing to the audience something the characters don’t know (revelation). Then, when the characters do find out that thing (recognition) it lets us rest. But the peak of drama happens just before the recognition, where we want to scream “don’t go in there!” or “he has a gun!” An example of dramatic irony I think about is in Jaws, when we see the POV of the shark coming up to the surface where the legs of children swim about. We know that there’s a shark, but the characters don’t. This promotes intrinsic drama, and in my mom’s case, sometimes makes the audience watch through their fingers.
We all have a story to tell. None of my scripts are “autobiographical” in any way, but there are pieces of me found in every one. But that’s for me to know. I hope as you read, you will find pieces of you as well. And if you don’t, I hope you root for my characters anyway. Well, most of them…
Thank you for visiting my website. Happy reading!
About the writer
My journey in storytelling began during my formative years at Sammamish High School, where I made my directorial debut with The Boy in Black. This early project garnered attention at the Seattle International Film Festival™ (SIFF), where it was selected by The Seattle Times to premiere in the “3 Minute Masterpiece” category as well as finding a home on the cover of the city-wide newspaper. Presenting a film on the big screen not only sparked my desire to continue creative pursuits, it also helped secure me a spot in Brigham Young University’s esteemed film school.
While at BYU, I worked on many projects, and maintained a perfect 4.0 GPA within the program. I was named to the Dean’s List after my first semester. Balancing the demands of a rigorous curriculum with artistic pursuits, I believe my academic achievements reflect my passion for storytelling and an unwavering determination to succeed in the competitive world of entertainment.
To learn more about the industry, I took up a Summer job, assisting the top talent agent in the intermountain region. Read her testimonial here.
My commitment to the craft was further underscored by my work as Director on Lake Day, which was selected for the Final Cut Film Festival. This short film awarded me the “Excellence in Fiction Production Award” from BYU Theatre and Media Arts.
Driven by a passion for storytelling, I believe I have only improved my skillset from when I first arrived on the scene at SIFF to now having a script place at AFF, one of the top screenwriting competitions in the world.
As I now embark on current and future endeavors, I remain committed to creating and workshopping compelling narratives that resonate with audiences worldwide.
Shorts
If you’re new here, this is a fun place to start!
The Evening Shift (Mystery/Thriller)
In a busy mall, a young girl loses her dad. She entrusts Damian, the lone employee of a toy store, to help her find him. As the store gets busy, Damian’s charge becomes more and more difficult. In the end, we find that the dad’s situation is a bit more complicated than we thought.
Spirits of the Deep (Historical Fiction)
The Makah Tribe of the Olympic Peninsula have a rich and spiritual history of whale hunting. Chief Atohi and his wife Nitika prepare for the hunt.
Emerald (Family Drama)
A successful business man has an opportunity to buy his dream house. But when he finds out the auction is held simultaneous to his daughter’s recital, he is forced to choose.
Do You Like This Song? (Horror/Thriller)
An eerie abstract thriller about a girl trapped in a haunted house that belonged to a couple who has passed, but longs to dance together just one more time.
Let Me Go (Family Drama)
Ethan wants to leave home late at night, only to find his mother waiting for him downstairs. A passionate conversation ensues.
Warm Cabin (Thriller)
A woman wakes up in the forest, with no memory of how she got there. She sees a cabin close by and goes to it for respite, but what if that same cabin is home to the same individual she unknowingly has tried to escape from?
Frequently Asked Questions
What are you working on right now?
I’ve had this coming-of-age story in my mind for a few years now, about a young man who returns home after years of being away. He copes with people and places that have been lost to time, and learns to find happiness amidst the pursuit of happiness.
Do you only write?
No! I initially got into casting and assistant-directing and love anything pre-production.
Where are you located?
Los Angeles. I love it here! If you’re in LA we should meet up sometime!
Who are your biggest inspirations?
Aaron Sorkin for dialogue; Jordan Peele for story structure; Coen Brothers for character.
What software do you use?
Final Draft works well for me!
Essays
Sound: The Hiatus of the Aesthetic Film
In this essay, I take a deep dive into the immediate affects of the advent of sound in film, and how the art form took a visual blow as it experienced growing pains.
The Divinity of Documentary
Non-fiction storytelling, when done right, can be as cathartic of an experience as any.
The Powerful Storytelling Methods of The Circle (2000)
Digressive storytelling has the potential to talk about difficult topics in a respectful manner that can enlighten an otherwise unaware individual.