I teach practical English skills to undergraduates.
I wrote several pieces, four of which are screenplays with honorable mentions and Nominations. Latest, the Final Round of the British Independent F Fest this year. With a commendation.
"The Track"
"The Brave"
"Beautiful Dancer"
"Njal's Folly"
Commendations and finalist of International Screenwriter Fest, Official Acceptance at my favorite, Action On Film; of late Acceptance with the Laurels at the Bloody Hero Film Festival, L.A.
I am a writer of a novel and shorter pieces. My stuff evolves. Then when it's ready, I carve it out of the rock face. It's already there, I get to carve it. Characters aren't ciphers or integers which you can interchange and make up cool stuff about. Seems dramatic but it's unpretentious, very much so. I fall into a style but I don't like branding for theatre tickets and marketing. I can vary my topic, but don't change it until I have a real working Draft. It's a high Tale, not a coloring-in book.
I am educated and also for movies. A Reader once nagged me about spelling, completely oblivious to the fact of the British half of an English speaking world spelling differently, is it easy, ezy, or eazier? Eisenstein still makes sense to me, some modern directors don't.
My Grand premise: Anamnesis - if you don't know what this means, please search it up, as everyone should at least look this up once in their lives - think amnesia and then think healing. Follow the bread crumbs.
Think Warhorse and then, "Lest We Forget".
My stuff is not dark. Characters often are. Situations may be. People want uplifting, not to go to prison. Life's too much like a prison without entrapping the viewers. I make dazzling stuff and don't first write down to a budget, my settings are dazzling, hot, cold, coruscating, rainbow colored. One setting fits "short story" parameters, but very few movies. Also Directors requesting "a story that can be shot only in LA" is pretty daft.
Willing to take a shot at almost anything, if you show some money.
