I’m originally from Canada, and I moved to Los Angeles to pursue a Master’s degree in Producing at University of Southern California.
Like most people who come to LA to work in film and television, I arrived with ambition, taste, and a deep respect for story — and quickly learned how high the professional bar actually is.
After graduate school, I worked across the industry in a variety of roles, including at networks like EPIX and studios like Hasbro. Those experiences gave me a front-row seat to how projects are evaluated, why certain scripts move forward, and why most don’t — even when the underlying idea is strong.
Eventually, I became a literary manager. And that’s where everything crystallized.
What I See Every Day
As a manager, I read an enormous volume of material. I develop scripts with writers, submit projects to executives, and have real-time conversations about what’s working, what’s not, and why.
One pattern shows up again and again:
Most writers don’t fail because their stories aren’t interesting.
They fail because their scripts aren’t viable.
Viability isn’t about talent, effort, or originality.
It’s about execution — whether the script is doing the specific things executives need it to do in order to lean in, keep reading, and advocate for it internally.
Over time, I started to notice that the reasons executives pass are far more consistent than writers realize. They’re not random. They’re not purely subjective. And they’re not solved by “just writing more.”
They’re solved by understanding what the industry is actually responding to — and developing those elements before the writing begins.
Why Breakout Story Exists
Actionable, up-to-date, accessible knowledge writers can apply to their craft.
I don’t just give notes. I don’t just react to pages. I teach writers how to think like professionals, how to develop the core elements of a script so that the writing has a real chance to land. The framework I use focuses on five foundational elements that consistently determine whether a script works or doesn’t:
CONCEPT
CHARACTER
WORLD
STORY
POINT OF VIEW
These aren’t abstract ideas.
They’re the same elements executives respond to when deciding whether a script feels compelling, clear, and viable.
CONCEPT
CHARACTER
WORLD
STORY
POINT OF VIEW
My Philosophy
I believe a great story is meaningless if it isn’t executed properly.
I believe hard work is the baseline, not the differentiator.
And I believe the most important work a writer can do happens before FADE IN.
Who This is For?
Breakout Story is for writers who:
◎ Take their work seriously
◎ Are open to rethinking their approach
◎ Want honest, current, professional insight, not vague encouragement
