Biography

Graduating with a B.A. in Speech and Theatre, I set out doing what one does with such a degree  – making rounds in NYC and working in restaurants. Acting definitely gives one insights into a character and the part, literally, they have to tell in the story they inhabit. Desiring to play stronger, meatier roles led to writing them, thus a fledgling playwright emerged from the kitchen. A life in the arts leads one down curious paths and one led me to an ad agency and copywriting. Another led to a production company where I wrote numerous corporate communications, video news releases, PSA’s and many scripts for videos targeting corporate in-house and consumer audiences. (If you learned how to play Caribbean Stud Poker by watching the video in your stateroom onboard a Royal Caribbean cruise ship, you’re welcome. Hope you won.)

Around 1985 an opportunity came my way. A producer had optioned a script and needed a rewrite. Despite never having written a feature script previously, I pitched myself as the guy to do it. I gave a host of good reasons and perhaps the best, I’ll do it for free. So I started rewriting. I read all I could find about screenwriting in those pre-Internet days, then threw myself into the task. I was operating as much on gut instinct — what seemed right story-wise, sounded natural in the character’s mouths and read dramatically, as anything formally learned. The first rewrite, when handed in, was said to be going in the right direction so a second and third and more followed. Eventually money was raised, cast was pulled together and the screenplay was shot in Pittsburgh. The movie was Simple Justice.

It was the worst thing that could have happened to me. Because it made me think I knew how to write features.

Let me put your mind at ease right now. If you have a screenplay you’ve just written and worry it may not be the best script ever, stop worrying. After Simple Justice, I wrote maybe a dozen scripts that you can’t touch for the depths of sheer shittiness they plumbed. I have apologized to trees that some of their ancestors had to give their all to make paper to put my lame words on. So if you think you just may have penned the worst script ever, I’m here to tell you, you haven’t.

I set out on a very long process of learning how to write creative, dramatic material. My goal was simple – a good story, well told. A great deal of reading was involved, books and magazine articles and then blogs; attending events sponsored by the Writers Guild, going to screenwriting expos, taking Robert McKee’s course, attending seminars with Syd Field. And all the time writing. Slowly but eventually the suck factor gradually diminished in successive scripts. I started to be able to apply learned theories from books, seminars and from personal experience as well. Then some work and other opportunities started to arrive.

In April 1997 I was asked to serve as Moderator of the newly created Coronet Writers Lab. One of the best ways to learn is to teach. And I had a great deal to learn as I started out as Moderator, helping writers get their full-length screenplays and stage plays ready for the commercial market.

Over the years, members of the Lab have enjoyed much success with scripts they have developed in the Lab. For a thumbnail description of the Lab you can visit coronetwriterslab.com. If you’re ever in L.A., stop on by!

Listening to many different genres of scripts over the years and hearing what the strengths and weaknesses were; where stronger choices could have been made, richer dialogue employed, more dramatic or comic choices could have enhanced the material, this has been a true joy as well as a learning experience. The work of the writers who go through the process markedly improves, no question.

Listening to material cold and delivering rational, grounded and cogent feedback and insights demands a certain skill set. Outside of Lab, members and other writers, have asked me to read their scripts and give notes. They have found these notes to be comprehensive, detailed, insightful and applicable toward making the material richer and more dramatic.

One thing I incorporate in feedback is a positive attitude. Writing is hard, something I know first-hand. At times you go off the rails no matter how well thought out your treatment may be. When I give notes I recognize where weaknesses are, but also what worked. I think it’s important to enjoy the small positives we’ve achieved along the way.

I wish you tremendous success in your writing career and hope it takes you to fascinating places! I would be extremely pleased if I could help you out along the way! I look forward to reading your script soon!