On Script Writing

If you know me then you must know that I love to put pen to paper and express myself through the stories of other people. I find it hugely rewarding and awesome to be able to create, shape, and give life to characters that otherwise would not exist. From my various short stories and poetry I have landed on script writing as my favored outlet and continue to work on and practice my style.

What exactly is my style? Well, I cannot say for certain as I am still very much improving that “style” with each new script I write. But I can tell you that it has often been described as cheesy one-liners (in regard to my comedy) and stark and twisted character studies when referring to the dramas that I so love to write. Why are my main characters so prone to dying tragically at the end? Why do my plays so often begin with a whimsically innocent first half, only to descend into tragedy at the end? Writers and styles such as Eugene O’Neill, Edward Albee, John Huston, and the Gangster genre all have had that direct influence on why my stories so often turn out so bleak.

As of now, I have written ten scripts (screenplays and stage plays) that I consider to be in my “official” canon. All but four of them (two plays and two movies) have been produced and for that I am extremely thankful to General Mischief Productions and Armando Rivera, my friend who has so often been willing to direct my imagination. With him and future collaborators I hope to produce more of my works both on stage and screen, either at UCF as part of the semi-annual One Act Festival, the Orlando Fringe Festival, or other such venues.


Mortality Men (2007)

The Death of Innocence (2008)

Rick (2008)

The Midnight Hour (2008)

You Don’t Have to Turn Away (2009)

The Greatest American (2010)

Dirty White Collars (2010)


Floaters (2009)

Waiting at the Corner (2010)

A Ghoul’s Accountant (2010)


Comrade Petrov Comes for a Visit

Flynn Lockwood and the Temple of Eden


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