The Narrative Architect

I am not just a writer. I am a structural engineer for fiction.

In an industry obsessed with “content quantity,” I focus on legacy. My task, to take the chaotic sparks of an idea—whether it’s a comic, a game, or a transmedia universe—refine it, shape it, and build a narrative engine capable of sustaining a long-term commercial venture.

I don’t work from a template. I design, plan, and calculate from the ground up.

Two roads diverged in a wood, and I—I took the one less traveled by…

Most narrative consultants come from a clean, academic pipeline: MFA -> Internship -> Junior Editor. They all read the same books. They all think the same way.

I made my own path. 

I didn’t study story in a classroom; I studied it in the trenches of the real world.

• My career began at Den Design Studios in NYC, fabricating props for film and TV (including SNL, Conan O’Brien, and Late Night with David Letterman). I learned that a “prop” isn’t just an object; it’s a physical piece of the story. Today I don’t just write scenes; I engineer them to feel physical, lived-in… real.

• I didn’t just write characters over the years; I studied people. From running a design studio in the East Village to owning a bodega in Brooklyn. I spent decades in the “School of Human Nature,” watching how real people speak, love, hate, fight, and survive.

• Today, when I’m not writing, I am literally building barns, restoring vintage cars, designing and building custom beehives, and tending to livestock. You can’t do these things, without understanding these things. Without comprehending their fundamentals and how to manipulate them in real-time for a desired effect.

Why does any of this matter to you?

Because you don’t want a writer who treats your project like an “academic text.” Just another number to integrate into their personal career equation.

You want a partner who understands that a story is a living, breathing tangible thing.

A thing that affects us, not only in the moment we experience it, but stays with us for years after, if not our entire lifetime. My “boots-on-the-ground” background means I don’t deal in abstract theory.

I deal in methods and tools that work.

A Career of Introspection

My approach to narrative is “High-Concept / Low-Ego.”

Fundamentals are king.

Structure is freedom.

Process removes risk.

Many creatives fear outlines because they think it kills the “art.” I prove the opposite. A solid structure—like a solid skeleton—allows the “flesh” of the story to move, interact, and live without collapsing under its own weight.

I consider myself a highly versatile writer, specializing in Genre Fiction (Sci-Fi, Fantasy, Horror, Thriller, Action, Cyberpunk) because these are the modern myths. Whether it’s the cosmic dread of Alien or the ronin ethics of the Seven Samurai, these stories are where we explore what it truly means to be human and help define who we are as individuals.

An Industry Authority

I have authored over 430,000 words of public-facing analysis on narrative mechanics—making my collective works (here and at StoryToScript.com) arguably the largest single-author archive of comic writing instruction in existence. This includes the definitive guidebooks Storycraft for Comics and The Working Writer’s Guide to Comics.

While my roots are in comics, the laws of story are universal. I apply these structural principles across every medium.

My original IP development includes the samurai saga Samurai Onryo, the cyberpunk thriller Crashing Eden, the historic fiction/fantasy novel ‘Beyond the Isles of Avalon,’ and my current “passion project”: a 1940s NYC Hardboiled Detective novel with a Lovecraftian twist.

Un pour tous, tous pour un!

When the deadline is met and the script is locked, you won’t find me at industry cocktail parties. I’m not in it for the accolades.

I’m in it, because fiction is in my blood. And seeing clients find success and fans enjoy the work. In the end, inspiration is the only real thing we leave behind.

Originally from NYC, then to the White Mountains of New Hampshire, now spending most of my time in rural North Carolina, north of Charlotte. I raise German Shorthaired Pointers, keep bees, and build things with my own hands.

I believe that to write about life, you have to actually live it—fingers in the soil, boots in the mud, chalking up wins and losses each and every day.

This isolation isn’t a retreat; it’s a forge where impurities are burned away, leaving pure strength and focus behind. It allows me to bring an intention and intensity to your project that you simply cannot get from a consultant distracted by the noise, chaos, and food of the big city (something I know a little about, having lived on ’14th Street and A’ for many years.)

Selected Influences

• Michael Crichton, Ridley Scott, John Carpenter.

• Akira Kurosawa, Sergio Leone, Hayao Miyazaki.

• 1970s Horror, 1980s Action, and the timeless struggle of the Hero’s Journey.