Two Sides of the Same Heart: The Power of Split-POV Storytelling
Split-POV stories are catnip because they admit what most narratives politely ignore: two people can live through the same event and come out holding different receipts. It’s not just a “cool structure.” It’s a philosophy. Split-POV says truth is partial, memory is biased, and love is often a negotiation between two narrators who both believe […]
The “No-Budget” Spectacle: How to Write Big Ideas for Small Rooms
Here's the thing nobody tells you when you're starting out: spectacle doesn't live in the budget line. It lives in the idea. I know that sounds like motivational poster nonsense, but stick with me. Because the best "big" theater I've ever seen, the kind that makes you feel like the walls disappeared and you're standing […]
The Musical Engine: Why Your Script Needs a "Song" (Even if No One is Singing)
Here's a thought that might be controversial: we think every writer: whether you're crafting a gritty TV pilot, an indie film, or a three-character chamber play: should study musical theater structure. Not because you need to write musicals. But because musical theater has solved problems that the rest of us are still fumbling around in […]
Looking Them in the Eye: The Art of the Direct Address Opening
There's a moment in theater that nothing else in storytelling quite replicates. The lights come up. An actor steps forward. And instead of pretending you're not there, they look right at you. That's it. That's the whole trick. And it changes everything. The direct address opening is one of the oldest tools in the playwright's […]