I read your script as a professional reader would — cold, without the benefit of your pitch or your passion for the project. I produce detailed written notes organized around the emotional experience of reading your script: where the reader engages, where they disengage, and why. Notes are specific and actionable. For each diagnosis, there is a prescription — a concrete technique or set of techniques that address the issue. We then follow up with a one-hour conversation to discuss the notes and answer questions.

Standard coverage tells you what a reader thought. It identifies strengths and weaknesses from the reader's perspective and delivers a recommendation. My consultation tells you what the reader felt — and more importantly, what they should have felt, and why the gap exists. The notes don't just describe problems; they prescribe solutions rooted in specific, learnable techniques. Think of standard coverage as a report card. Think of this as a coaching session with the examiner.

Absolutely. I work with writers, filmmakers, and brands from around the world. The emotional impact methodology transcends cultural context — the principles of empathy, tension, surprise, and resonance operate across all storytelling traditions. Consultations and coaching sessions are conducted remotely via video conference. Seminars and workshops for international clients are arranged individually.

Yes — and this is some of the most rewarding work I do. The emotional engineering principles at the core of my methodology apply equally to any context where the goal is to move an audience. Campaign scripts, brand narratives, executive presentations, conference keynotes — all of these succeed or fail on the same basis as a screenplay: whether they produce a specific emotional response in the people experiencing them. I've delivered workshops for Fortune 500 companies and the methodology translates directly.

Turnaround depends on my current project load. I work with a limited number of clients at any time to ensure that every consultation receives the depth of attention it deserves. Current availability and turnaround times are discussed at the point of inquiry. I don't rush the work — and I don't accept projects I can't do properly.

The books give you the framework. The consultation applies it to your specific work. Most of my consulting clients have read the books — and many say that the consultation was when the framework truly clicked, because they could see exactly how the principles mapped onto the pages they'd written. Knowing the techniques and knowing how to deploy them in your own voice are two different skills. That's what the consultation develops.

I work with feature screenplays, pilots, short films, outlines, treatments, and pitch decks. For brand and corporate clients, I work with scripts, narrative presentations, and brand story documents. If your project involves storytelling — and emotional impact is the goal — I can be useful. Reach out with a brief description of your project and we'll determine the best approach together.