Story analysis for screenplays and original live acts.
Reader
Certified story analyst specializing in comedy and character study, rooted in relatable human dramatic environments that border the fantastical, interested in implicit criticism, particularly portrayals of family and social dysfunction.
(Click the coverage sample icon to view pdf.)
Coverage Samples
The Deville Strangler (Dark Comedy)
Return To Positano (Romantic Comedy)
Your Audience
About Me
Have you written a screenplay? Do you have an audience? A Reader?
Who are the Readers?
Readers are your first audience.
A reader provides valuable feedback for screenwriters to prompt revisions that connect you with your audience.
Before you submit your script to a Reader or a Producer, ask yourself, “Can I make it better?”
Is there something that you know can be better? Because we sometimes look for validation even when we know what to do.
Receiving notes about what you already know can feel defeating. Take the risk to satisfy yourself. Serve your vision to the best of your ability. How close is your script to your vision? Is it a story?
Your audience is your ultimate buyer—not one person but a group. So the big question is, “Does your audience love your screenplay?”
It’s not about the Reader or the writer. It’s about giving life to a story.
A Reader is not here to tell you what to write, but to reveal what communicates: does it fly, stall, or crash; meander, split, or miss? A Reader asks critical questions to gauge reception according to a matrix of essential elements.
Your script will be proofed through many revisions, just like any product for a market. You benefit once the script feels complete. You benefit ultimately when your audience finds you.
When your script is the best you can do, consider having it read.
Daniel creates short physical theater acts for stage and circus venues. He has a lifetime of experience in front of an audience.
He performed thousands of street shows for an impromptu public, capturing the spirit of the moment by improvising within a structure. His first theatrical monologue was written in oratory and intuitively met the universal story structure. It received “the rare tribute of sustained, thunderous applause from a mixed audience of students and faculty.”
The study of theatrical masks and the gestural language of the body informs his understanding of storytelling. He likes to read classical literature and contemporary short stories.
By nature, he is a deep thinker with a meticulous eye that will hold you to your highest standard.
