Story development and script consulting specialising in stories with intentional impact.
The most powerful stories about the world we're living in don't announce themselves as climate stories. They're about a family, a place, a loss, a decision that can't be undone. They're about what people hold onto and what they let go of. The climate — or the broader texture of the world changing around us — is the water the characters are swimming in, not the lesson they're learning.
I work as a script editor and story developer with writers, directors, and production companies — in feature film, television drama, and documentary — helping find the human core of stories that have something urgent to say.
Climate narratives aren't just about the climate, in the most efficient climate narratives climate isn't mentioned at all! It's about building the stories of tomorrow, that impact the audiences in a positive way, and help us to build communities, societies and practices that are needed for a more sustainable world. It's about a vision. And hope. Because apathy is our biggest enemy right now.
"If climate isn't in your story, it's science fiction."
Climate Narratives
Development support for projects where ecological or environmental themes are central — or where they should be, without announcing themselves. Drawing on training with Climate Spring and the Torino Film Lab, I help writers and producers move past the familiar failures: the doom spiral, the redemption arc that comes too easily, the thesis that crowds out the characters. And towards stories that give audiences something to carry with them.
Story Editing
Structural and narrative development across features, TV series, and documentaries. I work at the level of premise, character, and dramatic architecture — the decisions that shape everything else.
Script Development
Longer-term collaboration from early treatment through to later drafts, for projects that need a thinking partner over time rather than a single notes session. I work with both independent productions and commercial television companies.
My relationship to the surrounding world and our responsibility to protect it was shaped by my time in living in Northern Finland for two years. Working on massive Hollywood productions and seeing the wastefulness dictated by the busy and ever-changing production plans higlighted for me how much there is to do in the field of sustainability in film.
On hope
Most people already know things are serious. What they struggle to feel is that it matters what they do — that their choices, and the choices of the people around them, add up to something. That's not an information problem. It's an imagination problem. And imagination is exactly what stories are for.
The narratives that move people aren't the ones that make them feel guilty or afraid. They're the ones that make them feel seen, and connected, and capable. Stories that show — concretely, through specific human lives — what solidarity looks like in practice. What it feels like to make a choice that matters. What kind of world becomes possible when people act as if it does.
This is what I think of as moral ambition in storytelling: not stories that tell audiences what to think, but stories that expand what audiences believe is possible. Blueprints, not lectures. Maps, not destinations.
That's the territory I find most urgent, and most interesting to work in.
Who this is for
Writers, directors, and production companies working in development — across independent film, commercial television, and documentary. I work in English with clients internationally.
"The stories we tell shape the future we build."
The stories we tell shape the future we build.
