The groove in writing is the pulse that draws us into the story, makes us believe it, and carries us along. Its the heartbeat. It is at once what makes the narrative alive, and what forms its very foundation. Its components are manifold. The most obvious is

Can you really write a screenplay or a novel faster with AI ?

Jacques once said, “Talent doesn’t exist." Sorry, Mr Brel, I don’t agree. Every day I see the stark difference between those who work on their writing - screenplays, plays and/or novels - and who have talent, and those who work just as hard but don’t. Hard work alone does not create talent. Conversely, talent without learning, work, curiosity and openness of mind is nothing more than an unfulfilled promise, an untapped possibility. So why do I keep reading that talent is a my

We all know the first draft is only a starting point. Rewriting isn’t just inevitable, it’s essential. (That said, if the first draft is too flimsy, it’ll collapse under the weight of revisions, and all that’ll be left is a shapeless heap of bits and pieces. And no rewrite will ever save it.) Among the tools of rewriting: the scissors. We cut what sticks out, what weighs things down, what repeats or doesn’t belong ("kill your darlings"). We make space so the story can b

In fashion, the little black dress is a timeless classic, and a much trickier style exercise than it looks. When it’s done right, it feels simple but never simplistic. It holds together through subtle precision: the cut, the fabric, the finishing touches. Nothing sticks out. Everything falls perfectly into place. It feels obvious, unique, effortless, as if it had always existed. But for that to happen, every element must be in perfect balance. If one thing is even slightly of

You’ve received a reading report or a script coverage. Three pages. Or ten. Insightful comments. A clear diagnosis. And yet something doesn’t sit right. You read. You highlight. You hesitate. You don’t necessarily agree, but there’s no one to discuss it with. Where do you start? What really matters? You find yourself a bit lost, a bit unsure. As if you’ve been pushed into a dark, shady corner. And now you feel the urge to escape. My experience as a film editor taught me how f

A screenplay is not an end in itself but a beginning. It is not the film, but its promise. A screenplay is above all a tool for transmitting an intent. It is not written solely with the future viewer in mind, but also to guide an entire team towards the realisation of a vision. The Screenplay as a Blueprint When writing, we sometimes tend to imagine a viewer already seated in the cinema, absorbed in our story. But between these words on the page and the images on the s

When I first started out, the term story consultant felt the most appropriate. So I named my company 90pages script consulting, in English, because I also work internationally. Then I discovered that in France, where I live, the most commonly used term was script doctor. And yet, in Canada and the United States, a script doctor is someone who steps in to rewrite or “save” a script (often without receiving any credit). So I settled on a bilingual approach: script consultant fo

These points of support serve everyone: the writer, the team (producers, director, DoP, editor, actors, production designer, etc.), and ultimately, the audience. Intention: the beating heart of the story This isn’t about the writer’s personal intention, but the story’s own intent. It’s the point of view, the driving force behind the narrative. Intention is essential: - for the writer, especially during rewrites, to sharpen and strengthen the story - for the team: producer, di

Script doctoring is not a method. There is no universal checklist, no strict rules, only different approaches, sensibilities, and paths that lead to a single goal: improving the script by offering expertise, perspective, and sensitivity. Rhythm, tension, silence, pacing, glances, points of view, the authenticity of dialogue, sound… I come from an editing background, often called the "third writing" of a film. I understand how a film evolves through its making, and how the

When you’re writing, there’s always that moment when a scene, a line of dialogue, or an idea feels brilliant, moving. And sometimes, it truly is. But that’s not the point. The real question is: does it belong to the story? Because you always have to come back to the fundamentals: What are we telling? And how are we telling it? “Kill your darlings” is a slightly brutal but essential reminder: we don’t write just to stack up beautiful scenes. We write to tell a story. And

You are the one who drives. You are the one tasked with getting your clients to their destination, where they have chosen to arrive. In the

When writing, the first draft is often a moment of freedom where we let go, ideas flow, and the story takes shape. We may go in all directio

It is often believed that writing a screenplay follows a funnel-like process starting with a broad idea and gradually refining it into detai

We often hear that there are only 3, 6, 20, or 36 possible plots. In other words, all stories are merely variations on the same themes.

Most script editors are or were screenwriters. Not me. My background is in film editing, and this has profoundly shaped my approach to

Creating a world means making the unreal feel real. To achieve this, two key elements are crucial:

It’s Not About Writing a Perfect Script, but a honed one Because the perfect script does not exist. It cannot exist, as it is not an end