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On the danger of over-rewriting
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


Writing: in search of the “Little Black Dress”
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


Intention, Coherence, Detail: the three pillars of storytelling
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


Being a script doctor: insight, listening, commitment
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


"Kill Your Darlings": Cutting What You Love (When You Must)
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
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