/ Why Metafiction?
I'm on a mission to show the world what can happen when characters in stories know they're not real. Why? Because it makes bad stories good, and good stories better.
My head has been filled with stories for as long as I can remember, and my characters always knew that they were in a story. I spent years practicing my craft, trying to disguise my characters' awareness.
When I went to art school to study filmmaking, I realized I couldn't disguise it any longer. It felt unnatural to have my characters avoid looking at the camera; they knew it was there, I knew it was there, so what was the point of pretending otherwise? Through filmmaking, I finally understood my lifelong fascination with metafiction.
My dream is to write metafictive scripts and novels full time by the age of 34, and to open a sunlit studio that produces exclusively metafictive work about the imaginative nature of humanity.
I grew up reading hundreds of books and filling a dozen notebooks a year with ideas and observations. I wrote thousands of stories, most of them terrible and all of them character driven. In 2007 I started Cope Syndrome, my longest running project about a boy with an unnatural curiosity about kidnapping who discovers what and who he is by means of trauma and spiritual healing.
In my thesis year at the Kansas City Art Institute I wrote, directed, produced and acted in my first feature-length film, Delta Phi, about a writer, two characters, and their willingness (and unwillingness) to be in stories.
Writing for me is less like invention and more like observation of an inner imaginative experience, and the longer I watched my characters, the more they started to look back at me. Combining this experience with filmmaking is where my obsession with metafiction really took off.
As a life-long student of the narrative arts, I make things concrete. I love to personify abstract concepts because interacting with a problem is the best way for me to solve it.
While it may seem esoteric from the outside, metafiction is igniting the human connection to the things that we make. Never has this been more relevant than in the coming decade: a time, as we all know, when interfacing is key. I believe that every idea has a voice, and its up to storytellers to help translate those voices; not only through inspiration and feeling, but through the discipline of an organized mind.