Stories are are investigations of consciousness. They come from the most mysterious parts of our imagination. After a lifetime of experiencing unnatural solidarity with fictional characters, I believe that they are wounds and questions in ourselves who are seeking compassion, interest, attention and resolution.

The metafictive part of my work shows itself in self-referential phrases and (for video) lots of eye contact with the audience. My belief that I am created is central to my humanity; likewise, I believe that metafictive devices help an audience connect with the humanity of a fictional character. I witnessed this in a number of children's shows, tv documentaries and metafictive stories like "The Office." I wanted to adapt this method for long-form dramas. 

In my work, the characters want to connect not just with each other, but with you. They might interact with the camera, the narrator, and whoever else is involved in delivering their story. I like to use a “host” character who the audience can identify as being real, and then demonstrate an empathetic relationship between the host character and the other characters in the story. This makes the characters’ emotional stakes present and real for the audience. 

Like with life, stories consistently undermine any attempt we make to generalize them into a consistent structure or ultimate meaning. It's just as they begin to take on a pattern that they ultimately shift again, changed by our very perception of what they are, and our assertion that we might understand them. Stories are playful. Stories are frightening. Stories can frustrate, tickle, motivate, or demoralize. Perhaps most mysterious of all, the same story seen twice can do two different things, and therein show us something in ourselves.

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