MEET JAY

I’ve written—and rewritten—dozens of screenplays and pilots for studios, production companies and producers. From drama to sci-fi to animation, I’ve sold or optioned scripts—and personally pitched— projects to HBO, Disney, Paramount, Universal, Netflix, Fox, Peacock, AMC, BET Studios, and others.

My path into writing has been anything but a straight line—more like a scenic detour with a lot of U-turns and the occasional miracle.

Growing up, I spent summers on the same Cape Cod beach as Psycho star Anthony Perkins. Toes in the sand, a dog-eared Stephen King novel in hand, I dropped into the worlds of books and movies where anything was possible.

At 21, fresh out of college in the Berkshires, I packed my car and drove 2,970 miles to L.A. First stop: Universal Studios’ HR office. Two days later, a friendly HR rep called. “We’re making a movie in the Berkshires. Up for a ride? The production manager wants to meet you.”

So... I turned around and drove 2,970 miles back home. Three days later, sleepless and bleary-eyed, I interviewed—and somehow convinced the producers movies were more than a job—they were my future. An hour later, I was shuttling lights around a film set directed by visual effects pioneer Douglas Trumbull, and produced by Spielberg, Zemeckis, and Kathleen Kennedy.

Just like that, I’d stepped into the world where the magic gets made.

For over a decade, I had a system: six months traveling the country working on films, then six months writing. As a writer’s or director’s assistant, I absorbed everything I could on set—then brought those lessons back to the page.

One blistery winter, I dragged my West Coast friends to Cape Cod and directed my first feature. This low budget, scrappy mystery premiered at the prestigious AFI International Film Festival and led to my first writing assignment: adapting an incredible novel for an Oscar-winning cinematographer.

That became a turning point. Soon I was gaining mentors and connecting with people who would become lifelong friends—people whose generosity helped take my craft even further.

Here’s what I’ve learned since that fateful, cross-country round trip: writing is rewriting. We gather tools as we go. And no matter your age or experience—if you can dream it, you can write it.

  • 1. Do I need a screenplay to start?

    Nope! We start wherever you are.

    2. What level writers do you work with?

    All levels of writers (advanced, intermediate and beginner) looking to take their story to the next level.

    3. Is it possible that my project is either too small or too big?

    Absolutely not. From short films to limited TV series to features with franchise potential, my one-on-one story sessions provide you with tangible methods to tell your story.  

    4. How important is a logline, pitch deck or other support material?

    A logline is your true “first impression,” so you want it to knock people’s socks off. Since most meetings and pitches today (2025) have moved to Zoom, a powerful pitch deck shows producers, agents and executives the world of your story—and the grasp you have on telling it. 

    5. How long does it take to develop a deck, pitch or other support material?

    Decks may take around 5 days. Pitches a bit longer, depending on how much development has been done prior to meeting.

    6. Who has been your story scout?
    I’ve had many amazing scouts throughout my career. But I’ve learned the most from Charlie Baker, a writer and film sales executive who created “Dr. Screenplay,” a method that’s changed the way I write—and rewrite. Since using Charlie’s method, I have a freedom in storytelling that I always dreamed of. When his book comes out, I’ll be promoting it here! 

    If you can dream it, you can write it. I’ll show you how!