This episode highlights some considerations as to whether or not the Microdrama Vertical Series can succeed in the U.S. market? Or will they go the way of the Quibi bird once again?

A continuation as I rewrite a screenplay, "Untitled Action Cop vs Stripper Thief". I continue to use AI not for writing, but as a tool for visualization.Follow along.

Find me at: storyray.com

In this episode I begin the arduous task of rewriting a screenplay, "Untitled Action Cop vs Stripper Thief".

Find me at storyray.com.

After watching the Netflix film The Rip and reading an article where director Joe Carnahan talked about the importance of outlining before writing the screenplay, I arrived at an obvious conclusion.

Outlines can be incredibly helpful. They allow writers to structure complex stories and write efficiently once the blueprint is set.But it also made me consider a not-so-obvious conclusion..I wonder if writers sometimes subconsciously approach stories differently when they know the movie is being made for streaming instead of theatrical release.While watching The Rip, there was a moment where the story felt like it might pivot into something really unexpected. It almost felt like a contained horror scenario with characters trapped in a house and something trying to get inside.I kept hoping the film would lean into that direction.Instead, it felt like the movie stayed very close to its original outline and maybe the streaming environment might have subtly influence how the movie was written.Find me at: storyray.com where you can also book at story consultation Zoom call.

Storytelling isn’t just about what you describe. It’s also about when you describe it.When people encounter a new scene, they don’t process information randomly. Human perception tends to notice certain things first: larger elements, potential threats, and socially or biologically relevant details. Our brains evolved to sort information that way.When a screenplay or prose description works against that natural flow, the reader may have to mentally reconstruct the scene instead of experiencing it. And that small friction can pull a person out of the story.In this short StoryRay episode, writer and educator MJG explores why the order of description matters in writing, and how understanding human perception can make your pages flow more naturally.StoryRay.com breaks down the craft, culture, and deeper meaning behind storytelling.

Prefer to watch episode on Youtube ?I don’t claim to have the definitive answer as to what ‘high concept’ really means. There are as many different definitions as there are people who attempt to explain the somewhat elusive, yet highly sought status of a genuinely easy-to-understand idea. How can it be genuine, if there is no one correct answer or defintiton? It’s one of those things that falls into the category of, ‘ I know it when I see it’ and ‘we can all agree’. In this short post I add my own two cents to the conversation on what it means for a story idea to be ‘high concept’.

If you have a different definition of ‘high concept’ hit me up in the comments. I’m eager to expand my own perspective on the subject.

Find me at: storyray.com

Prefer to watch on Youtube ? Leave us a bit a Gratitude.Have you ever noticed how many more people suddenly seem interested in you after you’re already in a relationship?

You’re the same person you were when you were single.So what changed?

Nothing.And everything.

What you’re witnessing isn’t coincidence. It’s an expression of the Law of Attraction.

When you’re single and looking, it often feels like no one shows up. Everyone is taken. No one fits. The world feels empty of possibility.

Then you finally commit to someone—and suddenly, potential matches appear everywhere.

It feels like a cruel joke.

Why doesn’t the universe simply guide single people toward each other while they’re actually looking? Wouldn’t that make more sense?

It seems illogical.

But it isn’t.

The universe is extremely logical.It just doesn’t respond to words.It responds to vibration.

When you’re in a committed relationship, your inner signal changes. You’re no longer broadcasting “lack.” You’re broadcasting wholeness. You’re relaxed. You’re grounded. You’re complete.

That frequency attracts others who are also complete.

So how do you use this when you’re single?

Instead of pretending you’re in a relationship, actually enter one.

Not with a person.

With your purpose.

Choose something meaningful. It could be your work, school, artistic or creative expression. Something you’d do even if no one paid you. Something you’re drawn back to the way you’d return to a partner.

Fall in love with it.

Make a real commitment.

Give it your time.Your attention.Your care.

When you’re in a genuine relationship with your purpose, your inner state changes. You stop vibrating “I’m lonely.” You begin vibrating love frequency.

You’re no longer waiting.

You’re already engaged.

And once that frequency is established, the universe does what it always does. It does what it must do. It matches frequencies.

Others begin to appear who are also whole.Also grounded.Also complete.

And now, when connection happens, it isn’t born of desperation.

It’s born of balance.

So if you’re single and searching:

First, stop searching. You don’t have time. You’re already in a relationship with your purpose.

Second, treat it like a real relationship. Show up for it. Make time for it.

Third, each day, remember how good it feels to be “taken.” You are fulfilled. You are engaged in something meaningful.

And fourth, don’t be afraid to say it. Let people feel that you’re in love with your life.

Once you’re in that frequency, the universe does what it always does, what it must do.

It sends you others who are also in that frequency and possible good match for you.

There you are lovers, so get out there and get to loving.

StoryRay is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.

One of the most common story notes writers hear is:“Your story needs more conflict.”But what does that actually mean?In this video, I break down why treating conflict as something you can simply add to a story, like salt and pepper seasoning, often leads to dramatically inert stories. Conflict isn’t an ingredient you sprinkle in after the fact. In dramatic writing, conflict is the engine. It has to be baked into the story’s core premise from the very beginning.We’ll talk about:Why “add more conflict” is usually a misleading noteThe difference between dramatic writing and writing that’s merely enjoyable to read.Why many modern movies and shows feel busy but empty.If you’ve ever been told your script “needs more conflict,” this video can help you understand what that note is really pointing to, how to fix the problem at the root instead of patching it on the surface.If you’d like help identifying or strengthening your story’s core conflict before writing an entire script, or fixing a script that that needs more conflict? Sign up for a story consult at https://storyray.com