Work with me / Rewrites & Development

I know when a story
isn’t working.

I’m a Swedish-Polish screenwriter, journalist and author based in Stockholm. I work with producers and production companies on character-driven screenplay rewrites and development — structure, psychology, subtext, dialogue, narrative clarity and tonal consistency.

Discuss a project Selected work

What I do

Three ways in, depending on how far the script has travelled.

Development / Diagnostic

A close read and a written analysis of what is actually wrong: structure, dramatic engine, stakes, character motivation, pacing, tone. Symptoms separated from causes, with concrete recommendations rather than notes that restate the problem.

Rewrite

Hands-on rewriting and restructuring of an existing screenplay. The distinctive parts of the material are preserved; the mechanics underneath are rebuilt so the story carries its own weight. Scene by scene where needed, from the spine where necessary.

Polish

For scripts where the structure is sound. Dialogue, scene work, pacing, character consistency, subtext and tonal refinement – the pass that makes a solid draft read like a film.

Stockholm · Sweden

Background

Screenwriter, published author and poet
BA in Literature · Film & Cultural Studies
Professional degree in Social Work
Nearly a decade in journalism

Why me / the unlikely CV

I may have accidentally spent twenty years training to become a screenwriter.

Literature

A BA in literature: language, form, structure, voice, genre and subtext. More usefully, years spent working out what good writing actually does, line by line, and why the sentence next to it fails.

Journalism

Nearly a decade of research, precision, editing and deadlines. The discipline of finding the actual story buried inside a mountain of material, then cutting everything that is merely interesting.

III

Child welfare

Twelve years of work built around competing versions of reality. What happened. What someone says happened. What they leave out. What they cannot admit. What sits underneath the stated conflict. That is character. That is subtext. That is drama.

Film & screenwriting

An obscene amount of film, and the work of translating all of the above into cinematic structure: scenes that turn, characters who want something, causality that holds, momentum that does not depend on the audience being patient.

I know what makes a story work. And, more usefully, I know when it doesn’t.

Which is why rewrites are where I’m most dangerous.

How I think about a rewrite

A rewrite is not an opportunity to replace someone else’s voice with mine, and it is not a matter of decorating the pages with better lines. The first job is to find the dramatic engine and understand what the screenplay is trying to be — not what it resembles, not what the market says it should be.

Then I locate where intention and execution diverge, and intervene precisely. I preserve what is alive and remove what obscures it. I strengthen structure and causality, deepen character psychology and contradiction, sharpen subtext, tighten dialogue, and calibrate tone until the thing the writer was reaching for is actually on the page.

I’m particularly suited to psychologically driven drama, thriller, gothic material, period pieces, satire and dark comedy.

Recognition

Top 3 – Slamdance Screenwriting Competition, 2025

for Burn Her Slowly

Best Feature Screenplay – Berlin Screenwriting Festival, 2026