STORYTELLING
ACCELERATED BY
AI
The profile
Overview
From Shanghai skyscrapers to Newfoundland shores: a storyteller in transformation
I left corporate law in Shanghai for the one thing that kept pulling me back: the human story. Today, as a Master's student in Applied Literary Arts at Memorial University, I work with Newfoundland's folklore, hosting poetry workshops in rural coastal towns and designing AI-driven characters for virtual reality. Different mediums, one mission: to find the story, and bring it to life.
I listen, then I build.
Approach
A story-first workflow
at AI speed
Scroll any feed today and you'll meet two audiences: one that can't stop watching AI content, and one that rejects anything machine-touched on sight. Both reactions point to the same truth: AI is powerful at generating ideas, and weak at delivering them. I work the other way around. Instead of letting AI author the story, I use it to accelerate a story-first workflow, compressing weeks of pre-production into days without ever handing the narrative to a machine.
In Practice
Every piece begins the same way, with a brief, a character, or a question worth answering. That part stays human: I shape the narrative through writing, research, and scripting, then pressure-test it against audience, psychology, and brand fit. Only once the story is locked does AI enter the pipeline: Claude for long-form drafting, Gemini Nano Banana for visual language, and ElevenLabs for voice and performance. Everything is assembled, graded, and paced in DaVinci Resolve Studio. A few of those stories follow.
Anatomy of a Shot
The short video above is that approach in action. An imagined aerial crash, a downed pilot washing ashore at dusk: the kind of sequence that would traditionally demand location shoots, stunts, or weeks of 3D modeling. None of it was filmed. The script set the emotional pacing first; customized AI pipelines then rendered the character, the aircraft, and the moody lighting that hold the world together, while ElevenLabs gave the pilot his voice and DaVinci Resolve handled the final cut and grade. Start to finish, about four days. That’s roughly the rhythm these pieces are made on.
Thinking in Frames
The video above is a romantic music video. The hard part wasn’t any single shot, it was how one shot moved into the next. AI tends to lose continuity between cuts, and in a love song even small breaks read as wrong. So I approached it like animation: every gaze, gesture, and beat blocked out before anything rendered. AI video is closer to traditional animation than prompt engineering, and animation is familiar territory.
Let's begin.
Open to part-time and contract work now, and full-time agency & studio roles upon graduation.
