CASE STUDY
– Kpop Demon Hunters -
Head of Story, Writing, & Co-Direction
Beginning in 2022, I led story development on KPOP Demon Hunters as Head of Story, breaking story with the directors (Maggie & Chris), writing and storyboarding key scenes to set tone and vision for the rest of story, then building and managing a story team to put our first screenings up.
Hired to core writing team; Breaking Story. Sample
Wrote and boarded tentpole sequences to define tone, character, and action, visual storytelling style and comedic rhythm. Used for direction and to secure early buy‑in from studio and partners.
Comprehensive outline to launch story team. Sample
Added to directors calendar for co-direction (Casting, editorial, art, production, etc).
Collaborated with directors, editorial, and music partners to shape signature cinematic language of show.
Led building of story dept & scheduling system.
Hired, led, and coached a story team new to features. Sample
Oversaw creation of groundwork story reels the final film was built on. *Samples available on special request.
Key Contributions
Selected Work
NOTE: These are scenes I wrote/re-wrote, as well as storyboarded after breaking story in the writers room.
MEET THE GIRLS / PLANE FIGHT (2022)
Story to Final | Writing/Story Pitch | Script Pages
This was the first scene I was tasked to write and storyboard to establish the tone of our characters, world, and narrative through meeting the girls, the demons, our music-video action, and how they balance all of this with their pop-star lives & personas.
MEET UGLY (2022)
Story to Final | Writing/Story Pitch
This was a scene I wrote and storyboarded to introduce Jinu and the Saja Boys, while setting up chemistry between Rumi and Jinu to anchor their relationship in a fun way that we could immediately subvert into their rivalry so that we knew there was romantic tension bubbling under the surface.
DERPY TIGER (2022)
Story to Final | Writing/Story Pitch
My goal here was to create an on-screen persona for the Derpy Tiger Helen designed, and write/board it as an intro that would help Maggie & Chris convince the studio to put him in the film as functionally, a way for Rumi and Jinu to exchange messages, but also to make Rumi see Jinu and the demon world itself in a new and disarmingly derpy light.
VOICE-OVER
I do a lot of scratch, but this was the most characters for a single film. Here’s a few snippets of the voices I did for our first screenings before anyone was attached yet.
STORY HANDBOOK
This Story Handbook was a living document I created as a centralized resource of all the lastest story refrence, & direction that came out of writing sessions, executive level meetings, and editiorial/art reviews.
Story Process & Approach
My story work centers on clarity, appeal, investment, and experience, driven by authentic character decisions, cinematic narrative, and solid structure. I lead collaborative rooms that encourage bold pitching, wide exploration, and intentional iteration.
On KPOP Demon Hunters I replaced the “fix everything at once” model with targeted screening goals, which created measurable wins, built consensus, and kept the team focused on our long-term strategy. I prioritized exploration over continuity too early, to surface and maximize the promise of our premise early - an approach that resulted in what Sony called our best first screening.
Screening targets
Screening 1: Explore concept potential; establish character appeal, chemistry, tone, and premise.
Screening 2: Refine chosen discoveries; build continuity, strengthen structure, specify dialogue to casting.
Screening 3+: Shorter cycles for targeted refinements. World-lore & backstory for integrous story support.