I am Ray
Creative director, editor and author
More than fifteen years in production and post-production, much of it making commercials. I help filmmakers and creators make stories work with the time, crew and money they have.
15+ Years
in production and post-production
Commercials
where a story has to land in seconds
My Own Company
a post-production company I run
Author
Story Craft Under Real Limits
In commercials the story has to land in seconds, and the budget is never the excuse.
I run my own post-production company, which is why I care so much about story craft that works under real limits.
I wrote The Story Is the Budget: How to Make Movies People Want to Watch for Filmmakers, YouTubers, Students and anyone with a story to tell. It has 43 short chapters, each ending with questions to test your own script.
This site is where the lessons keep going. Start with the blog or the storytelling FAQ. If you have a project, see how to work with me.
Ideas From the Book I Keep Coming Back To
Fifteen of the 43 chapters, in a few lines each.
- Chapter 1
Nobody Cares About Your Plot
An audience follows people, not events. A story is a person who wants something and the trouble they go through to get it.
Plot vs Story - Chapter 3
The Bomb Under the Table
Show the audience the bomb, then give them the clock. When a story feels slow, check whether goal, stakes or urgency is missing.
How to Write Conflict - Chapter 4
Your Hero Can't Be a Passenger
The stay-home test: if the hero stayed home, would the story fall apart? If not, the hero isn't driving it.
Why Is My Script Boring? - Chapter 6
Why You Root for Jerks Like Tony Stark
Every serious flaw needs a counter: punish it, reveal the heart underneath, or make it fun to watch.
Writing a Flawed Protagonist - Chapter 8
The Lie Your Hero Believes
The want is what the character chases. The need is the truth they have to accept, usually the opposite of the Lie.
Character Arc Explained - Chapter 10
The Villain Thinks He's the Hero
Give your villain a reason that makes sense to them, and if you can, let part of their argument be true.
How to Write a Villain - Chapter 16
Don't Tell Me He's Dangerous. Show Me.
Every claim a story makes about a character is a promise. Ask of each one: where's the proof?
Show, Don't Tell Explained - Chapter 18
Why Some Twists Blow Your Mind and Others Feel Like Cheating
A good twist feels like "I should have seen that coming." The difference is whether the clues were on screen.
How to Write a Plot Twist - Chapter 22
Your Hero Has to Lose Before They Win
The deeper the fall, the bigger the win feels. The strongest low points come from the hero's own flaw.
Three Act Structure Explained - Chapter 23
Why Some Endings Feel Perfect and Others Feel Empty
Satisfying endings settle the outside conflict and the inside one, ideally in the same moment.
How to End a Story - Chapter 28
Nobody Says What They Mean
Subtext is the gap between what's said and what's meant. If both people want the same thing, there's nothing under the words.
How to Write Dialogue - Chapter 39
Why Most Sequels and Remakes Disappoint
A sequel should be possible only because the first film happened. New faces and new places are cosmetic.
Why Do Sequels Fail? - Chapter 40
Write What You Can Shoot
Write a movie you can afford, starting from what you already have: places, people, objects, skills and time.
How to Make a Short Film - Chapter 41
Your First Draft Is Supposed to Be Bad
The films people remember best usually began as drafts and cuts nobody would want to watch.
How to Start a Screenplay - Chapter 42
Can You Sell Your Story in One Breath?
A logline is one sentence: a specific hero, what they want, what stands in the way and why it matters.
How to Sell a Screenplay
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Let's Connect.
The best way to reach me is by email. You can also find me on Instagram and LinkedIn.
ray@rayhanurkabir.com