ABOUT

Neon Slate is, outwardly, an independent publication. Inwardly, it is something far more personal—a meeting place between cinema and the written word, where storytelling becomes both craft and spiritual pursuit.
Every novel I write begins with a journey: my own search for the way home. The stories emerge from that wandering, guided by the cinematic language that has shaped how I see the world. Images, light, movement, and sound flow together with language to create something greater than the page itself—an attempt to make life feel a little more luminous, a little more meaningful, beyond the simple miracle of breath given by God.
From the quiet romance of the projector beam and the hum of sound through a darkened room, to the unpredictable rises and falls of life itself, every winding road—marked by pathos, wonder, and hard-earned wisdom—has drawn me deeper into the calling of the storyteller.
Art, in many ways, has been everything in my life: healer, dealer, and sometimes even a demanding mistress. It is this lifelong relationship that gave rise to Neon Slate.
The publication stands as both reflection and compass, shaped by the genres that have stirred my imagination: Film Noir, Horror, Dark Comedy, Spaghetti Westerns, Art House, Cyberpunk, Neo-Noir, and beyond. It is equally indebted to the cinematic movements that revolutionized how stories are told—German Expressionism, Surrealism, Classic Hollywood, New Hollywood, Underground cinema, Giallo, and Exploitation—each one a lesson in atmosphere, form, and fearless expression.
From the written word, the lineage is just as rich: pulp literature, gothic novels, graphic storytelling, and the enduring influence of writers such as Ernest Hemingway, H. P. Lovecraft, Raymond Chandler, and Cormac McCarthy. Add to that the strange allure of true crime and conspiracy, and it all converges into a single impulse—the urge to go out into the world and tell stories. Because great stories matter. They illuminate the dark corners of who we are. They challenge us, haunt us, and sometimes even redeem us.
Great stories are worth fighting for.
So let’s tell them—together.
ORIGINS
Humble beginnings and nostalgic fondness. Understanding where you came from is the best way to understand who you are. Your values, codes and progress to evolve. Here is some of my early work that explains my artistic motives, intentions and style.
The Ache
A university project. The goal was to achieve a visual sense of transformation that could not go longer than ninety seconds. Never seeing eye to eye with my professor I chose to entertain myself and tell the story of an individual who may or may not suffer from schizophrenia. The complexity of their life or projected madness. The dark psychological foundation was a great way to implement classic horror techniques and build suspense.
The Last House on Redgrave
Three witches manipulate the mind of a serial killer to help them restore their business and save their sister from a gang. All goes well until the serial killer wakes up with amnesia and must discover who he really is. A backyard film with a complex plot made by high schoolers. The Last House on Redgrave takes direct influence from 1970s exploitation horror, as seen in the grind house style trailer. As much as I took influence with that era in film me and my friends were also mimicking the creativity of those low budget films since we too were forced to be creative out of necessity.
"The screen is a magic medium. It has such power that it can retain interest as it conveys emotions and moods that no other art form can hope to tackle.
- Stanley Kubrick -