For years, I've fought this nagging question that haunts me during late-night writing sessions: Could I be more productive if I worked on multiple plays simultaneously? I tried in the past but failed. 

The draft is done! White Fang now lives outside my head, traveling through the minds of two writing groups, a local Artistic Director, a dramaturge, and a Gwich'in cultural consultant.

Between bursts of creative writing comes what we in the theater world call "The Hustle"—the relentless business side of being a playwright.

The first commandment of staged readings: Pack. The. House. This isn't about ego. An empty room creates a vacuum that sucks energy from even the most talented actors.

As I work on my second draft of the adaptation of Jack London’s White Fang, the world I've created begins to take shape in exciting new ways.

The breakthrough came during my morning walk – Zippy, our AI dog, evolved from the very beginning. As a veterinarian, I realized this play is fundamentally about watching a dog learn to be a dog.

Every play needs a through line—a guiding force that keeps the narrative focused and grounded. As I continue working on the adaptation of White Fang, I find this guiding element essential.

From the very beginning, I only ever wanted one thing: to be a veterinarian. My love for animals was all-consuming, even as a child growing up in a New York City apartment where pets weren’t exactly welcome.