DREAMENGINE - Key Persons
Job Titles:
- Writer / Producer of the Back to the Future Trilogy
Job Titles:
- Director
- Founder
- Owner
- Consultant or Writer
- Founder and Story Ninja
- Producer and Head of Story for the Production Company Skylark Vision
David's first deal was for two novels, Ocean Boulevard (2004) and Jumping Ships (2006). Both books received film deals in Hollywood, sparking an interest for David in the differences in story dynamics between books and films. He began a 10-year research programme, generating a ground-breaking new theory of narrative wrapped in a Ph.D., and five books on the subject including his best seller: The Story Book (2010) and his career-defining masterwork: The Primary Colours of Story (2020).
In addition to his ten published works, David is the story consultant or writer on more than 50 books, film and television productions. Authors he has helped include Kerri Cuevas (Deadly Kisses, 2013); Kris Mole (Gatecrashing Europe, 2014); Steve Askham's Life's a Peach! (2021) and the novelisation of Marc Zammit's hit movie, Homeless Ashes (Amazon Prime, 2020).
On the movie side, David is a film producer and head of story for the production company Skylark Vision, with a current slate of around ten films and television series in production including the upcoming feature, TinMan (Patrick Ryder's homage to classic Spielberg eighties family adventures), Craig Hynde's puzzle movie, Witch (2024), Unravel (2025); Sitting Under the Chestnut Tree (2025) starring R.J. Mitte (Breaking Bad; Hannah Montana) and his biggest budget blockbuster to date - The Fashion Queen, with some huge names we are not yet allowed to announce. (Watch this space!)
David's most recent broadcast work includes the multi-award winning feature film, Homeless Ashes (Amazon Prime, 2019) starring Lew Temple (Once Upon a time in Hollywood) and Maria Howell (The Hunger Games; The Color Purple...); The Oscar-qualified White Gold (2020); and the Modern Horror: Hosts (Amazon Prime, 2020).
David's competition wins include Jason Wingard's Pavement (The Uncertain Kingdom, 2020); Ray Panthaki's Ernie (The Uncertain Kingdom, 2020), Vanessa Perdriau's The Widow's Last (Enter The Pitch, 2017); Carolyn Goodyear's IMDb Script-to-Screen Winner HomeWreckers (2020); and of course, David's own Mere Mortals, winner of the Euroscript Film Story Competition. He has also written and produced his own film from scratch, Bella (2021) - a story without conflict, dialogue or a 'bad guy' - which you can follow through the entire development process and then watch in the members' area.
David received a Ph.D in Narratology for his original research into narrative theory in 2017.
David is a founder/owner/director of DreamEngine Media (publishing, training and production) and a producer and head of Story for Skylark Vision Productions.
Monday Monday sits between Rosamund Pilcher's The Shell Seekers and Kate Chopin's The Awakening, and tells the story of a Northern girl who becomes deeply traumatised by the unexplained disappearance of her mother. The reverberations make her vulnerable in ways she cannot predict, understand or control.
Vonnie's story starts one Monday in February, when, aged 10, her world changes in ways that will burden her for decades to come.
Tina is a Yorkshire woman who personifies the spirit of Queen Cartimadua. She has firm principles based on the philosophy that a person has to put energy into life if they are going to get anything out of life.
Tina is a Yorkshire woman who personifies the spirit of Queen Cartimadua. She has firm principles based on the philosophy that a person has to put energy into life if they are going to get anything out of life.
Her positivity is infectious and she is both inspiring and active in helping people to lead a happy life.
She is particularly interested in helping older people to continue to feel happy and fulfilled. Tina uses the power of storytelling, the richness of history, and the place of women central to authentic stories to inspire others to be true to themselves in the world today.
In a world where history is sacrificed on the altar of political correctness, Tina questions the need to change those stories, but rather learn from them.