Clifton Wilder Koons II

- Screenwriter, Playwright, Poet -

I have a Bachelor of Arts degree in English: Creative Writing / Scriptwriting with Magna Cum Laude Academic University Honors, and I'm currently working towards obtaining a Master of Fine Arts degree in Screenwriting for Feature Film and Television through Western State Colorado University.

I have extensive experience in writing, editing, revising, and proofreading over a dozen different mediums from the creative to the more formal, including screenplays, script coverage, script advertisements (TV and radio), drama (plays), poetry, fiction, reviews (mostly for films and plays), news and feature articles (AP style), social media, professional emails, proposals, memos, etc. I’ve had two of my original poems published in two different literary magazines (Currents and The Ampersand), and I’ve had my original play, Buh, Bye Rupert, produced at the Winnie Moore Auditorium in St. Louis, MO. I’ve even aided Lionsgate with a few film treatments for Saw 8, the next installment of the popular horror franchise, Saw. I also have experience in management, human resources, and marketing for The Galaxy Radio. Plus, in the recent past, I’ve worked as the Production Assistant for 495 Productions, who kick started the famous reality TV show, Jersey Shore, with the upcoming MTV Pilot, The Ex and The Why.





"Clearly a gifted writer, with a relaxed and engrossing style" and "a fluency that is unusual in my experience." - Professor Andy Greenhalgh (Regent's American College in London)


New Full-Length Screenplay, PEOPLE MADE OF PAINT, Now for Sale!




Email: for Logline, Treatment, or Full Script
From the Puppet to the Puppeteer:

A Writer's Transformation

College English Courses Taken:

College Drama Courses Taken:
College Screenwriting
Courses Taken:


     Before I began pursuing an English degree at Webster University, I focused primarily on
the surface of creative writing. At the time, the plot seemed like the most important element of a
story, but during my college career at Webster, I learned to examine literature on a much deeper
level. I soon shed the mindset of the average reader, who allows the writer to control his or her
emotions like a puppeteer pulling their strings. Literature courses like British Writers, U.S.
Writers, and The Short Story taught me the importance of character development and underlying
themes as I analyzed numerous works of fiction and poetry. Eventually, I obtained an
uncontrollable hunger for more complex literature that explored the seemingly endless faults and
insecurities of human nature. Now I can’t help myself from analyzing nearly every form of
written work that I can get my hands on. It’s like a healthy habit that I never want to shake.
Whether it’s a piece of literature, social media, or even a sticky note, I often find myself
examining its underlying meaning or picking out each and every grammar mistake as if each
misspelled word and misplaced comma were to magically levitate off the page.

     As my college career continued, I realized that one could examine a creative work on a
much deeper level than simply figuring out its many themes. I discovered how writers were able
to manipulate a simple phrase or sentence to spark a specific emotional response within the
reader. For example, in my Poetry Writing course, I learned about slant rhymes, alliteration, etc.
As a result, my own writing improved drastically as I utilized my knowledge of writing poetry to
my fiction and essay writing. I soon fell in love with the art of playwriting due to the challenge
of telling a whole story primarily through dialogue. Not only did such playwrights as Samuel
Beckett and Yasmina Reza use dialogue to inform the reader of each individual character’s

personality and background, but these writers were literally writing lines of dialogue in the
mindset of their characters. Lower-class dead beats spoke in broken English while the upper-
class business men talked with a much clearer and intellectual vernacular. Thus, I found myself
examining the characters of my own creative work as well as the work of other writers’ with an
even closer eye.

     While attending several English courses within each semester, I read a minimum of two
works a week, and in result, my reading speed quickly increased as a book or play that once took
me several hours to complete now only takes me about two hours. As I simultaneously read
successful literature and continued working on my own creative writing, I gained the ability to
read like a writer rather than simply like a student, searching only for the hidden meanings. I’m
now able to see the writer’s intentions, his or her desired emotional response, and how the writer
chose to implement such feelings with the written word. For example, in my most recent
literature course, Tragic Themes, I was asked to write an essay, analyzing one or more plays read
for the class. Rather than simply writing about a specific theme that two of the works shared like
I have in the past, I actually wound up comparing how the two play playwrights, Euripides and
Neil LaBute, managed to present Medea, a woman that kills her own children, as the victim
rather than the villain in Medea and Medea Redux. In other words, my time spent studying
English literature at Webster University not only taught me how to read like a writer, but it also
caused me to instantly examine and analyze all forms of writing I come in contact with on a daily
basis. Now it’s simply second nature, and I’ve officially become the writer pulling the strings
and manipulating my readers’ emotional response.

**Pilot Script Available for Purchase**