On American Rackets, the editorial process started with something far from a traditional script. The story was loose, more a collection of ideas, characters, and moments than a clearly defined narrative; so a huge part of the editing process was figuring out what the story actually was before we could even begin refining it.

I broke the entire project down into individual beats; mapped everything out on sticky notes, every scene, every thread, every potential arc. I covered an entire wall to physically see how it could all connect. It became a constant process of rearranging, removing, and rediscovering structure, trying to build something cohesive out of material that didn’t naturally present itself.  Then transfer those ideas from sticky notes to the timeline and decide whether I was onto something, or chasing a dead-end.

Once the shape started to emerge, the focus shifted to pacing and clarity; making sure each section flowed into the next while still maintaining tension and forward momentum. It was less about cutting to a script and more about uncovering the story through the edit, which made the process challenging, but ultimately one of the most rewarding parts of the project.