About

I’m Thijs Bazelmans. I’ve spent fourteen years in Los Angeles post-production, most of them in the editor’s chair. I’ve cut 30+ scripted television movies for Fox, Hulu, Netflix, Lifetime, and Tubi. I cut Killing Faith (theatrical release, Guy Pearce and Bill Pullman) and led post on Sir Tony, a feature documentary on Anthony Hopkins. Today I’m Head of Post Production at an LA production company, where my team delivers 50+ productions a year.

They say the edit is the final rewrite. For fourteen years, I’ve been the last writer these films ever got.

The edit bay is where stories face the truth. No pitch, no prose, no cast attachment can save a scene that wasn’t built right. By the time it reaches me, it’s too late to rebuild it. Fourteen years of watching structure hold or give, one film at a time, on screens where the mistakes had already been paid for.

Tale Spinning is what I learned.

The problem with most story structure methods?

They give you containers, not criteria. They tell you “put the inciting incident on page 10” without explaining why it goes there or what makes it actually work. They’re paint-by-numbers systems that treat stories like assembly lines.

I built Tale Spinning because I needed something better: a method that explains the principles behind structure, not just the positions. Something that works across genres and mediums. Something you can actually think with, not just follow.

Tale Spinning is built on a simple insight

Plot and character arc aren’t separate. Moral transformation is the structure. When you understand that, outlining stops feeling like guesswork.

This method grew out of my own need for clarity. I’ve taken apart hundreds of films and stories to see not just how they work, but why they work. Tale Spinning is the system that resulted.

If you want storytelling that’s clearer, more satisfying, and actually fun to work with, you’re in the right place.

Ready to dig in? Start here.