words

A lifelong overthinker, avid reader, and writer of many things, words are my primary entryway into existence. Too many of them run through my head at any given moment. If you want to know how to reach me, find exactly the right words——I’m a sucker for them every time. For the last decade and some change, words have been my primary means of employment. Here you can check out my writing as well as testimonials from people who have worked with me as a writing consultant.

Fill out this form if you're interested in consultations, or if you'd like to see my medical copywriting portfolio please reach out!

PLAYS

Go to Kirin’s New Play Exchange profile.

WEAK NERVES (3W) Hank Saulless was a master builder, but now he's dead. The three women he left behind—Eileen, his wife; Katya, his bookkeeper; and Hildey, a young woman he met many years ago—are all living in his house. They must reconcile their ideas of him, their ideas of each other, and what it means to be a woman in a man's world.
PROD: Jan 2018 - VanguardRep's ROSETTA STONE series

COUNTER/TOP (3F/3M) This dark comedy takes place in a greasy spoon, run by foul-mouthed matriarch Miss Betty and frequented by regulars like the kindhearted but totally incoherent Brooks. Two pressed and prim professors, Khent and Izzie, stop in for lunch—but they get more than a bad case of heartburn thanks to Liza and Gunner, a pair of teenaged troublemakers. Part raucous societal commentary, part sinister cat-and-mouse tale, Counter/Top forces us to consider what our own upbringings say about us, and to what lengths we’ll go to hide them.
PROD: Aug 2017 - MadLab Theatre July 2015 - Endstation Theatre

CHOPS (8F/3M) In a bizarro Victorian reality, a lot of the men are missing. Marg is the prime suspect. She has a servant, a mansion, a history, and a secret...and the women of the town will tolerate it no longer. CHOPS is a dark comedy of manners about the truths we ignore, the lies we accept, and the love we hate.
PROD: July 2014 - NOLA Project; Aug 2013 - Edinburgh Fringe Festival; Dec 2012 - Matignon High School; Mar 2011- EmStage

TIED TO THE MAST (3W/1M) A man wakes up in a secluded cabin owned by three young sisters who claim they saved his life. And maybe they did. Maybe. A one-act, modern-day reimagining of the Siren myth.
PROD: May 2016 - UCR New Play Festival

FILM

THE SAME OLD LINE (short) Evie wants to be everything to everyone—but she loses herself in the process. This short film tackles identity, relationships, and what it means to be a woman in a world that demands your compliance.
Watch on youtube.

SUBURBAN (full) Mo, a young girl, lives in the perfect suburb. But when she stumbles across a secret hidden in the town square gazebo, Mo is forced to confront the price of perfection and question whether her town deserves the happiness it designed.

DO WHAT YOU GOTTA DO (short) 1 in 5 college females report being sexually assaulted on campus. And if college campuses aren't going to do anything about it, then Addie and Reese will—and tonight is one man's comeuppance.

TELEVISION

AMERICAN WHOAMAN This half-hour comedy explores golden ages of American history, but from the untold (and totally unfounded) perspective of the women behind the scenes. The first season puts us in in the days leading up to the Declaration of Independence. While the Founding Fathers are off in Philly trying to play nice, the Founding Mothers have their hands full battling the witches of Salem who hope to bring the country down before it even begins.

A.S.S.T. (pilot) Beni's just gotten her dream job: personal assistant to a Hollywood celebrity family. Well, a B-list celebrity family. But this dream job might turn out to be a nightmare. A half-hour dramedy.

OTHER

• Medium
• Founder of and contributor to The Adelpheans' blog
• Published on McSweeney's

COLLABORATIVE WORK

• Persephone's Watch - Production at Skirball Cultural Center, LA, Nov 2014 & Dec 2015; developed with VanguardRep
• BIG SIR - Performance/installation at FiveMyles Gallery, Brooklyn, May 2014 and Greene Exhibitions, Los Angeles, June 2014; developed with American Laboratory
• TOUCH ME IN KANSAS - Performance/installation at Soapbox Gallery, Brooklyn, April 2013; developed with American Laboratory
• ROCKPORT PUBLIC LIBRARY - Production in Williamsburg, Brooklyn April 2012; developed with American Laboratory; photos at Vincent Romaniello’s Art Blog
• If (Or When) - Devised with Rescue Agreement; production at CAP21, NYC, June 2013; work-in-progress showing at 440 Studios, NYC, June 2012
• Electric Eden - Devised with Rescue Agreement; production at the Norwood Club, NYC, November 2011





TESTIMONIALS

“Kirin McCrory is truly a play-whisperer. With an effortless honesty, her notes are always based in the existing text. She mines the play for what is there before inquiring what wants to be there or what is missing. In this way, a dramaturgy session with Kirin is almost a conversation with the play itself. She has a real gift, and my work is better because of her!”
— Jiréh Breon Holder, playwright

“Kirin has the exceptional capability of helping with both the technical elements of writing, as well as the aesthetic/stylistic aspects. As a result, she is able to do something extremely rare: unlock and refine a writer’s vision, rather than re-write from her own perspective. ”
— Matthew Kellen Burgos, playwright/director

“I’m very protective about my work and don’t like to share it with many people but I instantly felt comfortable working with Kirin. She’s very calm and honest. I also really like brainstorming with her because she asks clear questions and can follow me along in my jumping all over the place. Most importantly, I really appreciate her unwavering belief in me and in my work. ”
— Xiomara Forbez, PhD student

“Kirin’s helped me develop nearly every script I’ve written in the past decade, and there’s no one I trust more to put eyes on something I’m, in its development, so protective of. Her feedback is always to the point, but never harsh. Thorough without being indulgent. Not once have I felt threatened by a note she has given me, but rather, felt that she always had the script’s best intentions in mind.”
— Joshua Mikel, actor/playwright

“An editor who honors the voice of the writer while energizing the author to activate their language through succinct review is both balm and provocation – and should you be fortunate, Kirin McCrory. Within two sessions I not only received revisions that honed and elevated my narrative, but came away with more sureness and approaches to self-edit and compose stronger methodological writing. Kirin’s ability to craft edits that guide an artist through self-evaluation and thoroughness are career changing.”
— Ebony Blanding, screenwriter/director

“Kirin has a professional and responsible demeanor, is committed to working hard on the behalf of the writer, and has demonstrated profound cultural sensitivity in her work with writers diverse in race, ethnicity, gender expression, sexual orientation, and ability levels.”
— Hillary Jenks, PhD

“a bad bitch with them edits”
— EB, artist

“Kirin McCrory is a phenomenal script analyzer and enhancer. She delves deep into the world of the play and focuses on the story the writer is telling. Her feedback cuts away outlining elements that may distract from theatricality and plot, encouraging the characters to shine through. She truly allowed my work to uncover its authentic voice so that the revision and refining processes were much easier to walk through.”
— Amina S. McIntyre, playwright

“Kirin is one of the most intelligent readers I’ve encountered as a writer. She has a keen eye for detail and the ability to identify patterns within a script or piece of prose that are often invisible to others. Not only does she diagnose problems within a text, but she also provides workable solutions that fit seamlessly into the larger work. I can not recommend her highly enough.”
— Jessica Chiarella, novelist

“Kirin has this ability to cut to the core of your story, pinpointing strengths and weaknesses with precision. I’ve found myself gaining a greater understanding of my work and its potential when working with Kirin.”
— Elford Alley, playwright

“English is not my first language, and Kirin’s editing, sentence-structure, and summarizing has been extremely helpful. She edits my 15-pages papers very fast, which is perfet for my tight deadlines. She is also great with brainstorming. Sometimes, I struggle with knowing what to write because I have too many arguments/ideas in my head—but Kirin is great at helping create outlines and extracting what is in my head which I cannot explain with words.”
— Maïko Le Lay, PhD student

“Kirin is a brilliant reader with a deep understanding of writing and story structure. She has an uncanny ability to not just identify underlying issues in a text, but provide potential solutions that align with an individual writer’s sensibilities. I have never once sent a project to Kirin that did not become stronger thanks to her constructive, comprehensive, and insightful feedback.”
— Sean Dennison, novelist/screenwriter