This paper aims to discover a creative outcome in storytelling by making three sequential film experiments to compose short stories with film diaries. Drawing from my professional background as a filmmaker and writer, I study and practice both verbal and visual literacy through concept writing with text in pre-production, followed by practice in game-mode improvisation with chamber-size film repertoire talents during all phrase of film-making as a means to articulate sonic and visual expression. Text serves as a blueprint for sound and image creation. The assumption of The game-mode improvisation arises from my practice in several precursors’ improvisation method for time-based media such as Film director Mike Leigh’s “Performance-Center Mode”, Federico Godfrid’s director-actor collaboration “Journey” during the pre-production rehearsal research on film site. This process lies in constantly seeking unique perspectives to subjects of interest. The compound forms of literature in moving images, animated sequences, soundscape and text are fundamental for telling stories. All the performances contribute to the composition under a situation, the rules of game, my job is to film my perspective by digital recording devices. The model of “filmed diaries” that the filmmakers Jones Mekas, and Robert Frank create in a mix of fiction and documentary back in 1960s inspires the recorded footage. The purpose is to tenderly observe the human behave and tell stories with an understanding of human’s sufferings. I would observe, re-construct and edit those improvised film diaries employing the composition techniques of cyclic time onto cinematic storytelling. The narrative form of those film dairies would therefore create meanings and manipulate emotions during the production and post-production. New technology brings new aesthetics. As a result, I am able to explore something like notating the short story with sound and imagery. The abstraction once belonged to music, but now to the visual, to the trans media form of literature.