I just wanted to speak on a few things for a moment that I find interesting. Just some thoughts, opinions.
As a writer I've heard criticisms such as "The dialogue seems stilted" as I've heard other writers get the same critique. It's understandable; however, I think it's interesting because often times in real life, all of our dialogue, speaking, and language in general seems stilted. I didn't think about this until recently when I was having a conversation with someone and it hit me that "I'm sure if we wrote this real life conversation down verbatim it would be referred to as 'stilted'." It's like when a real life event is written down and someone reads it to say "Eh, it doesn't seem realistic. This would never happen." The same goes for when you write dialogue that's word for word a conversation that had taken place and someone says the same thing "Not realistic. No one would ever say that."
It's interesting what our minds perceive as realistic when it comes to reading and writing versus the actual realism of everyday life.
Another thing I wanted to hit on is art critiques I've seen. I've spent time on these Facebook pages where comic book writers and artists meet and whatnot. A lot of times an artist will post a drawing piece of a character and then the comments section is filled with people telling them what they need to fix. I understand your peers giving you advise, I do; but some of them struck me as odd. I've seen on several occasions someone post art of a character clearly NOT HUMAN, whether they're alien, mutant, or some other super-powered being and they get critiqued on the anatomy. I've seen people say "You need to study anatomy. They don't look realistic." The image is met with several different variations of this criticism and I often feel I'm the only one looking at the art piece with common sense, thinking "It's not human. It's completely made up. Of course it doesn't look realistic; it's an alien from another world with three arms." But because the shoulders and hips aren't set as an average person, these GOOD artists are told (and sometimes quite harshly I might add) that what they're doing is wrong and what they're imagination says is wrong. If a character is of a race that doesn't exist in reality, who are people to say if they look wrong?
Imagination doesn't have an anatomy.
The last thing I wanted to talk about is money. First of all, I grew up with a passion for creating; it's something I always wanted and always did, creating things. It's in my blood. I think about it more than anything else and I'm finally getting to do so for a living (it's a slow start but it's a START). Second, I understand completely the want and need to be paid for your art. Sure, I post stories and other things on here but of course I have a book out I'd love people to buy as well as more projects coming. So, yes, I get wanting to be paid for your work. HOWEVER... With that being said, I've never thought about getting into writing (comics, screenplays, books, whatnot) or various art projects for money. Most of my ideas, I've often been told, are too weird or unsellable, not franchises or merchandisable, what have you. I love my ideas, of course. I create things because I get an idea and, no matter how zany or even how boring it seems to other people, I want to see it done. I've spoken before about doing it for you, the artist.
Anyway, on the same Comic Book Writers & Artists pages on Facebook that I talked about in the paragraph above, something I'd seen quite a bit (haven't been on there in some time, but I'm assuming it's the same as it was for the while I was checking it out) was money talk. Again, I understand wanting to be compensated for hard work. I get it. But something I was seeing actually all too often were artists were spending more time talking about rights and money than they were art, be it the process, the love, the thought, the passion, ideas, etc etc. It probably doesn't bother you all like it bothers me, but when I'm trying to connect with other creators, I can't think of anything more of a killjoy than jumping into a discussion of money. There are some out there who love to talk about these things; who live and breathe art as I do and so many others like us. But then there are some who are great at what they do (writing, drawing, etc) who are more interested in what art can do for them instead of vice versa. Ask not what art can do for you but what you can do for art. Most of us get into a creative field not only because of the love of it but because they want to make a difference and leave a mark. Others are just using a God-given talent to leave a mark (albeit temporarily) on their wallets. When you speak more on rights and money than you do the Arts (and its variants) than you cross over from being an artist to a businessman/woman. Imagine the difference between a financier or producer and a perfomer or artist. It's like different dog owners: Is it your best friend and part of the family or are you more interested in having the papers on your purebred to enter it in the next show for the chance for "Best in Show"? When you have a baby, you wait and nurture pregnancy before you get your bundle of joy - you don't get it upon conception, so why should it always be expected of another labor of love such as art? If you really love your art (not just USE a gift for such) than the money will come; but some people are more interested in the briefly filled pockets of the Right Now than they are in the happiness and longevity through patience.
If you're only getting into a creative world simply and truly for the money, you're not an artist; you're just someone using your talents for a job, not a career, not passion, not need, but a job like any other. No different from a bagboy at the grocery store, could be the best bagger ever - everything's packed tightly, nothing's smashed, even walks it out to your car, and probably gets Employee of the Month - but it's not their passion, not what they live and breathe, it's just using those talents for a paycheck. Money in, money out. Make a difference. Leave a mark. A real artist is permanent, not temporary. It's inside you, it's YOU, not just something you CAN do.
I know some people don't agree and that's fine, we're all entitled to our opinion.
Me, personally? I'd rather live for something I love which is why I enjoy my struggles as a writer more than I enjoyed my steady paycheck as a factory worker.
Monday, June 27, 2016
Wednesday, June 22, 2016
Dream Sequences
I found awhile back that I really enjoy writing dream sequences. I have friends who don't care for them and definitely don't care for stories that turn out to be all a dream. One of the things I found in writing them, and one of the reasons I've fallen for writing them so much, is that it helped me grow visually as a writer. For the longest time I felt I was good with dialogue and story setup but always felt my visuals needed work. As I've stated in past posts I tend to draw more inspiration as a writer from other mediums such as film. When I sit down to read a book, screenplay, or comic, I tend to be able to turn off the writer's brain and just immerse myself in it and enjoy while often times when I'm watching (a good film) I tend to see something very small in it and think "I'd like to write something the way that Looks". Writing a dream sequence is what got me started in a better direction for visual writing. Knowing it was a dream, it allowed me to free up any thoughts I would have of "Yeah, but would that really happen? Does that make sense?" So I took off boundaries knowing what I was writing and got to go nuts; warping the characters' world around them, twisting conventional visuals, and more. It's like a writer's retreat on a page as well as it is like working out through words. Branching off from writing dream or nightmare sequences, my visual storytelling in the rest of the work got better. I was able to describe things more poetically just as I had done in the nonsensical dreamscapes which was far out even for a make believe story. I'm NOT saying ONLY WRITE DREAM SEQUENCES - I'm saying, if you're having an issue with visual storytelling, start off with some dream sequences and just let it all out, do what you will. Once you see what you can do with that, apply it to the regular world in your story. It worked for me anyway.
I've actually had some interesting things come about with this sci-fi book I'm working on because of dream sequences. In the book, our lead has three or four dreams throughout; all different but strange nonetheless. When I wrote the first draft, I had them in honestly because they were cool odd little scenes. HOWEVER, recently, as I'm going back through the rewrites and fleshing them out, I had stopped for the night and was going to sleep. Something hit me like a bucket of water: what they all individually meant to the character. What I initially wrote because they "sounded cool" meant more than even I, the creator, knew. I emailed my publisher immediately - to which I'm sure she thought I was nuts lol. But they all pointed out something about her (the lead) that's important that, as I said, even I didn't catch. So different things come out of dream sequences.
You can even start writing one just to write one and then stretch it out into its own little fantasy world. Or you can use them as I did, as a visual training ground.
Push whimsy, start writing and just go crazy on the page like it was abstract art. Ignore any realism and just write what you see in your head. If you're not going to use it in a story or have no interest in said sequences or scenes, just do it for a writer's workout. The further you push yourself in such a direction, the easier it will be for you to do your average visuals that you'd more than likely be using in a story.
I've actually had some interesting things come about with this sci-fi book I'm working on because of dream sequences. In the book, our lead has three or four dreams throughout; all different but strange nonetheless. When I wrote the first draft, I had them in honestly because they were cool odd little scenes. HOWEVER, recently, as I'm going back through the rewrites and fleshing them out, I had stopped for the night and was going to sleep. Something hit me like a bucket of water: what they all individually meant to the character. What I initially wrote because they "sounded cool" meant more than even I, the creator, knew. I emailed my publisher immediately - to which I'm sure she thought I was nuts lol. But they all pointed out something about her (the lead) that's important that, as I said, even I didn't catch. So different things come out of dream sequences.
You can even start writing one just to write one and then stretch it out into its own little fantasy world. Or you can use them as I did, as a visual training ground.
Push whimsy, start writing and just go crazy on the page like it was abstract art. Ignore any realism and just write what you see in your head. If you're not going to use it in a story or have no interest in said sequences or scenes, just do it for a writer's workout. The further you push yourself in such a direction, the easier it will be for you to do your average visuals that you'd more than likely be using in a story.
Wednesday, June 15, 2016
Today
Today's a pretty busy one as planned.
On the schedule is work on 2 screenplays, each with co-writing friends of mine, dialogue for Tourniquet, fleshing out on my sci-fi book, and some editing on the horror anthology written by my wife and I.
I wrote a piece on one of the screenplays and currently working on the other. When that's done I'll be working on Tourniquet so I can get that dialogue to Dennis. Then the horror anthology, just going to edit some of the stories, nothing major. Then I'll spend the rest of the day working on my book in between housework. I love THIS kind of busy.
Both screenplays are in the beginning stages, one further ahead than the other, both way different.
The horror anthology hasn't really been touched in some time as both my wife and I have been pretty busy.
Tourniquet has some exciting stuff going on! You should be seeing Dennis & I's world soon! I'm also still planning on getting to the book version of our creation in July (HOPING).
The sci-fi book is advancing wonderfully. I wanna say I've hit around the half-way mark. Everything is growing within.
Hope you all have a productive day!
On the schedule is work on 2 screenplays, each with co-writing friends of mine, dialogue for Tourniquet, fleshing out on my sci-fi book, and some editing on the horror anthology written by my wife and I.
I wrote a piece on one of the screenplays and currently working on the other. When that's done I'll be working on Tourniquet so I can get that dialogue to Dennis. Then the horror anthology, just going to edit some of the stories, nothing major. Then I'll spend the rest of the day working on my book in between housework. I love THIS kind of busy.
Both screenplays are in the beginning stages, one further ahead than the other, both way different.
The horror anthology hasn't really been touched in some time as both my wife and I have been pretty busy.
Tourniquet has some exciting stuff going on! You should be seeing Dennis & I's world soon! I'm also still planning on getting to the book version of our creation in July (HOPING).
The sci-fi book is advancing wonderfully. I wanna say I've hit around the half-way mark. Everything is growing within.
Hope you all have a productive day!
Thursday, June 9, 2016
When Writing Comics
I've written a lot of comic book scripts and have only had one actually made though we're still awaiting release and all. Back in the day, I used to draw comics with my friend Shane Horton. We never wrote scripts; we just came up with stuff and started drawing. My art never seemed to get any better (as to say, I couldn't draw what was in my head) and I was a kid without patience so I ended up stopping drawing (something I regret wholeheartedly) and I focused on writing. Of course, being impatient and often bullheaded, I didn't research on how exactly they're written; I just started writing. As it turns out, for the most part, I was doing it correctly. Then again, as I found out later, there really are no rules and while almost always structured the same, every writer writes differently.
*Side note-- I found this with other mediums as well. I'd hear about the rules of screenwriting but when I would read a bunch of scripts, I'd find that different writers had their own thing.
The basics to how I write comics is this:
Page Number
Panel Number: Your action.
(Indention) Character/Sound FX/Caption (Whichever you choose): Dialogue.
Repeat
The way I write comics is a bit different than that of, say, Alan Moore, who is known for writing mass amounts of detail as he knows every bit of what he wants per panel. Now, someday I may write one like that but, for me, it would have to be a special project. I love art, I looove art, and in the way I do these, I tend to leave room for the artists to interpret the work and also do more, giving them leeway. I keep my panels simple just to give the artist an idea of what's going on. I like partnerships. I'm big on having a creative partner and giving credit where credit is due. I don't like the idea of having 'hired hands'. So if I write a script and an artist is interested, I'd like for them to put their personal stamp on it.
Example:
Panel 3: Superhero is flying off when Large Monster grabs his/her cape.
Now, it looks simple, but a good artist will take it and run with it. They can add in facial expressions, body movements, etc. If they draw it exactly as says, that's fine too, I suppose; but I always hope that they can see it as something bigger than that. As I said, I love the idea of a creative partner in the process and not a hired hand.
Something I've learned from working with my partner/brother-in-art Dennis Magnant: Giving plenty of room but also be quick to think of more. For Tourniquet there have been a couple of times in which I wrote a three page scene. In my head, it's how it flowed. Dennis sends me ONE page that said the exact same thing. It wasn't cluttered or too much, he just managed to tell the scene in one page when my mind saw it in three. He was apologetic and I told him there was no sorry necessary; I simply didn't think of it that way. I've learned that, giving that much room, it's almost like I'm a screenwriter and he, as the artist, is the director, rewriting scenes as need be. For some, this may seem like a bit much, but nothing changes at all, he just happened to tell the scene in a sleeker, more streamlined fashion and less clunkier than I had envisioned it (unbeknownst to me). In this case, we had then had two extra pages so I wrote to that.
I always allow the artist more space to flex. Often times my scripts become a bit too wordy. Sometimes I'll cut it down but often times that dialogue, no matter how long, seems just right for the scene. In this case, my simple and sometimes very few panels per page comes in handy as you can always put, say, a monologue as its own panel. For the short comic script "Goodbyes" (you all can find on here if you haven't already read it), it's loaded with dialogue - BUT the art is so simple and not much going on, it'd be easy to fill most of the page with the various dialogue balloons and thought clouds. Some of my shorts, like the sci-fi "Bad Wiring" (also on here) is 8 pages, but an artist may come along and be able to tell the story in 5 pages. Stuff like this doesn't bother me at all as long as the story gets told. The same can be said across the board with anything I (or you) write. My one-shot on here "Gunslinger's Remorse" is like 15 pages. It could be fleshed out More with more detail, and since it's a western, there could be extra pages of landscape. If it's a one shot shorter than let's say 20 pages, I'm open to the artist just adding some of their art after the story. Story's done, throw in some extra showing what else you do, that's cool. I feel the same for writers actually; the story's done and you have a little something extra for the reader, throw it in.
I tend to leave out details unless they're necessary; certain colors, hairstyles, etc. If I have a specific art style in mind I'll put the notes right in the beginning of the script before Page 1 starts; you'll see I did this with "Gunslinger's Remorse". That's not limiting, I don't believe, because even if I say I'd like it to be B&W and sketchy, it still gives the artist plenty of room.
Storywise, it depends on what the project is. "Justice Roll" (just like the others, it's on here) is a one-shot while at the same time a series proposal. I didn't want to have him be the main focus of the issue, telling it through someone else's eyes (much like The Road Warrior) as I tell the brief origin and also get into the superhero action. It doesn't end with a cliffhanger but ends that family's (our actual leads) story. I spoke on this before, but if I was able to get Justice Roll picked up, the next issue (and actual first in the series) would focus on him. "Two-Fisted Youngins" (also on here) was originally meant as a miniseries so it ends with more to come. It starts with the young brothers in the south being hellions, not thinking of their actions, but by the end of the issue they realize they need to clean it up. If I continue with it, I could finish out the miniseries OR I could do like TV does and take the characters through more dramatic situations.
A lot of times, I really enjoy puzzle pieces - just seeing one little piece of a potentially larger picture. In "Goodbyes" and "Bad Wiring" and even "Gunslinger's Remorse" I don't go into the full background or even the future after these events. My thoughts on this is simple; that's not what it's about. In "Goodbyes" we don't really NEED to know this couple's beginnings or continuing to understand what is going on in the short. I know so many people who NEED origins, they NEED to know WHY. I enjoy mystery a lot. I like seeing a situation for what it is without having an urge to ask "But why is it like this today?" If it leaves me wanting more, that's GOOD.
Example of this: Wolverine used to be my favorite comic book character. I loved the mystery that surrounded him. You only learned about him personally in pieces, which was wonderful. The moment they decided to actually give him a solid set in stone origin, it killed it for me. I suppose it's the same complaint I have with movie trailers today, quit showing me everything, leave some mystery. I know it's not the same but the feeling remains.
In "Bad Wiring" it's the same. It's a situation and just a PEEK into a larger world. Why does everyone have TVs for heads? Why is the Cable Co. in control of everything, controlling the city as tyrants? I don't care. It's the situation I care about. I don't want to know how it came to be; I just want to enjoy the story.
Just like ALL writing, write what you want; what interests YOU. A lot of my comic scripts probably wouldn't make much money and probably couldn't be merchandised, BUT I wanted to write those stories that were in my head. They interested me and so I wrote them. Remember, if you like something then more than likely others do as well. So if you have a strange little idea for a comic book but you have the thought of "Yeah, but it's not like *insert popular and well selling comic title here*..." who cares? Remember EVERY idea started off with that. Every idea started off without a market. It's not like superheroes, superhero teams, horror, zombies, drama, etc etc comic book genres were just ALWAYS around.
So here's an example of a comic script page on the fly:
Page 1
Panel 1: Chris writes at his computer.
Panel 2: A large spider crawls up on the desk next to his hand.
Panel 3: Close-up - His face in shock.
Panel 4: Chris is looking down at the spider.
Spider: Hey, you stepped on me earlier!
Chris: Sorry, dude, I didn't see you.
Panel 5: The spider is leaving.
Spider: Yeah, well next time pay attention where you're going.
Panel 6: The spider's gone and Chris is scratching his head in confusion.
Again, everybody writes differently. This is the basics of how I write comics.
Have a wonderful day, everyone!
*Side note-- I found this with other mediums as well. I'd hear about the rules of screenwriting but when I would read a bunch of scripts, I'd find that different writers had their own thing.
The basics to how I write comics is this:
Page Number
Panel Number: Your action.
(Indention) Character/Sound FX/Caption (Whichever you choose): Dialogue.
Repeat
The way I write comics is a bit different than that of, say, Alan Moore, who is known for writing mass amounts of detail as he knows every bit of what he wants per panel. Now, someday I may write one like that but, for me, it would have to be a special project. I love art, I looove art, and in the way I do these, I tend to leave room for the artists to interpret the work and also do more, giving them leeway. I keep my panels simple just to give the artist an idea of what's going on. I like partnerships. I'm big on having a creative partner and giving credit where credit is due. I don't like the idea of having 'hired hands'. So if I write a script and an artist is interested, I'd like for them to put their personal stamp on it.
Example:
Panel 3: Superhero is flying off when Large Monster grabs his/her cape.
Now, it looks simple, but a good artist will take it and run with it. They can add in facial expressions, body movements, etc. If they draw it exactly as says, that's fine too, I suppose; but I always hope that they can see it as something bigger than that. As I said, I love the idea of a creative partner in the process and not a hired hand.
Something I've learned from working with my partner/brother-in-art Dennis Magnant: Giving plenty of room but also be quick to think of more. For Tourniquet there have been a couple of times in which I wrote a three page scene. In my head, it's how it flowed. Dennis sends me ONE page that said the exact same thing. It wasn't cluttered or too much, he just managed to tell the scene in one page when my mind saw it in three. He was apologetic and I told him there was no sorry necessary; I simply didn't think of it that way. I've learned that, giving that much room, it's almost like I'm a screenwriter and he, as the artist, is the director, rewriting scenes as need be. For some, this may seem like a bit much, but nothing changes at all, he just happened to tell the scene in a sleeker, more streamlined fashion and less clunkier than I had envisioned it (unbeknownst to me). In this case, we had then had two extra pages so I wrote to that.
I always allow the artist more space to flex. Often times my scripts become a bit too wordy. Sometimes I'll cut it down but often times that dialogue, no matter how long, seems just right for the scene. In this case, my simple and sometimes very few panels per page comes in handy as you can always put, say, a monologue as its own panel. For the short comic script "Goodbyes" (you all can find on here if you haven't already read it), it's loaded with dialogue - BUT the art is so simple and not much going on, it'd be easy to fill most of the page with the various dialogue balloons and thought clouds. Some of my shorts, like the sci-fi "Bad Wiring" (also on here) is 8 pages, but an artist may come along and be able to tell the story in 5 pages. Stuff like this doesn't bother me at all as long as the story gets told. The same can be said across the board with anything I (or you) write. My one-shot on here "Gunslinger's Remorse" is like 15 pages. It could be fleshed out More with more detail, and since it's a western, there could be extra pages of landscape. If it's a one shot shorter than let's say 20 pages, I'm open to the artist just adding some of their art after the story. Story's done, throw in some extra showing what else you do, that's cool. I feel the same for writers actually; the story's done and you have a little something extra for the reader, throw it in.
I tend to leave out details unless they're necessary; certain colors, hairstyles, etc. If I have a specific art style in mind I'll put the notes right in the beginning of the script before Page 1 starts; you'll see I did this with "Gunslinger's Remorse". That's not limiting, I don't believe, because even if I say I'd like it to be B&W and sketchy, it still gives the artist plenty of room.
Storywise, it depends on what the project is. "Justice Roll" (just like the others, it's on here) is a one-shot while at the same time a series proposal. I didn't want to have him be the main focus of the issue, telling it through someone else's eyes (much like The Road Warrior) as I tell the brief origin and also get into the superhero action. It doesn't end with a cliffhanger but ends that family's (our actual leads) story. I spoke on this before, but if I was able to get Justice Roll picked up, the next issue (and actual first in the series) would focus on him. "Two-Fisted Youngins" (also on here) was originally meant as a miniseries so it ends with more to come. It starts with the young brothers in the south being hellions, not thinking of their actions, but by the end of the issue they realize they need to clean it up. If I continue with it, I could finish out the miniseries OR I could do like TV does and take the characters through more dramatic situations.
A lot of times, I really enjoy puzzle pieces - just seeing one little piece of a potentially larger picture. In "Goodbyes" and "Bad Wiring" and even "Gunslinger's Remorse" I don't go into the full background or even the future after these events. My thoughts on this is simple; that's not what it's about. In "Goodbyes" we don't really NEED to know this couple's beginnings or continuing to understand what is going on in the short. I know so many people who NEED origins, they NEED to know WHY. I enjoy mystery a lot. I like seeing a situation for what it is without having an urge to ask "But why is it like this today?" If it leaves me wanting more, that's GOOD.
Example of this: Wolverine used to be my favorite comic book character. I loved the mystery that surrounded him. You only learned about him personally in pieces, which was wonderful. The moment they decided to actually give him a solid set in stone origin, it killed it for me. I suppose it's the same complaint I have with movie trailers today, quit showing me everything, leave some mystery. I know it's not the same but the feeling remains.
In "Bad Wiring" it's the same. It's a situation and just a PEEK into a larger world. Why does everyone have TVs for heads? Why is the Cable Co. in control of everything, controlling the city as tyrants? I don't care. It's the situation I care about. I don't want to know how it came to be; I just want to enjoy the story.
Just like ALL writing, write what you want; what interests YOU. A lot of my comic scripts probably wouldn't make much money and probably couldn't be merchandised, BUT I wanted to write those stories that were in my head. They interested me and so I wrote them. Remember, if you like something then more than likely others do as well. So if you have a strange little idea for a comic book but you have the thought of "Yeah, but it's not like *insert popular and well selling comic title here*..." who cares? Remember EVERY idea started off with that. Every idea started off without a market. It's not like superheroes, superhero teams, horror, zombies, drama, etc etc comic book genres were just ALWAYS around.
So here's an example of a comic script page on the fly:
Page 1
Panel 1: Chris writes at his computer.
Panel 2: A large spider crawls up on the desk next to his hand.
Panel 3: Close-up - His face in shock.
Panel 4: Chris is looking down at the spider.
Spider: Hey, you stepped on me earlier!
Chris: Sorry, dude, I didn't see you.
Panel 5: The spider is leaving.
Spider: Yeah, well next time pay attention where you're going.
Panel 6: The spider's gone and Chris is scratching his head in confusion.
Again, everybody writes differently. This is the basics of how I write comics.
Have a wonderful day, everyone!
Tuesday, June 7, 2016
A Good Publisher is like having a Good Co-Writer
While still awaiting replies from publishers for my horror anthology "Sharp Items & Bad Intentions" I'm working hard on my first sci-fi novel "Last Rites of the Capacitance" and I'm absolutely loving it. The deeper I dig into it and the more I rewrite and reformat the more I fall in love with it. It's becoming way more than what the initial draft was.
Being a music fan, I've always heard musicians talk about how having a good producer is like having another member of the band. Well, I can honestly say, having a good publisher is like having a really good co-writer. Christy Case and myself are really working hard to give you all a fantastic piece of science fiction. Her notes are very much like I have a co-writer who knows exactly what I'm looking for in such a story.
I have notes on a second sci-fi book tailored to Supposed Crimes and will be writing an outline soon. It's not a sequel to Last Rites and actually, despite being science fiction, it's a completely different kind of book. I have more sci-fi books in me but they don't really match up with the LGBT things that Supposed Crimes usually does. Who knows, if the first and hopefully second book sell well then maybe I'll get to have them published through them.
There are so many things I have in store and I hope you all check them out when they're released. The poetry book is still available. There are still stories and comic scripts on here. Other things are on the rise.
Being a music fan, I've always heard musicians talk about how having a good producer is like having another member of the band. Well, I can honestly say, having a good publisher is like having a really good co-writer. Christy Case and myself are really working hard to give you all a fantastic piece of science fiction. Her notes are very much like I have a co-writer who knows exactly what I'm looking for in such a story.
I have notes on a second sci-fi book tailored to Supposed Crimes and will be writing an outline soon. It's not a sequel to Last Rites and actually, despite being science fiction, it's a completely different kind of book. I have more sci-fi books in me but they don't really match up with the LGBT things that Supposed Crimes usually does. Who knows, if the first and hopefully second book sell well then maybe I'll get to have them published through them.
There are so many things I have in store and I hope you all check them out when they're released. The poetry book is still available. There are still stories and comic scripts on here. Other things are on the rise.
Saturday, June 4, 2016
Just a quick update
Been working my fingers to the bone on the sci-fi novel. I sent my first ten pages to my publisher. She's liking the direction it's going and gave me notes on them. I'm very proud of it thus far. It's pretty different for me and I'm loving that.
I spent last week submitting a screenplay and my horror anthology and, though I've gotten some "No"s and some "We don't accept unsolicited material"s, I'll be waiting for replies for those for a bit. The nature of the business: hurry up and wait.
I'm more than likely going to have Last Rites of the Capacitance done by July and in that month I'll more than likely start on the Tourniquet book. Right now I've just got my head in this book. I'm about a fourth of the way through the rewrites right now and I should get halfway done by Monday.
I've got a lot in my head and I'm determined to get to all of it. I don't know what book or project will be my 'big break' but it'll be interesting to see which one does it.
I spent last week submitting a screenplay and my horror anthology and, though I've gotten some "No"s and some "We don't accept unsolicited material"s, I'll be waiting for replies for those for a bit. The nature of the business: hurry up and wait.
I'm more than likely going to have Last Rites of the Capacitance done by July and in that month I'll more than likely start on the Tourniquet book. Right now I've just got my head in this book. I'm about a fourth of the way through the rewrites right now and I should get halfway done by Monday.
I've got a lot in my head and I'm determined to get to all of it. I don't know what book or project will be my 'big break' but it'll be interesting to see which one does it.
Wednesday, June 1, 2016
Gunslinger's Remorse - A comic book script
I love one-shots. There's so much you can do with a single issue. It tells a story and often times leaves readers wanting more. One of the things I like about one-shots is they can be just about any length. To me, when they're about this length (15 pages) it gives the artist plenty of room if he or she wants to throw in extra pages of art, like a guitarist taking an extended solo live showing other skills. I know that's probably a weird way of looking at it.
This story, Gunslinger's Remorse, started off as an idea for a short film I wanted to do but, like most of my projects, I never got to. Once I was realizing I wasn't going to be able to film it as I saw it, I wrote it as a comic. That's usually what I do if I know I'm not going to be able to do a film project or get to it as a book, I'll write it as a comic; and having the script, I know someday I'll find an artist interested in it enough to supply the artwork. So here's my comic script for a short, Gunslinger's Remorse; a dry and serious western of a man's haunted life. I hope you enjoy.
Gunslinger’s Remorse
A one-shot by Christopher Michael Carter
Art notes: Preferably black and white. I want it to feel old & cold. Sketchy even.
Page 1
Panel 1: Black background with falling bullets (the kind that belong to a six shooter) over it.
Panel 2: A countryside hill. It’s cold and dreary outside.
Panel 3: An empty trail in the woods.
Panel 4: Horse’s legs walking through the trail.
Panel 5: A cemetery.
Page 2
Panel 1: Whole page, the gunslinger on his horse. With title and credits on this page.
Page 3
Panel 1: The graveyard at the bottom of the panel with a man on his horse strolling in the background.
Panel 2: A grave next to a tree.
Panel 3: The man off of his horse, to the side of it having just gotten off of it.
Panel 4: The lone grave in the foreground with the man, facing the grave (and us for that matter) in the background.
Panel 5: Close-up of his hip with the gun and holster.
Page 4
Panel 1: His hand sweeping leaves and dirt from atop of the tombstone.
Panel 2: He’s crouched down in front of the grave.
Gunslinger: It’s been awhile since I’ve been here…
Panel 3: The gunslinger’s taking his hat off.
Gunslinger: Life’s been grim, dear brother. I know I can’t act like I didn’t have a hand in that.
Page 5
Panel 1: Him digging in the grave.
Gunslinger: Some nights I think about coming up here and digging you out…
Panel 2: The coffin opened with the skeleton inside.
Panel 3: The gunslinger with a large potato sack of his brother’s bones over his shoulder.
Gunslinger: …And taking you with me.
Panel 4: Back to reality, the gunslinger’s face with his mouth scrunched a little.
Gunslinger: But I know that’s crazy.
Panel 5: His hand on the RIP.
Gunslinger: Wouldn’t change anything.
Page 6
Panel 1: Close-up of his hand reaching for his gun.
Panel 2: Close-up of his hands with the gun.
Panel 3: He’s still crouching down and his hand has six bullets and he’s dropping them on the grave.
Panel 4: Close-up of the falling bullets.
Panel 5: Far away shot of the man, the grave, and the horse.
Gunslinger: Things got out of hand.
Page 7
Panel 1: The gunslinger’s weathered face, looking somber.
Gunslinger: You end up in a gun fight with your own flesh and blood, you’re not exactly thinking straight, you know?
Panel 2: Two men, the gunslinger and his brother, facing off. Hazy flashback look to the panel.
Page 8
Panel 1: His head is hung with his hand on the back of his head.
Gunslinger: I know I’ve messed things up.
Panel 2: The two brothers as young boys together.
Panel 3: His hand holding an old photo that’s the same pic of them as boys.
Gunslinger: This isn’t what we had planned for a life.
Page 9
Panel 1: The gunslinger in the foreground (just partially in panel with his back towards us) while his brother lies dead in the arms of his love, she’s crouched down holding him.
Panel 2: The gunslinger’s face still and emotionless.
Panel 3: Her tear soaked face looking up angered.
Page 10
Panel 1: The outside of a chapel.
Panel 2: The woman now in a wedding dress holding flowers.
Gunslinger: Betsy’s remarried now.
Panel 3: The woman, almost in the same shape and stance as previous panel only she’s in a different dress and holding a baby.
Gunslinger: She’s got a little boy she’s named after you.
Panel 4: The little boy dressed like a cowboy.
Page 11
Panel 1: The gunslinger knocking on a door.
Panel 2: Her face with the door slightly open. She’s looking up at him with tears in her eyes.
Gunslinger: She still won’t talk to me.
Panel 3: He’s backed up quite a bit and she’s out on the porch pointing a shotgun at him.
Gunslinger: Won’t forgive me…
Page 12
Panel 1: Back to him talking to the grave.
Gunslinger: …I don’t blame her.
Panel 2: Graveside services for the dead brother. Everyone’s surrounding the grave.
Panel 3: The widow in all black looking down.
Panel 4: The casket deep in the cold ground, seen from above.
Gunslinger: I killed the man she loved.
Page 13
Panel 1: The gunslinger drunk sitting at a bar/saloon.
Panel 2: The gunslinger appearing to be stumbling down the road with a bottle of whiskey in hand.
Panel 3: The bullets falling down over the black background.
Panel 4: The gunslinger’s lying in bed crying, looking up.
Gunslinger: I don’t sleep well anymore.
Page 14
Panel 1: The gunslinger curled up in the fetal position in his bed.
Panel 2: Close-up of his eye bloodshot and strained with a pistol firing in the black center.
Panel 3: He’s on his knees at the grave with his hands covering his face.
Panel 4: His hand pressing against the front of the tombstone.
Gunslinger: I need your forgiveness.
Page 15
Panel 1: Bullets on the ground on the grave.
Panel 2: The gunslinger’s leaning down and the spirit of his brother is placing his hand on the tormented man’s shoulder. (The only thing we see of the ghost is the hand on the shoulder, so we won’t be seeing the full specter or anything.)
Panel 3: The gunslinger’s face looking up, weathered, but relieved, with tears.
Gunslinger: Thank you.
Panel 4: The gunslinger leaves on his horse in the background with his brother’s gravestone in the foreground.
Gunslinger’s Remorse
A one-shot by Christopher Michael Carter
Art notes: Preferably black and white. I want it to feel old & cold. Sketchy even.
Page 1
Panel 1: Black background with falling bullets (the kind that belong to a six shooter) over it.
Panel 2: A countryside hill. It’s cold and dreary outside.
Panel 3: An empty trail in the woods.
Panel 4: Horse’s legs walking through the trail.
Panel 5: A cemetery.
Page 2
Panel 1: Whole page, the gunslinger on his horse. With title and credits on this page.
Page 3
Panel 1: The graveyard at the bottom of the panel with a man on his horse strolling in the background.
Panel 2: A grave next to a tree.
Panel 3: The man off of his horse, to the side of it having just gotten off of it.
Panel 4: The lone grave in the foreground with the man, facing the grave (and us for that matter) in the background.
Panel 5: Close-up of his hip with the gun and holster.
Page 4
Panel 1: His hand sweeping leaves and dirt from atop of the tombstone.
Panel 2: He’s crouched down in front of the grave.
Gunslinger: It’s been awhile since I’ve been here…
Panel 3: The gunslinger’s taking his hat off.
Gunslinger: Life’s been grim, dear brother. I know I can’t act like I didn’t have a hand in that.
Page 5
Panel 1: Him digging in the grave.
Gunslinger: Some nights I think about coming up here and digging you out…
Panel 2: The coffin opened with the skeleton inside.
Panel 3: The gunslinger with a large potato sack of his brother’s bones over his shoulder.
Gunslinger: …And taking you with me.
Panel 4: Back to reality, the gunslinger’s face with his mouth scrunched a little.
Gunslinger: But I know that’s crazy.
Panel 5: His hand on the RIP.
Gunslinger: Wouldn’t change anything.
Page 6
Panel 1: Close-up of his hand reaching for his gun.
Panel 2: Close-up of his hands with the gun.
Panel 3: He’s still crouching down and his hand has six bullets and he’s dropping them on the grave.
Panel 4: Close-up of the falling bullets.
Panel 5: Far away shot of the man, the grave, and the horse.
Gunslinger: Things got out of hand.
Page 7
Panel 1: The gunslinger’s weathered face, looking somber.
Gunslinger: You end up in a gun fight with your own flesh and blood, you’re not exactly thinking straight, you know?
Panel 2: Two men, the gunslinger and his brother, facing off. Hazy flashback look to the panel.
Page 8
Panel 1: His head is hung with his hand on the back of his head.
Gunslinger: I know I’ve messed things up.
Panel 2: The two brothers as young boys together.
Panel 3: His hand holding an old photo that’s the same pic of them as boys.
Gunslinger: This isn’t what we had planned for a life.
Page 9
Panel 1: The gunslinger in the foreground (just partially in panel with his back towards us) while his brother lies dead in the arms of his love, she’s crouched down holding him.
Panel 2: The gunslinger’s face still and emotionless.
Panel 3: Her tear soaked face looking up angered.
Page 10
Panel 1: The outside of a chapel.
Panel 2: The woman now in a wedding dress holding flowers.
Gunslinger: Betsy’s remarried now.
Panel 3: The woman, almost in the same shape and stance as previous panel only she’s in a different dress and holding a baby.
Gunslinger: She’s got a little boy she’s named after you.
Panel 4: The little boy dressed like a cowboy.
Page 11
Panel 1: The gunslinger knocking on a door.
Panel 2: Her face with the door slightly open. She’s looking up at him with tears in her eyes.
Gunslinger: She still won’t talk to me.
Panel 3: He’s backed up quite a bit and she’s out on the porch pointing a shotgun at him.
Gunslinger: Won’t forgive me…
Page 12
Panel 1: Back to him talking to the grave.
Gunslinger: …I don’t blame her.
Panel 2: Graveside services for the dead brother. Everyone’s surrounding the grave.
Panel 3: The widow in all black looking down.
Panel 4: The casket deep in the cold ground, seen from above.
Gunslinger: I killed the man she loved.
Page 13
Panel 1: The gunslinger drunk sitting at a bar/saloon.
Panel 2: The gunslinger appearing to be stumbling down the road with a bottle of whiskey in hand.
Panel 3: The bullets falling down over the black background.
Panel 4: The gunslinger’s lying in bed crying, looking up.
Gunslinger: I don’t sleep well anymore.
Page 14
Panel 1: The gunslinger curled up in the fetal position in his bed.
Panel 2: Close-up of his eye bloodshot and strained with a pistol firing in the black center.
Panel 3: He’s on his knees at the grave with his hands covering his face.
Panel 4: His hand pressing against the front of the tombstone.
Gunslinger: I need your forgiveness.
Page 15
Panel 1: Bullets on the ground on the grave.
Panel 2: The gunslinger’s leaning down and the spirit of his brother is placing his hand on the tormented man’s shoulder. (The only thing we see of the ghost is the hand on the shoulder, so we won’t be seeing the full specter or anything.)
Panel 3: The gunslinger’s face looking up, weathered, but relieved, with tears.
Gunslinger: Thank you.
Panel 4: The gunslinger leaves on his horse in the background with his brother’s gravestone in the foreground.
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