Chris Mancini is a Writer, Director, Comedian, Author, Producer, Podcaster, and Parent, which also makes him very tired. He has also written, directed and produced on everything from soap operas to parenting books to horror films, which are all more closely related than you think.
His feature films include ASYLUM from Lionsgate Films and EAR BUDS: THE PODCASTING DOCUMENTARY from Comedy Dynamics. His award-winning short films include SKINS, HITCLOWN, and RAINBOW’S END. Chris has screened films and spoken at various prestigious festivals and conventions including Slamdance and Comic-Con in San Diego.
A strong advocate of podcasting, Chris was the co-founder of the COMEDY FILM NERDS podcast, and is currently working on is scripted horror anthology podcast CONVERSATIONS FROM THE ABYSS. Chris was also one of the founders of the Los Angeles Podcast Festival.
What’s the last thing you read or watched you thought was incredibly well-written?
The two extremes would be Avengers: Endgame, because it was the culmination of years of storytelling, and Paddleton because it was a small two actor character piece that just sucked you in. The relationship and the drama of the two leads and their interaction was incredibly engaging. Mark Duplass and Ray Romano did an amazing job.
Were you always a writer, or was it something you eventually discovered you had a knack for?
I’ve wanted to be a writer since I was 16. I submitted short stories to magazines. Yes, that was a thing. Ironically, I got published first with non-fiction. I was a journalist for a local newspaper for a while (also a thing), starting at age 18.
What are some of your favorite comics and/or webcomics?
I really enjoy Hellboy. I also like anything by Neil Gaiman, and grew up on a healthy dose of Spider-Man and Daredevil. I actually remember when Spider-Man first got his black costume. It was an alien symbiote that came out of some weird machine during Secret Wars. I remember not being happy because I always liked the red and blue one. But you get over these things. I am also reading a lot of kids’ comics with my son, like Cardboard and Amulet which I am really enjoying.
How’d you get your start writing comics?
I kind of made it happen on my own. I’ve always wanted to write comics, and I had a story I thought would be perfect for the medium. I met Mark Waid through a mutual friend and podcast fan and he championed it. So I found an artist I loved and kickstarted it. I was able to fund it thanks to the generosity of the fans and then Starburns Press picked it up. I am very happy to be over there, and I think it’s a great fit for the book. I just got my first offer for a short piece in their next comics anthology. My first comics writing assignment! I’m hoping for many, many more. I would love to write more comics.
A lot of people hear the term “comic book writer”, but don’t really know what the job entails. How would you describe it?
Interestingly, since I have a background in indie film what you’re really doing as a comic book writer is writing and directing. You’re writing the script but also describing the action, pacing, and what goes in each panel. Basically you’re storyboarding like you would for a film. In indie film you have to wear a lot of hats, but with comic book writing you’re not just writing some abstract script. You’re describing each panel and basically directing the book. That’s why it’s so important to have a great artist to be paired with like I was with Fernando Pinto. Eventually you develop a shorthand and it gets quicker.
What inspired you to write your graphic novel Long Ago And Far Away? What was your process for writing it?
I’ve always loved fantasy stories, and growing up was a sucker for the stories about kids from our world who go into a fantasy world to save the day, like The Chronicles of Narnia. But I always thought about what would happen when those kids come back to our world and become adults. How would it have affected them? And then what if they had to go back into that world as an adult? The process was very, very long. I had the story a few years ago and it was in and out of development at various companies as an animated show, etc. But it never moved forward. But it was the kind of story that stays with you, and insists on being told. We all have stories like that; ones that won’t let you go. So I thought that a comic book would be a great way to tell the story. And I wouldn’t have to worry about there not being enough money for computer effects.
LAAFA was funded via crowdfunding. With a lot of comics creators taking that route to self-publish, is it something you’d recommend, and what are some tips you’d offer?
I recommend anyone who wants to create to just get out there and make it happen, any way you can. If someone buys your idea or hires you, great. But more often than not we have to greenlight ourselves. So if you’re a filmmaker, make a short film. If you’re a novelist, self-publish. If you want to make a comic, you need to raise enough money to pay the artist and make the book. But it can be done. Just know that crowdfunding is a full time job for that window of raising money. Don’t just think you can put a project up and money will magically appear. You have to promote, get endorsements from other artists, and also promote. Did I mention promoting?
You’ve also had experience writing for film, both narrative and documentary. How do you compare writing for the screen to the comics page?
I really, really, love it. It’s like filmmaking with an unlimited budget. No one comes back and says “we don’t have the budget to blow up Manhattan” in a comic book. If it can be drawn, it can be in the story. As far as story goes, film story progression and storyboarding can be really instrumental in writing for comics and guiding your panels.
A key component of writing (and not just for comics) is to make the stories and characters relatable. What sort of approaches do you take to accomplish that?
Characters we create often have traits of ourselves or people we know in them. That grounds them and keeps them believable. Even when it’s a supervillain, there’s a relatable trait you can give him or her. I always try to figure out what kind of character they are by how they would react in certain situations. Character reactions can convey lots of information about a character. As far as the story goes, keep the story progression organic. It should only have crazy twists in it if you were slowly leading up to them all along. The best narrative twists are the ones the audience didn’t see coming, but in hindsight were justified from the very beginning.
What are some key rules/guidelines every writer should know?
Write what you know.
Make the story personal, regardless of the genre or scope of the story.
Get help from other writers, and help them in return.
Don’t write for free for millionaires. If someone is serious about your work, they’ll make a deal with you.
Don’t neglect your body. Take time to exercise and unplug. It will help your mind focus and clear your head, which will improve your writing.
Filmmaker. Comics writer. Podcaster. Stand-up comedian. What’s next?
I really want to focus on writing right now, so I’m taking a break from stand-up, but may return to it at some point.. While I do the Comedy Film Nerds Podcast with Graham Elwood every week, I also have a scripted horror anthology podcast called Conversations From the Abyss that just finished its second season. I’m also hoping to get my next comic project going called Rise of the Kung Fu Dragon Master with the same team. It’s a martial arts/fantasy/comedy about a small time crook in Los Angeles who gets mixed up in a perennial battle between good and evil from ancient China. I also have various TV and film projects I’m developing and hoping to get into production.
How can people find out more about you and your wide body of work?
My website has links to my books and movies, including Ear Buds: The Podcasting Documentary. There are also links to the podcasts and my demo reel.
Readers of this blog are more than familiar with my love/appreciation of pie. What’s your favorite kind?
Peach. ‘nuff said.
Here’s an episode of the Comedy Film Nerds podcast where Chris goes into an extensive recounting of his experience with his film Asylum. HIGHLY RECOMMENDED for aspiring filmmakers, plus it’s just an extremely entertaining tale. Well worth the listen.