Clear some space on your bookshelf

Coming soon to a trillion-dollar online retailer near you!

This one’s been a long time in development, and I’m quite thrilled to be able to finally discuss it.

Over the past few years, I’ve done over 100 interviews with script consultants, screenwriters, television writers, filmmakers, and writers across several mediums on this blog, and my intent for quite a long time was to collect them all in a book.

Turns out all of those interviews in print form would have resulted in a book approximately 700-750 pages long, so the book then became two.

After some additional editing and formatting, along with a little more re-evaluating, it was decided that the two would actually work better as three.

So…

My 3-book GO AHEAD AND ASK! series will be coming out over the next few months.

Volume 1 collects the original set of interviews that kicked the whole thing off, and will be available in paperback on Amazon starting on 22 April.

(All three books will only be available in paperback. Sorry, e-readers.)

Volumes 2 and 3 contain the interviews that have come out since then, with Volume 2 slated for release in either late June or early July, and Volume 3 wrapping things up in September.

I am truly elated to finally be able to offer these books to the screenwriting community, and hope they prove to be both informative and entertaining, as well as inspire you to enjoy a piece of pie while you read them, because what else would match so perfectly with something I wrote?

A little effort with big results

Who doesn’t like hearing that somebody liked something you wrote? Great feeling, isn’t it? You’ve put all that time and effort into it, and this is the response?

Now look at it from the other side – you read something and really liked it. Did you like it enough to let the writer know?

Go ahead and do that. It doesn’t even have to be somebody you know, or who asked you for a read.

It could be somebody with a script you read after hearing good things about it, or who wrote a book or a movie you really enjoyed.

Since so many creative types have an online presence, it’s becoming easier and easier to drop them a line and tell them what a great job they did.

I’ve done this a few times over the past few weeks. One was a veteran comic book writer, one was the creative team behind a show on Netflix, and another was the writer of a great low-budget horror-comedy. The latter two let me know how much they really appreciated it, while the former never responded, which is also a possibility. I just file it under “one of those things” and move on.

This isn’t saying you need to send a gushing lovefest of an email or tweet; just a few lines telling them you liked it. Probably take you all of a minute or two.

It can’t be stressed enough how much of a positive impact this sort of thing can have on a creator. Maybe they were having a rough day, and then your email or tweet pops up. Mood lifted.

It’s tough enough to succeed as a writer, so getting this little bit of encouragement out of the blue could go a long way in feeling like all the work you put in was worth it.

Even better – being the one who sent it.

Calling all creatives!

Since it worked so well a few months ago, I thought it would be nice to once again offer creators (which includes writers, filmmakers, artists, and so forth) the chance to present their materials to as wide an audience as I can provide.

The master list will be posted on Friday, October 2nd – ONLY ONE LISTING PER PERSON!

And with the holiday season just around the corner, what better gift to give than something that helps support your fellow creatives?

So if you’ve got a book, a film, a webseries, a comic or webcomic, or pretty much any other kind of finished and ready-for-public-consumption product, this is your chance to put the word out.

If you and your project were among those listed last time, you’re more than welcome to be included again, but it would also be great to see some new material added into the mix.

And for all the screenwriters wondering when it’s their turn, a post that’s all about scripts will be taking place in late October or early November, so keep an eye out for that announcement in a few weeks.

Here’s how it works:

Email the following info with the subject Maximum Z Creative Project Post to paul.zeidman@gmail.com

Title of your work

Your name

Format (book, film, etc)

Genre

Logline

Awards (if applicable)

A link where people can access this material, and/or to your website (if applicable)

Any questions? Let me know.

Q & A with Allison Chaney Whitmore

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Allison Chaney Whitmore is a screenwriter and graphic novelist from Los Angeles. She loves to tell coming-of-age stories with a hint of romance, fantasy, or adventure, but also enjoys a good gothic horror story. She’s also the writer of the comic Love University.

Allison holds a Master’s degree in English education and has studied screenwriting at the graduate level. Outside of her work, she enjoys classic films, genre television, a good book, traveling, and spending time with family and friends.

What’s the last thing you read or watched that you thought was incredibly well-written?

The current season of This Is Us is really good. I love the way they weave together plot, character, and theme. I also got to watch all of Fleabag and Killing Eve this summer, both of which I found amazing. I’m looking forward to watching season 3 of The Crown, as it always has top writing, and The Haunting of Hill House, which I hear has incredible writing as well. I can never pick one thing.

Were you always a writer, or was it something you eventually discovered you had a knack for?

I’ve always been a dreamer and a story enthusiast. I wanted to be an actor from a young age and started writing skits in elementary school. Long-form prose came in high school, and I wrote my first screenplay in a pink composition notebook with graph line paper the summer after graduation. So, if I haven’t always been a writer, I’ve been one for a pretty long time.

What inspired you to write your comic Love University?

The concept came to me many years ago. One Friday after work, I was stuck in traffic on Sunset behind UCLA and just randomly thought — What if there was a school for cupids,  called Love U? I thought it was funny at the time, but also strongly felt it was something I could see on television. When the opportunity came up to write a comic book series, I pitched it, and they really liked it.

What was your process for writing it?

This particular story just had a concept, no character to start. That’s not usual with me. Both typically come to me at the same time. This one I had to take the idea and pull the story out of it. I found the main character, Lucy, then I began thinking about the journey she might take over several issues as the world around her began to populate in my mind. I wondered about her day-to-day struggles, her lifelong personal wounds, and her hopes and dreams. From there, I just let the story unfold. After that brainstorming phase, I went through my usual process of theme, logline, beat sheet, outline, and script. Then it was notes, revision, and so forth.

How did you connect with the publishing company for your comics, and what role do they play with your projects?

I was working with another writer on a web series who was also a comic book writer. I’d recently been hired to write a couple of comics for a pair of independent creators. They were looking for screenwriters to complete the work. I was sort of lost in terms of what to do, so I asked my colleague to take a look at what I’d been working on. He really liked my work and sent it on to his publisher, who asked if I’d like to write a series of my own.

A key component of writing (for both film and comics) is to make the stories and characters relatable. What sort of approaches do you take to accomplish that?

To me, my characters are reflections of the human experience. I simply remember the human sides of their experiences — wounds, worries, hopes, dreams. I think about the way they speak, and why that is. I think about the way they dress, their favorite music, how they navigate through the world. Everyone has a specific journey that makes them uniquely who they are. I realize that should be the same for my characters, and that helps bring them to life, as well as making them more relatable to the reader.

As a writing coach, what are some of the more common mistakes you see?

Most of the mistakes come from finding the core of their stories, hitting plot points, and formatting. Sometimes it’s tough for people to figure out whether they have just an idea, or enough to make an actual story. That’s what we work on. It’s actually a lot of fun.

There are a lot of writing coaches out there. What’s unique about you and your methods?

I come from a teaching background, so my approach is about building skills from the ground up, but also starting with the big picture in mind. I like to help people work through their creative blocks and find the stories they want to tell. I’m much more of a coach than a consultant. I’ll give notes and focus on that type of thing, but I’m often looking to help writers become the best version of themselves. Working with me is like having your own personal teacher. Not everyone needs that, but it definitely works for some people.

What do you consider the components of a good script?

Strong character arcs, relatability, clear concept, emotional hook, and an identifiable theme.

What are some key rules/guidelines every writer should know?

-Always plan to write more stories. Don’t put everything into just one script. Move on. Write more. Keep getting better.

-The writing process is different for everyone. Just like we have different ways of learning and absorbing information, the way we get to a story can vary. Give yourself time to find your way.

-Your first draft is not going to be perfect. Ever.

-Plan if you can. It saves you time.

-Make time for both writing and living.

-Be observant.

-Read as much as you can.

-Stay committed.

-Be open-minded.

-Think outside the box.

How can people find out more about you and the services you provide?

I’ve been busy with my own projects and some work-for-hire projects, so don’t really do much coaching anymore. That being said, I am still open to taking on the occasional client. Email me at allison@theophilusfilms.com and we can talk about it.

Readers of this blog are more than familiar with my love/appreciation of pie. What’s your favorite kind?

Cheesecake could be considered pie, so…cheesecake. In terms of actual pie, probably pumpkin! Perfect time of year for that. Happy holidays!

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Q & A with Chris Mancini

Headshot Chris Mancini T-Rex
Chris Mancini (l) and friend (r)

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.

His published works include Pacify Me: A Handbook for the Freaked Out New DadThe Comedy Film Nerds Guide to Movies, and the graphic novel Long Ago and Far Away.

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.

www.whitecatentertainment.com

Readers of this blog are more than familiar with my love/appreciation of pie. What’s your favorite kind?

Peach. ‘nuff said.

Bonus feature!

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.

http://comedyfilmnerds.libsyn.com/ep-219-dean-haglund

peach pie