Q & A with Lisa Gomez

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Lisa Gomez is a Los Angeles-based singer/songwriter, aspiring screenwriter, novelist and professional story analyst. She writes screenplays, songs and novels with her twin sister. Together they are writing a Barry spec, a 30-minute dark comedy, a period drama pilot, and a feature based on their father’s life as an immigrant and his pursuit of the American Dream. She is currently obsessed with Disneyland, matcha, the tv show Barry and reading as many books as she possibly can. You can visit her script consulting website at geminiscriptconsulting.com.

What was the last thing you read/watched you considered to be extremely well-written (any medium)?

The pilot of Barry. It has everything that makes a story compelling and unique. Professional screenwriters have always given aspiring screenwriters these three bits of advice when setting up a character and a world: 1) Start the story with your main character doing something interesting.  2) Show the main character’s day to day, show the audience what a typical day in the life of this main character looks like. 3) Show the audience the main character’s problem. Well, in a whopping 30 minutes, this show delivers all of this and sets up the promise for more.

[Spoilers for the pilot of Barry ahead]. The very first moment of the show shows Barry walk into a hotel room, holding a gun while the camera mostly focuses on the dead body that’s lying on a bed with a bullet through his head. Immediately, this sets up the main character doing something interesting… okay, so, he’s a killer. Possibly a hitman. Whoa, that’s interesting. Then, it shows Barry’s day-to-day. We see him fly home on an airplane, get annoyed at a fellow passenger that opens a window to let the light in (a subtle but effective metaphor), then he plays video games, alone, and takes a shower, alone. Immediately, we get it. This is one lonely and depressed dude that gets no fulfillment from killing.

So, within the first five minutes (and theoretically the first five pages of a screenplay), Barry sets up the main character doing something interesting (killing someone), shows the main character’s typical day to day (he flies home after a hit, he’s alone, bored and does nothing substantial besides killing) and sets up what his problem is (that he’s depressed and gets no fulfillment from his job). It’s a pitch-perfect setup to a show. One could argue that the set-up is traditional and therefore cliché. But because this is a unique character and the premise is so bizarre, Bill Hader and Alec Berg made this setup interesting and makes the audience clamoring for more. And this is all just the first five minutes… if you haven’t seen this show, please do. It’s a masterclass in writing.

One of your job titles is story analyst. What does that job entail, and what are your responsibilities?

A story analyst is essentially someone who gives script coverage for studios, production companies and agencies. In other words, someone who receives a script and has to write notes on that script, on what’s working and what’s not working with the script, if I would pass, consider or recommend the script for the agency/studio/company. I have to read the script in its entirety, write a synopsis of the script, write a logline, describe the main characters and then write comments on why I would pass or recommend the script. Occasionally, in my notes, I offer solutions to story problems.

How’d you get your start doing that?

This is a fun story. My sister actually found an internship listing for a script coverage reader for a literary agency on entertainmentcareers.net. I applied and got the job. I did that for about a year. Then, as luck would have it, a Nicholl fellow walked into my retail job and I recognized him because he spoke at one of the classes that I took at UCLA Extension. We got to talking and he said he could refer me to a low-paying but highly regarded script coverage job. I applied, had to do test notes on a script and then got that job.

Once I started getting more and more experience, I had screenwriting friends I’d met in various networking events in LA refer me to different script coverage jobs. Every friend I met through networking was an aspiring screenwriter that eventually got a job in the entertainment industry and either reached out to me about the script coverage job or I would ask if they knew about any script coverage jobs. This is truthfully the first time I finally understood the importance of networking in this city.

When you’re reading a script, what about it indicates to you that “this writer really gets it (or doesn’t get it)”?

First and foremost, the grammar. I know, that seems like such an obvious answer but it’s true. You would not believe how many scripts I read that have beyond atrocious spelling and grammar. Sometimes the ends of sentences don’t have periods. I wish I was joking.

Secondly, clarity. What do I mean by that? Clarity is probably the easiest and the hardest aspect of writing a great screenplay. Easy because once you put on the page exactly what you want the reader to know, you’re done. Hard because putting exactly what you mean on the page is very very difficult. This is why script coverage or having someone read your script is helpful. It can point out the areas that the writer thinks makes sense but in reality, it doesn’t and it only makes sense to the writer.

Clarity, for me, means a few things. One, that the writing makes sense. For example, if you’re writing an action scene, please write description that is easy to follow and easy to read. The worst thing you can do for a script reader is make them read lines of description a few times in order to understand what’s going on. We get bored and frustrated.

Secondly, that the character’s arcs, story and plot is clear. It sounds simple, but again, most scripts don’t have this. I think it’s because the writer knows the story so well that the writer forgets to put in important and obvious things. For example, I was doing coverage on this script where the main character was queer. It was a very interesting main character, but I didn’t understand why this character’s queerness affected their journey because every character that interacted with this character loved and relished their identity. The writer then told me “Oh, because this story takes place in 2010.” BAM! I now understand the context of the story. But that date was nowhere in the script. It could be little details like that that can make a script clear or unclear.

What do you consider the components of a good script?

Clarity/conciseness. No one wants to read a script that doesn’t make sense, or rambles on too long. Make it sweet and to the point. And make it fun and interesting to read.

An interesting main character that has an interesting and relatable problem. So many scripts I read don’t have this in its entirety. Especially the relatable part. The main character might have an interesting problem, but it’s something that literally no one on this earth can relate to.

When the main character has a goal that’s actually attainable, but also difficult. This is something I don’t see all the time. What’s really important is that your main character has the skills to defeat their problem/the antagonist but it’s still difficult. A great example of this not happening is Star Wars: The Rise of Skywalker. Sure, you know that Rey is strong, but you don’t know specifically how Rey will be able to defeat Palpatine. This makes the story boring because the audience can’t participate in her journey in how she can do that. She just defeats Palpatine. It’s not set up how she can. It just happens. This is story suicide.

The script is great if it has something to say. What is your theme? What is your unique point of view on the world? Not only that, but what is your unique point of view on a specific theme? For example, everyone writes about redemption, but what are you trying to specifically say about redemption? Are you saying it’s not possible (Barry), that it is possible, but a very hard road (Bojack Horseman), or are you saying that it is possible (Star Wars: Return of the Jedi)?

Interesting situations/scenes. If you have a scene where two people argue, that can be boring. If you have a scene with two people arguing in the middle of a mall, that instantly makes it more interesting.

Great dialogue. If you have dialogue I’ve heard before, that makes me cringe. If you have dialogue specific to the character and only that character can say it, it makes me happy.

What are some of the most common screenwriting mistakes you see?

The way screenwriters describe women as beautiful, sexy, or simply defined by their looks. It’s disgusting, objectifying and just plain terrible. It’s 2020. Women have always been complex. It’s time to write us as such.

Too much description. Description writing is very hard, but please don’t have paragraphs and paragraphs of description. Try to write what only needs to be in the script but as simply and concisely as possible.

Cliché dialogue. A lot of the scripts I read have the following lines: “It’s too late!” “You really don’t get it, do you?” “Hi, my name is [blank].” “So, are you new around here?” It’s exhausting. We get it. You’ve seen a lot of movies. Please prove it by not giving us these lines that we’ve all heard a million times. Sometimes it’s inevitable. You have to. But please try to the least you possibly can.

What story tropes are you just tired of seeing?

One-dimensional women. I promise you, women are human beings that have ambitions and feelings that don’t revolve around men.

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

Write from the heart.

Write with something to say.

Get your first draft out as quickly as possible.

Even if you don’t like outlining, do it.

Read screenplays. They’ll help you write screenplays.

Live life.

Enjoy the process of writing.

Show your writing to people who will give you honest feedback.

Have a clear structure in your story.

Pitch your show/movie idea to your friends. If they don’t like it, either fix what’s wrong with the premise or think of another idea.

Screenwriting contests. Worth it or not?

Yes. Contests are great for deadlines and keeping yourself accountable. Because, if you’re paying that submission fee, you want to submit the best work that you have. However, don’t make your entire screenwriting identity about contests. I did and that got me nowhere. Use them for deadlines and don’t think about them after you submit. Just write the next script.

Follow-up: You’ve placed in the top 50 of the Nicholl. What was the script about, and what happened for you and/or the script as a result?

The Academy Nicholl Fellowships in Screenwriting are amazing. I’ve had friends become Nicholl Fellows and I’ve had friends in the top 50. We all have similar experiences.

That script was co-written with my writing partner, my twin sister. It’s a biopic about the nine weeks that Vincent van Gogh spent with fellow artist and rival Paul Gauguin. What started off as a friendly rivalry between them ended with Vincent cutting his ear off. It was my sister’s and I’s first screenplay… and it was the first draft. When we were announced in the top 50, we got about a dozen e-mails from huge agencies… I’m talking, CAA, WME, Anonymous Content, you name it… we sent them our script and then… crickets. I believe this script wasn’t ready and I also don’t think we sent them out to the agents and managers that would respond to our type of script anyway.

Here’s my biggest piece of advice if you place highly in a reputable script contest: contact the managers and agents you want to or agents that represent writers that write similar scripts to you. If my sister and I did that, I think we would have been represented by now.

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

I recently began my own script coverage service. If you would like quality script coverage with an affordable price, please visit my website at geminiscriptconsulting.com.

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

Aye, there’s the rub. Unfortunately, I have a gluten and lactose intolerance, so I can’t have pie unless it’s gluten-free and dairy-free. I know, it’s a sad existence. However, if I could have any pie, I personally love apple pie. Maybe because when my stomach could handle those pesky ingredients, I would always love getting apple pies from McDonald’s during my youth and that taste just brings back good, happy childhood memories.

apple pie

 

Q & A with Dominic Carver

Dom Carver

Dominic Carver is a screenwriter, script consultant, and script editor.

In 2008 his first short film, AGN, was produced by Split Edit in Norway and broadcast on Norwegian TV. His second short film written in 2010, the mystery thriller THE TRAVELLER, was a collaboration with Dubai-based director Musaab Ag. In June 2011, Dominic won the Prequel To Cannes Feature Screenwriting Prize for FAITH, a bleak unflinching look at the life of a London street prostitute.

Dominic has since been commissioned for six feature screenplays and has also worked as a script editor on other projects, including the feature THE DYING EYE (2013).

Dominic continues to place highly in many competitions most notably the FINAL TEN of FINAL DRAFT’S BIG BREAK 2016 FEATURE COMPETITION – FAMILY/ANIMATED, the FINAL TEN of STAGE 32 TV WRITING CONTEST 2017 and the FINAL TEN of Idris Elba’s GREEN DOOR, GREEN LIGHT INITIATIVE 2017.

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

DUBLIN MURDERS by Sarah Phelps. Utterly spellbinding, a haunting examination of loss set in and around the search for the murderer of a young girl. Sarah’s work is wonderfully paced and her dialogue frighteningly good. She writes beautifully dark, complex characters, and with THE ABC MURDERS she breathed new life into the well visited character of Poirot.

How’d you get your start in the industry?

I have always loved stories, often reading a novel a day during my teens. On one particularly slow and boring day at work, I decided I’d had enough and needed to do something other than rot away in a dead-end job, so I signed up to do the Scriptwriting for Film & TV degree at Bournemouth University. Skip forward a few years and I won the Prequel To Cannes Screenwriting Competition, and one of the judges recommended me to a producer, who offered me my first feature commission.

Is recognizing good writing something you think can be taught or learned?

A very interesting question. I believe that to be a truly great writer you have to have a certain amount of natural storytelling talent. You can be taught how to create characters, develop ideas, write characters and dialogue to a reasonable level and to recognise what works and what doesn’t, but if that natural storytelling ability isn’t there. you’re going to struggle and will only ever be average.

Good storytelling is instinct; getting to the emotional core of your characters and their journeys and being able to put that on a page to move and manipulate your audience in ways they weren’t expecting. It’s easy to spot a good screenwriter – they stand out from the crowd. From the hundreds of scripts I’ve read over the years, only four really made me sit up and pay attention and go, ‘This writer has real talent!’

What do you consider the components of a good script?

The characters and the journey they’re on. If your audience doesn’t feel for your characters or their journey, then you’ve lost them before you’ve even begun.

The film JOKER is the perfect example. He’s the most despicable character, a psychopath you would go out of your way to avoid in real life, but on the screen we understand and can empathise with the circumstances that made him. Even when he goes on a killing spree at the end of the movie, regardless of how horrifying and distasteful it is, we understand why and empathise with him. If, as a writer, you can make even the most despicable character sympathetic, that’s masterful writing.

What are some of the most common screenwriting mistakes you see?

Where do I start? Poorly developed characters. If you don’t know who your characters are, how can you expect your audience to? Generic storylines. A popular one at the moment seems to be the ‘mid-life crisis’ and the search for meaning in characters’ lives.

If you don’t approach it from a unique angle, give the audience something they haven’t seen before, then why bother as your screenplay will be lost amongst a sea of similar scripts. Static scenes where characters share their secret feelings around a table and a cup of tea. It’s a visual medium, people sitting around chatting about their feelings is boring to watch. Busy those static scenes up. And when have you ever opened up to a stranger and told them your inner most feelings? Never! People just don’t do that, unless verbal diarrhea is a character trait.

If new writers took more care in developing their characters and their stories, rather than copying what has come before and populating those tired stories with generic characters, there would be a lot more interesting stories out there.

What story tropes are you just tired of seeing?

The mid-life crisis. The hero whose family is murdered and they go on the hunt for revenge. And that’s just two. There are so many more, I’d be here all day listing them. Dig deeper, people!

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

-Spend time on developing your characters and ideas.

-Don’t write great chunks of dialogue or scene description. Less is more. You’re writing a screenplay, not a novel.

-Study people. Find out how people tick.

-Don’t try and write a Tarantino (or another writing hero) movie. Write your own, what appeals to you. Find and develop your own voice.

-Always, always, always have your work read by a professional screenwriter before you send it out into the wider world. Yes, it will cost you money, but you need to know if your story and characters work as it will save you a lot of time and effort. Far too many writers send work out before it’s ready and they wonder why they experience so much rejection.

-Write the first draft quickly without over thinking it too much. The following draft will be a lot better. Just get those ideas on the page and then worry about reworking them. A page of crap is easier to rewrite than a blank one.

-Don’t make a tit of yourself on social media. Be kind, be polite, be inquisitive but never ever pester others to read your work. If you are friendly, polite, respectful and get to know them as friends, people will start to ask to read your work or even recommend you to others.

-Rewrite! Rewrite! Rewrite!

-Network like your life depends on it… because it does.

-Never take rejection personally. It’s never about you, it’s just that your script isn’t a fit with that person at that time. If you get rejected, rework your screenplay and then send it out to two more people. Developing a thick skin is an absolute must for being a writer.

Have you ever read a spec script that was an absolute, without-a-doubt “recommend”? If so, what were the reasons why?

Yes, and it still puzzles me why it hasn’t been made. I don’t usually mention clients I read for, or their work, as it’s confidential, but in this case I’m going to name the script and the writer. It’s MINOTAUR by ADEWOLE ADEYOYIN.

I hate horror movies, I don’t see the point of watching something that you know is going to scare the poop out of you, but Ade’s script stood out because of its characters, story, themes and its depth. It took a well-explored genre and turned it into something original and compelling, a thrill ride from start to finish.

If any producer out there reads this and is looking for a cracking monster movie, get in touch and I’ll pass it on. It needs to be made!

How do you feel about screenwriting contests? Worth it or not?

Yes! Not only do they test your work, but if you do well they can help propel your career forward. A friend and I wrote a feature from conception to finished second draft in twelve days back in 2016. She wrote the first draft in seven days and I spent the next five rewriting. We entered it into Final Draft’s Big Break and made it through to the final ten in the family category. If it had been entered in the historical category, I think it would have gone even further. Every competition we entered this script into it made at least the quarterfinals, so we knew we had something special.

But which competitions to enter? Pick the well-known ones, the ones with an impressive lineup of judges or that offer access to industry players. Paying for feedback is a great idea, but how well your screenplay does in the competition will also be a great indicator of how good your writing is.

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

From my website at www.thescriptwriter.co.uk. It needs updating, but as usual I’ve been busy. I’m sure I’ll get around to it at some point. Maybe next year.

I’m also on Twitter – @DomCarver

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

Steak and kidney… nothing beats it!

steak-and-kidney-pie

Q & A with Marlene Sharp

Marlene.Sharp.Halloween.2019

Marlene Sharp is a creative and business-savvy entertainment multi-hyphenate who originally hails from New Orleans but is now a (San Fernando) Valley girl. Firmly ensconced in LA life, Marlene recently served as Director, Production at LEVEL-5 abby, home of YO-KAI WATCH and other hit video game-based franchises.

Formerly, as Producer, TV Series, at Sega of America, Marlene worked on much more than the Teen Choice Award-nominated Cartoon Network series SONIC BOOM. For example, her Hedgehog duties took her to the heights of nerd-dom as an official San Diego Comic-Con 2017 panelist.

 As a freelance journalist, Marlene concentrates on pop culture for buzz-worthy fan destinations, such as DOGTV, ToonBarn.comGeekified.net, and CultureSonar.com. As a short film auteur, she has snagged recognition at the Kids First! Film Festival, the Canine Film Festival, the San Luis Obispo Film Festival, and many more.

Marlene is the proud winner of 2019 LA Shorts International Film Fest Script Competition (an Oscar and BAFTA-qualifying fest), at which her backdoor sitcom pilot received a staged reading by The Groundlings. And as a human being, she loves dogs. For proof of the aforementioned, please see her website www.pinkpoodleproductions.com.

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

I love Shia LaBeouf’s screenplay for his autobiographical film Honey Boy. The storytelling is clever! 

Podcasts are a relatively new obsession of mine, and there are a few standout wordsmiths. American Scandal (Lindsay Graham); Broken: Jeffrey Epstein (Adam Davidson, Julie K. Brown); Gangster Capitalism (Andrew Jenks); and Hitman (Jasmyn Morris) immediately come to mind.

How’d you get your start in the industry?

My start in the biz was almost my end in the biz. I was bitten during pre-K and subsequently began serious research on kids in show business. Sesame Street was the inspiration. It seemed like a neat place to be, and I wanted in. During grade school, I devoured library books about stage moms and such, and then told my mother that I needed an acting agent. She said ‘no’ and encouraged me to play with my Barbies instead, which I did in earnest. She continued tough love at every turn and for many years. When I declared a Drama/Communications major in college, though, it was time for the Sharp family to face the music . . . and drama! 

Is recognizing good writing something you think can be taught or learned?

If one is industrious enough, then one could self-teach. For today’s inquisitive, budding writer, there are so many resources (many are free or low cost): books, eBooks, seminars, writers’ groups, classes, online classes, podcasts, YouTube videos. Perhaps the best resource, though, is actual content consumption, especially in the genres that one loves best. 

What do you consider the components of a good script?

Relatable characters and story, clever dialogue, and an unexpected plot turn or two are elements of my favorite scripts. Good non-sequiturs also tickle me!

What are some of the most common screenwriting mistakes you see?

Spelling and grammar errors abound. They’re everywhere!

What story tropes are you just tired of seeing?

I’m really tired of the deus ex machina that recur in garden-variety superhero/fantasy movies, such as the uber hero or uber anti-hero – with his/her signature moves – who appears at the eleventh hour. In my opinion, Joker is groundbreaking (and therefore entertaining), because it discards the usual cliches.

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

1) Spell check

2) Proofread

3) Patience, and lots of it.

Have you ever read a spec script that was an absolute, without-a-doubt “recommend”? If so, what were the reasons why?

Yes! A spec script for The Simpsons by my friend Adam Kosloff. The premise is absurd and hilarious. Adam and his writing partner nail Bart’s character; he becomes a grilled cheese celebrity chef. The humor is magical, laugh-out-loud funny. I’ll never forget it.

How do you feel about screenwriting contests? Worth it or not?

Definitely worth it! Such cost-effective personal marketing! Highly recommend!

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

1) My business website: www.pinkpoodleproductions.com

2) My script and bible doctoring services: www.wefixyourscript.com 

3) My CV: www.linkedin.com/in/marlenesharp

4) A few of my credits: www.imdb.me/marlenesharp

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

A solid tie between pumpkin and chocolate!

pumpkin pie 2chocolate pie

A few slight adjustments

baby driver

The latest draft of the sci-fi adventure is moving along at a pleasantly brisk pace. Still averaging about 4-5 pages a day. The whole process this time around feels a lot more organized. Much more so than in the past.

The previous draft was 118 pages, and one of my many objectives for this one is to get it down to somewhere in the 105-110 range. I’m just about at the end of Act One, and it’s already 9 pages shorter than where it was at this point last time. Seems like the odds are in my favor to hit that page count goal.

But it’s taken a good deal of work to get here, including some shifts in my approaches.

Among the highlights:

-being more diligent in applying the “get in late, get out fast” approach to each scene. Although somewhat unavoidable for action sequences, doing what I can to use this as often as possible.

-cutting unnecessary dialogue. Never realized how much more I used to put in before. It’s been a real effort (and steep learning curve) to get the characters to only say what needs to be said, but it definitely helps get to the point of the scene quickly as well as moves things along.

-not being so detailed with action descriptions – by which I mean “what the characters are doing”, and not the fast-paced, high-octane thrilling moments. Focus on the important stuff. Don’t clutter up the page. Is it absolutely necessary to be so step-by-step about it? Nope.

-In a very “why didn’t I think of this before?” kind of way, having a hard copy of the outline and the previous draft have proven to be exceptionally helpful. The outline tells me what needs to happen in each scene, and the previous draft shows me not only what I did before, but gives me a starting point for potential changes.

-Taking that last item one step further, seeing how a scene played out before, combined with the applying the question of “how does this scene advance the plot, theme and character?” has enabled me to totally rewrite some scenes which before had felt kind of flat, but now read as stronger and help reinforce those three important components.

I managed to crank out the previous draft in about a month, and hoping to accomplish that this time around as well. Of course, a few ideas for more changes have popped up.  Nothing too severe, and I’m going back and forth about implementing them right away, or waiting for the cleanup-polish phase.

Every writer puts their material together in the way that works best for them. It took me a while to find mine, and it continues to be a work in progress. But if the latest results are any indicator, it’s working out quite nicely.

Q&A with Landry Q. Walker

 

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Landry Q. Walker is a writer who likes pop-tarts and has been in jail twice and on the New York Times bestsellers list once. He spends his days punching the keyboard until words appear on the magic screen. Books include: The Last Siege, Danger Club, Supergirl: Cosmic Adventures in the 8th Grade, Project: Terra, and more.

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

The last thing I watched that I felt was incredibly well written… I’m going to go with movies on this one. The film Get Out is the first thing that comes to mind. I came to that one a bit late, and a lot of plot points had been spoiled. But it didn’t matter because the execution was so solid.

How’d you get into writing comics?

I got into writing comics after noticing that a lot of my friends who could draw weren’t doing much with their talents. I was about 18-19 at this time. My friends had talked about making comics for years, and I had always thought there wasn’t a place for me in the process. Then I decided to write – though writing had been at the back of my head since I was a young child (I had written Indiana Jones and Lord of the Rings fanfic).

A lot of people hear the term “comic book writer”, but don’t really know what the job entails. How would you describe it?

Writing comics requires thinking visually – much more so than other types of writing. You need to be able to see the action on the page with your minds eye, and work from their. that means understanding how much dialogue can fit in a word balloon, when to let the art tell the story, how the eye scans across a page of art. You can also write with a method where you plot the story, and the storytelling exclusively. But I’m not a huge fan of working that way.

You’ve written for established characters and created your own. Do you have a preference of working with either, or are they two totally different worlds?

Totally different worlds. With established characters you have an easier path as the world building has been done for you, but you also have to stay within certain parameters. As example, a proper Batman story leaves Batman in the same place at the end of the book, so that the next writer can pick up the story and run with it. You’re really just taking turns writing chapters.

Follow-up: is there an established character you haven’t written for, but would jump at the chance to?

Probably? To be honest, it all depends on the restrictions. Some jobs look like dream jobs because of the character you’re working with, but then you get the job and the restrictions are so fierce, you don’t really get to explore what drives you at all.

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?

I honestly don’t think much about whether my stories are relatable to other people. I think that if you stop to consider the “rules” of writing, you’re generally not writing. I tend to work off of gut instinct on whether a story feels right to me.

What are your thoughts on writers who want to self-publish their own comics?

Do it. Everyone who wants to make comics should start by making their own. Experience every aspect of making a comic. Deal with distribution, promotion, balancing schedules. Do all of it. And don’t wait for your work to be good enough. If you do that, it will never happen. Just start now.

What are some of your favorite comics and webcomics?

Favorite comics: Lately, I mostly have been digging into old stuff. Charlton comics mainly. Old Blue Beetle and Captain Atom. A lot of the horror stuff from the 60’s and 70’s too. For webcomics, not many. I follow Dumbing of Age and Questionable Content. I’m behind on it, but I really like YAFGC (Yet Another Fantasy Gaming Comic).

What’s some writing advice you would give your just-starting-out younger self?

Play less Mario Kart.

How can people find out more about your work?

I’m terrible at self-promotion. But you can usually find my latest work by checking out my Twitter feed. I’m currently wrapping up my medieval war epic, The Last Siege, and will soon be announcing a graphic novel series with my long time collaborator Eric Jones (one of those friends I mentioned in the question about getting into writing). I’ve previously written a series called Danger Club about a group of teen heroes fighting against their own reboots, and an all ages Supergirl series called Supergirl: Cosmic Adventures in the 8th Grade. Lots of of other stuff too. Check out my Amazon author page.

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

Apple. From Hostess.

hostess apple pie