Funny RPulfer should write a blog on the same subject on the same day as I intended to write mine.  It's christmas, and I'm in the holly jolly spirit sure, but for some reason I don't understand I've got Death firmly on my mind.

In my last entry we talked about reusing ideas.  And it got me thinking about a discovery I recently made.  I've repeated myself in the premise of my stories.  (One I'll post soon called Escaping Paradise needed to be drastically changed because of this) 

I recently joined the ZU, and while I'm trying to catch up with the goings on and basics of the thing I though I'd throw in a suggestion or two.

I've been working a new job for the past two months that takes less hours out of my day but a lot more of my energy.  The plus side is I now have time to write (Two hours) every other night.  The negative is I'm so drained from my day at work that all I want to do when I get home is watch Venture Brothers (Cool show!).

In my last blog on the subject of giving criticism,  Tenzil commented that he liked to give negative comments via PMs (Private Messages for any newbies)  That way the writer still got the message with none of the potential humiliation that comes along with being criticized.  He proposes a kinder, gentler way to critic.

Some of you know that in addition to leading the "Thumbs Up" board around here, and loving to work on creating comics, I am also a professional writer, working for a monthly magazine called Senior Living.  Now, this is not the kind of magazine I would expect any of you to read but I could not help but point out my two stories (and nifty cover photo to boot) which are in the current months magazine.  In almost every  edition I get two articles, and I am the only writer to be so honored.  And when it came time to pick which writer would get to interview the Premier of British Columbia (that's like a Governator in California), well you can see for yourself who got the honor.
That is you could if someone would be kind enough to provide the link (you know how I hate showing off my technical prowess) to seniorlivingmag.com.
The story on the Royal Westminster Regiment is also a must read for those who like a little military history.
Off to write December's articles!  Later!

So the other day I was having a talk with my good friend/beta reader V (aka Ohmygodjihad on here) about what pre-established characters I actually wouldn't mind tackling if - and honey that's a biiiiig if! - I ever "hit it big," as it were.

I admit I have something of a bias in favor of my own creations, mostly because I've already established their histories and relationships and motivations and they are my own to manipulate. So if these purely hypothetical opportunities to work on someone else's characters cropped up, I'd actually be pretty reticent to take it out of fear that I just wouldn't "get" what the original creators were trying to do or say.

But there are exceptions, and I can think of at least two.5 mainstream characters I'd actually relish writing instead of finding myself more tempted to opt out. I think everyone in the comic book industry has someone they'd give a kidney to write, interpret and draw. Who are yours?? I'm really curious to see what the community has to say about this!

I happened across a pretty interesting quote, and promptly misplaced it, but even though I don't have it verbatim, the gist of it is: What do you enjoy more?  The writing or the completing?  And I guess though they were talking about writing we could equally apply this to the artwork.  There is a certain enjoyment to writing, or at least there should be, I think.  If you don't enjoy it you need to ask yourself why you are doing it.  Unless you are being paid a lot of money to write, and in that case you don't need to ask.  But I think this does not apply to most of us here.
There is also a lot of satisfaction in completing a project, whether it is finishing up the script revisions or putting the finishing touches on a page of artwork.
So the question is: what do you enjoy more?  The Journey or the Destination.  Feel free to elaborate.
I already know my answer but I will not share until a few of you have taken the plunge!

Sooo... writers.  Sup?

Let me cut right to the chase.  My main project, Genesis, is about ready to be submitted to some major publishers.  The closer I get to finishing the first issue, however, the more I realize this project may be too much for just me alone. 

In the beginning, I thought I could make Genesis just a one-shot graphic novel.  In fact, I aspired to do so because the chances of publishing would just be soooo much easier.  Now with all the ideas, awesome art, character development and what not, I find it would be far more appropriate to make it a series consisting of anywhere between 15-25 issues.  Unfortunately for Joe and I, formidable a two-man army we may be, we find ourselves getting bogged down with the work load. 

I have all the arcs for the characters in mind, but I need a soundboard to help me figure the order/layout, especially for a project this large.  I need other writers, basically.  A group of people I can share this with, who would be able to work on a consistent, regular basis, and make this fun.  More than just writing scripts and going over editing though.  I guess what I'm saying is I want to form a team. 

If you have the time, are a good writer, and want to work on a project that is on the "publish or bust," track, head over to my property page, check out my shit... see if it's something you want to get on board with.  What will you get out of it? Well, when I submit stuff to publishers, your name is going to be on the cover letter along with Joes and myself... So really, you get whatever we get.  Simple as that.  But speaking in a sense that doesn't regard hypothetical recompense, I'm HOPING what you're really looking for is just the chance to work on an awesome project and be part of a family. 

Now then, artists.  I've saved this part for last because it's obviously going to be a bit difficult to bring you on board, though I'd truly love for nothing more than Joe to have the help.  If you want in, please take a look at the art that's available on the property page, and get back to us if you feel you can replicate or produce something similar in Joe's style, this way we can maintain a feeling of consistency throughout the series. 

Get back to me if you're interested, or just leave your heckling in the comments.  Honestly, when I started this project, I always felt like it was MINE.  I would be the sole writer, and creator.  Me and Genesis, that's all forever. 

It's quite difficult, though surprising liberating, to let go of that notion now... I've come to realize that even with the power of copyrights on their side, an author, musician, poet, or any kind of artist never truly owns their own work.  It belongs to their audience.  An audience with a diverse set of opinions who will ultimately interpret said work in an endless multitude of ways.  Knowing this, it only makes sense to share what I'm doing with other writers and artists...

and, there is that selfish bit of me that just wants the help to make the experience quicker, and more fun.  Can't deny that either. 

Campy titles aside, I'm starting to see the downside of a flexible - and unpredictable - schedule.

Last week I worked two extra days - including one third shift - before going into my regular twenty hour weekend schedule.

The good news I did get some learning done. We have "learning hours" at works where we have to spend an hour "learning" something helpful to our jobs. From the library at FatWallet, I picked up "The Imagineering Workout by the Disney Imagineers." Just the short amount of the book I read gave me some much needed clarity on "Undeliverables", as well as a few ideas.

I didn't dare take the book home though - it was actually signed by the Imagineers, and it probably wouldn't survive my Golden Retriever.

So I ordered it off Overstock and it should be coming in the mail soon. I'll give you more details on its insights when it comes.

Right now, however, I find myself at the crossroads - do I write or do I rest? Nearly every writer had faced this choice at sometime in their careers, and I'm pretty sure every writer chooses the same sooner or later.

I write.

The problem is, with last weekend feeling like one abnormally long shift, how do I avoid burning out? So I suppose that's my question to you this morning - after interruptions both professional and personal, how do you get back in the writing groove?

Obviously I can't answer the question. I have found I've been taking more walks lately. Normally for exercise I just pop in True Blood into the DVD player (great show) and start using the elliptical, but lately I've found walks through the prairie a little more calming and beneficial.

So that's my two-cents. What about everything else? How do you pick up the pen again after a long distraction?

Once you get any level of higher education, it's hard to think about setting foot in a classroom again. But now that my new schedule leaves me with an abundance of time through the week, I'm inevitably considering going back.

Only this time, I'm not talking about the college classroom; I'm talking about the online writing class.

Before, I had a mini-writing class one Sunday of every month at my local Rockford Writers' Guild. But now that I'm on a weekend schedule, I haven't been able to make as many meetings. So now I'm debating taking a couple of online writing classes to feel the void.

I know there's a variety of sources of these classes. Writer's Digest
offers a variety of Writers Online Workshops. So does mediabistro,
including an LA-based course on comic book writing (a little out of my driving range, but worth mentioning for those of you in the area.)

So there's plenty of options to consider. And I can see plenty of advantages. I can further develop my craft. I can stay motivated and inspired, and in some cases I can build more contacts in the field.

But for several hundred dollars a course, it's still a pretty big chunk of change, not to mention the time I'm taking away from my writing schedule.

So I was wondering - has anyone ever tried this courses (or anything outside of the university meant to further your craft), and if so, do you think it's worth it?

Thought I'd post a quick update... I've been reading blogs, posting a comment from time to time, but generally not being too active over here. AND, I've not been reading and reviewing any pitches in a very long time. (except for Manga Memoirs)

Well, this isn't going to change for a bit... I'm going to spend the month of June working on some of my kids chapter books that have been long, long overdue for submission. And I want to figure out an idea for a spy story for another chapter book series...

So yeah. That's my update! Happy writing everyone!

To follow up on my previous blog about Super Heroes in comics I would like to point out something I discovered some time ago and then relate it back to the topic at hand for your thoughts and opinions.  No need to raise your hands - just shout out your answers.
What I discovered some years back is that regardless of genre, a good story is a good story.  We all have preferences, naturally.  Some of us like horror, some science fiction, some mysteries, others Western or even Romance.  And some of us like many of those.  The point is, I have discovered that good writing and interesting and compelling stories are not the sole property of any one genre.  Oh sure, each category has its particular necessities (a horror story is supposed to scare you, a mystery is supposed to leave you puzzled and guessing until the end and so on), but in each genre there are examples of stories written well and stories written not so well.  I suspect, though I could be wrong, that many people look down on Romance Novels.  Well, I have met, spoken with, and read the stories of some Romance Novelists, and many of them write very well indeed.
So what? you say.
So this: tell me what you don't like about super hero comics (even if you're a fan.  I'm a fan, but there is plenty I think they could do better).  I'm not talking about titles or characters here.  This is not a discussion about whether Superman should hang up his cape or the Avengers should disband again, or that you don't like what a certain writer is doing to a certain character or team.
All stories can be written well.  Super hero stories can be (and often are) written well.  What are the mistakes they make?  How could we improve the genre?  I will share my thoughts later, either in a reply here or a separate blog, but I would really like to hear yours.
Thank you for your time!

Well, it's Me 2 Work 1 - I've managed to write for two days straight and put myself back on track. Here's hoping I can keep this pressure going through the end of the week though, and put myself back on track for finishing this script by the end of the month.

Here's another writing question which came up in my labors - do you write strictly when the mood (or Muse) is right or do you write everyday regardless of what any mood or muse or moose is saying?

I don't think there's an easy answer - I think each of us falls somewhere between those two extremes. I think your individual situation says a lot about at least which way you fall on this issue.

I work part-time, so while I write mostly every day (unless work interferes) I can do it at a much more relaxed pace. I get up, take a shower, listen to some music - maybe even take a walk - before I commit a word to a page. But regardless of what I do before, after and intermittent to writing, writing is usually the day's top priority, so it's not like I'm languishing in the latter all day. Everything I do, I do for the purposes of increasing my writing's potency and clarity to tell the best story I can possibly tell under the circumstances.

That being said, I noticed when things don't go my way my writing confidence falls flat. I'm really dreading re-visiting Page 7 of the script, which I wrote during Easter Break where a lot more was going on in the house - but being a serious writer is acknowledging you'll have up's and down's, which is why I don't hold to the other method of write-only-when-in-the-mood. Writer's write. It's what we do - and while you'll have good days and bad days - you can't write only during days you feel inspired.

In fact, I can safely the best stuff I've written came turning on a dime. They didn't happen on my best days or my worst days. They came on average days when a perfect combination of safe practice and daring exposure brought me face-to-face with inspiration. But I can't tell you when that inspiration will strike - I can only tell you you have to be writing to feel it.

What's your method when it comes to chancing the Muse?

The following was originally intended as a reply on RPulfer's Busy Insanity post, following up on comments he and PsEliot made regarding "DaVinci sickness". >Ahem<:

I don't know who said it originally, but Neil Gaiman quoted them and I'm going to paraphrase from an interview of his I once read: "Writers don't like the act of writing, they like the feeling of having written."

DaVinci Sickness (great term) is very common among creative types. If one's writing, drawing, painting or whatever for the joy of it (and there's nothing at all wrong with that), it's fine. If one wants to pursue an artistic-oriented endeavour as a profession, I advise in the strongest possible terms not succumbing to the desire to work on something newer/more interesting until the current project is done (paid gigs notwithstanding.)

Even more than that--I know several very talented writers who are writing screenplays, novels, comics--all at the same time. I happen to be one of them, but I've got managers asking for them, producers and editors reading them, etc. etc. Though I was interested in all of them, I didn't seriously consider writing films, television, or novels until I had "people" of my own, invested in my success in non-comics media. My theory was that by splitting my time between three different media I was going to take three times as long to reach my desired position in comics (which I still haven't, but another part of being professional is recognizing and taking advantage of opportunities when you see them.)

So, my advice, for what it's worth: pick the medium you're happiest working in, and don't let yourself be distracted by other media unless there's money or some other tangible form of immediate career benefit (networking springs to mind, or a no-money-upfront publishing deal...there are almost certainly others). Inside your chosen medium, pick the story you most want to tell, and tell it as completely as you can before you move onto the next thing.

A comics editor will always read a finished comic before they read a finished script (many times before they'll even read a finished pitch--which doesn't show whether the writer grasps the idiosyncracies of comics storytelling.)

I'm not sure about producers/agents/managers, but I suspect they'd be more likely to talk with someone who showed them a finished piece of film, or at least talk to them faster than they would someone who sent a script.

Also not 100% on prose editors (Genrewriter knows more about that end of things than I do)--I have it in my head that they generally want a whole novel from a writer who doesn't have representation, or at least three chapters plus outline from someone who's brought in by an agent. In the case of the latter, I believe (and in this case it is a principle of faith more than knowledge) the faster you can turn the rest of the book around, the better you're going to look.

A few weeks ago, the blog Scriptwriting in the UK reproduced ten writing tips from Joss Whedon. Here's the first:

"FINISH IT
Actually finishing it is what I?m gonna put in as step one. You may laugh at this, but it?s true. I have so many friends who have written two-thirds of a screenplay, and then re-written it for about three years. Finishing a screenplay is first of all truly difficult, and secondly really liberating. Even if it?s not perfect, even if you know you?re gonna have to go back into it, type to the end. You have to have a little closure."

One other note before I finish this post: that closure Whedon mentions is critical, not just on a personal satisfaction level but on a very straightforward business one. This is like saying the sky is blue, but until you finish something, you won't know that you're able to finish something. Having to find that out when someone else is waiting on you is...not a good position to be in (Z2H is really good for writers in the sense that when someone wins a CCN or DtD, it's part of their editor's job to help them finish if necessary--most editors have a VERY different brief professionally).

An idea's fine, but everyone has those. It's the ability to execute the idea in a satisfactory way that separates those who have a shot from those who're just dreaming of a life of insecurity, poverty, and--er, I mean, dreaming of having a career as a writer.

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