Worst. Superhero. Ever.

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It seems like only last month I released Lost & Found: And other odd short stories… oh wait, it was! Originally I intended to publish one or two large collections of short stories, but instead I took the advice of published shorts authors and broke my work into more manageable sized ebooks. Learning the ropes from people well-versed in the ebook world proved a fortunate turn of events, and now I’m releasing my second batch of quirky short stories, Worst. Superhero. Ever.: And other odd short stories

The book officially releases on Tuesday November 15th, but is available for pre-order on Amazon (and is part of the Unlimited program as well). Go get it! (is that the worst call to action ever, or what?)

Seriously though, it’s been a bit of a challenge getting this one to market while working  long hours in TV Land (my day job), but time was carved out and here it finally is. I would hope other aspiring writers take this as inspiration and perhaps a kick in the butt to keep working on your passion. Even if you pull 17 hour shifts (which I did several times this week), it is still possible to nurture your artistic side, even if things are hectic. Do what you must, but keep that creative spark alive! Your fellow authors are rooting for you.

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And thus my brain baby is released into the world. All joking aside (except that found in the book of course), I sincerely hope you decide to give this book a try. If you liked Lost & Found, I think you’ll truly enjoy the quirky tales in Worst. Superhero. Ever.

One last thing. If you’d like to be notified of future releases, sign up to receive my newsletter. It’s infrequent, not spammy at all, is only about book releases, and can easily be unsubscribed from at any time.

Lost & Found — A collection of odd short stories

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After much procrastination and reworking, I’ve finally released my first small collection of short stories. Four to be exact. A bite-sized e-book to put the first few of my brain babies out into the world. It was hard to stop editing and tweaking them and just let them go out into the wild, but now that they are, the feeling is wonderful. To all my fellow writer friends on the fence about doing the same, I just want to say this: Keep at it and put your work out there. Discovering new stories is a joy, and you can contribute to the body of new work available to eager readers.

As for me, I’m humbly asking those who are interested in quirky and odd short stories to take a chance on my little $0.99 e-book and give it a read, and if you should get some joy from my stories, please take a moment when you’re done to leave a rating or review (the lifeblood of indie authors) on Amazon or Goodreads (or both). It would be immensely appreciated!

Lastly, I know it can be rough out there, so if times are tight and you cannot afford the download, please message me directly and I’ll gladly send you a version for free.

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The Mice of Troon

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It was a fine day in in the town of Troon, though perhaps a wee bit overly damp from the ongoing rain and cold wind blowing in from the sea.

The young boy played by himself in his home, left to his own devices to amuse himself indoors until the weather cleared while his mother finished on some chores. Naturally he spent the morning doing what young boys so often do when stuck indoors, namely he had adventures in whatever way he could.

Now this lad had been born with poor vision, which was a hindrance in some ways, but also led to his greater attention to subtle details. His parents and teachers were often amazed not just by his imagination, but also the way he noticed the little things others might often overlook.

On this particular day, the boy had discovered the knotted cord to the recessed ladder leading to the attic of his home. He hadn’t noticed it before, for him this was a new and as yet un-touched adventure waiting to be experienced. What was a young boy to do but investigate?

He stepped up on a chair, ignoring the slight wobble, and stretching above his head, stood on his toes and reached up until his fingers finally curled around the cord dangling from the ceiling. Victorious, he pulled until the ladder revealed itself and extended down to the floor. Torch in hand, he slowly climbed the rungs towards his mysterious new adventure land, until his feet finally disappeared from view as he stepped fearlessly into the dimly lit attic.

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He spent the better part of the afternoon up there, and after several hours of adventure digging through the treasures secreted away in his newly discovered playground, he came across a small old metal and wood device tucked in a corner. The pine was coated with dust, the metal bits had long ago developed the patina of age. Curious, he decided to carry it downstairs and show his discovery to his mother.

Back on the ground floor, he brushed the cobwebs from his clothes as he stepped into the kitchen, finding his mother busy making mince pies to follow the evening’s supper.

“Mummy, why do we have these in the attic?” the boy asked.

She looked up from her work to see what new mischief her son had gotten into, her eyes falling on the disused device in his hand. She wiped the flour off her hands with her well-used apron and smiled warmly at her son, running her hand through his hair with a loving ruffling as she exclaimed, “Oh, you’ve found some new treasure have you? Well do you know what that is for?

“No, what is it?”

“That’s a mouse trap. They’re used to catch the mice in the house.”

“What mice?” the boy asked, “everyone knows there’s no such thing.”

His mother chuckled. “Don’t be silly, of course there are dear, but the traps are just rubbish at catching them, that’s all. That’s why we got Mr. Jingles the cat, to keep the mice out. Of course he shreds the curtains, but that’s why Humphrey is such a good dog, he keeps Mr. Jingles in check.”

The cat slowly blinked as he looked at the boy with a sly look in his eye, his jingling bell collar chiming out softly as he turned his head.

“No mummy, can’t you see? There aren’t any. Mice don’t really exist.”

“Don’t be silly darling” she replied as she turned her attention back to filling her pies, “Of course they do.”

“But have you actually ever seen one?” He asked. “I think the cat is just playing a trick on you, convincing you they’re real so he’ll have a nice warm place to live and plenty of food to eat.”

mti4otkzmdyzndkzmzu1ntmw            A slight tingling of bells chimed as Mr. Jingles slowly turned his head and fixed his gaze on the boy, giving him a rather nasty look.

 

His mother, however, paused for a moment, digesting the thought her son had put in her mind. “Come to think of it” she said, “when have I actually seen one?” The seed of doubt just planted, suddenly began to take root.

A slight puff blew through the room, and just like that, things suddenly felt different.

“Why come to think of it, I believe you’re right.” she said. “In fact, I know you are. Goodness, I don’t know what I was thinking, of course mice don’t really exist, how silly of me. Aren’t you a clever boy.” she said, smiling at her son proudly.

“You see mummy,” said the boy, “I told you. It was all the cat’s doing.”

“Cat? What cat?”

“Mr. Jingles, the cat Humphrey is always barking at.”

“What cat?” she said once more, “Darling, everyone knows cats don’t really exist.”

“What do you mean?” asked the boy. “I’m sure I saw him.”

No sooner had he uttered those words, he heard the quiet click of paws on the wood floor as Humphrey slowly padded into the room, casual in his gait, tail swishing in a slow arc from side to side. The old dog paused at his bowl, tail still wagging, and looked the boy right in the eye. Even with his impaired vision the boy was certain the dog smiled at him and winked before he looked away, turning his attention to the mound of kibble before him.

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~ For Bean ~

 

 

Pitfalls of Shooting Digital

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Now that digital has more or less caught up to shooting on film, though some purists will still argue that digital isn’t quite there yet and that film looks better, we see many of the constraints of working with film gone, only to be replaced with problems of a new sort.

Exhausting the actors.

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When mags of film would roll out and require a reload, directors were forced to better plan what they wanted and then do their best to capture it efficiently. Unless you were a big production, the cost of film alone prevented doing massively long takes and shooting a dozen different angles just to have more to play with in the edit. Indecisiveness and lack of clear vision was shunned. Unfortunately now with the leeway of digital, we see dozens of takes from a multitude of angles as clarity of vision is often replaced with a wing-it “let’s try this” approach. Actors love to get to try different things, and many times that produces pure gold, but when this new flexibility is abused, actors can get worn down. An entire day shooting a 3 page scene over and over and over would tire even the most seasoned actor, and performances start to drop off. Then there’s crew. They get far less turnaround between days than actors do (9 hours on stage and 10 hours on location, including drive time home and back to work the next day… Teamsters only get 8) and safety and productivity can suffer greatly as your crew wears out. nap on set

Running up the budget.

Another problem stemming from the overshooting/underplanning issue is one directors often ignore, but one that keeps producers awake at night. Budget.

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Paying an entire crew for those extra few hours tacked on to each day because of a less constrained process can cost tens of thousands of dollars an hour. IATSE film crews get time and a half after 8 hours, which they almost always go past. Once you pass 12 hours your crew goes into double-time. If you go long, you’ve essentially hired an entire second crew (money-wise) for each hour you go over, yet you still get the output of one crew, and that’s an increasingly tired crew at that. Then factor in meal penalties (a union crew must be broken for meals every 6 hours, otherwise they are paid a penalty every half hour, which can really add up) and costs skyrocket. One way to avoid running long is by tacking on additional days to keep the overtime low, but we’ve seen in countless times, if you give an extra few days leeway, the 10 hour days will still often creep up to 14 or 16 hours, and now you’ll just have more of those overtime days rather than actually cutting costs.  Adult Supervision (i.e. a producer with balls to stand up to the director when need be) is vital on a set where money is an issue.

Screen Shot 2016-05-20 at 1.21.05 PMIf you’re shooting on location, you may have to pay the location, neighbors, traffic control, security, rental bathrooms, and other equipment for extended hours as well. Long story short(ish), if you don’t rein in your director the budget can go out the window.

Those poor editors.

I worked a project recently that shot back-to-back takes of 38 minutes and 42 minutes with two cameras operating. That’s 160 minutes of footage shot in 80 minutes of work. These were unusually long takes, but are indicative of what can happen when a director goes off-book. The five most dangerous words in Hollywood are, “Hey, I have an idea.”

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If a director shoots with two cameras and averages three 10 minute takes per setup, then shoots sixteen setups per day on a 30 day shoot, you’re looking at (roughly) 16 hours of footage a day, or 480 hours of footage at the end of 30 days. That’s a month of non-stop viewing on an 18 hour day schedule, not including the actual act of editing.

Now consider that continuous rolls means no slate to break up the action and mark a moment. Unless the director is very good at telling the script supervisor which moments they really like on the fly as they happen, the director and editor will later have to re-watch all that footage to find what they want to use, searching for that needle in a haystack. Amusingly I’ve heard from several editors that almost always in this situation the director will use the first take that they come across that they like, even if there may have been something amazing further down the line.   needle haystack man

I love digital. I believe digital opens up many opportunities to be creative and efficient, but it is also important to not allow the benefits of shooting digital be erased by poor filming practices. Directors need adult supervision to keep them from shooting 2 hours of insert shots of hands from 7 different angles. I’ve seen a director (who happened to be the showrunner, so he got away with it) shoot multiple masters from different angles. The guy had so little clue how to shoot or what he wanted, he was just getting a master, then closer, then closer, then closer from every angle. no_idea_by_workisnotajobIt was a shit-show and the actors (not to their head honcho’s face of course) were even breaking composure and bitching about it.

Use digital as the amazing tool it is, but plan ahead and use it well. If you treat digital like film and follow at least some of the same production practices (for the most part, after all, flexibility of digital is a big plus) then you should still be quite able to shoot excellent material at a much lower cost in terms of money, time, and frustration, than film.

Lastly, Always Remember the 5 P’s: 

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Talking Underpants Make the Semi-Finals!

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A little while back a short script collaboration with my dear Scottish friend Gillian Hay was a quarter finalist in the Shore Scripts Shorts Competition. Adding to that happy event, we just learned we were semi-finalists in the Nashville Film Festival Screenwriting Competition.

To the wonderfully quirky Ms. Hay I must give hearty thanks for springing such an unusual and fun story from her bonny noggin. ‘Twas a pleasure to write and I’m thrilled the judges enjoyed the read.

After all, who wouldn’t want talking knickers?

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If you’d care to give our little tale of talking underpants a read, here’s a link.Audrey’s Knickers

Short Script Collaboration: Audrey’s Knickers

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Knickers: (N) \nikərz\

Def: A woman’s or girl’s underpants (which may or may not have magical properties).

So recently my dear friend Gillian Hay  (link to her Spotlight page)

a bloody amusing Scottish actress, songwriter and all-around great gal, shared a short story of hers with me. It was a funny little tale she had whipped up about a girl with an abundance of hope but also an abundance of bad luck when it comes to men. That is, until she is visited by a pair of mysterious, talking underpants.

It was absurd and amazing, so needless to say, I was hooked. We laughed excessively at the madness that tends to spring from her mind (even moreso than most Scottish people, and that’s saying a lot), and after the revelry finally diminished, we decided to collaborate and see what would come of it. Ultimately we made some tweaks and additions here and there, fleshed certain parts of the story a bit more, and then I sat down and banged out a short screenplay adaptation of her brain-child, which got us all the way to the quarter finals in the Shore Scripts Screenplay Competition (yay us!) Screen Shot 2015-11-05 at 6.13.15 PM

If you’d care to give our little tale of talking underpants a read, here’s a link. Audrey’s Knickers

Living the Good Death – Scriptapalooza 2015 top 10 Runner up!

After scoring an 8 on The Blacklist, making the quarter-finals of Cinequest, achieving listing on Spec Scout with a 76.8 rating, and recently making it to the Scriptapalooza finals, my dark romantic dramedy Living the Good Death was just announced as a Runner Up (top 10 out of over 3,000 scripts) in the 2015 Scriptapalooza Screenplay Competition.   

Needless to say I’m thrilled and honored the competition’s readers enjoyed my little tale about a quirky young woman claiming to be Death incarnate who finds herself locked in an insane asylum. That they liked it enough to warrant a top-10 ranking… well let’s just say those heart-cockles or mine are certainly warmed.

Ya know, they say writing is re-writing, and Living the Good Death has certainly gone though many revisions before arriving at the draft we have today, and it’s been a fun, frustrating, but ultimately rewarding process. So what does this particular bit of good tidings mean? Why it means it’s time to do exactly what I was doing when I heard the news… keep working on the next script in the pipeline. Writing is like a shark in the ocean… keep moving or drown.  That and it’s just so darn enjoyable.

Here’s hoping the next one will be as much fun to write and as well received. 

Don’t Be A Boring Shirt

I was at the laundromat and noticed something that I thought was an interesting parallel to screenplays these days.

The preponderance of boring shirts.

Oh there were blue striped ones, blue plaid ones, and of course various shades of good old blue, but as I scanned the racks it really struck me just how many variations of the same plain shirt people were having cleaned. Of course there were also beige and white shirts, gray and black coats, but near everyone, it seems, has “safe” blue shirts. What also stood out was that as the electric conveyer rack spun by, once in a while a shirt with color would pass, catching the eye and standing out. With so many trying to play safe & by the rules, the different one was easy to pick out. With thousands of screenplays written every year, the parallel is clear. Make yours the one that catches the eye.

Screenwriters often follow templates and guidelines when crafting their works, which is fine, but in a world where seemingly 99% are following the Save the Cat or similar formula (a bit too strictly for many), those who can work with structure yet offer something different, something that makes a reader pause and say, “wait, that’s unique” are the ones who stand out from the pack. Sometimes it’s a bright red shirt, but sometimes it’s just a thread of color that turns an otherwise plain piece of cloth into a fascinating design. Strive for fascinating, keep readers entertained.

Now obviously this doesn’t mean go write a script with charcoal and crayon on the hides of animals you killed with nothing but a fountain pen. That’s different alright (and pretty awesome if you actually used only a pen), but not what we’re talking about. The thing is to create a story that fits in the basic rules yet doesn’t plod along predictably from a-z. Everyone will have a different way to do this, but when reviewing your draft, look at it as though you were a reader tasked with slogging through 200 scripts a year. Are you more or less writing what everyone else is (within your own story naturally) or are you writing outside the box? What makes yours stand out? Ask yourself that question on a regular basis and you may just find yourself rising above the cookie-cutter mire of uninspiring scripts.

Screenwriting: When Less is More

Brevity.  Clarity.  Subtext.

In reading the work of some of the more influential screenwriters of the last few decades, one thing (with a few exceptions) holds true across the board. These top-tier writers are both thrifty with their use of words, yet also able to convey so much more than most with the words they commit to the page. Sure, every writer knows about subtext, yet some are true experts at crafting dialogue and descriptives that can fill a reader’s mind with a full-frame of information from just a few brief lines.

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Be Clear. Be Concise. Be Creative.

The Script Lab recommends “The Three C’s” as a simple guideline to keep in mind. Now if you’ve read my previous posts, you know I’m not a believer in following cut & dry methods (and don’t get me started on Save the Cat), but I do believe “The Three C’s” is actually a useful and easy to remember tool when you find yourself questioning if something is perhaps too wordy, too vague, or too bland.

For an example, let’s turn to arguably the most well known script from the legendary William Goldman. I’ll link the shooting script (there’s a bit more included in shooting scripts, such as direction for camera and whatnot, but you’ll get the idea). Look at the economy of words, the quality of words chosen, and the mental picture painted with them.

Goldman’s writing is a classic example of The Three C’s well before that was even a thing. His writing is Clear and Concise with not a wasted sentence as he crafts the world, the scene, and the dialogue, yet even his shortest of lines has that Goldman Creativity. The man had a way with words, on that we can all agree. If anyone says otherwise, I have but one word for them…

Inconceivable!

For further insight into screenwriting, as well as occasional amusing nuggets, The Bitter Script Reader Twitter feed can provide an enjoyable barrage of quips and commentary that are often surprisingly on-point.

He’s been an industry script reader for a decade and his exchanges with fellow readers can be downright hilarious. You’ll likely notice that followers of the “more is more” and “fill the page, let the reader figure it out” school of writing tend to be pet peeves of the pro-reader crowd. In other words, the pros tend to agree, Less is More more often than not.

Amazing Script Reads for Aspiring Screenwriters

Internet advice is flung at you just about everywhere you turn, but how about just providing a few really good examples of excellent, tight, and well-structured screenwriting? That’s what I’m putting up today, a pair of really well-written scripts. I hope you enjoy them.

First is a recent 2014 Blacklist feature screenplay titled Bird Box. While the genre may not be everyone’s cup of tea, and people certainly argue over the story itself, no one I’ve spoken with disputes the quality of the writing. I highly suggest giving it a read.

Next is from TV-Land, Jon Bokenkamp’s pilot of the TV series “The Blacklist” (not to be confused with Franklin Leonard’s Blacklist). It’s a show that is impressive in both scope and pacing, with writing that is really top-notch. If you want to see why this was the best testing-rated pilot in the past 10 years at NBC then I suggest you take a gander.

I hope these inspire you. I know personally after the rush of reading these faded, I was quite motivated to get back to the keyboard and start cranking out more pages.