Greg responds...

I don't know where to start. I'm not an artist myself, so I'm not the best person to advise you on that.

As for story, I'd recommend education. Read a lot. (And not just manga and comics.) Write a lot. Proofread. Read some more. Write some more. Proofread. Go to college. Get a solid liberal arts education. Read the classics. Read the daily newspaper. Read some more. Write some more. Proofread.

(Get the idea?)

Greg responds...

I wish I knew how to "become" a good artist. I'd love to be able to draw. But I don't have that talent, so I'm not the greatest person to answer that question.

As to how to "make things that people really like"? I usually start by trying to make something that I really like. If I'm not passionate about it, how can I expect anyone else to be?

Greg responds...

Uh.... all of the above, really.

There was a time when clearly Gargoyles was actually a liability for me on my resume. Thankfully, that time has passed, at least for now, and it is once again my biggest selling point and calling card. In part, this is because a new mini-generation of execs has surfaced. The group that I was part of respected my work on the show. But then a slightly younger group came in that didn't know the show and didn't care about it. Now we've got a group that remember it fondly from their youth.

Yes, I'm just that old.

But frankly, my "Resume" is GIGANTIC, and I think the mass of it is impressive to people who value experience and good credits. To people who are intimidated by those who might know more than they do, I think it's a roadblock.

Obviously, everything depends on the job at hand. The folks at Disney (but not SIP) were nervous about hiring me for WITCH because they were convinced I wasn't funny enough. It occured to me that they might not have read my comedy scripts, and so I sent a couple of them over. Having read the stuff, I was funny again -- and hired for the job. So the work itself can help. When asked to submit script samples, I have a ton to choose from. So it becomes a guessing game. I try to get a sense of the project or kind of project they're interested in me working on and then choose scripts that seem to fit ... in tone at least. But you never know if you're sending the right material or not. And sometimes they don't bother to ask for it.

It also truly helps to be able to talk a good game. I give good meeting. I have off days, but I generally do pretty well in a room. That helps. It's ironic, because I'm shy and lousy at small talk. But ask me about creative stuff, and you pretty much can't shut me up -- as anyone who's attended a GATHERING can attest to, including, I'm sure, you, Vash . I am also a pretty consumate bullshitter... and yet not afraid to admit that I haven't figured EVERYTHING out yet.

I think that covers the basics.

Greg responds...

As far as I can recall, multi-parters went to the same studios... although often not to the same exact crews. (Often a studio has multiple crews.) For all the reasons you stated above, it makes more sense.

Greg responds...

Well, let's see. By now, you must be almost done with your Sophomore year, and I hope you haven't been waiting that long to hear back from me.

My bio in brief:

B.A. Stanford University in English with an emphasis in Fiction Writing.
M.P.W. University of Southern California. M.P.W. stands for Masters of Professional Writing and my emphasis was in playwrighting.

In between, I worked on staff at DC Comics for two years. And I freelanced for them for about eight years -- beginning during my Junior Year at Stanford and ending after I was well-ensconced at Disney.

Before I left USC, I interviewed at numerous places... and hit it off with Gary Krisel, who was putting together Disney's TV Animation unit. A year later I started there as a VERY junior creative executive. It was supposed to be my day job while I wrote at night. But I didn't do much writing over those five years. Instead, I got steadily promoted, eventually rising to Director of Series Development. I developed numerous shows including Gargoyles, and then moved over laterally to produce that show.

Eventually left for some unfulfilling years at DreamWorks, and then went Freelance.

My first recommendation to anyone who's interested in the biz is to find something else to do... unless you just feel like NOTHING ELSE could do it for you. It's a brutal business full of rejection, so unless you have the passion to carry you through, over and/or around all that brutality and rejection, I'd go elsewhere.

Second rec is to move to L.A. That's where all the action is.

Third rec is to write, write, write.

Fourth is to read, read, read.

Fifth is to learn how to proofread, and practice the art religiously.

Greg responds...

Did I really say that? It doesn't sound like me at all.

You are correct, they'd either toss it or send it back to you unread. Unsolicited material is dangerous for studio execs to read, particularly if its based on that studio's properties.

I believe what I suggested was to send a sample to an agency. They still might throw it away, but they are much more likely to read it.

Greg responds...

All the animation companies go through phases of hiring and not hiring. You posted your question in early 2003, and I'm answering in late 2004, so I assume you haven't been waiting on me to pursue your goals.

My oft-repeated story is elsewhere in the ASK GREG archives under "Weisman, Greg". But the short version is that I've wanted to be a writer since grade school. I eventually got professional work as a freelancer at DC Comics. From DC, I transitioned to graduate school. While at graduate school, I interviewed at Disney and eventually got a junior executive position at Disney TV Animation. I developed and supervised numerous series for TVA, including, finally, GARGOYLES, which I then moved over to produce.

Greg responds...

Thanks. Glad you liked it.

Greg responds...

No.

Greg responds...

I have no idea. Sorry.