A Station Eight Fan Web Site

Gargoyles

The Phoenix Gate

Ask Greg Archives


: « First : « 10 : Displaying #53 - #62 of 72 records. : Last » :


Posts Per Page: 1 : 10 : 25 : 50 : All :


Bookmark Link

Presto writes...

Need some advice because I just became a screenwriter for a Television series based in Hong Kong. How much should I charger per 24 minute episode?

Greg responds...

I'm not sure how to advise you. The short answer is get as much money as you can squeeze out of them.

Animation Guild Union minimums are just over $7K per 22-minute episode, if that helps. WGA minimums are much, much higher.

Response recorded on September 23, 2014

Bookmark Link

abnormal matt writes...

Hey Greg I was wondering where do you feel you've stepped most out of your comfort zone as a writer. sorry for not using a question mark my keyboard doesn't seem to have one.

Greg responds...

What kind of keyboard doesn't have a question mark? That's just... bizarre.

Anyway, I try to challenge myself all the time. Writing the novels was WAY out of my comfort zone, and even in that, I challenged myself by creating a fairly unique narrator.

Response recorded on September 02, 2014

Bookmark Link

Shola Akinnuso writes...

Greg,

Are any of your Young Justice, Spider-Man, or Gargoyles scripts available online? I attend an Animation Writers group in Burbank, and the guest speaker showed one of your scripts as an example. It was a revelation. I've never seen sound effects used as action before. Every line had momentum, the script read was super clean and efficient.

Since then, I've been emailing everywhere to obtain a copy, I had to go to the WGA to read one of your YJ scripts, which again, was incredibly helpful. You noted where every SFX goes, how man characters speak, and to my surprise, people rarely had over two lines of dialogue at any given time. Everything was TIGHT, and was something I really want to study. Even the formatting.

Obviously, I couldn't copy anything from the WGA, and there's NO trace of your work anywhere online. How can I get a copy of a script? Even just the first act would be helpful. Would you consider putting a .pdf online via your website? I have read other books on animation writing, but your script was a big jump for me.

Greg responds...

I don't have the capability of posting a script here in the correct format.

Are you able to come to any of my many convention appearances or signings this summer? I have in the past sold signed copies for fairly reasonable prices. I wasn't planning on bringing any this year, as my focus is on selling my books, RAIN OF THE GHOSTS and SPIRITS OF ASH AND FOAM. But if I know there's an interest, I can bring some scripts too.

Among the conventions I know I'm attending:

Denver Comic Con http://denvercomiccon.com/
CONvergence (Minneapolis) http://www.convergence-con.org/
San Diego Comic Con International http://www.comic-con.org/cci
MechaCon (New Orleans) http://www.mechacon.com/
Long Beach Comic Con http://longbeachcomiccon.com/lbcc.php

Responding here isn't practical, however. But if you contact me, via Twitter at @Greg_Weisman, we can make arrangements. And if other followers are interested in purchasing scripts too, I'm game. Let me know.

Response recorded on June 05, 2014

Bookmark Link

Club Jade Interview

Had a great time doing a panel and signing at Mysterious Galaxy Bookstore this past weekend. Also took some time out to do an interview about Rain of the Ghosts (mostly) with Jawa James at Club Jade. Here it is: http://clubjade.net/?p=58532.

Also talked a bit about the writing process and my thoughts on diversity.


Bookmark Link

fallenlegend writes...

Hello Greg!

Just a quick question this time. The other time I asked you something about gargoyles and you said that you wouldn't write it for free... wich came as a bit of a shock to me as you have said before that it is your baby proyect.

It's understandable as this is your job and main source of income... But I have to wonder if you would ever have or if you have a personal proyect wich you would do for free.

You deserve every cent you get paid but.. Many (amateur/fanfic) writters write stories for fun and I wonder if this is the case with you. thank you!

Greg responds...

I don't write for fun anymore. To be honest, it's too much like work.

I don't write for free, though I do (occasionally) write "on spec". That is, I'll write something that has the chance of paying off later, even if no one is paying me for it immediately. For example, my first novel, RAIN OF THE GHOSTS, was written on spec. (And took over a decade to pay off - minimally.) The second book in the series, SPIRITS OF ASH AND FOAM, was not written on spec. My publisher, St. Martin's Press, ordered it. The third, MASQUE OF BONES, which I've barely begun researching, will also be written on spec, unless St. Martin's Press decides to pick it up.

But the big difference with those books, over something like GARGOYLES, for example, is that I OWN the RAIN property. I don't own GARGOYLES or YOUNG JUSTICE or WITCH or THE SPECTACULAR SPIDER-MAN. It would, frankly, just be foolish for me to invest my time (which is money to me) in something that isn't mine.

GARGOYLES is without a doubt my baby. I feel that strongly. But it doesn't change the hard, cruel fact that I hold no ownership in it at all.

Response recorded on May 01, 2014

Bookmark Link

Anonymous writes...

As a writer, what, in your opinion, is the reason that every child born to a major character in DC comics is killed-off, ret-conned into having different parents or out of existance entirly, or aged?
Think about it. Aquaman's son...dead. Wonder Woman's daugher...ret-conned to not even be hers. Batman's daughter...ret-coned out (albeit braught back, but now from a different reality). Batman's son...killed by his own clone. Arsenal's daughter, who had the potential to become a great character someday...dead. Flash(Wally)'s twins...first dead, then aged. And the list goes on.
Is it supposed to be common practice among comic writers so that they can maintain a static universe where the hero doesn't age over the years & a baby would force the story into progressing?
The main reason I quit reading comics is because it seemed that as soon as any characer was even beginning to progress, a new writer would come along and revert everything back to when they were a fan, including ignoring or killing off any other character that wasnt there back then, including children.

Greg responds...

I think you've basically answered your own question.

One additional factor: I know "writing" a baby or even a toddler or young child is tough. (Teens are relatively easy by comparison.) And weighing a character down with a child who is too young to fend for his or herself is always a challenge. The alternative of giving the lead a spouse or co-parent to help out, creates an entire family unit that imposes additional challenges for the lone wolf superhero archetype to overcome - once you've gotten past the endless "My family is in danger" stuff. So it's a writerly challenge, as well.

Now, that kind of content interests me tremendously. But when faced with pressure to keep heroes static and angsty and troubled, and couple that with the inherent difficulties of writing the character with ongoing familial relationships - and as you noted, the feeling that a new writer or editor might have that they want a shot at writing the character in his or her pristine, unencumbered form, and you can see why the trend exists.

But personally, it's a trend I despair of.

Response recorded on April 25, 2014

Bookmark Link

fallen legend writes...

Hello greg I have some questions regarding your writing style.

1.- Do you agree in" clarke's third law" aka "Any sufficiently advanced technology is indistinguishable from magic" in your fictional works?

For instance in Gargoyles/Earth 16/witch etc is all magic just advanced science?.

Titania hinted that magic and "human science" were one and the same in gargoyles. But Wally on the other hand... learned that magic is not just advanced science, hence my curiosity.

1b)if not How do you distinguish magic from "advanced science"?

2.-You have mentioned before that you wouldn't never give a "grand finale" to any of your works. But if you could... would you have write a "goodbye story"?

We know the story will never end but... we will be able to say goodbye?

Greg responds...

1. Depends on what "world" I'm writing for.

1a. No. Magical energy in all those worlds you mentioned exists. Doesn't mean it can't be tapped by advanced science, but it still IS.

1b. Source of power, I guess.

2. I might give a "grand finale" or "goodbye story" to an individual character or characters, but not to the world as a whole. My mind doesn't work that way.

Response recorded on April 23, 2014

Bookmark Link

Laura 'ad astra' Sack writes...

Hi Greg,

Thanks to the joys of TiVO my daughter and I have discovered and been watching Ben 10.

(Mini review: The theme song is right up there with Spectacular Spiderman and the characters are fun and endearing. That said, at least as far as we've gotten, I have noticed a lack of, (for lack of coming up with a better word), 'depth' plotwise: They stop the bad guy at the nuclear power plant, but they don't explain where all the workers went. The rescue the three kids at a sleepaway camp overrun but space fungus, but don't explain whether the rest of the camp ran away or were captured and consumed. Etc. I noticed that the show was structured with one season of standalone plot stories mostly showing Ben, Gwen and the grandfather adjusting and interacting in their new situation. The second season starts having plots of Plumbers, and Forever Knights and aliens groups, but mainly having them appear in standalone stories. Starting the 3rd season I presume they'll start putting together all these parts into more of a greater mythology. Or so I guess from the fact they have multiple follow-up series.)

I noticed that you wrote the episode I most recently watched, Ben 10,000. It was very good. It made me wonder- it seems to be the most 'overarching plot' based so far. Beyond showing us future hero Ben, future magic caster Gwen, future society etc- it seems to tease the direction of the series. Leading me to my questions:

1- Were you approached to write this particular episode because you are know for working on shows with detailed overarching mythology, or was it more random of that episode being available, or you choosing from a list and it appealing to you?

2- In the other direction, when you are choosing none regular writers for your own shows, do you choose specific writers with their track record in mind to match certain types of stories? Do you offer them to choose among several none claimed upcoming plot whether or not it matches what you think of as that writers specialty, or what writing he or she did that impressed you?

3- What type of preparation do you do/expect for none series writers? Watch all the previous episodes? Read synapses of all? Prepare a list of representative episodes to back up the plot of the episode to be written and its tone? Just take detailed instructions from the show runners and expect tremendous edits to cover the adjustments to continuity?

Thanks,
Laura 'ad astra' Sack
(As apposed to the 'as astra' I accidentally autofilled into my last 12 postings;)

Greg responds...

1. So long ago... As I recall, I think story editors Tom Pugsley and Greg Klein approached me because they knew I liked Time Travel stories. I had done one for them on THE MUMMY.

2. Generally, I assemble a writing 'staff' at the beginning of each season. '(Staff' is in quotes, because these days, in fact, the 'staff' is all freelancers.) In choosing a staff, I generally am choosing from an embarrassment of riches. There are a ton of talented writers who can handle the kind of show I tend to do. I have a few individuals that I've worked with many times before, who are familiar with the way I work and are very good. So I tend to go back to them over and over, assuming they're available. Sometimes, on rare occasions, I push a specific story on a specific writer. More often, I've got three or four and - schedule allowing - I let the writers fight it out for which they'd prefer. (It's never much of a fight.)

3. I'm not clear what you mean by "none series writers". Even assuming the "none" is a typo for "non," I'm still not sure. As for prep, I expect them to have done their homework. We rarely have the footage for them to look at episodes, but I do expect them to keep up with reading the final outlines and scripts.

Response recorded on March 04, 2014

Bookmark Link

Windona writes...

You once mentioned that you write down character traits, or something of the like, to help with making sure all the characters are in-character; but on a show with multiple writers, and with character development over the course of a story, how do you write those traits down?

Greg responds...

I usually type up a document, generally called a series bible, and distribute that to everyone involved. Also, all writers have access to ALL of the outlines and scripts, so they can see how our characters are evolving.

Response recorded on January 27, 2014

Bookmark Link

Philip Anderson writes...

Greg, congratulations on [i]Rain of the Ghosts[/i] and [i]Spirits of Ash and Stone[/i]! I'm looking forward to reading them and hoping to see the rest of the series, too.

As a writer myself (search [i]Pirate Journey[/i] on Amazon) I know that writing the manuscript is only part of the challenge. I've found that finding a publisher can be just as hard, in different ways. So here are my questions:

1. How did you get connected with St. Martin's?

2. If you have a publishing agent/agency, how did you connect with them?

If you have time, either here or in future rambles, I'd like to read your thoughts on your publishing experience (aside from your writing experience which you've chronicled pretty well with your chapter updates). Any information or advice or encouragement for aspiring and struggling novelists would be appreciated.

Thanks, and congratulations again!
Phil Anderson

Greg responds...

1. My situation may be unusual. My editor at St. Martin's was already a friend. He and I would have breakfast at San Diego ComicCon once a year to talk geek stuff. He knew that I had written Rain and that I had stalled out on a rewrite, and he would urge me every year to finish. So when I finally did in February of 2012, I sent it to him. Personally, I'm lousy at networking usually, but there's no doubt it can pay off. And this time I got very lucky.

2. I have an agent. Their main expertise is in animation, but they handle books, as well. When I originally wrote Rain, twelve or so years ago, they sent the book out to various publishers, who all rejected it.

I'm still figuring stuff out. For example, now that the book is out, I need to teach myself how to get the word out about it. That's the main reason I'm on Twitter, but clearly that's not going to be enough. I'm learning this stuff in fits and starts myself. Feel free to ask other questions, but following my progress will probably be equally instructive. (If anything is.)

Response recorded on January 13, 2014


: « First : « 10 : Displaying #53 - #62 of 72 records. : Last » :