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FallenLegend writes...

Hey there greg i fiorst want to say that you're a writer I admire deeply and try to emulate you my writting. One dream of mine is seeing you writing a full Superman series (m,y favorite superhero). I know silly, but I fee like you would be fantastic

Onto my question.

How do you manage to keep us guessing with so maby questions. I mean whenever you answer a question there seems to be another around the corner.

How do you acomplish that? I mean most writers when they answer the big questions, theres nothing else to. Yet with you whenever you answer something a new question rises.

Thank you greg

Greg responds...

We just think of our series as real worlds, with on-going issues. Nothing ever ends, so no answers answer everything. The characters keep moving and advancing on all fronts, including the heroes, villains and supporting cast. Once you keep that in mind, it's harder NOT to raise new questions as you go...

Response recorded on October 30, 2020

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danny writes...

hey mr greg weisman i was just wondering were you aiming a little older and just had to keep it appealing for kids

Greg responds...

We talking Young Justice? Gargoyles? Shimmer and Shine? Every series is different in its demographic targeting, sometimes even from season to season. In most cases, we tried to target multiple demographics simultaneously by writing in layers.

Response recorded on October 17, 2019

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Anonymous writes...

Can you tell us the meaning of the colors of the index cards you use to plan your shows?

Greg responds...

It changes from show to show, even from season to season. And on YJ S3, because of index card shortages of specific colors (this happened, believe it or not), it changed more than once DURING the season.

As an example, in YJ S1:

Green - villains
Red - Justice League
Blue - The Team (hero stuff)
Purple - The Team (teen stuff)
Yellow - Stuff where a specific date matters (like holdays)
White - Stuff that we're laying pipe for but will not objectively reveal to the audience at this time

Response recorded on April 29, 2019

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THE SMARTEST MAN IN THE ROOM

The following needs saying, so I'm taking time out from my very packed weekend - not to procrastinate, which would not be unusual - but to write up something that I think is important.

But first, some backstory...

I'm not particularly smart about very many things. I am in many ways a bear of very little brain. Ask anyone. I use an iPhone 4.0 because I literally believe that I don't have the brain space to deal with upgrading. I'm a slow reader. My dyslexia makes math difficult as I am constantly transposing numbers. I'm afraid of change. Etc., etc., etc.

But one thing - maybe the ONLY thing - I am smart about is STORY. Now, I've studied story for decades and decades in small ways and large. I also believe I have an innate gift for story. Like a great pianist, the gift itself would have been wasted without years of study and practice. I've had and done both.

What that means is that - when it comes to story - I have often (not always, but quite often) considered myself - with no modesty and tremendous arrogance - to be the smartest person in the room. In any room where this is a topic of conversation, but especially in any room where story was being professionally discussed. (You can see why - with an attitude like that - I'm so popular with animation executives and the like, and why I've been fired from so many jobs.)

Even on the many, many occasions when I have felt that I am among peers who understand story as well as I do, I never felt like they understood it better than I. As good, yes. Differently, sure. Stylistically, of course. But not better. I never felt anyone knew story better.

Oh, I've made mistakes, missed opportunities, slipped up, ad nauseam. I'm human and have never claimed perfection. I've collaborated with some brilliant and wonderful people. The list is nearly endless. But none of that ever shook my basic feeling that when it came to story, I was as smart or smarter than anyone in the room.

All that changed with YOUNG JUSTICE.

So let me state it for the record: when it comes to story, BRANDON VIETTI is the Smartest Human Being in the Room.

I'd love to tell you - BELIEVE ME, I'd love to tell you - that he learned all this at my ancient knee, and that if the student has surpassed the master, the master can at least take some satisfaction in that. But that, dear readers, would simply be a load of crap.

From Day One of YJ, as witness Kevin Hopps could attest, Brandon Vietti knew story, understood it deep, the way I do. And he was smarter about it than I.

The ultimate example of this dropped this past Friday.

Episode 307 of Young Justice: Outsiders, entitled "Evolution."

SPOILERS coming, so if you haven't seen the episode then please go watch it first before reading any further.

Like all YJ episodes this season, Brandon and I broke this story together. A pretty even 50-50 collaboration. There were certain things I wanted specifically to see, like the Cave Bear. Certain things I had researched such as that in (actual documented non-DC Comics) mythology, Nabu was the son of Marduk. And there were certain things that BV wanted in there, like the meta-human kid that Kalibak sacrifices. Certain things he had researched like The Art of War by Sun Tzu (a.k.a. Vandal Savage, a.k.a. Genghis Khan, a.k.a. Marduk, a.k.a. etc.)

And together, we created a pretty kick-ass story for the episode. I don't actually remember the day of the week, but for the sake of simplifying the story, let's say we finished breaking/building the story with index cards all neatly pushpinned into my office bulletin board on a Monday. Monday evening. We both felt pretty good about it, or at least I did, and we left for the day.

Tuesday morning, he comes in and says, "Something's missing."

I tell him he's crazy. There's nothing missing from 307. Nothing. It's a great damn episode. Maybe one of our best.

BV says no. Something's missing.

I say, "What? What's missing?!"

BV says, "I don't know yet. Something. Give me a day."

I roll my eyes in as pronounced a fashion as I possibly can and say, fine.

Wednesday morning he comes in and says, "I want to add a character."

I'm resistant. "It'll mess up the works, I tell him."

But he explains, and of course, he's right. Because Brandon Vietti is the Smartest Person in the Room.

The character he wants to add is Olympia. Olympia Savage. (I take credit for the first name only.) That's right. In our first version of this story, Olympia simply did not exist.

Try to picture "Evolution" without Olympia. Be honest. It's still a solid story. A few of the actual things Olympia does, we had Cassandra doing. But otherwise the plot remains almost completely unchanged.

But not the ending.

With Olympia in the story, the episode isn't merely a solid YJ episode. It's not merely a great YJ episode. To my mind, "Evolution" transcends YJ. It is a phenomenal, even revolutionary twenty-plus minutes of television.

And I tried to talk the guy out of it.

Of course, BV's contributions don't end there. He wrote the script, too, which is fantastic. And if you knew how much he contributed to every facet of production it would humble you. It humbles me, and as you can see above, I'm NOT a humble guy.

But screw all that. I'm not talking about pretty pictures, or color, or sound, or music or even dialogue.

This post is ONLY about STORY. And when it comes to STORY... BRANDON VIETTI will always be the SMARTEST HUMAN BEING IN THE ROOM.

I bow to his greatness. And trust me, I do not do that lightly.

To be honest, he's so good, it's pretty damn annoying.

But it's an honor to be his partner.


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Eman writes...

What is the hardest decision you've ever had to make, storytelling-wise?

Greg responds...

The next one?

Response recorded on January 09, 2019

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Jack Carpenter writes...

I've heard a lot about the "core truth" concept you and your team use in your approach to characters.

Are some of these core truths secrets, or would you tell us any that we ask?

Greg responds...

I don't think they're secrets because we put it all up on screen. But my inclination is to let our interpretation stand on its own, influenced by each viewer's own interpretation, as opposed to explicating everything in writing here. Still, I don't mind talking process. I'm not going to go down a laundry list of characters, but if someone were interested in one specific character as an example of the process, I might - depending on my mood and clarity - answer this kind of question once or twice.

Response recorded on March 14, 2018

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RexBlazer1 writes...

Hi Greg,

From what I understand, a lot of people tend to forget that what makes a character strong (metaphorically-speaking) is how he or she deals with his or her problems. Most seem to think that "strong" in the metaphorical sense means that they are tough and flawless, when in reality it is the exact opposite.

What do you think? Am I off course or am I on the right path?

Greg responds...

I definitely think you're correct.

Response recorded on October 25, 2017

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FallenLegend writes...

Hey Greg, theres something I would like to ask your opinion about.

You see comics have been notorious for being hard on average people to get into. You should know that your cartoons have been much more influential than whatever it's publised on printed form.

For millions of people when they think Young Justice they think of earth 16 and when they think of spiderman they think of spectacular.

Say Teen Titans Tv show' has Starfire as a cute alien and naive girl wich is among the best female characters ever in my opinion. While on comics she is a dumb bimbo with hardly more personalitybthan a brick

Comics on the other hand are harder to get into and well you might jot agree but the quality is much better in cartoons such as yours. I would rather watch young justice that get into the continuity mess that comics are.

It would seem that every continiuity reboot that tries to make things simpler just makes things worse.

In your experience what would you do to make comics as approachable as tv shows are?

Greg responds...

Well, I'm going to start - without going point by point - by NOT agreeing with everything you've stated above. Some comics have issues. Some are both accessible and very well-done. In general, I'm really liking DC's REBIRTH, for example. I'm reading all of it - trying to keep up. I don't love every series, let alone every issue, but generally, I think they're doing a pretty darn good job. I'd particularly recommend Wonder Woman.

And I think there are plenty of crap television series, as well.

It's all about execution. Plenty of good comics series. Plenty of good television series. Plenty of lousy examples of both. But I'm glad you like YJ and Spectacular.

Response recorded on September 25, 2017

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Marvelman writes...

Is there some sort of prejudice against animation writers by live-action producers? For example, would the producers of the Flash hire one of the Young Justice writers to write an episode? Or, would their experience working in animation not be taken seriously, or might it even be considered a strike against them?

If this prejudice against animation writers does exist, I have to say I don't understand it. I mean... do you really have to be a genius to write an episode of the Flash, or Blue Bloods, or the Big Bang Theory? I can understand shows like Breaking Bad or Mad Men or Game of Thrones being fussy about who they hire to write, but the simple reality is that most TV is not on that level.

Greg responds...

I don't think there are any consistent rules, and there are plenty of writers who've done animation and went on to work in live action. But, generally, yes, I think there's a prejudice against animation writers. I've certainly felt that way, anyhow, though I admit I'm biased. I tried really hard just to get my foot in the door at Arrow when it was first starting up. Couldn't even get an interview.

Response recorded on September 19, 2017

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Anonymous writes...

Hi! I'd like to ask you a question from a writing standpoint if you don't mind. When juggling a lot of plotlines, how important is it to develop relationships on-screen? On the one hand, obviously the main couples should be. But for the minor ones/background characters, I'm not sure if it's better to leave their relationship status static (which would be unrealistic for most) until I can properly develop something for them, or sometimes put them in side relationships based on chemistry even without much prior development. This would be provided that these relationships could be used to further individual storylines, just not important enough to warrant too much attention from the main plot. It's okay if you don't have an answer, but I'm curious if you do.

Greg responds...

Every character should have his or her own life, even if you don't always have the screen time for it.

Response recorded on September 11, 2017

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Ricci Jacinto writes...

Will you ever consider teaching a writing class? If so, teach it on MasterClass! (https://www.masterclass.com) I would love to be a writer half as good as you! You could make Family Guy good!

Greg responds...

Ignoring the non-sequitor attack on Family Guy...

I have taught classes in Writing for Television Animation in the past. I don't think I have the time now. And the internet largely scares me.

Response recorded on September 05, 2017

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Eric writes...

I found a tumblr post that talks about great characters with the link below.

http://giancarlovolpe.tumblr.com/post/98392197924/a-study-in-creating-great-characters-by-aaron

I also remembered you answered a question like that.

"I believe they exist as fully as possible. I create backstories for them, whether or not those backstories will be revealed on screen or on the page. I make them real to me."

So for the actual questions:

1. What do you think about the tumblr post? I think "compelling" and "fascinating" seem too subjective.

2. What exactly do you mean by "exist as fully as possible"? I'm guessing you want to give as much of an image of a character as you can, but I'm also sure that's the main task of any story.

3. You also said that you want to make the characters seem real to yourself, but how do you make them real to the viewer?

4. This one might be redundant, so it probably doesn't need to be answered. But just in case, how do you make characters and stories that the audience can enjoy?

5. I also know you've said that you write your passion, but how do you know it will appeal to others? It all sounds like being hopeful.

Greg responds...

1. Perhaps. But so is "relatable" and "sympathetic". They're directions to head not a detailed map.

2. It's not the main task to make of any story to make EVERY character in the story fully realized. My feeling is - within reasonable parameters - that it SERVES the story to have fully realized characters, who have their own backstories and motives that are specific to them.

3. I cross my fingers that if it works for me, it'll work for a substantial portion of my audience.

4. I write what I like, and cross the above-mentioned fingers. The alternative is pointless. If I can't get passionate about my story, how can I possibly expect anyone else to?

5. That's all it is. Honestly. See above.

Response recorded on August 17, 2017

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Marvelman writes...

You recently responded to another poster who sent you his review of YJ season 1. Your response made me question what the point of doing something like that might be. I mean... I understand the poster probably wants to feel that his opinion matters, but what kind of response could he or she possibly expect from you? Did he think you were going to agree with him? Was there ever a chance that you were going to say, "You have made some excellent points, and I will take them into account as I am writing season 3"?

So, my question is: does audience feedback or reviews ever effect how you YJ in even a general way?

Greg responds...

Nope. Doesn't mean they don't have the right to express them. But Brandon and I have to follow our passions and instincts. Have to. We can't let either praise or criticism effect our plans. For starters, for every person who likes something, there's bound to be someone who hates it and vice versa. All we can do is write the show we want to see - and pray that enough people like our work to make it successful.

Response recorded on June 15, 2017

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Anonymous writes...

You often say that ideas minus their execution are subject to unfair second guessing and that you've learned this the hard way. Can you share the specifics of this realization? What story did you share that brought this about?

Greg responds...

Lots of Gargoyles stuff. The first thing that comes to mind is Nashville's name. But there were all sorts of things.

Response recorded on June 15, 2017

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RexBlazer1 writes...

Hello Greg,

Not so much a question as an attempt to clear some things up. You said that you didn't remember our first exchange, so, here's a link:
http://www.s8.org/gargoyles/askgreg/search.php?qid=21729

The follow-up exchange:
http://www.s8.org/gargoyles/askgreg/search.php?qid=21290

I do hope this clears things up. I checked the links on my end and they appear to work. If they don't work for you then I'll just have to copy and paste, which will probably take up more space than I wanted to use.

Greg responds...

Okay, yeah, reread it all. (You've got the links switched, but they're both there.)

As I suspected, I wasn't upset the first time. I don't even seem to be annoyed. I was just giving you my honest response to your question, which was that I thought to some extent it was the wrong question for a writer to ask.

As for the second post, as I noted, you seemed to have a better handle on things.

So no worries on my end.

Good luck with your stories.

Response recorded on March 22, 2017

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qwerty writes...

As a general rule of thumb, how far do you like to plan ahead with stuff you write?

Greg responds...

All the way. At least to the end of each season, with at least some clear sense of where we'd go next.

Response recorded on March 20, 2017

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RexBlazer1 writes...

Hello Greg,

I appreciate your answer to my first question posted here regarding my thoughts toward the nature of antagonists in stories. However, bear in mind that it had been months since I asked that question, and my thoughts and feelings on the subject had already changed by the time you answered. I realize that I could've thought it out better, as well as have applied better wording regarding how I asked the question. What I SHOULD'VE said in describing the types was this:

1. The kind who are selfish and just in it for themselves, not caring who gets hurt in the process.
2. The kind who believe they fight for a great cause and the betterment of others, but more often than not create a lot of damage and destruction to those around them, believing that it's for the greater good.

However, I can see why you would consider this type of thinking reductive, as it doesn't allow much room for complexity, and characters and people are not that simple. I do realize that everyone think's that they are justified in some capacity or another in their actions, and that they can still do bad things and not care as well. There are multiple kinds of villains, and they can have varying shades of the two kinds I mentioned.

The thing is, when I asked, I was still trying to get an idea of how to go about doing things, and I'd previously asked some writer friends what they thought on the matter, and they went along with the same line of thinking, leaning towards one type or the other.

Not to mention, because of a lot of things, including, but not limited to, my 900-MPH autistic brain, I end up having to rethink ideas over and over again in terms of what I'd like to do and what I don't want to do with the story. And as a result, I'm stuck working and reworking on a story that keeps changing. Regardless, my autism is not an excuse, but I hope it helps to explain things.

Anyway, I only wanted to apologize for upsetting you with the way my question was worded, and my line of thinking at the time. I didn't think it through fully, and you delivered some deserved-flack my way for it. It wasn't my intent to upset you the way I did, and I wholeheartedly regret doing so. My words were short-sighted and not well-thought out.

I'm trying to do better about the way characters should be, and I'm aware of what to keep my mind open about.

Greg responds...

Hey RexBlazer1...

Here's the ugly truth. I don't remember our previous exchange. I can't search user names here, so I tried searching "antagonist," but nothing came up for that under RexBlazer1.

So I have no memory of what you suggested. And no memory of how I responded. I kinda doubt I was "upset". I rarely get upset here. I do get annoyed fairly often, so maybe I was annoyed. But I can't say for sure.

Everything you wrote this time sounds pretty good to me, however.

Response recorded on January 04, 2017

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Kelli writes...

Hi Mr. Greg! Firstly I'd like to say how much I truly enjoy your shows and shows you've written for, you've been an inspiration to myself as a writer for a long time. You're one of the greats!

I have some questions about writing, if that's okay.

1. As stated previously, I admire your writing greatly and wanted to know if there are some tips you could give me in writing a series focused on a team and writing for multiple characters? I'm currently working on my original ideas, and I'm a little embarrassed to admit that a lot of my writing pace and story planning/arcing is influenced by watching shows such as Spectacular Spider-Man, YJ, TMNT and many others including comics like Kanan: The Last Padawan (I own every issue)that you've written for. But writing for multiple characters can become difficult since I write in third person.

2. Have you ever gotten "bogged down" so to speak in writing a series planned on spanning over a period of time?

3. Lastly, do you find it hard to focus on what's happening in the series currently instead of jumping to the conclusion because of exciment for the end? If so, how do you stay focused?

Just for fun question: When not writing for tv, what's your prefered voice for writing, first or third?

Thank you for your time, and I can't wait to read/watch what you write next!

Greg responds...

1. I've answered questions like this before, so check the WRITING and WRITING TIPS archives here at ASK GREG for more details. But it's hard to answer your question, because I'm not clear what you're trying to accomplish. When you say you're "writing a series," what does that mean? Television? Movies? Books? Comics? Short stories? A proposal for one or the other or all? Are you asking me about choreographing action or about juggling storylines or something else?

2. Sure.

3. Sometimes. DEADLINES help me focus.

4. I don't have a preference. It depends on the needs of the specific story.

Response recorded on November 21, 2016

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Anonymous writes...

What do I need to write in character biographies? As I'm making my project, the way I do my character bios, I write a lot of backstor, the characters' personality, birthday and age, and a bit of present, etc. Is that all necessary or do I need to do them in a better order?

Greg responds...

There aren't any rules. You do what you need.

Response recorded on November 18, 2016

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Marvelman writes...

Hi. A little while ago I requested a character oriented slant for a hypothetical third season of Young Justice. I want to rescind my request. As I sit here working on my YA novel, I realized that no writer can work that way. He/she can only tell the story she wants to tell and hope other people like it.

Greg responds...

Yep.

Response recorded on October 10, 2016

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Taylor writes...

Hi Greg,

In your opinion, what are some of the key factors that separate a good story/script from a poor one (especially as it applies to writing in episodic television)?

Thanks

Greg responds...

Uh...

Good structure.

Story that comes out of character.

Dialogue that sounds like something human beings would actually say.

Some amount of surprise.

And if we're literally talking about the script itself: PROOFREADING!

Response recorded on October 07, 2016

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Mexi Gremillion writes...

Hi Greg!

My name is Mexi Gremillion and I am going to be writing for film and television when I finish college in May. I was wondering if I could ask you a few questions possibly about your experience as a creator and writer of fantastic television series like Gargoyles and Young Justice via email if possible, but it is totally fine if I ask you publicly on this sort of forum. I love your work and it's totally fine if you don't answer this, but I hope you do. Thank you so much for your time.

Sincerely,

Mexi Gremillion

Greg responds...

Hi Mexi,

I'd prefer to keep things in this forum. I know you asked this question nine months ago, so if you're still checking this, I'd recommend that you look at the Ask Greg archives under WRITING and/or WRITING TIPS. See if your questions were asked and answered already. If you still have more questions, post them here.

Response recorded on September 20, 2016

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RexBlazer1 writes...

Hi Greg,

I'll try and keep this short, as I'm sure your busy and having things to do, but basically I would like your honest opinion on something. And no, don't worry, it's not about ideas for any of the things you've worked on, nor anything that I or others have written.

Anyway, I'm an aspiring writer who wants to make his own series, and there's an aspect of storytelling that I can't seem to decide on. You see, I have always felt that there are, primarily, two types of villains:

1. The kind who do bad things and don't care
2. The kind who believe that their actions are justified

Summarily, I can't seem to decide which one is worse, as it could really be argued either way. I've asked some friends what they think, and have gotten back different answers.

Admittedly, the self-justifying villain tends to fall under a trope that I have a disliking towards:

Knight Templar - a villain who is convinced that he/she is the hero.

And, after thinking about it, there is at least one thing to appreciate about the "bad and don't care" villains; at least they have no illusions about what they want or what they're doing. Plus, we've seen a lot of the self-justifying villains in recent years, to the point where I think it might be overused. Which is why I think a balance between the two needs to be met, as too much of one can get old fast.

But anyway, I mainly just wanted to ask which type of villain you think is worse; the "bad and don't care" kind, or the self-justifying kind?

Greg responds...

I take some issue with the reductive nature of your question. And so I think you're going about things the wrong way. It's not about which is worse. It's about what fits your character. Take, as an obvious example for this website, GARGOYLES.

We have two rather unique and memorable lead villains, DEMONA and XANATOS. I suppose you could reduce Xanatos to your definition of a type one villain. And I suppose you could reduce Demona to your type two. But there are moments when Xanatos thinks what he does is justified, and moments when Demona does a bad thing and just doesn't care. There are also moments when each has done truly heroic things.

The point I'm making is that a great villain is nothing more or less than a great CHARACTER. Write a character with consistency, backed by consistent motivation and history and I don't really care if he or she is type one, type two or type three. (Because, among other things, I doubt that there are truly only two types.)

Response recorded on September 08, 2016

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Dean writes...

1. You've said that you're not a binge watcher. Does that influence your storytelling style in your shows? Also, if a show had a single story that stretched over several episodes like with "Awakening" of Gargoyles, would you watch them in one sitting?

2. Since you prefer more serialized stories (hopefully I'm using the right term), how do you feel when you watch more episodic shows like Justice League/JLU?

3. Somewhat relating to that last question, have you finished JLU and Teen Titans? If so, what are your thoughts on them now?

4. What kind of stories do you prefer to tell? As in, how and when do you decide to make a story out of some heavy subject or theme such as -I don't know- slavery instead of a just a story that moves a character forward? Do you think one is better than the other? How do you feel about "heavy subject" stories in general, or would you say those are almost always present anyways? I hope this last question makes sense.

Greg responds...

1. Don't know. Never worked on a show that was specifically designed for binging.

1a. Rarely.

2. I hate to make blanket assessments. But I'm less engaged. Also strictly speaking, I write episodic but sequential stories with serialized elements. Not a straight serial.

3. No.

4. I believe in organic storytelling. The characters tend to tell me what happens next, to a great extent. Like anyone, sometimes their lives glance over or immerse themselves in so-called "heavy subjects" - and sometimes they don't.

Response recorded on August 31, 2016

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CONvergence 2016

I leave tomorrow for CONvergence 2016 in Minneapolis, Minnesota. (Okay, really Bloomington, MN, but close enough.) CONvergence is one of my favorite cons. And I have the honor of being their first fan-funded guest. Here's my schedule for the long weekend:

WEDNESDAY, JUNE 29, 2016
GUEST RECEPTION 07:00pm - 09:00pm
Atrium 4

THURSDAY, JUNE 30, 2016
"Why Gargoyles is Still Relevant" 12:30pm - 01:30pm
Atrium 6 w/Christopher Jones, Patrick Fisher, Alana Profit, Chandra Reyer.

RADIO PLAY AUDITIONS 02:00pm - 03:00pm
Plaza 3 w/Christopher Jones.

"Physics of Time Travel" 03:30pm - 04:30pm
Edina w/Renate Fiora (m), Dan Berliner, Melanie Galloway, Jim Kakalios.

"Fancy Bastard Pie Competition" 08:30pm - 09:30pm
Garden Court - Southwest w/GPS.

FRIDAY, JULY 01, 2016
SIGNING 11:00am - 12:00pm
Autograph Table B.

RADIO PLAY AUDITIONS 12:30pm - 01:30pm
Plaza 3 w/Christopher Jones, Khary Payton.

"Writing by Ear" 02:00pm - 03:00pm
Bloomington w/Patrick Marsh (m), Emma Bull, Aimee Kuzenski, Jim McDoniel.

"Don't Call Them Sidekicks: The Enduring Power of Teenage Superheroes" 03:30pm - 04:30pm
Bloomington w/ Christopher Jones, Jessa Markert, Khary Payton, Sylus Rademacher.

"Drawing with the Masters" 07:00pm - 08:00pm
Plaza 2 w/Christopher Jones, Ruth Thompson.

"Why Diversity Needs to be Deeper than Marketing" 08:30pm - 09:30pm
Edina w/ Trisha Lynn (m), Kate Norlander, Jonathan Palmer, Dirk Ykema.

"Xanadu Cinema Pleasure Dome Live Podcast" 10:00pm - 11:00pm
Edina w/Windy Bowlsby, Melissa Kaercher.

SATURDAY, JULY 02, 2016
"Building Worlds for Fiction" 09:30am - 10:30am
Plaza 1 w/Michael Carus (m), J.M. Lee, Melissa Olson, Lynne M. Thomas.

"Why We Need Representation in Superheroes" 11:00am - 12:00pm
Edina w/ Christopher Jones, Bri Lopez Donovan, Khary Payton, Lynne M. Thomas.

RADIO PLAY REHEARSAL 12:30pm - 01:30pm
Atrium 6 w/ Christopher Jones, Jim Kakalios, Khary Payton and a cast of tens.

RADIO PLAY PERFORMANCE 02:00pm - 03:00pm
Atrium 6 w/ Christopher Jones, Jim Kakalios, Khary Payton and a cast of tens.

"Superficially Strong Female Characters" 05:00pm - 06:00pm
Edina w/ Crystal Huff (m), Kathryn Sullivan, Chrysoula Tzavelas, Joan Marie Verba.

"One on One with Christopher Jones" 07:00pm - 08:00pm
Edina (m) w/Christopher Jones.

ANIMATION BLUE 07:00pm - 08:00pm
Atrium 6 w/Christopher Jones, Lyda Morehouse, Khary Payton, Jenna Powers, Edmund Tsabard.

SUNDAY, JULY 03, 2016
YOUNG JUSTICE 09:30am - 10:30am
Atrium 6 w/Christopher Jones, Khary Payton.

SIGNING 11:00am - 12:00pm
Autograph Table B.

RAIN OF THE GHOSTS 12:30pm - 01:30pm
Edina.

READING 02:00pm - 03:00pm
Rm 2201.

ONE ON ONE 07:00pm - 08:00pm
Atrium 6 w/Melissa Kaercher.



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