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Dorphise Jean writes...
I'm starting a comic on my own with a superhero plot I want to know what does these comic publishing companies look for
Greg responds...
They're all different. The best way to analyze each company is to read what they're already putting out.
But frankly, for an original property, I think I'd recommend self-publishing online first.
C. David Cole writes...
Hello Mr. Weisman,
I have some questions about creating teams and the personalities of its members.
1. When creating a team how do you decide what will be the personalities of characters in the group? I've read elsewhere that the best way to create a group is to make each member of the group have the opposite personality of another member. Is this the method you use?
2. How did you decide what personalities to use in the Manhattan clan in Gargoyles?
Thank you for taking the time out of your busy schedule to answer my questions.
Greg responds...
1. No. Nothing quite that didactic. I do look for a mix. But I'd say my process is more organic and holistic than what you're describing. It also depends a LOT on whether I'm adapting an existing property or creating something original.
2. I'm not sure I remember. But if you look at the ASK GREG archive's "Original Development File," you can see how the characters evolved over time.
Kalev tait writes...
In creating a fully realised world, you seem to create fully believable characters for all of your reoccurring roles. While I assume you don't do the same for mooks, I'm wondering about minor characters who only appear once or twice and only have one or two lines? Do you always try to make everyone be able to justify their existence beyond the protagonists, or is it just for major characters?
Greg responds...
I try to do it for everyone, at least retroactively. If we use a thug, I try to make him marginally interesting enough that we can bring him back. Then over time, a guy like Pal Joey in Gargoyles becomes an actual character, even if in his first appearance, he's basically a one line henchman.
Phil(Enlightenment) writes...
Greg, The last time I saw you, which was at the last gargoyles convention, you expressed a desire for me to be on this forum due to my solution based way of thinking. I know now why I gravitated toward you so fiercely as I am awake now. My question: Do you know what star system you channeled gargoyles from?
Greg responds...
I do not.
Or rather, it's from the star system Sol, but from a parallel universe. (Or so I must assume.)
Kalev Tait writes...
What ha fatherhood taught you about writing?
Greg responds...
Probably a lot.
Nothing immediately springs to mind.
I've learned to prioritize dad time over time in front of the computer.
Luke writes...
Hi Greg,
Big fan here (I reply to you on Twitter sometimes!) and I thought I'd make use of this site to get some help with my intention to write for television in the future!
First off, I'd like to say how much I love Young Justice. From the moment I finished the first episode, I was hooked. I'm quite a seasoned animation fan but I must say Young Justice is probably one of the best things I have ever watched; particularly it was the animation and writing that drew me in the most. I wasn't really into comic books too much before with the exception of adaptions from TV like Adventure Time, and manga; but Young Justice awakened a part of me that just had to look further into the characters, and now I'm completely taken in by the DC universe, it's so wonderful and for that I thank you for helping to bring Young Justice to light!
The show is truly an inspiration for me; I intend to become a writer for television, animation being my ultimate goal, in the near future. In September 2014 I will be starting a screenwriting course at university. I live in the UK, but hope to move to America in future to have a better chance of landing a writing job in animation.
1) What would you recommend I seek to do when I finish university? Would becoming an assistant at a TV studio help as a start?
2) Do you draw storyboards? I am not very confident in my drawing abilities and I'm worried this might affect pitching and demonstrating my ideas.
3) What are some key terms or quotes that have stuck in your head during your writing career? Things that people have told you and you have remembered and applied to your work?
4) Who are your inspirations? What programmes did you enjoy when you were a kid/teenager?
Thank you so much for taking the time to read and answer my questions!
Greg responds...
1. It wouldn't hurt. Get in there. See first hand how things are done. The main thing I recommend, you already plan to do, which is to move to where the work is. Second, WRITE. Third, REwrite. Fourth, PROOFREAD RELIGIOUSLY.
2. No, I can't draw stick figures well. I team up with very, very talented artists.
3. "Less is more."
4. Space Ghost. Speed Racer. Jonny Quest. Herculoids. Anything with Marvel or DC heroes in them. Hill Street Blues. Cheers.
J writes...
Hello,
I was just reading your latest responses and someone asked why the Justice League didn't regrow Roy's arm, to which you responded: "Is that easier than I think it is?"
I don't get it...your a fantisy writer. Everything is easy in fantasy fiction. I mean your own show has the technology for cloning, instantanious travel as far as other solar systems, shrinking to subatomic sizes, manipulating elemental forces, traveling through time, etc. Most of which break all known laws of physics.
Regenerating lost limbs really isn't that far fetched even in the real world, where we're growing ears on the backs of mice & cloning whole animals or just organs, and advancing every day.
And all that aside, couldn't Zatanna just say "Worger S'yor mar!" at any time?
I understand that Roy had to be missing an arm for the story to play out how you wanted it to, and maby he likes his cybernetic arm better anyway and doesn't want a regular one...but why act like a near-reality wouldn't be a simple task (even for an okay writer, but especially for you) in a universe where the impossible is commonplace?
Greg responds...
If Zatanna could regrow arms just like that, don't you think she'd be doing that ALL THE TIME. It seems that would take a TON of mystic energy. (Besides, I'm not sure Roy wants his "ram" regrown.)
And in essence, in fantasy and science fiction, I'm against making anything too easy. For example, yes, we do teleportation, but we make sure there is a Zeta tube at EACH end, in order to NOT make teleporting too easy.
What makes me an okay writer, I think, is that I take these things seriously, and refuse to come up with easy solves. Of course, I could. But it's a bad idea.
Sophie writes...
Hi there Greg!
How are you?
I just wanted to ask a few questions that have captured my curiosity, and I have spent the last hour searching through the archives to make sure they haven't been answered already. Still, I'm so sorry if they have been asked before!
1. Did Bart really go to school in the future? He talks about 'not being a good history student' but for some reason, the state of the future he lived doesn't make it seem like he would be able to attend school.
2. Did Bart live with both of his parents in the future?
3. What was Bart's life like in the future? For some reason, and I'm not sure why, I figure human-kind would be enslaved, and Bart would be living in a crappy house somewhere in a polluted world. (Yeah, I'm pretty much thinking Dystopia). Of course, I don't think it would be a Utopia by any means, but am I over-elaborating and over-thinking how bad it could be?
4. When writing and creating characters, do you create elaborate back-stories, with even little bits of un-needed info (like fave. color, food, stuff like that)? I've heard that it is a very helpful way to get to know one's characters. If not, how do you 'create' such believable characters? Do you draw from experiences and people you've met in real life.
Many thanks!
Wishing you all of the best!
-Soph
Greg responds...
1. He's clearly had some SCHOOLING. He knows how to read and write for example. Beyond that, I'm not committing.
2. NO SPOILERS.
3. It was very dystopic, for sure.
4. Yes, though I don't have rules as to what I do and don't have to figure out in advance. I figure out what I feel I need to. For one character, that might include his or her favorite color. For another, what they had for breakfast on their last birthday. For a third, who their biological parents REALLY are. And etc.
Presto writes...
What does it take to get to a position of showrunner like you? How can an aspiring writer like me get started?
Greg responds...
Most folks have to work their way up through the ranks, starting as a freelance writer, etc.
You get started, frankly, by writing. Write a spec script to a series you like. Send it as a sample to agencies, because representation is very useful as a calling card. Remember to not send anything unless it's really good. You don't want to poison the water by sending something with your name on it that isn't your best, most mature work.
Shola Akinnuso writes...
Greg, do you have any plans to post ANY of your scripts online? Your writing is clear, and structurally, they're a fantastic resources for writers trying to break into animation. The way you use sfx as action is a illuminating!
Currently, the ONLY way to see one of your scripts is to go all the way to The Writer's Guild in Los Angeles, and even there, you're not allowed to copy the script. Even if you feel uncomfortable showing the whole script ( just an act or two is all we need), posting it as a media resource on the site - perhaps as a .pdf so it is difficult to copy - would give peace of mind? It doesn't matter if the script is from YJ, Gargoyles, or Spider-Man...
Greg responds...
There's no way to post a script here at ASK GREG with the correct formatting. I know. I've tried.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.)
Avi writes...
1. You write strong female characters with skill(Demona, Gwen, MJ, Artemis, ETC). Since women can be portrayed weak sometimes, how do you do it?
2. Other than Stan Lee's run with Romita and Ditko, what era of Spider-man comics did you enjoyed reading the most?
3. What is your opinion on Spider-man: Kraven's Last Hunt, by JM Dematteis? Most people generally like it but others think it may have been too dark for Spider-man (Dematteis was actually going to have the story be a Batman and Joker story at first)
Thanks for the amazing shows! Spectacular Spider-man (I was looking forward to Season 3-5 and DTV's) was absolutely amazing along with Young Justice (I was so looking forward to the next season). I am only up to Avalon part 1, but Gargoyles has been tremendously fun to watch so far. I don't love Star Wars, but Rebels seems great so far and I can't wait. You are an inspiration to me. Thank you.
Greg responds...
1. I like to think I've portrayed some female characters as strong and others as weak. Some who stay strong, some who weaken. Some who stay weak, some who gain in strength. As to the 'how'… I don't have a magic formula. I'm sure it helps that I've always known, loved, admired and respected strong women all my life, starting with my mom. But really, I don't know any other way to do it.
2. There was some fun stuff for me in the 80s.
3. I haven't read it.
FallenLegend writes...
Hello greg
You previously said that you don't like gran finales and you don't intend to really give closure to any of your shows/stories. Not even gargoyles that as you described it is your "baby" even if you don't own it.
Does that mean that we will always get cliffhanger endings from your tv show when they get canceled?
What about your new book series, will it end in a cliffhanger too?
As much as I am a fan of your stories Greg, It feels empty not to have any closure at all.
No offense but basic story telling has beginning-conflict-resolution and as fans we never get to see a resolution of the overall plot.
I mean having an ending that gives the illusion that "the story never truly ends" is great (that's not what I am critical of).
But I think that not having an ending that acknowledges that the story has to end for real life reasons(maybe becuase you simply can't write stories forever, becuase you aren't getting more episodes, becuase you have to move on etc)... is disrespectuful to your fans that expect to have a complete story.
Take JLU unlimited ending. It even ended with wonderwoman saying "...and the adventure continues" and even left two unresolved plot points, But at the same time it ended the main plots and acted as a send off/good bye to it's fans and it didn't feel empty.
Sorry for being so critical, you are a big inspiration and even if I don't agree with you always I think you are a fantastic story teller (an inspiration for me in fct) and I am planing on buying our new book.
Greg responds...
I NEVER leave a season with a cliffhanger.
I ALWAYS leave a season with open-ended closure.
I don't mean to sound disrespectful to you or any of my fans, but that's how my mind works. If you don't like it, I can't really help you, because you'd be asking me to change the way I tell stories.
But perhaps we're not so far apart. You cite the JLU ending, which I haven't seen. But you state that, in essence, it has open-ended closure, even noting it had unresolved plot points. That's EXACTLY what I do at the end of EVERY season. Not everything is going to be tied up into a neat knot, but every major plot point of that season will be, as happened at the end of Gargoyles, WITCH, Spectacular Spider-Man and Young Justice.
So what exactly are you looking for from me that's any different?
And thank you for buying RAIN OF THE GHOSTS. It's much appreciated! Sincerely!!
ANIME VEGAS 2013 - Corrected Schedule
Let's try this again with the correct dates:
As I've mentioned before, I'm a guest at ANIME VEGAS this weekend, November 1-3rd, 2013, at the Renaissance Hotel in Las Vegas, Nevada:
Here's my schedule:
FRIDAY, NOVEMBER 1, 2013
01:00pm - 02:00pm - OPENING CEREMONIES
Cosplay Ballroom.
02:00pm - 03:30pm - GARGOYLES/THE SPECTACULAR SPIDER-MAN Panel and Signing
Cosplay Ballroom.
05:00pm - 06:30pm - YOUNG JUSTICE Panel and Signing
Paramount Room with Yuri Lowenthal, the voice of Lagoon Boy, Tempest, Icicle Jr. and Tommy Terror.
06:30pm - 08:00pm - IKKI TOUSEN Panel and Signing
Paramount Room with New Generation Pictures Voice Director and Producer Jonathan Klein.
SATURDAY, NOVEMBER 2, 2013
10:00am - 11:30am - "WRITER'S ROOM" Panel and Signing
Summit Room.
06:30pm - 07:30pm - SIGNING
Summit Room with Jonathan Klein.
SUNDAY, NOVEMBER 3, 2013
09:00am - 10:30am - 3X3 EYES SCREENING, Panel and Signing
Paramount Room with Jonathan Klein.
10:30am - 11:30am - VOICE DIRECTING Panel
Paramount Room with Jonathan Klein.
12:30pm - 01:00pm - SIGNING
Paramount Room with Jonathan Klein.
As you can see, I'm doing a LOT of signing. I'll sign anything you bring along for free. But I'm also bringing a single copy of EVERY one of my Young Justice teleplays (i.e. the ones that I personally wrote), which I'll be selling for $20 per script (cash only) - autographed and personalized to the buyer's taste - on a first-come, first-serve basis, starting with the Young Justice signing at 6pm Friday evening.
So if you're in the vicinity, plan to be there. As you all know, I'm not big on SPOILERS, but I'm WAY, WAY more likely to tease a few things in person than I am on either Twitter or here. So come and be (slightly) better informed!!!
Anime Vegas - Schedule!
As I've mentioned before, I'll be a guest at ANIME VEGAS this weekend, November 1-3rd, 2013, at the Renaissance Hotel in Las Vegas, Nevada:
Here's my schedule:
FRIDAY, AUGUST 23, 2013
01:00pm - 02:00pm - OPENING CEREMONIES
Cosplay Ballroom
02:00pm - 03:30pm - GARGOYLES/THE SPECTACULAR SPIDER-MAN PANEL and SIGNING
Cosplay Ballroom
05:00pm - 06:30pm - YOUNG JUSTICE PANEL and SIGNING
Paramount Room with Yuri Lowenthal, the voice of Lagoon Boy, Tempest, Icicle Jr. and Tommy Terror.
06:30pm - 08:00pm - IKKI TOUSEN PANEL and SIGNING
Paramount Room with New Generation Pictures Voice Director and Producer Jonathan Klein
SATURDAY, AUGUST 24, 2013
10:00am - 11:30am - "WRITER'S ROOM" PANEL and SIGNING
Summit Room
06:30pm - 07:30pm - SIGNING
Summit Room with Jonathan Klein
SUNDAY, AUGUST 25, 2013
09:00am - 10:30am - 3X3 EYES SCREENING, PANEL and SIGNING
Paramount Room with Jonathan Klein
10:30am - 11:30am - VOICE DIRECTING
Paramount Room with Jonathan Klein
12:30pm - 01:00pm - SIGNING
Paramount Room with Jonathan Klein
As you can see, I'm doing a LOT of signing. I'll sign anything you bring along for free. But I'm also bringing a single copy of EVERY one of my Young Justice teleplays (i.e. the ones that I personally wrote), which I'll be selling for $20 per script (cash only) - autographed and personalized to the buyer's taste - on a first-come, first-serve basis, starting with the Young Justice signing at 6pm Friday evening.
So if you're in the vicinity, plan to be there. As you all know, I'm not big on SPOILERS, but I'm WAY, WAY more likely to tease a few things in person than I am on either Twitter or here. So come and be (slightly) better informed!!!
Daniel C W writes...
Dear Mr. Wiseman,
I know that these kind of shows are a big team effort, so just thanking the head-writer or the credited writer is not enough. So if you ever talk to your colleagues about how the audiences react to Young Justice, please tell them, that there is at least one viewer, where you exactly hit the right spot, and pushed his emotional buttons. As I said, there is at least one, but probably thousands, or millions, but I can only speak for myself. Especially the episode "Coldhearted" got me up and down a few times, so thanks to everyone involved for that.
Looking forward for more of that ...
And a thank you to you for interacting with us - even if it is just for you ego :)
I also got some questions.
Actually, think of them as cues, please. Feel free to write as much as you want about the topics I raise in those questions, please.
1) What exactly do we see during the endcredits, and what else can you tell us about them?
2) I see that you, and many other writers and producers, usually do not know much about the success of your show as seen from the business side of things, for example the ratings, or if your show has been sold internationally.
Do you not care about it, or is it acutally difficult for you to get this kind of information?
Or do you even try to avoid it, to not risk any (bad) influence?
3) From another reader's question I know that you were responsible for some English dubs. Does that experience affect your writing? Do you sometimes wonder how something you just wrote could be difficult to handle for those who translate your work into other languages (or cultures)?
I would have asked that question anyway, as I try to ask every author I can reach about it. But now that I know, that you know both sides of the problem, I am more inclined than ever, to hear your thoughts about it.
Thanks in advance :-D
Greg responds...
1. Not sure what you mean: they're end credits; what you see is what you get.
2. I care very much, but the bosses aren't always forthcoming.
3. Words always matter to me. But though languages fascinate me, I'm decidedly monolingual. (Though not proud of that fact.) So the short answer is no. I focus on making it work in English and otherwise cross my fingers and hope for the best.
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