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Hey Mr.Weisman, managed to check out Starbrand and Nightmask and it was pretty good to no one's surprise. Also congrats on a season 3 of Young Justice. I just have two questions regarding that show.
1. You mentioned that there was both a timeline(that only you and Brandon are privy to) and a series bible(with details like Vandal Savage being Attila
the Hun supposedly). In the context of Young Justice, is their a difference or are they more or less the same.
2. You mentioned on this site that you used post cards and a giant billboards with different cards with different colors to establish certain dialogue or plot points. Do you also use them for events off screen such during the time skip or prior to the series?
Thanks in advance for time.
1. They are two different documents. I'm constantly updating the timeline. The bible, I haven't looked at in five years.
2. Index cards, not post cards. And, yes, sometimes.
1) How do you try to keep things unpredictable when you know that by the simple law of enough monkeys with enough typewriters, some fan out there will figure out any twist sooner or later?
2) How do you balance keeping a villain interesting/likable without making it so much so that the audience roots for them instead of the protagonist?
1. Can't worry about that. We tell the stories that we want to tell. That our characters tell us we need to tell. Inevitably, some percentage of our audience will figure out our game. Inevitably, some will be surprised. If the story is well-told, hopefully both groups will still enjoy it.
2. Give them motivation that makes sense, but don't sugarcoat their actions.
Hi Mr. Weisman. I remember we met in WonderCon last year and I asked you questions about writing spec scripts for cartoons. I remember you said that I should write three scripts, then go over them, and only submit one of them if you're absolutely sure it's good.
Knowing what you and your crew got away with in Young Justice, how do how people like you and Gennedy Tartakovsky on Sym-Bionic Titan get away with the TV-PG content and make your show with teens in mind? And since I plan to make TV-14 shows for the main Cartoon Network channel, would the channel accept them?
You'd have to ask them. The needs of ANY given channel are constantly changing.
And I don't write for an older audience. I write on levels so it works for the widest possible audience.
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!
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.
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?
There aren't any rules. You do what you need.
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.
Yep.
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
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!
Hello Mr. Weisman,
I'm very much a writer like yourself and am trying to break into the animation industry with a story of my own; its tone and maturity much like Young Justice, which I loved by the way (Go Robin!).
My questions are:
1.) How much should I have in my story's portfolio before I pitch my idea to various networks? I already have concept drawings, practice scripts, and I'm having an independent studio make three animated shorts, but what would you suggest?
2.) Who, generally, should I know or get to mentor me in breaking into the industry? I was trained as an Engineer before realizing my true passion for storytelling.
3.) Any other tips I may have missed?
Thank you for taking the time to read this.
1. Less is more. You already have way more product/content than I'd use to pitch an original idea. The thing you may be missing is experience. But you never know. Sometimes they go for it.
2. As many folks as possible. Networking is an important skill.
3. Proofread religiously.
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
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.
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?
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.)
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.
Hey Mr. Weisman
I consider your and your collaborators' take on Young Justice to be a masterpiece, not just in terms of action but in terms of planning and structure. And that leads me to ask the question of how, exactly, did you go about mounting that type of beautifully complex operation? I mean how were you able to develop all of those intertwining stories for literally hundreds of characters and feed them all into the larger agenda? Did you start by breaking a general story for where you wanted the series to go and which characters you wanted to take it there? Or did you start with the main characters and work your way out from there?
I suppose we did start with general story. And characters, including general directions for each major character.
Then it's about index cards on a bulletin board. You move them around until you've got a cohesive set of stories, creating an arc or tapestry for the entire season.
Hello Greg,
I just had a few questions concerning Series Bibles if that's alright.
1. How are Series Bibles typically constructed? Is it divided into sections like characters, locations, and story events usually or does it depend on the show?
2. Do they contain much in the way of art or concepts? If so, are there perhaps unused versions or is it typically the finalized designs?
3. Given how much the passage of time is a factor in your shows, do you typically have a series timeline that gets added to as you progress? Do events tend to stay where they are or can things be moved around if need be?
Thank you for your time.
1. It depends on the needs of the show. But generally, there's an introductory section. Then characters. Major settings. Perhaps gear. Stories. Conclusion.
2. Most don't include art because no art has been done yet. (I'm not sure what you mean by "concepts".) By the time there is art, generally no one bothers to update the bible with it. But there are tons of exceptions.
2a. Could be either or neither.
3. I do, yes.
3a. Nothing is canon until it's appeared on the air or in some other canon source, for example the YJ companion comic. So things can change until then. But we tend to stay on track most of the time.
Hello, Greg. I'm a huge fan of yours. I'm really interested in animation, and storytelling and writing- and would eventually like to have my own show at some point. And I'm a big fan of superheroes and comics, especially DC ones. So- Young Justice had a huge impact on me. Anyway I wanted to know-
1)What advice do you have for young aspiring writers?
2)What are the people in the industry/companies looking for, when they're hiring?(I would love your insight)
3)What's the first step one needs to take, in order to get into the TV animation field and break through?
4)What sort of educational background is preferred in the industry, or proves helpful/useful in it?
The last question, I wanna know specifically as I think that'll help me determine what I wanna take for my University course. I love storytelling, always have and I would love for you to share your knowledge of the industry, and insights of writing. :)
1. Look through the "WRITING" and "WRITING TIPS" archives here at Ask Greg.
2. Good writers with good sample scripts.
3. Write scripts. Rewrite scripts. Rewrite some more. Get an agent.
4. No one cares. Seriously. Personally, I'm big on education, and I think it'll make you a better writer if you have a strong liberal arts background (even if you majored in the sciences or whatever), but no one looks at a resume and says, "Oh, no, he didn't go to Harvard! We can't hire him!"
I'm starting a comic on my own with a superhero plot I want to know what does these comic publishing companies look for
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.
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.
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.
You've often said that a good villain should serve as a dark reflection/contrast to the hero. Is that one of the reasons you choose Vandal Savage as one of Young Justices's Big Bads? Pitting the young heroes of the DC Universe against a character who is literally the World's Oldest Supervillain?
Yep.
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?
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.
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!
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.
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?
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.
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
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.
What does it take to get to a position of showrunner like you? How can an aspiring writer like me get started?
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.
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...
There's no way to post a script here at ASK GREG with the correct formatting. I know. I've tried.
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?
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.
ONE MORE TIME!! This looks to be as final a revision as it's going to get for Denver Comic Con website (http://denvercomiccon.com/), before I head for the airport in a couple minutes. But, again, follow me on TWITTER @Greg_Weisman to stay up-to-the-minute on when and where I'll be.
DENVER COMIC CON LATEST PANEL, INTERVIEW & SIGNING SCHEDULE
FRIDAY, JUNE 13th, 2014
10:30am - 11:20am - ART OF THE PITCH in ROOM 110/112.
Victor Cook, Greg Guler and myself will be talking about pitching and selling animated telvision series to the Powers That Be.
11:30am - 12:30pm - SIGNING at my BOOTH 122 on the main floor.
I'll be signing my novel RAIN OF THE GHOSTS throughout the weekend for $10 cash. (That $10 includes the book, a personalized signature and copies of the original development art by Kuni Tomita for the television version of Rain that never was.) I also have a half-dozen copies of Young Justice teleplays, which I'll sell (and sign) for $20 cash. I'll also sign anything else you bring and put in front of me for free - especially if you buy my book. ;)
12:50pm - 1:20pm - INTERVIEW with Tim Beyers of MOTLEY FOOL in the MEDIA LOUNGE.
1:30pm - 2:20pm - CARTOON VOICES I in the MAIN EVENTS ROOM.
I'll be moderating this panel, which features Kevin Conroy, Jim Cummings, Michael Dorn, Jennifer Hale & Veronica Taylor.
3:30pm - 4:30pm - SIGNING at my BOOTH 122 on the main floor.
4:45pm - 5:35pm - YOUNG JUSTICE in the MINI-MAIN ROOM.
This one includes myself (writer-producer, voice actor) & Christopher Jones (YJ companion comic book artist).
5:35pm - 6:05pm - OPENING CEREMONIES in the MAIN EVENTS ROOM.
7:00pm - 10:00pm - FOUR COLOR MIXER at Breckinridge Brewery/Hilton Garden Inn Denver Downtown.
SATURDAY, JUNE 14th, 2014
9:35am - 10:00am - INTERVIEW with BEYOND THE TROPE at my table at Booth 122.
10:00am - 10:20am - INTERVIEW with WESTWORD at my table at Booth 122.
10:30am - 11:20am - RAIN OF THE GHOSTS in ROOM 201.
I'll be reading from and discussing my new novels, Rain of the Ghosts & Spirits of Ash and Foam.
11:45am - 12:35pm - ANIMATION PROFESSIONALS in ROOM 201
I'm moderating this panel, which features Chris Beaver, Victor Cook, Greg Guler, Derek Hunter, Christy Marx, & Jan Scott-Frasier.
3:00pm - 3:50pm - SIGNING at my BOOTH 122 on the main floor.
4:00pm - 4:50pm - GARGOYLES 20th ANNIVERSARY in the MAIN EVENTS ROOM.
This is a big one, with me (writer-producer-creator), Victor Cook (storyboard artist), Jim Cummings (voice of Dingo), Jonathan Frakes (voice of David Xanatos), Greg Guler (character designer), Salli Richardson-Whitfield (voice of Elisa Maza) and Marina Sirtis (voice of Demona) .
5:00pm - 6:00pm - SIGNING at my BOOTH 122 on the main floor.
SUNDAY, JUNE 15th, 2014
9:30am - 10:20am - INTERVIEW with EXAMINER.COM at my BOOTH 122.
10:30am - 11:20am - THE SPECTACULAR SPIDER-MAN in the MINI-MAIN ROOM.
Includes myself (writer-producer-voice actor), Victor Cook (director-producer), Jim Cummings (voice of Crusher Hogan) & Greg Guler (artist).
1:30pm - 2:30pm - SIGNING at my BOOTH 122 on the main floor.
2:45pm - 3:35pm - CARTOON VOICES II in the MAIN EVENTS ROOM.
Again, I'm moderating for Robert Axelrod, Kimberly Brooks, Jennifer Hale & April Stewart.
4:00pm - 5:00pm - SIGNING at my BOOTH 122 on the main floor.
In addition to the times listed above, I'll often just be hanging out at my table, so stop by. Attend a panel, buy a book, say hello!
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