Why I Never Want to Meet Bill Cosby...

Contrary to the title of this entry, I love Bill Cosby. Not in the biblical sense, more like admire him with a vengeance.

My grandparents, parents, my extended family, their friends, their peers and pretty much every human being I had contact with, from 1978 (the year I actually recall being alive although I was born in 1974) until around 1992, were huge fans of Cosby.

He is a treasure, a comedic genius, a incredibly talented creative personality driven by a desire for educational excellence and social justice for African-American people. He's made no apology for that and has generated tons of controversy for his statements about lower-class Black folks.

I won't get into a debate over whether his comments are right or wrong, although I do have my own issues with the ghetto mentality that has plagued our community for the last 20 years.

The reason that I don't wish to meet Bill Cosby is because I've been severely let down by the "heroes" I've met recently and I don't know if I could handle the realization that yet another person I admire turns out to be utterly human, flawed and a total jerk to his fans.

For example, when I was living in NYC, I went to the National Black Writer's Conference at Medgar Evers College in Brooklyn. I went two years in a row and met two Black male writers whose work deeply inspired my own.

Since I'd been accused of "gushing" when I met people I admired, I decided to play it safe, hang back and watch how they interacted with their fan base.

Author #1 was the type who'd shake your hand but turn away from you while doing it. Unless you were an attractive White woman. In which case you'd have his full attention. For a guy that talked so much about Black liberation, the only thing he seemed to be interested in liberating was his belt buckle.

Author #2 was a big talker. That's what he's known for... talking about anything and everything. He also had a propensity to hit on women even when they were with their boyfriend or husband or father, etc.. Things got a little heated when he flirted with a gorgeous dark-skinned sista who was standing next to her boyfriend. The boyfriend apparently wasn't impressed with the author's pedigree and told him what he could do with his books. The situation got nasty quick, but was defused just as fast when the author profusely apologized once the festival organizer stepped in.

When you see either of these gentlemen on CNN or MSNBC or PBS or BET (back when BET actually covered Black issues) you'd assume they were genteel statesmen with dignity, self-respect and grace - not personality-challenged adolescents barely in control of their hormonal directives.

Then there are my experiences with the science-fiction/comic book/animation/creative-type crowd.

I could fill a 15,000-page book about my negative experiences in the sci-fi genre world. The crazy thing is that none of those affected me as much as when I met the cast of one of the most popular shows of all time at San Diego Comic Con a few years ago.

I won't reveal too much except to say that I truly admired the characters as well as the actors for their contributions outside of the world of entertainment. Which is why it cut like a knife to meet them and realize that most of the cast was just a bunch of sourpusses who really didn't like the fans and only showed up to collect money for photos and autographs.

This year at San Diego Comic Con I met a foreign-born actress from a very influential 1990s sci-fi series whose work I've respected forever. She played a very interesting character who could have been a joke, but her performance brought a level of sophistication, intelligence and wit to the screen and she's been repeatedly recognized for that. I'd been looking forward to meeting her for years, just to tell her that I enjoyed her work on the show and congratulate her on her recent success.

I was careful not to "gush," I didn't get excited, I didn't raise my voice, I just clearly, calmly, but with a firm, genuine kindness told her that I appreciated what she had done on the series.

She replied with the standard empty-faced grin that all actors/actresses give when confronted with fans who congratulate them for their success. As I walked away I turned my head slightly to see her reaction and she had a very heavy frown on her face, like someone just killed her pet cat or something.

Because of my Catholic upbringing I immediately felt guilty, thinking that I had done something to offend her but as I ran the interaction through my head again, I realized that the only thing I had done was politely give my thanks and appreciation for her talents on that great TV series.

This made me wonder if creative people have a core of fierce insecurity inside of them that's so profound that they see any legitimate praise as a form of sycophancy? As a creative professional, I am wracked with various insecurities but they've never spilled over into a belief that people "want" something from me if they tell me they like my work.

Maybe it's because I'm still "new" to the game and haven't had larger-scale success to the point where I grow weary of people telling me my stuff is good - but I can't imagine a time when I'll be so blinded by cynicism that I can't tell the difference between someone buttering me up for personal gain and someone who truly respects me.

I haven't had this experience so much with writers (about 7 in 10 have been cool), mainly actors, actresses and comic book illustrators. Is there something about acting or drawing that makes a person insufferable and mean-spirited to their fans? Hell, I've met extremely successful authors like Michael Stackpole, Nnedi Okorafor, N.K. Jemisin, Charlaine Harris, Tobias Buckell and even STEPHEN KING and none of them ever remotely behaved like spoiled children. Stephen King turned out to be one of the nicest creators I've ever met - he was a bit weird - but he was genuine, funny and took time to speak to me about writing.

In any case, I don't know if I will ever meet Bill Cosby. Chances are that I won't, and chances are he'll be nothing like the genial Dr. Huxtable I grew up with and I'm okay with never having that illusion shattered.

The only real question is whether or not I should continue to tell folks I respect how much I've enjoyed their creative contributions? Or should I just ignore them completely; keeping my praise to myself hoping I won't be seen as one of the slovenly masses hoping to vicariously taste a tiny bit of their "magnificence?"

B.

THE TWO BRANDONS vs. THE SUMMER OF MEH! A.K.A. Horrible genre cinema and geek expectations...

Me and Brandon Thomas discuss the horrible mistakes from the genre films in the summer of 2013. Sure to offend hardcore geeks, we don't pull punches when it comes to the truth about our collective expectations and how the industry actually operates.

This two hour episode is jam-packed with excellent analysis of what went wrong this summer!

http://writingforrookies.podcastpeople.com/posts/53775

B.

MAN OF STEEL: A Hero for the ADHD Crowd...

MAN OF STEEL was an expertly crafted movie - just like a Lego recreation of the Death Star. It is a heck of an accomplishment on a lot of levels but remains a plastic facsimile of a fictional object. 

Don't get me wrong, I enjoyed 2/3rds of the movie and the problem with that is that MAN OF STEEL is incomplete. With a 2 hour-20 minute run time - which went by fairly quickly until the disastrous (no pun) 3rd act when the movie ceased being an actual movie and turned into a crazed video game opening sequence that lost all sense of story, plot and logic - you'd figure the producers would have learned how to properly balance the pacing.

Now, I know not everyone went to film school, and I realize not everyone cares about things like story, plot and logic. Most folks have no idea about how and WHY movies are structured. However, I will share that the basic set-up of a screenplay is generally - not always - but generally based on a THREE ACT STRUCTURE. 

In ACT ONE we meet the heroes, their friends, family, etc. A problem is introduced to their world and they must decide whether to face it or not. By the end of the first act, we have the problem, why the hero must stop or fix it, and their goal is set. 

In ACT TWO things get complicated. The hero loses, and loses a lot, then the world changes so much that things cannot ever go back to the way it was. All seems lost until the hero barely escapes death. 

In ACT THREE we have the climax. The hero usually makes a character choice that defines them and they GROW and CHANGE as a result and usually win because of that choice. I am going to give you a few clear examples of this in some Hollywood blockbusters. 

In act three of RAIDERS OF THE LOST ARK - Indy has a rocket launcher aimed at the Ark of the Covenant. Belloq tells him he could destroy it, but the Ark itself is bigger than them, bigger than the Nazis and WWII, bigger than history itself. To destroy the Ark would mean destroying the key to understanding the universe and God. Indy struggles with the choice of destroying it and saving himself and Marion, or turning himself in so that he too could learn the mysteries of the Ark. Indy relents and is taken into custody again. GREAT character moment. 

In act three of RETURN OF THE JEDI - Luke has his father beaten. Vader is down and Luke could slice him to pieces and looks ready to until he hears the cackling voice of Palpatine instructing him to "take your father's place at my side." Luke looks at his father's severed hand and then looks to his own artificial hand and realizes that he cannot ever make his father's choice. Luke turns defiantly, and tosses away his lightsaber. Even though he faces certain death, Luke says, "I am a Jedi, like my father before me." GREAT character moment. 

In act three of THE MATRIX - Neo goes to rescue Morpheus and eventually comes face to face with Agent Smith. After a brief skirmish, Neo has the opportunity to escape, but he turns to face Smith for an ultimate battle, he chooses to believe that he is THE ONE and is willing to risk everything based on that faith. It results in a moment of self-sacrifice that changes him forever and he becomes THE ONE because of that choice. GREAT character moment. 

I mention this stuff because MAN OF STEEL had no such character moment. In fact, it had no third act. Sure, the basic structure of "we have to stop this or else all is doomed (tm)" to motivate the action sequences, but there was no growth, change or faith displayed by Superman at any point during the final battle. 

MAN OF STEEL had a lot of story elements pulled from a few classic Superman comics storylines. The most prominent were the John Byrne post-Crisis reboot MAN OF STEEL (1986), Mark Waid's SUPERMAN: BIRTHRIGHT and Loeb & Sale's SUPERMAN: FOR ALL SEASONS. Henry Cavill mentioned that he based his performance of Superman on the comics versions instead of previous on-screen depictions and I have to say he did a marvelous job. So did Russel Crowe. So did Kevin Costner. So did Diane Lane. So did Michael Shannon. In fact, the entire cast was solid from top to bottom. 

The FX were extraordinary. Finally, an on-screen Superman battle that LOOKS like what a Superman battle should look like. Again, it was expertly-crafted to be a summer blockbuster but it was missing one key ingredient: a sense of self. 

I didn't mind the "darkness" because there have been plenty of "dark" Superman stories over the years. I also am not one of those guys trapped in the Richard Donner box and can't deal with other versions of Superman (if anything, I am trapped by the Warner Bros. Animation version seen in SUPERMAN: THE ANIMATED SERIES). My problem is that the movie felt schizophrenic. It tried to be an earnest depiction of mid-western life, and then other times it tried to be an action movie spectacle, and then other times it attempted to shoehorn in a romantic element that felt incredibly out of place considering we've spent little or no time getting to know the characters outside of Superman. 

For a longer film, it sure spent a lot of time rushing around, touching on the CLIFF NOTES version of the SUPERMAN mythos instead of establishing its own brand. I don't feel like the audience got enough time with the characters to establish an emotional connection. We see Clark, then suddenly he's on fire and tossing pieces of an exploding oil platform into the ocean. Then we see Clark and he's hitchhiking. Then we see Clark and he's walking around the Arctic and then we see Clark and he's wearing the costume already. 

I would have preferred a slow-build to the Superman reveal but the creative team must have felt that the ADHD summer movie crowd couldn't wait to see him in the costume and forced it into the story. How much cooler would the movie have been if one of the story goals was getting to the costume instead having it suddenly appear and then the next thing you know, he's Superman and he's flying? No sense of adventure, no sense of suspense and most important, no sense of DRAMA. 

I know there's a generation of DRAGONBALL Z-VIDEO GAME-ACTION MOVIE-SHORT ATTENTION SPAN-NON READING-CINEMA ILLITERATE fans out there that don't want anything from a summer movie other than explosions. And if that's what you want, MAN OF STEEL is your CITIZEN KANE. I can understand why you would love this movie. It is crafted like the cutscene of a late generation video game or a simple-minded martial arts battle from a bargain-basement anime title. 

This is what is known as character development.

Beyond that spectacle, what was really going on here? You have a hero with no motivation to become a hero, just a vague sense of "wandering." In SUPERMAN I (1978) the death of Jonathan Kent was treated like the earth-shattering event it was supposed to be. That heartbreak caused young Clark to leave and go north to figure out who he was and that's when he used the green crystal to form the Fortress of Solitude. In MAN OF STEEL, the narrative is broken up and told in a way that removes the emotional impact of Jonathan's death. It comes in late and telegraphs itself poorly. 

Superman kills three people at once.

Then we have Zod's death. They say Superman doesn't kill although he has killed in the past, specifically in SUPERMAN #22 (October 1988). I didn't have a problem with him snapping Zod's neck (although I don't know why he just didn't fly with Zod in his arms) but he decides to do that AFTER presumably millions of people have already been killed during the battle in Metropolis. Suddenly, those THREE people who were in danger of being burned alive by Zod were worthy of saving. Hey man, what about the other million or so who were killed when you guys were knocking buildings over?

Alas, my point is that while the movie didn't have a real identity, it was enjoyable until the final battle started. There was no character moment for Superman. In fact, if he HAD NOT killed Zod AFTER Zod killed those three people, THAT WOULD HAVE BEEN EPIC. It would have been shocking, emotionally engaging, full of drama and would have presented Superman with the ultimate character choice. Think about all the movies you've seen and the movies that you've remembered. They all had fantastic character choices in the third act. 

All the special FX, explosions, cool flight/fight scenes and pseudo-reverence can't take the place of real characterizations based on real emotional reactions. There's two things that make great drama in my opinion: 1) Real emotions. 2) Consequences. If those things are absent, then the entire story falls apart. Again, think of the movies and TV shows you've loved over the years (particularly stuff from 1972 - 1999). What did those movies and shows and books and comics have that keep those stories fresh and compelling? 

Real emotions. Consequences. 

JAWS, GODFATHER, GOODFELLAS, BACK TO THE FUTURE, EMPIRE STRIKES BACK, BLADE RUNNER, RAIDERS OF THE LOST ARK, STAND BY ME, GHOSTBUSTERS, STAR TREK II: THE WRATH OF KHAN, THE MATRIX, THE TERMINATOR, THE ABYSS, HIGHLANDER I, THE WIZARD OF OZ, ALIEN, ALIENS. 

Real emotions. Consequences. 

Clearly I'm not a fan of phrase "mindless entertainment." The very notion of what that means is deeply problematic because it suggests that you need to turn off your brain (the thing that separates us from monkeys and other animals) in order to achieve satisfaction. That is a dangerous and borderline pathetic concept that is being passed off as genuine entertainment. Of course, we know that Hollywood blockbusters are really being made for the international crowd who might be "turned off" by American "cultural elements" which the producers assume means complexity. They want people all over the world to watch the movie without being confused by things like logic, emotional honesty and character development. 

Now, if you loved MAN OF STEEL I pass no judgement on you. I'm just a guy with an opinion. I do feel that we need to demand more from summer entertainment. I hate walking out of the movie theater feeling like nothing happened. Is it too much to ask for emotional content in an action movie? I sure remember DIE HARD and even DEATH WISH having a bit of emotional weight in the narrative. That's what makes those movies stand out. 

In the end, MAN OF STEEL is a serviceable distraction on a summer afternoon. Too bad the trailers made the movie seem like an epic journey through the life of a godlike being who clings to his humanity. It would have been awesome to have seen THAT movie. In the meantime, stick to the comics I mentioned earlier. That's where you'll find the real Superman.

Maybe I'm just getting old.  

B.  

I Won the 2013 GLYPH AWARD for Best Writer...

I was informed by folks in Philly at the East Coast Black Age of Comics Convention 2013 GLYPH AWARD ceremony that I won the BEST WRITER AWARD for my work on SHADOWLAW. Here's a grainy shot of the unveiling. Thanks to all the judges for voting for me!

The GLYPH AWARDS were created 8 years ago to celebrate and acknowledge works created by and/or featuring African-American/African writers, illustrators and graphic designers. The ceremony is held every year at the East Coast Black Age of Comics convention in Philadelphia. 

Here's more info via WIKIPEDIA:


The Glyph Comics Awards recognize the best in comics made by, for, and about people of color from the preceding calendar year. While it is not exclusive to black creators, it does strive to honor those who have made the greatest contributions to the comics medium in terms of both critical and commercial impact. By doing so, the goal is to encourage more diverse and high quality work across the board and to inspire new creators to add their voices to the field.

The awards are named for the blog Glyphs: The Language of the Black Comics Community, at Pop Culture Shock, started in 2005 by comics journalist Rich Watson as a means to provide news and commentary of comics with black themes, as well as tangential topics in the fields of black science-fiction/fantasy and animation.

The Glyph Comics Awards have been presented at the East Coast Black Age of Comics Convention, in Philadelphia, since 2007.

The TWO BRANDONS interview editor JOE ILLIDGE!

THE TWO BRANDONS INTERVIEW JOE ILLIDGE!

On this episode of THE TWO BRANDONS, we welcome the illustrious former Milestone/DC Comics/Archaia Entertainment editor Joe Illidge to discuss the recent high-profile departures from DC Comics, the aborted plans to kill John Stewart, and the recent creative team announcement for Quantum & Woody. Not for the faint of heart, easily offended, etc. 

We're all extremely proud of this one, and would appreciate you helping us spread the word. Joe breaks down WHY the industry is the way it is and he pulls no punches. Brandon Thomas and I were VERY happy to listen and learn from his insights. 

B. 

THE TWO BRANDONS podcast!

 

 

 

 

 

EPISODE ONE: Not for the faint-hearted or easily offended. This is the first episode of the new podcast show THE TWO BRANDONS starring writers Brandon Thomas (Miranda Mercury, Voltron: Year One, Voltron) and Brandon Easton (WBs new Thundercats TV series, Shadowlaw, Transformers: Rescue Bots). They discuss how to realistically fix the issues of diversity in the comics biz.

http://www.buzzsprout.com/10132

EPISODE TWO: Comic book writers Brandon Easton and Brandon Thomas discuss their past, present and future thoughts about the video game industry. Things they hate (Easton hates Sony) and games they can’t stop buying (Thomas loves Madden). See if you agree or not in THE TWO BRANDONS: EPISODE TWO.

http://www.buzzsprout.com/10132

 Also available on the Writing for Rookies podcast and Itunes! 

B. 

 

MILES AWAY Graphic Novel officially on the way!

"In the latest issue of PREVIEWS MAGAZINE (Feb 2013) on page 241, there's a fantastic full-page ad for the MILES AWAY graphic novel! 


Created by STAR TREK: ENTERPRISE star Anthony Montgomery, and co-written by Me/Brandon Easton (THUNDERCATS (2011), TRANSFORMERS: RESCUE BOTS, Shadowlaw), MILES AWAY is an excellent story of a young superhero thrust into an interstellar war. From Antarctic Press, April 2013."

This graphic novel represents two-and-a-half-years of hard work and dedication. After meeting Anthony by chance at the end of the day back at San Diego Comic Con 2010, we became friends. Eventually, we discussed collaborating to transform his TV series bible/pitch into an actual graphic novel. After changing creative teams a couple of times, we managed to soldier through to the end and not only complete the book, but also find a legitimate and well-respected comics publisher to put Miles Away on the marketplace.

There are many good reasons for transforming a TV or film concept into a graphic novel. Primarily, it is to bypass the lazy development executives' assistants who tire of reading thousands of pages of bad scripts during the week. A graphic novel is a solid proof-of-concept that presents a clear visual narrative in a compact and easily understood format. Anthony's idea was excellent and I knew the moment I heard it that we could create something fun, inspirational and inventive. A new hero for an increasingly multicultural audience. 

Miles tells the story of Maxwell Miles, a typical awkward teen with the super ability of photographic reflexes: he can mimic any physical feat he watches. 

The catch? 

He has to wait five minutes for his power to kick in and he never knows when they will cut off. 

As he learns about his new powers, an alien force is on the way that will change everything he knows about himself, his family and a secret organization that has been watching him since birth. 

MILES AWAY is now available for pre-order from Antarctic Press or at your local comic book store. 

This is a great book, and I ain't just saying that because I co-wrote it. 

B. 

Piggybacking Gail Simone a.k.a. Write!!! Or get off the Pot!

Acclaimed comics writer Gail Simone wrote a great piece about breaking into the comics biz. Read that here and then come back if you dare. 

I say the same stuff to "aspiring" writing talent over and over again. The bottom line is that if you don't have a finished product to show, then shut up and go away to work on that until you DO have a finished product to show. Asking questions is great, but people need to do their research and bust their ass.

I moved to LA with next to nothing and suffered from 2008 to the beginning of 2011 and no one gave a shit until I had a product on the table. That's what it comes down to in the end: PRODUCT. If you're wrestling with your concepts and talking about writing but spend all your time playing video games, chatting online, watching TV and other non-productive stuff, you'll still have nothing to show and you're wasting your time by pretending you're going to be a professional.

It isn't that complicated. Do work. Finish it. Edit it. Finish it again. Get it drawn up. Then market yourself smartly. You cannot market yourself with just pinups or concepts or nervous conversations at a convention. You have to have a product in hand. There's NOTHING that Gail Simone wrote in that piece that hasn't been repeated by hundreds of other acclaimed writers on multiple occasions.

More often than not, there's NOTHING holding a writer back other than their own crappy personal life habits. When I was starting out, the internet had little to no information about breaking into the business as a writer, and this meant that I had to do my own footwork, my own research, I had to shake a lot of hands and have a lot of people scoff at me for trying to learn more about the path to success. Now, google.com can provide you that same information for free. Without the cynicism and snark from petulant jerks.

There are many sites like my WRITING FOR ROOKIES podcast that provide you a ton of information for free. If you're still wringing your hands and wondering why your career isn't where you want it to be, it's usually because you're sitting on your ass wringing your hands instead of writing with them.

I am one of the most supportive professionals out there when it comes to working with new and unpublished writing talent. Me and a few of my comrades regularly give panels at conventions like WonderCon, Stan Lee's COMIKAZE, PopCon LA, etc. and I will continue to be a resource for new writers. 

However, there comes a time when you need to move beyond the "fledgling" status and move to becoming a producer of content. It's really that simple. 

For those serious about learning the comic book writing format, I am teaching a course on February 2nd, 2013 in Los Angeles. Check it out: 

PANEL-TO-PANEL: Writing Comic Books and Graphic Novels. 

Here's some other articles I've written about breaking into the business as a writer - 

THE PARADIGM SHIFT: Part One - Moving From Being a Consumer to a Producer of Content.

THE PARADIGM SHIFT: Part Two - Preparation. 

NAVIGATING THE CON: Get Yourself and Your Work Noticed.  

Good luck out there. 

B.

DOMINION'S LIGHT: The Graphic Novel Kickstarter!

http://www.kickstarter.com/projects/brandoneaston/dominions-light-the-graphic-novel

The development of Dominion's Light began back in 1998 when I looked around the pop culture landscape and realized that there was no fantasy/sci-fi series that combined the elements of all the stories I love.

I wanted to tell a story of adventure, excitement, friendship, sacrifice and daring that took place in a world never seen in the graphic novel arena. While there have been many fantasy-based comic book titles over the years like Elfquest, Dragonlance, Elric and Battle Chasers, but none of them have collectively touched on themes that mattered to me nor did they feature an ethnically-diverse cast of characters.

Heroic fantasy like Tolkien's Lord of the Rings, Robert Jordan's Wheel of Time and the Dragonlance franchise have influenced and mesmerized writers for many years, but the core criticism is that they present high concept Western European adaptations of reality that omit the vast diversity that exists in our own world.

After a lengthy search for a conceptual designer a few years ago, I discovered Jeff Stokey (http://jeffstokely.deviantart.com/), a very talented artist who shared my love of unique science-fiction and visually stunning fantasy universes. Jeff immediately understood what visual aesthetic I wanted for the story because of his own immersion in gothic and heavy metal artwork, science-fiction and fantasy cinema as well as the complex conceptual art of major RPG video game franchises.

Unfortunately, Jeff's schedule quickly became crowded and we were forced to push Dominion's Light further and further away until we decided to amicably part ways as colleagues on this project.

After an exhaustive search for a new artist, I found DAWID STRAUSS (http://dawidfrederik.deviantart.com/) - who worked in gaming and comics for seven years on projects like the MARVEL SUPER HERO SQUAD trading cards, DUNGEON RUNNERS and the smash hit sequel DARKSIDERS II.

Dominion’s Light is the story of three young people who are united by tragedy. Reso is a young man betrayed by his own father in order to alleviate gambling debts, Kyshia is a woman whose mysterious powers get her labeled as a witch and nearly executed by a mob and then there is Hammerius Rex, future prince of the LizardMan kingdom who is exiled by his peers.

And finally, there is Lord Valgon, sure to be a controversial character as he will be the first African-American villain in a fantasy setting since James Earl Jones in the original Conan movie.


Our story begins as the nations of Graid'yan are healing from the last great global conflict between the Lizardman kingdom and the race of warrior-sorcerors of Cerist Lunisia in the North. The war ended in a stalemate with both sides retreating to their respective lands and leaving the rest of the world in ruin.

The combatants were in search of the mystical power source known as the CYCLEAN BIBLE - a power so great that it can bend the nature of space, time and reality. Allowing the user to reshape the universe in their own image. Unbeknownst to the majority of people in Graid'yan, the only way to access the Cyclean Bible is through the use of the KEY ULTIMA - a device that reveals the true location of the Bible and the only thing in the universe that can unlock those energies.

Lord Valgon and his ruthless forces - the Valgonath Reapers - are scouring the world searching for the Key Ultima at the same time Resoloth goes on a quest to help his wayward father. After a deadly confrontation, Resoloth is on the run from the Reapers and comes into contact with the recently exiled Hammerius Rex and Kyshia, a teen girl condemned as a witch.

Can these three overcome their differences and survive the upcoming onslaught? Or is destiny playing a role in uniting such disparate creatures?

Dominion's Light will be a journey unlike any other you've seen before. From the windswept prairies of NERISTAD to the Las Vegas-inspired party islands of NEYONEEM to the lush Lizardman kingdom of MILLSREX to the strange, frigid wasteland of TERIST MALHAVIK to the final battle on the shores of GRAYHOLD. 

Our goal of $20,000 (US) is meticulously and carefully budgeted to cover the expenses of the art team of the graphic novel (pencils, inks, colors) as well as the cost of the nifty rewards you see here. Rest assured that your donation will 100% go toward the production of my dream.

http://www.kickstarter.com/projects/brandoneaston/dominions-light-the-graphic-novel

B.

WRITING FOR ROOKIES EPISODE 15: Dale Wilson of BuyIndieComics.com

In this episode of WRITING FOR ROOKIES (the only podcast dedicated to the aspiring sci-fi, comic book and Hollywood screenwriter), I interview Dale Wilson of DWAP Productions, The Antidote Trust and BuyIndieComics.com.

Dale Wilson is one half of DWAP Productions, founder and Editor in Chief at BuyIndieComics.com, a Creative Editor at The Search Agency, a founding member of The Antidote Trust & a comic book creator/publisher. Dale has written several stories for DWAP Productions’ four-issue anthology Caffeine Dreams, the online comic collection MagnificentCreatures.com & other cutting edge sequential art.

Dale is not only a connoisseur of fine heavy metal and hard rock, but he has been in the American independent comic book scene for ten years and has seen so much in terms of how the business operates and the sacrifices a creator must make to survive. 

If you haven't gotten the chance to listen, Writing for Rookies is the ultimate resource for sci-fi and comic book writers who are new to the scene and want to learn how the business works from an honest perspective.

Writing for Rookies gives you real advice that you can actually apply in the real world for results. Check it out and let your friends know if you like it!

 B.

"I'M BROKE" (a.k.a.) Economics and the Indie Creator...

The New York Comic Con is on the way and in my humble opinion, it is the best comic book oriented comic book convention in the country. That might sound like a weird statement, but the reality is that most of the bigger conventions would be better described as POP CULTURE celebrations than anything remotely to do with the world of comic books. 


The NY Comic Con is still overbooked, poorly-organized and thirty-degrees hotter on the floor. The lines are outrageous and there is no true customer service. However, there is tremendous support for the indie comic book creator, and that alone makes it worth the trip.

The few times I've gone the floor has been packed solid, easily taking ten minutes to walk ten feet. And that's just the thing, the entire floor is packed with rabid fans of comic books. It's not the kind of show where the big budget Hollywood booths get all the attention. No, more often than not, you'll have just as much of a struggle getting to see someone on the "indie creator" side of the Hall as you would at the Marvel Entertainment booth.


Friends of mine who had never done a show before went to NY Comic Con 2011 and were blown away. One guy I know never had a table at any show in his entire life and was genuinely affected by the amount of recognition and respect he got for his comic and CD.


The point of this particular blog entry isn't to sing the praises of the NY Comic Con, nor is it to provide a recap of the proceedings. Rather, I want to provide a guide for my cohorts in the world of independent comic and graphic novel creation to consider new and exciting ways of getting to this convention despite a notorious lack of cash flow. 


To begin, I am 100% understanding of life getting in the way of our dreams. Kids, sick parents, bad marriages, sibling wars and a general lack of income can stop the most determined and talented creator from networking on a professional level. As with so many things, the comic book industry is a double-edged sword: on one hand, you get unprecedented levels of access to decision-makers and admired creative teams, and the other, you must be able to afford to show up in person. 

And there's the rub.


Sadly, money is everything, and everything is money. To understand the significance of ME saying that you'd have to know me personally. I'm not a money-grubbing person. I don't place a lot of value on what people drive, what they dress like, how much they own or where they live. I could care less about "bling" (such a stupid word, it's onomatopoeia for Christ's sake) and care everything about content of character. 


That said, the indie comic creator is - for all intents and purposes - dooming themselves to a life where a "real" gig is necessary and the act of creation is done in between long shifts at a job we just can't stand. I know the story. I did it for 15 years. It never got easier. 


However, even during the darkest times, I managed to get to a few key shows that would later be revealed as major turning points in my life. 


For example: 

SAN DIEGO COMIC CON 1999 - I begged, borrowed and scraped together enough money for a round-trip ticket to San Diego from Boston. I didn't have a place to crash, but I managed to rely on the kindness of a college pal. Because of the connections I made at that convention, it would eventually lead to my first gig at Dreamwave Productions. 

SAN DIEGO COMIC CON 2003 - I had scraped together money for airfare, but I had no place to stay and no ticket to get into the con. I stayed at the filthiest YMCA on Earth for one night and then crashed on floors and hotel lobbies, pretending to be locked out of my room. It was the first time I ever signed autographs as a creator and I made strong connections that would lead to me learning about indie comics studios looking for more talent. 


WIZARD WORLD CHICAGO 2006 - Again, scraped money together for airfare, but no place to stay. I crashed on the floor of my then-artist partner on Shadowlaw for one night. I stayed up until 4am and then slept at the airport the following day before leaving. At this con, I signed the contract for Shadowlaw to be released through Arcana Comics.


I can't speak on or give solutions to anyone's financial problems. It is not my place and I wouldn't disrespect anyone by suggesting otherwise. My core point is that you never know what can happen when you go to a convention. Especially a convention that is mired in the love of comic books and where there is a massive crowd voraciously buying independently-produced comics and animation.


I know a lot of ridiculously talented creators who (for all intents and purposes) are locked into their native region or their current habitat because of financial limitations. Creators with work ten times better than the stuff cranked out by the Big Two who can't get enough traction with the fans because of market invisibility. 


As a side note: I firmly believe that Wizard Magazine - for all its shortcomings - did a good job in hyping up new and unknown writing talent. Social media can only go so far and for an indie comic book creator to gain a large audience, they need to have some kind of mainstream validation. Whether working on a big title or having someone else in pop culture let folks know you exist (like Entertainment Weekly).


So what is the solution? Other than taking on a slew of part-time jobs and/or getting involved in illegal activities, there's no other way to get money quickly these days. However, there are ways for the struggling indie creator to make it to the big shows. 


1) Cheap airfare. Believe it or not, you can find good round-trip deals if you book well-enough in advance. I just checked for a round-trip flight from LAX (Los Angeles) to JFK (NYC) airports and the going rate is $299.61. That. Ain't. Bad. I used Lowestfare.com but you are free to use Cheaptickets.com, Hotels.com or Priceline. I've always had the best luck with Lowestfare but good luck with your search. 


2) Lodging. Now this is the tough one. Especially in NYC. The best thing to do is: a) hope you know someone who can put you up for a few days in NY/NJ; b) Book a room and then split it with 5 other people; or c) Show up in NYC and check out the hostels and motels around town. They aren't the best environments, but you will get a place to sleep for a reduced price for a few days. 


3) Ask someone for the money. I know. It sucks. It sucks ass. However, think of it as an investment in yourself. Swallowing pride now means that you won't be swallowing Ramen later. 


Again, I don't wish to tell anyone how to live. But NY Comic Con is worth it. 

Trust me.