Skip to main content

San Diego Comic-Con and a writing update

I've been attending Comic-Con for a long time now. This will be my 14th of the last 16 that I've been to. I've covered the last five or so as press and have had a great time interviewing some very cool people. From Kevin Smith to Kevin Conroy and the cast of The Clone Wars and comics superstars across the board. It gets more and more stressful every year and I was honestly planning on skipping this year and taking a well deserved break to do some writing.

But I was invited to participate on a panel and I couldn't pass up that opportunity. And I've already booked some cool interviews that I'll be doing as well. It certainly won't be a waste of time.

For those interested in the panel I'm on, it's called "How to Get News Coverage" and here's the official rundown of it:
If you’ve wondered what it takes to get your project covered by Scoop or any of the other industry news sites, and you’re going to be attending Comic-Con International: San Diego, give some thought to stopping by the “How to Get News Coverage” on Thursday, July 12, 2012 from 10:30 AM to 11:30 AM in Room 8 at the San Diego Convention Center. What makes the difference between an item that will get news coverage, previews, interviews and one that doesn’t? 
A lot of publishers have no idea what to submit to the press, how to submit it and why they are being overlooked for coverage. Comic Journalist Rik Offenberger (First Comics News, Archie Comics) moderates this panel on just what it takes to get coverage with the Comic Journalists themselves telling you what they are looking for in your submission. Panelists include Alan Kistler (Comic Mix, Newsarama), Chris Thompson (First Comics News). Bryan Young, (Huffington Post, Big Shiny Robot), Dan Manser (Diamond), Heidi McDonald (The Beat), Holly Golightly (BroadSword Studios), Rich Johnston (Bleeding Cool), Kiel Phegley (Comic Book Resources), J.C. Vaughn (Scoop), Josh Waldrop (M1W Entertainment), and Matt Moore (Associated Press). Find out what it takes to self-promote and make a significant impact on your ability to sell your comic project.
It's my first time on a Comic-Con stage and hopefully not my last.


I hope to see lots of friendly faces in the audience. And I'll have copies of my books on me as well, in case you're interested in picking one up there instead of ordering it online. (Shoot me an email). Also, I'm wanting some photographs of me on the panel taken. If you can be there to take pictures, let me know. I'll make it worth your while.


As for a writing update, I think I did mention that I finished my manuscript for a children's book that ended up running about 30,000 words in the last couple of weeks. It's being fully illustrated by the redoubtable Erin Kubinek and so the ball on that project is in her court right now.

I'm in such a creatively fertile mood right now and am bristling under the constraints of my daily life. Every spare second I get I find myself trying to squeeze in writing time. I've put together almost 6,000 words on a new novel in the last week and a half and I think it is coming along rather nicely. I've also plotted out an entire series of novellas, plotted out a pair of novels that will gather dust in a notebook, started work on a couple of anthology pieces, and have basically driven myself mad with story ideas.

I always tell people that story ideas are always a dime a dozen and I constantly have more story ideas than I know what to do with, but right now it just seems like it has hit critical mass.

I've finished a whole pile of short stories recently, too. I have no plans for them, they just haven't seen the light of day. It's just a very prolific time for me.

Which is half the reason I was hesitant about going to Comic-Con in the first place. I need to spend that time writing.

But sometimes you just have to go to the Con whether you like it or not.  Just ask Cobb.
Post a Comment

Popular posts from this blog

Anatomy of an Opening: The End of the Affair

Instead of breaking down a scene from a movie, this time we'll break down the opening of a book. (Previously, I've done scenes from City Lights, Citizen Kane, Raiders of the Lost Ark, and Butch Cassidy and the Sundance Kid.  I've also broken down the opening to Starship Troopers.

Graham Greene's The End of the Affair is absolutely one of my favorite books. The writing is lyrical and story heart-wrenching and beautiful. Greene's style of writing is such that he always has me gripped, whether it's the beginning of the book or the end. And he shows you so much about the character in his opening lines.

So, here are the first two paragraphs from the book:
A story has no beginning or end: arbitrarily one chooses that moment of experience from which to look back or from which, to look ahead. I say 'one chooses' with the inaccurate pride of a professional writer who - when he has been seriously noted at all - has been praised for his technical ability, but d…

50+ Rules and Tips About Writing I've Collected Over the Years

I have twenty or thirty notebooks and journals filled up with snippets about writing, my plans for stories, bits of dialogue, interesting ideas, plotlines, scraps of short stories, and a dozen other things. I carry one with me at all times and it takes me a couple of months to fill one up.

One of the things I've kept in one of my notebooks was a collection of writing tips and rules that I've collected over the years in my travels. From teachers, from books, from wherever. Most of my career has been spent screenwriting, so a lot of these are most applicable to that, but I wanted to present them so they might be of use to you as well.

I've never stopped collecting these over the years and I never will.

To start the list are Kurt Vonnegut's eight rules of writing. They are the first in my notebook and, I think, the most useful. I'll add a star to those I think are applicable most to screenwriting. Some of these aren't applicable to everyone in every situation, but…

Anatomy of a Scene - City Lights

We're going to break down another scene this week, and it's one of my favorites in cinema history. It comes from the ending of City Lights by Charlie Chaplin, which I think is the greatest romantic comedy ever made. 
It's a touching film from 1931 and I would make it mandatory viewing for anyone who wants to learn to tell a story.
The scene we're going to be breaking down comes from the very end of the film, so if you haven't seen it, I don't want to spoil it for you. Go watch the film. You can rent it for $3.99 in HD on Amazon or for free on Hulu with a free trial or plus subscription. You should just buy the Blu-ray, though. You're going to want to revisit it.
For those of you familiar with the movie, or for those of you who are going to ignore my pleas to watch it and go ahead with this post anyway, I'm going to set this clip up a bit before you watch it.
City Lights tells the story of Chaplin's Tramp and how he falls in love with a blind flower …