Do Some Damage Covers 'Writer's Block'

I'm never really sure how I feel about writer's block. I think it exists, in a sense, when certain things won't come together. But I've never felt (being the immensely talented and creative fellow that I am) that there was a time when no words or ideas would come on anything. I've struggled with projects and pages, paragraphs and lines, sometimes even punctuation. But my brain never shut down to the point where nothing would come at all. There's always something left in the tank.

But anyway, here's a solid article from Jay Stringer, one of the members of the new crime fiction blog, Do Some Damage. Haven't had much time to check out the site yet, but did read and enjoy this article.

Writer's Block and Other Urban Legends

TGIM - Back Against the Wall

Here's what I like to do:

Sleep. I mean procrastinate. Hell, if I can do both together, that's just gravy.

I don't do much for myself. Make someone (a person or a company) dependent upon me and I'll hit deadlines, come through in the clutch, and do whatever is needed. But me, working on a screenplay just to get one done, tell the story I want to tell, and not having anyone waiting on it... I procrastinate. I let other things get in the way. I even take on other work (paying or not) to avoid doing it.

All because of Parkinson's Law. And as often as it's failed me, it's proven true countless more times. Look at pretty much every paper or school project I've ever written, or the first few comics I did where artists were in need ASAP and I had to get something done yesterday. I got it done.

But, as my friend Sean Chen pointed out at SDCC, I've been blowing a lot of my self-imposed deadlines. He asked me why and I didn't have a good answer. Still don't, to be perfectly honest. I think fear of doing something bad (even though I've already dealt with this) is still holding me back. But I also keep in my mind something Brian Buccellato told me. He said his writing career really turned a corner when he finished his first screenplay. Not because it was amazing, but because it was done. There was no longer any reason to think that he couldn't do it, because the proof was sitting right in front of him.

So I'm eliminating excuses. I'm eliminating goals. I'm just going to work, with no other options. I've got my editing stuff on a good track so that it won't get in the way of my scheduled writing, and the writing plan is reasonable if intensive (10 pages a day, thanks to Tony Gilroy's method via Bryan Hill). I've already blown every deadline I've set for myself countless times. I've tried shame (shaving my beard before SDCC) and grooming tweaks (not getting another haircut until I finish) and nothing has really led to much progress.

So I'm just going to sit my ass in this chair and write. No bullshit, no excuses. I've realized, thanks in no small part to my roommate, that finishing this screenplay is more important than any job I might take, project that might get approved, etc. It's holding me back from everything I want to do. The only choice is to finish it if I want any semblance of a career, or it'll forever be a stumbling block that keeps tripping me up.

Not many guys let their first screenplay put their career on the line. But I'm already there, in a fucked up in the head sort of way. So my back is against the wall, whether I want it to be or not. And sometimes that's not a bad position to be in. Like now...

Does this even count as a TGIM. I say yes, and notice the period indicating a rhetorical question. Grammar saves the day again!

***

In other news, been finalizing my "Board," for those familiar with Save the Cat. I hate the process. I don't mind outlining, but taking this thing the whole way has me bullshitting through the +/- emotional change of some scenes, ditto for the <> conflict in each. It feels really inorganic to me, and more like busy work (which he swears is not the point). I have enough faith in my sensibilities and storytelling that I like to think I can borrow and dip my toes into the method without actually going through it like an automaton. I'm mingling my stuff with his, and trying to find harmony. If it helps me get this thing written (and help it shall, since there's no other choice), I'll go and do The Board properly next time.

After all, "If what works for you isn't working, try something else." Say, there's a screenplay idea in there (not the next one, but the third one)...

McGinnis does Stella

My good friend and collaborator Kody Chamberlain was the first guy to turn me on to the paintings of Robert McGinnis. He's all kinds of amazing, and has recently done a job for Stella Artois.

Here's an article on on his work featuring finished pieces and process sketches. Enjoy.

Drinking Etiquette (for Conventions and Public Gatherings)

In light of my recent Saturday night con experience, it occurs to me that not everyone remains the consummate (if blacked out) professional I am when imbibing beverages of the alcoholic persuasion. These are in no particular order, at least in my original draft of this entry.

• Never say or do anything you wouldn't if sober.
• Always back your actions. Don't blame it on being drunk since alcohol only uninhibits you, it doesn't change your opinion.
• It's better to drink with a buddy than to drink alone.
• Drinking on an empty stomach is not recommended.
• Water is your friend
• If you can't stand, you can't drink.
• Drunk texting/tweeting is not allowed, unless relaying a hilarious story.
• Admit to being drunk in the moment or the next day. People can tell, and denying makes you look like a fool.
• Never vomit on anyone. Hotel planters are allowed, but in a bathroom (toilet, not sink) or privately in nature are the preferred options.
• If you vomit, you have two options: 1) Call it a night, return home, and brush those teeth. 2) Pop some gun (mints will NOT do the trick), grab your other drink (for your double-fisters out there) and proceed to get the party-restarted like you just got a new lease on life.
• If you're a freelancer, realize your antics may cost you work due to appearing unprofessional. Of course, it might also gain you work if you're entertaining enough. The latter case is extremely rare and should not be used as advice for how to break into comics.
• If you're an employee at a company, your actions represent that company. It's one thing to make a fool of yourself, and quite another to make a fool of your company, your co-workers, and/or your boss.
• San Diego has street cleaners working at 3am who will yell at you for "pissing all over [their] street if you can't aim properly.
• Know when to say when.

TGIM - Sleep

Comic-Con International in San Diego is one of the best times of the year. But it's also one of the most exhausting. For the first time in 5 years of attending, I wasn't involved in the building or destruction of a booth. That meant I got to head home a little bit earlier (and hit all that fun traffic).

We got home right around midnight. I got to sleep close to 2 (don't ask) and promptly slept for 12 hours. Still feel like someone hit my awareness with a sledgehammer, but sleep is truly the greatest invention ever. Thanks, G-d.

Also, for those wondering... Drinking on an empty stomach means getting utterly blitzed/tanked/wasted/to' up. Not recommended, as my Saturday night and its missing moments can attest to.

For those that I saw, it was a great time. For anyone I missed, we'll talk soon and I'll catch you next year. I want to sleep some more, but I have dodgeball in a few hours so I'm trying to get my mind and body right to destroy. Frutti di Beppo will be missing the game, so I have to step up for him and comic pros everywhere.

"The real sin of San Diego is that when it ends... it's Monday." - Nelson Blake II

The San Diego Comic-Con Post (2009)

Hey faithful readers,

how are you? I'm headed down to San Diego for a little thing we like to call Comic-Con (or SDCC for those who don't have time for anything but acronyms). Wanted to drop you guys a quick line to let you know where I'll be at, as well as how to reach me or keep up with me during the show. If you're a creator or friend reading this and attending the show, let's definitely make sure to hook up while we're down there.

My main gig is promoting Days Missing from Archaia/Roddenberry, and we'll have the first issue on sale at both booths (#2635 and #2734 respectively), as well as creators such as Phil Hester and Frazer Irving (issue #1), David Hine and Chris Burnham (issue #2) and Ian Edginton in a rare US appearance (issue #3) on hand to sign. They're all quality people turning in damn fine work, so be sure to support them, so please come to the panel and check out the book.

My 404 mobile number is now disconnected, so anyone dialing that will find themselves SOL when trying to reach me. Don't call it. Either email or message me on twitter for the new number, or just click this handy little link. It will send you direct to voicemail, but only because I'm leery of putting my number out there for bots. Leave a message, I will get back to you. Unless I hate you.

I will be providing live updates from the show via twitter, and you can follow me @roblevin. Expect updates, pics, quotes, and drunken twittering (hopefully with pictures).

THURSDAY

12-1pm - LongBox Panel - Room 32AB - I'm not on this, but anyone not attending is foolish. And Rantz is a very forward-thinking individual.

1-2pm - Top Cow signing - Booth #2629 - with Phil Hester and Michael Broussard

2:30-3:30pm - Days Missing Panel - Room 3 (featuring all the creators, series creator Trevor Roth, Eugene Roddenberry, and the Archaia crew)

FRIDAY

Just floating around, sitting in on a couple panels. Might be an announcement about some editing I'm doing at one, but I don't want to talk out of turn.

SATURDAY

4:30-5:30pm - Top Cow Panel - Room 7AB - not on it, but I always support the Herd. Who knows, maybe they'll announce something of mine...

5:30-6:30pm - American Original Panel - Room 7AB - same as the LongBox panel, if you're not here, you're missing out. Really curious to hear more of Jeff Katz's nefarious plans to improve media.

SUNDAY

11:00am-12:00pm - Top Cow signing - Booth #2629 - with roommate extraordinaire Nelson Blake II and Michael Broussard

Obviously I won't bore you with my meetings/partying schedule, but I'll be doing that tip, as well as hanging out at the Archaia and Top Cow booths. Just don't go asking them where I am if you can't find me. A freelancer has to roam, after all.

P.S. Did everyone know there's an awesome SDCC iPhone app? It's like having a program guide with you when you forget to have a program guide with you. Only downside is there isn't a way to view the panels/booths/etc. you select as favorites, so the favorite feature is kind of useless.

TGIM - 30 Rock

Feeling a little pressure to take care of last minute prep for SDCC, or maybe that's just an excuse, but today's TGIM will be a short one.

I've been watching 30 Rock on Netflix Instant all weekend (and into today), and it's pretty fantastic how far the show has come. I thought it was better than I expected at the beginning of Season 1, but had low expectations going in and had never been a Tina Fey fan. I watched for Tracy Morgan, fully assuming Studio 60 would be the better show (and for a season it almost was).

But something happened in Season 2 and the show started to really find its footing. The characters went from being quirky to hyperbolized - in a good way. What got good toward the end of Season 2 became almost uniformly great in Season 3. All of the dynamics work together in a way that few comedies with disparate plot elements have managed since Seinfeld's departure. The supporting characters began to step up, and I actually started to like Fey on the show. Some weeks across this past season it was even better than the mighty juggernaut that is The Office.

If you haven't watched, the whole series is on Netflix Instant. And if you don't have that, rent some DVDs and check it out, or stream a few on the website (link above).

And here's the scene that first made me think it had potential for greatness: