FYC Replay: White Picket Fences

Continuing the archiving of my columns from the Pulse spotlighting small press and self-published comics. This time it's White Picket Fences from Ape Entertainment created by Matt Anderson, Eric Hutchins, and Micah Clark Farritor.

Enjoy,
chris


For Your Consideration: White Picket Fences by Matt Anderson, Eric Hutchins, & Micah Farritor
By Chris Beckett


The 411:
White Picket Fences
Written by Matt Anderson & Eric Hutchins
Art by Micah Farritor
3-issues, full color
32 pages, $3.50 each
http://www.apecomics.com



What It Is (with apologies to Dave the Thune):

For those who remember enjoying bad science fiction movies on a rainy Saturday afternoon, White Picket Fences will be a wonderfully nostalgic romp. The team of Anderson, Hutchins and Farritor capture the feeling of those classic films beautifully and create an exciting comic tale within that milieu. Set in the 1950s, the story takes place in the town of Greenview somewhere in the Midwestern United States, but not our United States. This is the world that all of those bad (in a good way) black and white sci-fi films inhabit – Them!, The Day the Earth Stood Still, and Invasion of the Bodysnatchers. It is into this world that Anderson, Hutchins, and Farritor throw their readers – a world where alien invaders from Venus were handily destroyed by the United States with some help from our Martian neighbors.

Like any young boy, Charlie Hobson yearns for adventure. Warned against setting foot on the old Miller farm (it’s haunted), Hobson does what any inquisitive boy in his shoes would do. He goes right in and explores the dark and weathered barn. Finding no ghosts, young Charlie instead discovers a strange metal contraption encased in a glass pedestal that rises from the middle of the floor after he unknowingly flips the hidden switch (a trowel hanging on the wall). Taking this device home, Charlie is blissfully ignorant of the chain of events he has set in motion.

The next morning, the inhabitants of this sleepy town are awoken by the rumbling of an Army convoy in their streets. The alien trigger mechanism that Charlie Hobson found discharged and took out an unmanned satellite high above the planet. An alarm was sent through the upper echelons of the United States military establishment, and General Horace P. Whitman now leads a cadre of troops into Greenview. The troops are greeted with cheers, and although nobody knows exactly why they have come to town, most realize that something big is looming on the horizon and they should be ready for whatever hits.


Fallout shelters are prepped by some while others go down to the city park to greet the General as the mayor presents him with the key to the city. General Whitman is gracious, at least in public, but once they make their way to city hall he soon takes over, declaring martial law and placing himself in charge. The mayor protests but is unable to do anything and finds his office relocated to a janitorial closet.

As members of Captain Odyssey’s Space Rangers, Charlie, along with his friends Tommy Hamilton and Parker Jenkins, go to City Hall and offer their services. The soldiers’ laughter that greets them is unexpected and embarrassing but does not deter them. The three boys go around to the back of City Hall where Charlie makes his way through the ventilation ducts and ends up an anonymous observer to a meeting between the General and the Martian ambassador. The discussion is tense, ending with the ambassador from Mars storming out as the General berates him. Once they depart, the boy leaves a walkie-talkie beneath the mayor’s desk so the Rangers can learn what is going on. And what the boys discover is that they are right in the middle of this whole thing.

As a bonus, the creators include short back-up features in each issue starring everyone’s favorite space hero, Captain Odyssey. Whether defeating the Mutants of Magmos or saving the Knights of Salamandria, these short stories are fun additions to an already enjoyable comic. Done in the style of old science fiction comics, the ideas and action are big and bold, imbuing this book with that sense of excitement we all felt as kids whenever a new issue of our favorite comic would hit the stands.

The creators of White Picket Fences have really done their homework, or else they were reincarnated. The writing is very authentic; all of the characters talk as if they walked right out of 1950s America, and the inclusion of fallout shelters, the “Red” menace, and dinner discussions about “Jenkins in accounting” all add to the flavor of this series. Couple this honesty with what is also an exciting story that makes one long to be a ten-year-old boy again and you have a recipe for a great book.

I would be remiss if I did not also make mention of the artwork. Micah Farritor’s style matches the story perfectly. The images are playful while also ably grounding White Picket Fences within the time it resides. He too must have done some research in order to make everything look so real. From Charlie’s father in his long robe and pipe, to the old rotary phones and the clothing styles worn by the characters, it is a lesson in attention to detail that adds so much to this tale of adventure and excitement, allowing one to travel back to that age of wonder more easily. Farritor’s style is uniquely his own and I look forward to seeing more work from him in the future.

White Picket Fences is a book that evokes a feeling one cannot find in many comics today. It showcases the fun one can have working in comics, and shares a story of the wonderment these three creators must have felt in bringing this story to life. If you are looking for something new, and something unique, then you should definitely try out White Picket Fences from Ape Comics. It’ll be worth your time.


An Interview with Matt Anderson and Eric Hutchins

THE PULSE: Why comics? What was it that attracted you to this storytelling medium?

MATT ANDERSON: For me personally, comics are hands down the best form of entertainment. No matter what mood I’m in, what time of day or night it is, etc., I can always read a comic. So when I began to develop an interest in writing (around the same time I started reading comics – coincidence? I think not!) I naturally looked in the direction of comic books. While I would love to take a crack at writing a screenplay one day, I am more than happy to make comic books my permanent creative home.

ERIC HUTCHINS: Also, like film, it’s a highly visual medium. The primary difference from a creative standpoint being: If we want to show Martians, flying saucers, massive military mobilization etc., it doesn’t cost millions of dollars in special effects. If we can think it, and Micah can draw it, we’re in business.

THE PULSE: What was the inspiration for White Picket Fences?

MATT ANDERSON: Very simply, I’m a huge fan of both 1950’s science fiction films like The Day the Earth Stood Still and 1950’s Leave it to Beaver type sitcoms. Using those as a springboard, I wanted to create a world where we saw alien invasions, rampaging giant bugs, and other such wacky situations filtered through the naïve and innocent eyes of the perfect suburban family.

THE PULSE: With White Picket Fences, you have really captured the feel of a 50s-era science fiction tale. One thing that stands out for me is the dialogue and the cadence I can hear in my mind when I read it. Did this require any research on your part, or does the setting of the story stem from an affinity for this type of story?

MATT ANDERSON: I think it’s a combination of both. The affinity for the subject material was the main driving force behind the writing and the initial creation of White Picket Fences, but as with all things, you have to do your research. Thankfully for me, the research entailed the raiding of my own DVD collection and watching a bunch of movies and TV shows I love!


ERIC HUTCHINS: I mainly got the speech rhythms from Matt; I mean this era is his passion. The hardest part in many ways is accepting “period” specific words and phrases (like “swell” and “neat”) into your writing vocabulary. Once you do that, the characters just take over.

THE PULSE: The artwork adds a lot to the feel of the book, evoking the fun, retro sci-fi tone of White Picket Fences. Was this calculated or a happy coincidence, and how did you find Micah Farritor?

MATT ANDERSON: I’ve known Micah since high school, and we’ve been planning on working together for a long time. Once White Picket Fences came up, he was the first person I went to with it. So in that way, his artwork was very calculated because he was the first and (thus far) only artist to work on the book.

That being said, I really think Micah brings a very fresh approach to what is essentially supposed to be an old television show. If he had wanted to, he could have just coasted through the book by adhering strictly to the look of the movies and shows, but instead he brought all of his own sensibilities to White Picket Fences and still managed to capture the precise feel of the (fictional) 1950’s.

ERIC HUTCHINS: Absolutely. Micah was great to work with as a collaborator as well. We’d write a scene, or a panel, or a specific description and he’d call and ask “what about this,” or “wouldn’t this be cooler.” Well, sometimes he’d call, other times he’d just do it and we’d look at it and go “YES! Why didn’t we write it like that?”

THE PULSE: Do you guys have any other projects you’re working on that you would like to speak about?


MATT ANDERSON: We have a 48 page White Picket Fences special in the works right now. I’m really excited about it because we are offering two 20+ page stories – the first is written by myself and illustrated by Micah, the second is written by Eric Hutchins (co-writer of everything White Picket Fences) and illustrated by the super-talented Tim Lattie – who has recently joined the White Picket Fences creative team. If that’s not enough, the book rounds out with another short story starring Captain Odyssey (who first appeared in the back-up feature in each issue of the first series) – which will be written by Eric and myself, and illustrated by Micah.

In addition to the special, we are currently in the early stages of the next 3-issue White Picket Fences mini-series. Eric and I have the plot broken down, and we are going to be turning the scripts in to Ape Entertainment in early September, so hopefully we’ll have more to say about that soon!

Beyond that, I’ve got several ideas I would love to pitch to DC, I just need to get their attention first!

ERIC HUTCHINS: Matt and I also have a web comic that will be launching soon called Lazy Days, illustrated by Matt Jordan. Kind of a day to day slack fest based on our lives up till now.

If people want to stay up to date on White Picket Fences news, they can check out Ape Entertainment’s website at http://www.apecomics.com and also our ComicSpace page at http://www.comicspace.com/white_picket_fences

Warrior27 available at Discount Comic Book Service

This month at DCBS, Warrior27 is offered for purchase through the site’s First Light program. Issue 2 is available at a 40% discount ($3.00) while Issue 3 and the comic pamphlet from issue 4’s multimedia extravaganza are both available for 35% off ($3.25 and $1.95, respectively).

With the purchase of each issue, we are also offering a free chapbook or mini-comic previously only available at conventions. Issue 2 will include a chapbook with “Life is Funny” (a comic story published as part of Ape Entertainment’s online UFO anthology) and “A Stone Wall Between Us” a short prose story published by Dark Recesses Press. Issue 3 comes with the mini-comic, “Suggested Retail,” from Dan and artist Travis Dandro, which folds out to become a game board (play money and game pieces included). And Issue 4 comes with the short prose story, “Fractured,” which examines a man’s descent into despair and his attempt at final redemption.

For preview images check out our comicspace galleries or go to www.warrior27.thecomicseries.com.

You can check out the books on DCBS’s site here and thanks.

chris

Life is Funny, complete, for your reading pleasure

The shorty story I wrote for Ape's UFO anthology, "Life is Funny," with fantastic art from Jason Copland and Osmarco Valladao, and fine lettering by Josh Aitken, has come to a close. All 8 pages are now available for your viewing and reading pleasure at the Ape webcomic portal. Page 1 is here.

Go check it out. If you've got the time, scroll down past the creator bios and rate and comment on the story or a particular page (pp. 5 & 6 are really good) and look for more work at some point in the future.

thanks,
chris

Aint It Cool News says LIFE IS FUNNY is "pretty damn harrowing"

Over at the Ain't It Cool News site, they've thrown up their latest comic reviews. Scroll down about 2/3 of the way to the "dot.comics" section and you'll find Vroom Socko's quick review of three of Ape's web comics.

The first one he tackles is the UFO anthology, where the short story I did with Jason Copland, Osmarco Valladao, and Josh Aitken - "Life is Funny" - is currently being serialized. Vroom says of the story so far: "[it's] pretty damn harrowing" and that he's "especially interested in seeing more art from [Jason]," which makes complete sense. Go on over and check it out through the link below:

AICN reviews

and check back tomorrow for the next to last page in our tale at www.apecmx.com/ufo.

thanks,
chris

Pages 1-4 of Life is Funny, live now @ Apecmx

My entry for the Ape UFO anthology started up a week and a half ago. I wrote it as a complete story (which sounds pretentious, but hear me out), and unlike the previous tale written by Raphael Moran, “Life is Funny” is more of a slow burn leading up to the climax. Raph’s “Angst” had twists and turns with each page and worked better as an online serialization.

Anyway. The first four – of eight – pages are now live on the Ape comix site. If you’ve got the time, go check them out, (from page one) and if you’re so inclined, down past the bios are links for rating the pages and making comments. I would greatly appreciate it if you took a moment to click the stars or the thumbs up/down– if only for the art from Jason and Osmarco, which I think is beautiful. The more positive feedback, the better.

And I promise, with the next couple of pages, the tension gets amped up and it will be worth your while. Or your money back ;)

Page 2 above.

Thanks,
chris

Life is Funny begins

The story I began in December, 2008 (at which point it was a 6-page script) is finally seeing the light of day. The artwork by Jason Copland and lush colors from Osmarco Valladao are amazing, in my opinion. And Josh Aitken's lettering rounds it out so nicely. It's very cool to see the word I wrote come to life on the page (screen).

I'm very proud of this, and though the overall story is a slow burn, you should check out page 1 at the link below over at the Apecomix site.

LINK

Thanks,
chris

UFOS land @ Newsarama

Hey all,

The online anthology - U.F.O. Encounters with the Unknown - from Ape Entertainment, which will feature my first professional writing credit, got a little love from the folks at Newsarama. They did a feature interview with Troy Dye, the editor of the project, and Elton Pruitt, who wrote the first story "Anything For You."

The article can be found here. The above image is the "cover" for the anthology by Jason Copland and Osmarco Valladao. My story with Jason and Osmarco should begin serialization around January 13. I'll drop a link in when it hits. Looking forward to it and thanks for checking us out.

chris

Preview cover image

So,

I'll be taking a b/w preview of the short story I wrote for Ape's forthcoming UFO anthology. The art was from Jason Copland, with colors by Osmarco Valladao and letters by Josh Aitken (I lettered the b/w preview pages but am including a sample of a colored/lettered page for editors and publishers to check out). Here's the cover I created for the preview chapbook. Hope you enjoy.

chris

COMING SOON

It's been too long since the last post. Hoping to remedy that going forward, but we'll see. Below is page one of the upcoming short story I'll have published in Ape's forthcoming UFO anthology, which will see publication initially online at ApeCMX. Story by me, Pencil & Inks by Jason Copland, colors by Osmarco Valladao, and lettering by Josh Aitken. Hope this whets your appetites a bit. Click the image for a larger version.

Enjoy!

ARTWORK!

Thanks to Elton Pruitt (he posted that Ape was looking for UFO submissions over on the Panel & Pixel boards), I managed to get a short story accepted for the aforementioned UFO anthology from Ape. Next, I needed to find an artist for the story. Easier said than done. I had someone local in mind when I started this journey, but the editor felt his style was too independent and not what Ape was looking for. Fair enough. So, I posted in a couple of places, but didn't get any promising results.

Then I tweaked my ad at Digital Webbing, bumped it up the line, and got three very promising artists responding. Once we got past some of the misunderstanding in my initial ad, my first choice, Jason Copland, was on board for the ride. Jason has done some layouts that completely GET IT, and I want to share one of these initial sketches here to show you how good this will be, IMHO.

First the script page:
Page 6

Panel 1: A darkened room on the UFO. A single light illuminates Jake – his naked body half covered with a sheet, his wrists and ankles strapped to a surgical table. He is struggling against his bonds. Nothing else of his surroundings is visible.

CAPTION In an instant, my life came into sharp focus.

Panel 2: Similar to panel 1. A few more lights are on, illuminating the heads of Jake’s captors (3 typical “grey” aliens unless you have a better image) at the edge of the darkness. Jake is still pulling against his bonds

CAPTION All the choices I’d made led to this moment.

Panel 3: The aliens move in closer on Jake. One has raised its hand, brandishing a type of drill, which is on and making a horrific sound.

SFX (on drill): VVVRRRRRRRR

CAPTION I had become my father.

Panel 4: On Jake (alien hands possibly coming in off panel). He is crying now, face contorted, unable to hold in his terror.

SFX VVVRRRRRRRR

JAKE No. Please!

Panel 5: Jake’s POV. The three aliens are in his face as Jake begs for release.

SFX VVVRRRRRRRR

JAKE (small) Let me go.

ALIEN #1  (or something unintelligible)

JAKE (very small) no.

And the thumbnails from Jason:


Jason really nailed it. Getting across the tension and fear I was hoping for. I can't wait to see the finished art for this one. And if you like this, head on over to Jason's blog and check out some of his finished art for other projects on which he is working. Great stuff.

thanks,
chris

NOTES FROM THE EDITOR, part VII (final comments)

So,

I've stretched this bit out for a number of weeks now. (But consider the fact that I spent from mid-December 2008 until the middle of March working on perfecting this story so that it would be ready for print in the UFO anthology from Ape).

Anyway, last time I offered up my third take on "Life is Funny" having expanded it from a 6-page story to an 8-page story in the interim, in order to expand the characterization and motivation and make it more readable for the intended audience.

This was the feedback I received from the editor:

Hey Chris,

I think we’re a little closer. I have a suggestion for page 3, panel 4. I think you could probably expand the idea of Jake and Tammy’s problems just a little more to hit the point home. Maybe one panel showing Jake out having with the guys and then a separate follow up panel with Tammy at home with a screaming baby.

I like the additions you’ve made that show the reader a little more of Jake’s motivation, but I think you’ve overcompensated a little. It’s a fine line between subtlety and hitting the reader over the head with character motivation. I think you just need to scale back a little on the “I’m sorry” and telegraphing what’s going on in Jake’s head. I don’t mean to sound contradictory to what I’ve said in earlier emails, but I think you’ve gone from “not enough” to “too much”. You just need to tighten that up a little. Maybe a few less “Tammy!” panels. Also, on page 7, panel 2, you could probably delete the caption: “They brought me back.” -- as we can already see that in the panel.

I think I need a little more of why Jake comes to the change of heart. It’s not that I want you to hit the reader over the head with it, I just need really understand what brings it about. Jake mentions that he has a boy that needs him and later on says that he doesn’t want to be like his dad. But when Jake says, “I don’t want to be my Dad”—it isn’t set up earlier in the story, so the reader doesn’t know what Jake’s father is like other than he doesn’t want to end up like him. You need to set this up or get rid of it altogether. Something like:

“When I was kid, I swore to myself that when I grew up, I wouldn’t be anything like my father. He left us when I was 10. God I hated that man. And here I am following in his footsteps. God I hate myself. “

Or alternately, or perhaps in addition to the above (not sure if you need both), you can address Jake’s change of heart with something like:

“I don’t know how long they had kept me. It could have been a few hours or several days or months, as far as I could tell. During that time I could only think of one thing: home. What were Tammy and Tate doing? Did they miss me? Who was going to take care of them? God I missed them. How could I even think about leaving them? Asshole.

If you do something like what I proposed above, you could probably cut out a lot of the dialogue on page 8 as the reader already know that Jake has had a change of heart. He could come home quietly, kiss Tate gently on the head and wrap his arms around Tammy and whisper, “I’m sorry.” She can ask, “For what?” To which Jake answers, “For everything.” And then end it with, “It’s funny how things work out.”

The above suggestions are just that: suggestions. You don’t have to take them. This is your baby. Hopefully I haven’t confused you at this point. Let me know if you have any questions.

Again, some great, detailed feedback, and note that Troy - the editor - always makes sure to let me know that these are only suggestions. Ultimately, the decisions lay with me. I took most of what he wrote, incorporated it into a new rewrite of the script, and with those final tweaks had a story Ape wanted. I won't bore you with yet another rendition of my script, but will leave you to look over the feedback and please feel free to compare it with the scripts I have offered up already. Next time I'll have an announcement on the artist working on this with me - someone with whom I was already familiar, but did not expect to hear from in the venue I was searching - along with a layout or two for the story. It looks great, and we're only at the beginning stages.

thanks,
chris

NOTES FROM THE EDITOR, part VI (third script)

So, Troy had set forth more good feedback for improving my short story, "Life is Funny" and I set to work pondering how to get the motivation of my main character across. It was all there in the story already, I just needed to spell it out more clearly for readers, something of which I am often - I worry - guilty. I tend toward being obtuse, wishing to allow the actions of the characters to showcase their motivations, but I tend to err in favor of subtlety, which can be another word for confusion. I'm still learning the ropes of writing, but this exercise has, and should hopefully, allowed me to improve in that area. I hope that in the future, I will be able to still be subtle without losing the thread and motivations of the storyline for readers. We'll see, but at least I will have these notes to fall back on in order to keep me honest.

Anyway, my second rewrite for "Life is Funny" follows this. Any comments are welcome and if you want to compare the changes made in this iteration with the first two passes at the script, they can be found here and here. Thanks.

Life is Funny
by Chris Beckett

The back-story for this UFO tale is a fairly typical small-town one. Boy and girl date all through high school, and soon after graduation get married and move in to their own trailer or apartment in a less than stellar housing complex. The boy gets a construction/mill job while the girl works register at the local IGA or Wal-Mart. Things are good for a time, but eventually real life – often in the form of a baby – rears its head, straining the marriage and leading to one of many bleak results.

Page 1

Panel 1: We begin at the end, with our protagonist (Jake) holding his three-year-old son up in his arms so the two are face to face. The boy is overjoyed as Jake returns his son’s love, smiling at his boy as only a father can. Jake is wearing a weathered Detroit Tigers hat, an indicator for readers during flashback scenes.

CAPTION It’s funny how things work out.

Panel 2: FLASHBACK, late 70s, early 80s. A similar Detroit Tigers ball cap – not as weathered – is on the head of an 8-year-old sitting in front of the TV watching cartoons. In the background his parents are openly arguing.

CAPTION Prejudices inform our decisions, determining the paths of our lives.

Panel 3: A piece of framed string art (a noted 70s craft, I can get reference if needed) creates a portrait of Jake.

CAPTION Everything mapped out – point A to point B to point Z.

Panel 4: A jigsaw puzzle image – Jake and his wife Tammy wearing their caps and gowns from high school graduation maybe in the familiar form of “American Gothic” by Grant Wood.

CAPTION Like a meticulously planned jewel heist.

Panel 5: Jake fumbling a ground ball hit to him during a beer league softball game.

CAPTION Too bad life isn’t like that.


Page 2

Panel 1: Jake and Tammy toasting champagne at the head table during their wedding reception in the local American Legion hall. Everyone sitting at the table looks very young.

CAPTION Tammy and I got married out of high school.

Panel 2: The housing complex where Jake and Tammy live – a fairly mundane and depressing place with overflowing trash cans on many stoops and a general feel of disrepair throughout the place. They are sitting on their own tiny stoop in plastic lawn chairs, each one on a cellphone, intent on their conversations more than each other.

CAPTION We were in love.

Panel 3: In a bar where Jake is raising his mug of beer in a crowd of other early twenty-somethings. It is obvious Jake and those around him are having a hell of a good time except for Tammy, who sits beside him sipping at her soda looking lost and alone amid this crowd.

CAPTION That was what mattered.

Panel 4: At a barbecue where a number of their high school friends are also attending. Talking with one of his buddies, Jake has a beer in one hand while he rests the other on Tammy’s obviously pregnant stomach.

CAPTION But sometimes that’s not enough.


Page 3

Panel 1: In the hospital delivery room. A nurse is handing a bundled newborn to Jake. Jake is wearing the same Detroit cap we saw on page 1.

CAPTION Tate was so small.

Panel 2: FLASHBACK. Jake is at the dinner table wearing his Detroit cap. Only he and his Mom are sitting down to eat. An empty spot where his father should be is across from Jake, a full plate sitting there getting cold.

CAPTION I was excited about being a Dad.

Panel 3: FLASHBACK. Jake is watching an episode of the Cosby Show on the television as he munches on cereal.

CAPTION But it isn’t as easy as it looks on TV.

Panel 4: Back to the PRESENT. Jake and Tammy are in each other’s faces, screaming unintelligibly at one another. Taking all of this in is Tate, sitting on his mother’s hip. Jake is dressed in hunting garb, on his way out for a weekend at camp.

CAPTION Tammy used Tate like some anchor. Trying to pin me down while I was still young.


Page 4

Panel 1: Jake and Tammy are eating supper at their kitchen table, with Tate in his high chair between his parents.

CAPTION We discussed a separation.

CAPTION I’m moving out once I find a place I can afford.

Panel 2: Looking down on Tammy and Jake’s bed as they have sex. Jake is on top of Tammy, bedcovers above his waist. Tammy is looking off, grief-stricken, tears dampening the side of her face.

CAPTION But for now, I’m in the guest room.

Panel 3: Jake walking at night through the quiet streets of the town, his Detroit hat evident on his head. Trees line the sidewalks and only about half the streetlights are working, giving a hazy, melancholy look to the scene.

CAPTION Evenings I usually take a walk, just to get away.

Panel 4: Tammy sitting in their living room, head in her hand as she cries uncontrollably.

CAPTION It’s good for both of us.

Page 5

Panel 1: This panel takes up the TOP ½ OF THE PAGE. Jake (don’t forget the Tigers cap) has made his way to the end of a dead end road and is standing at the edge of a large field full of swaying grasses dotted with trees here and there. Maybe on the far end of this field we can see a house where the street picks up once more. In the upper left of the night sky hangs a ¾ full moon and in the air directly above Jake a huge UFO hovers.

NO DIALOGUE

Panel 2: Same scene, but a white light directed at Jake is emanating from the UFO, putting him and the rest of the scene in an exaggerated chiaroscuro of light and shadow.

NO DIALOGUE

Panel 3: Inset to panel 2. A white panel in the lower right hand corner with just the barest outline of Jake’s eyes, nose, mouth, and hairline. It not only represents the intensity of the light but also intimates that he is being transported onto the ship.

NO DIALOGUE


Page 6

Panel 1: A darkened room on the UFO. A single light illuminates Jake – his naked body half covered with a sheet, his wrists and ankles strapped to a surgical table. He is struggling against his bonds. Nothing else of his surroundings is visible.

JAKE Hello? Hey! Who’s there!

Panel 2: Similar to panel 1. A few more lights are on, illuminating the heads of Jake’s captors (3 typical “grey” aliens unless you have a better image) at the edge of the darkness. Jake is still pulling against his bonds

JAKE No. Please!

Panel 3: The aliens move in closer on Jake. One has raised its hand, brandishing a type of drill, which is on and making a horrific sound.

SFX (on drill): VVVRRRRRRRR

JAKE I’ve got a boy! Tate! He needs me!

Panel 4: On Jake (alien hands possibly coming in off panel). He is crying now, face contorted, unable to hold in his terror.

SFX VVVRRRRRRRR

JAKE (small) I can’t leave him. Can’t leave Tammy.

Panel 5: From the side and slightly below the surgical table. The aliens are now right over Jake, who has given up struggling, the drill at his temple.

SFX VVVRRRRRRRR

JAKE (small) I need them.

Panel 6: Jake’s POV. The three aliens are in his face as Jake begs for release.

SFX VVVRRRRRRRR

JAKE (small) Please. Let me go.

ALIEN #1  (or something unintelligible)

JAKE (very small) No.


Page 7

Panel 1: Jake is lying in a heap – fully clothed once more and rubbing at his temple – at the end of the dead end road where he just encountered the UFO, which is nowhere to be seen. The gibbous moon has traveled across the sky and is now partially hidden by the horizon on the right of the panel.

JAKE Ooohhhhhh.

Panel 2: Looking down on Jake, his eyes wide with realization of where he now is.

JAKE They brought me back.

JAKE (small) Tammy.

Panel 3: Jake is jogging/running down the street heading for home.

NO DIALOGUE

Panel 4: From behind Jake as he opens the door to his place in the housing complex.

JAKE Tammy!

Panel 5: POV from the top of the staircase inside. Jake is bounding up, two steps at a time, pulling hard on the railing to go faster.

JAKE Tammy!

JAKE I’m sorry!


Page 8

Panel 1: Tammy is sitting up in their bed, fear on her face as Jake sits at the end of the bed, unable to hold his emotions in. Jake is holding one of Tammy’s hands in both of his as he speaks.

JAKE I’m sorry. I haven’t been there for you. Not for you or Tate.

JAKE I understand that now.

Panel 2: Tammy and Jake are now hugging tightly.

JAKE I don’t want to be my Dad. I want to take care of you guys.

JAKE I want to be a family.

Panel 3: The couple lean back to look at one another, their hands still resting on one another’s hips.

JAKE If you’ll let me stay.

TAMMY That’s all I ever wanted.

Panel 4: The two hug again, tears streaking the cheeks of both of them. Baby Tate is also making his presence known, having been awoken by his father’s yelling, his screech coming through the open door.

JAKE Thank you. Thank you.

TATE (from door) WAAAHHH

JAKE Tate.

Panel 5: Jake is entering the nursery, Tammy close behind. In the crib stands Tate, his arms reaching for his father.

JAKE Hey, buddy. Don’t cry. Daddy’s here.

JAKE Daddy’s got ya.

Panel 6: SAME AS PAGE 1 PANEL 1. Jake holding Tate up so they are face to face, ecstasy and unconditional love apparent on each of their features.

CAPTION It’s funny how things work out.

THE END

NOTES FROM THE EDITOR, part V (more feedback)

I did my best to be patient awaiting the feedback for my second crack at the UFO script for Ape, which I titled "Life is Funny." For a person like me, who hates lines, it was difficult and I did something I'd read was a "no-no" and followed up with the editor. Thankfully, he was gracious and explained that things were hectic with work as well as home (he was a new father) but that he would be in touch when he had time to read it and put down his thoughts. Fair enough.

And then, my inbox had this:

Hi Chris,

Sorry, man. I’ve been crazy busy with work and the new addition to the family. Here are a few more thoughts.

I think this is a little better, but I’m still not getting the reason why the character is changing his mind. When the character says: “Like what’s important in life” Why does he reach this conclusion? Why does the UFO bring this out of him?

Is he thinking at that moment that he was going to be whisked away and never see his family again? To his own surprise, did the thought of being separated from his family scare the shit out of him? What about being separated bothered him?

Also, the story starts with the narrator saying how good things were. But then things “took a turn.” That sounds like some bad stuff happened, but it looks like the bad stuff is just Jake not getting to hang out with his friends as much because of his new responsibilities. I’m not really getting a good reason why they are going through a separation. Is there more behind their conflict than “We didn’t see our friends as much, but I still had my annual hunting trip with the guys. Tammy didn’t understand.” Am I missing something?

Jake sounds like a self-centered prick. That’s okay if he is, but then I need a good tangible reason why he decides to stay—like the self-realization that he’s a selfish prick. And that he was only thinking about himself all this time and when he thought about how his disappearance would affect his son and wife, it fucked with his head and at that moment, he wanted nothing else but to hold them in his arms…or some shit like that.

If your intention is that he’s really a good guy, then the story needs a better reason for the separation.

As the story stands, I’m not getting a strong sense of motivation from the main character. I think if you flesh-out and demonstrate his motivation a bit more, your story will be a lot stronger.

There’s my two cents. Feel free to tell me I’m full of shit.

--Troy

Again, some really good feedback. Not that I haven't received some good notes from those I know with whom I share my drafts, but this was a more critical evaluation not colored by friendship and such. And I agreed, all his points made sense to me. It was exciting - for me - if also daunting, to finally getting that editorial interaction I feel I need to "take me over the top" so to speak. Anyway. Back to the drawing board to patch this story together, hoping I would not screw it up somehow. A challenge that I looked forward to, and a challenge that would prove to me whether I was up to this writing thing or not.

More soon.

NOTES FROM THE EDITOR, part IV (revised script)

So,

The editor at Ape liked my story, but it needed some work. It seemed a matter of "leaving it in the typwriter," a term I believe I read in one of David Mamet's works on writing wherein the motivation or other pertinent information - information the writer has in his/her head - does not get onto the page in a way that the reader can understand the story fully. I didn't want to blow this, so I immediately started going over how to fix things in my head.

After closing the email, I spent the rest of the day thinking over how to fix the script. I jotted down some notes and at work the next day I more fully developed these notes, creating new dialogue for some expanded and new scenes. That night, I came home and typed up the additions/changes and this is what I came up with:

Life is Funny
by Chris Beckett

The back-story for this UFO tale is a fairly typical small-town one. Boy and girl date all through high school, and soon after graduation get married and move in to their own trailer or apartment in a less than stellar housing complex. The boy gets a construction/mill job while the girl works register at the local IGA or Wal-Mart. Things are good for a time, but eventually real life – often in the form of a baby – rears its head, straining the marriage and leading to one of many bleak results.

Page 1

Panel 1: We begin at the end, with our protagonist (Jake) holding his three-year-old son up in his arms so the two are face to face. The boy is overjoyed as Jake returns his son’s love, smiling at his boy in the manner only a father can. Jake is wearing a weathered Detroit Tigers hat, an indicator for readers during flashback scenes.

CAPTION It’s funny how things work out sometime.

Panel 2: FLASHBACK, late 70s, early 80s. A similar Detroit Tigers ball cap – not as weathered – is on the head of an 8-year-old sitting in front of the TV watching cartoons. In the background his parents are openly arguing.

CAPTION Prejudices inform our decisions, determining the paths of our lives.

Panel 3: A piece of framed string art (a noted 70s craft, I can get reference if needed) creates a portrait of Jake.

CAPTION Everything mapped out – point A to point B to point Z.

Panel 4: A jigsaw puzzle image – Jake and his wife Tammy wearing their caps and gowns from high school graduation maybe in the familiar form of “American Gothic” by Grant Wood.

CAPTION Like a meticulously planned jewel heist.

Panel 5: Jake fumbling a ground ball hit to him during a beer league softball game.

CAPTION Too bad life isn’t really like that.


Page 2

Panel 1: Jake and Tammy toasting champagne at the head table during their wedding reception in the local American Legion hall. Everyone sitting at the table looks very young.

CAPTION Tammy and I got married just out of high school.

Panel 2: The housing complex where Jake and Tammy live – a fairly mundane and depressing place with overflowing trash cans on many stoops and a general feel of disrepair throughout the place. They are sitting on their own tiny stoop in plastic lawn chairs, each one on a cellphone, intent on their conversations more than each other.

CAPTION We were in love. That was all that mattered.

Panel 3: In a bar where Jake is raising his mug of beer in a crowd of other early twenty-somethings, obviously he and those around him are having a hell of a good time except for Tammy, who sits beside him sipping at her soda looking lost and alone amid this crowd.

CAPTION Those first couple years were good.

Panel 4: At a barbecue where a number of their high school friends are also attending. Talking with one of his buddies, Jake has a beer in one hand while he rests the other on Tammy’s obviously pregnant stomach.

CAPTION But it wasn’t long before things took a turn.


Page 3

Panel 1: In the hospital delivery room. A nurse is handing a bundled newborn to Jake. Jake is wearing the same Detroit cap we saw on page 1.

CAPTION Tate was so small.

Panel 2: FLASHBACK. Jake is at the dinner table wearing his Detroit cap. Only he and his Mom are sitting down to eat. An empty spot where his father should be is across from Jake, a full plate sitting there getting cold.

CAPTION I was excited about being a Dad. Determined not to be like my father.

Panel 3: FLASHBACK. Jake is watching an episode of the Cosby Show on the television as he munches on cereal.

CAPTION But it isn’t as easy as it looks on TV.

Panel 4: Back to the PRESENT. Jake and Tammy are in each other’s faces, screaming unintelligibly at one another. Taking all of this in is Tate, who is sitting on his mother’s hip. Jake is dressed in hunting garb, on his way out for a weekend at camp.

CAPTION We didn’t see our friends as much, but I still had my annual hunting trip with the guys.
Tammy didn’t understand.


Page 4

Panel 1: Jake and Tammy are eating supper at their kitchen table, with Tate in his high chair between his parents.

CAPTION We discussed a separation, and I plan on moving out once I find a place I can afford.

Panel 2: Looking down on Tammy and Jake’s bed as they have sex. Jake is on top of Tammy, bedcovers above his waist. Tammy is looking off, grief-stricken, tears dampening the side of her face.

CAPTION For now, I’m in the guest room.

Panel 3: Jake walking at night through the quiet streets of the town. Trees line the sidewalks and only about half the streetlights are working, giving a hazy, melancholy look to the scene.

CAPTION Evenings I usually go for a walk, just to get away. Give Tammy a chance to think things over.

Panel 4: Tammy sitting in their living room, head in her hand as she cries uncontrollably.

CAPTION It’s good for both of us.

Page 5

Panel 1: This panel takes up the TOP ½ OF THE PAGE. Jake has made his way to the end of a dead end road and is standing at the edge of a large field full of swaying grasses dotted with trees here and there. Maybe on the far end of this field we can see a house where the street picks up once more. In the upper left of the night sky hangs a ¾ full moon and in the air directly above Jake a huge UFO hovers, bathing the scene in hot light.

NO DIALOGUE

Panel 2: Same scene, but a white light is emanating from the UFO directed at Jake, putting him and the rest of the scene in an exaggerated chiaroscuro of light and shadow.

NO DIALOGUE

Panel 3: Inset to panel 2. A white panel in the lower right hand corner of the panel with just the barest outline of Jake’s eyes, nose, mouth, and hairline. It not only represents the intensity of the light but also intimates that he is being transported onto the ship.

NO DIALOGUE


Page 6

Panel 1: A darkened room on the UFO. A single light illuminates Jake – naked and strapped by his wrists and ankles to a surgical table. He is struggling against his bonds. Nothing else of his surroundings is visible.

JAKE Hello? Hey! Who’s there!

Panel 2: Similar scene. A few more lights are on, illuminating the heads of Jake’s captors (a typical “grey” alien unless you have a better image) at the edge of the darkness. Jake is still pulling against his bonds

JAKE Aw, hell.

JAKE Please! I’m sorry!

Panel 3: The aliens move in closer on Jake. One has raised its hand, brandishing a type of drill, which is on and making a horrific sound.

SFX (on drill): VVVRRRRRRRR

JAKE No! I’ve got a kid! I can’t go!

Panel 4: On Jake (alien hands possibly coming in off panel). He is crying now, face contorted, unable to hold in his terror.

SFX VVVRRRRRRRR

JAKE (small) I can’t leave him. Can’t leave his motherNAME.

Panel 5: From the side and slightly below the level of the surgical table. The aliens are now right over Jake, who has given up struggling, with the drill right at his temple.

SFX VVVRRRRRRRR

Panel 6: Jake’s POV. The three aliens are up close and personal with Jake as he begs for mercy.

SFX VVVRRRRRRRR

JAKE (small) Please. Have some mercy.

ALIEN #1 

JAKE No.


Page 7

Panel 1: Jake is lying in a heap, rubbing at his temple, at the end of the dead end road where he just encountered the UFO, which is nowhere to be seen. The gibbous moon has traveled across the sky and is now partially hidden by the horizon on the right of the panel.

JAKE Oooohhhh.

Panel 2: Jake is jogging/running down the street heading for home.

NO DIALOGUE

Panel 3: From behind Jake as he opens the door to his place in the housing complex.

NO DIALOGUE

Panel 4: Jake is sitting on his bed, Tammy is sleeping. No lights are on, and Jake rests his hand on Tammy’s shoulder to awaken her.

JAKE (small) Hey.

Panel 5: Same scene as previous, but Tammy has awoken and she and Jake are now hugging intensely.

NO DIALOGUE

Panel 6: SAME AS PAGE 1 PANEL 1. Jake holding Tate up so they are face to face, ecstasy and unconditional love apparent on each of their features.

CAPTION It’s funny how things work out sometime.


THE END

For comparison's sake the original script can be seen at this post.

And once more, the waiting began.

NOTES FROM THE EDITOR, part III

2009 - The Push for Prose. That was my intention. But I finished out 2008 by sending a script (our previous post) off to Ape Entertainment's open call for UFO stories. Not expecting much, I began to forge ahead on a new project I thought was timely, if only just so (more on that another time). But soon into the new year, I got a couple of emails that changed things a bit for me.

First, on January 6, this arrived from Joe Pruett (yeah, the guy that puts together Negative Burn and other great books like 13 Steps, The Art of Brian Bolland, P. Craig Russell, and others, and the latest iteration of James A. Owen's Starchild):

Hey, Chris. I'm putting together the next Negative Burn trade right now and would like to look this story over. I can't remember if I have or not. Can you send me a low res PDF to look at?

Joe

This was in response to a follow-up email I had sent six months prior. I am still waiting to hear if anything will come of this, but if nothing else, at least the synopsis I sent to Mr. Pruett piqued his interest, and the thought of being considered for Negative Burn - of which I am a huge fan - is exciting.

Then, the following morning, I received this in my inbox from Troy Dye, submissions editor at Ape Entertainment:

Hey Christopher,

I’ve read your story. I really like the dialogue and tone of the story. I am a little unsure as to why seeing a UFO makes the character do a 180. He wasn’t even sure what he saw or if he saw anything at all. And it didn’t seem like the UFO did anything to him. So I’m not sure I’m sold on the character’s change of heart. I think if you tweak that one part of the story a little bit by having something happen to the character to justify his change of heart, I think you’ll have a nice little story here that we would be interested in.

--Troy

And just like that, I was back to work on the comic script, which was great. This was the first time I had received any type of editorial feedback (in a professional sense) and it made sense to me. I try to be subtle when I am writing, and I worry that - as in this case - I sometimes stray into the obtuse.

Anyway. I got to work and sent off a rewrite the following evening.

More on that next time.

NOTES FROM THE EDITOR, part II (1st script)

So as not to fatigue your eyes too much staring at the computer screen, I've been trying to break this up into bite-size morsels. This post, I'm including the script I sent off to the Ape editor at the end of 2008 for their UFO anthology. I was happy with, but did not expect to hear anything (figuring it was late in the game and they probably had filled up the spots at this point), and so I was pushing forward with my prose. But here, for your enjoyment, is my initial UFO script:

Life is Funny
by Chris Beckett

The back-story for this UFO tale is a fairly typical small-town one. Boy and girl date all through high school, and soon after graduation get married and move in to their own trailer or apartment in a less than stellar housing complex. The boy gets a construction/mill job while the girl works register at the local IGA or Wal-Mart. Things are good for a time, but eventually real life – often in the form of a baby – rears its head, straining the marriage and leading to one of many bleak results.

Page 1

Panel 1: We begin at the end, with our protagonist (Jake) holding his three-year-old son up in his arms so the two are face to face. The boy is overjoyed as Jake returns his son’s love, smiling at his boy in the manner only a father can. Jake is wearing a weathered Detroit Tigers hat, an indicator for readers during flashback scenes.

CAPTION It’s funny how things work out sometime.

Panel 2: FLASHBACK, late 70s, early 80s. A similar Detroit Tigers ball cap – not as weathered – is on the head of an 8-year-old sitting in front of the TV watching cartoons. In the background his parents are openly arguing.

CAPTION Prejudices inform our decisions, determining the paths of our lives.

Panel 3: A piece of framed string art (a noted 70s craft, I can get reference if needed) creates a portrait of Jake.

CAPTION Everything mapped out – point A to point B to point Z.

Panel 4: A jigsaw puzzle image – Jake and his wife Tammy wearing their caps and gowns from high school graduation maybe in the familiar form of “American Gothic” by Grant Wood.

CAPTION Like a meticulously planned jewel heist.

Panel 5: Jake fumbling a ground ball hit to him during a beer league softball game.

CAPTION Too bad life isn’t really like that.


Page 2

Panel 1: Jake and Tammy toasting champagne at the head table during their wedding reception in the local American Legion hall. Everyone sitting at the table looks very young.

CAPTION Tammy and I got married just out of high school.

Panel 2: The housing complex where Jake and Tammy live – a fairly mundane and depressing place with overflowing trash cans on many stoops and a general feel of disrepair throughout the place. They are sitting on their own tiny stoop in plastic lawn chairs, each one on a cellphone, intent on their conversations more than each other.

CAPTION We were in love. That was all that mattered.

Panel 3: At a local park where Jake is pushing Tammy on one of the swings, surrounded by parents doing the same with their young children.

CAPTION Those first couple years were good.

Panel 4: At a barbecue where a number of their high school friends are also attending. Talking with one of his buddies, Jake has a beer in one hand while he rests the other on Tammy’s obviously pregnant stomach.

CAPTION But it wasn’t long before things took a turn.


Page 3

Panel 1: In the hospital delivery room. A nurse is handing a bundled newborn to Jake. Jake is wearing the same Detroit cap we saw on page 1.

CAPTION Tate was so small.

Panel 2: FLASHBACK. Jake is at the dinner table wearing his Detroit cap. Only he and his Mom are sitting down to eat. An empty spot where his father should be is across from Jake, a full plate sitting there getting cold.

CAPTION I was excited about being a Dad. Determined not to be like my father.

Panel 3: FLASHBACK. Jake is watching an episode of the Cosby Show on the television as he munches on cereal.

CAPTION But it isn’t as easy as it looks on TV.

Panel 4: Back to the PRESENT. Jake and Tammy are in each other’s faces, screaming unintelligibly at one another. Taking all of this in is Tate, who is sitting on his mother’s hip. Jake is dressed in hunting garb, on his way out for a weekend at camp.

CAPTION We didn’t see our friends as much, but I still had my annual hunting trip with the guys.
Tammy didn’t understand.


Page 4

Panel 1: Jake and Tammy are eating supper at their kitchen table, with Tate in his high chair between his parents.

CAPTION We discussed a separation, and I plan on moving out once I find a place I can afford.

Panel 2: Looking down on Tammy and Jake’s bed as they have sex. Jake is on top of Tammy, bedcovers above his waist. Tammy is looking off, grief-stricken, tears dampening the side of her face.

CAPTION For now, I’m in the guest room.

Panel 3: Jake walking at night through the quiet streets of the town. Trees line the sidewalks and only about half the streetlights are working, giving a hazy, melancholy look to the scene.

CAPTION Evenings I usually go for a walk, just to get away. Give Tammy a chance to think things over.

Panel 4: Tammy sitting in their living room, head in her hand as she cries uncontrollably.

CAPTION It’s good for both of us.


Page 5

Panel 1: This panel takes up the TOP ½ OF THE PAGE. Jake has made his way to the end of a dead end road and is standing at the edge of a large field full of swaying grasses dotted with trees here and there. Maybe on the far end of this field we can see a house where the street picks up once more. In the upper left of the night sky hangs a ¾ full moon and in the air directly above Jake a huge UFO hovers, bathing the scene in hot light.

NO DIALOGUE

Panel 2: From behind Jake. His arm is up, shading his eyes from two luminous aliens (almost angelic like) hovering just above the ground in front of him.

CAPTION They spoke to me.

CAPTION Inside my head.

Panel 3: Jake’s eyes, nose and mouth are visible in the middle of A WHITE PANEL, as if he’s being absorbed by the aliens’ radiance.

CAPTION I couldn’t understand what they said, but it left me with a palpable sense of despair.


CAPTION When I woke, I had no idea how long I’d been out.


Page 6

Panel 1: Jake is lying in a heap, rubbing at his temple, at the end of the dead end road where he just encountered the UFO, which is nowhere to be seen. The gibbous moon has traveled across the sky and is now partially hidden by the horizon on the right of the panel.

JAKE Oooohhhh.

Panel 2: Jake is jogging/running down the street heading for home.

NO DIALOGUE

Panel 3: From behind Jake as he opens the door to his place in the housing complex.

NO DIALOGUE

Panel 4: Jake is sitting on his bed, Tammy is sleeping. No lights are on, and Jake rests his hand on Tammy’s shoulder to awaken her.

JAKE (small) Hey.

Panel 5: Same scene as previous, but Tammy has awoken and she and Jake are now hugging intensely.

NO DIALOGUE

Panel 6: SAME AS PAGE 1 PANEL 1. Jake holding Tate up so they are face to face, ecstasy and unconditional love apparent on each of their features.

CAPTION It’s funny how things work out sometime.


THE END

NOTES FROM THE EDITOR, part I

As I stated in the previous post in this series, I had designated 2009 as the year for my "push for prose," which it still is, though I am doing more comic writing than anticipated. Of course, that's fine by me. As long as I'm writing, I'm happy.

But come the end of last year, I was feeling pretty glum - I think mainly due to the season (dead of winter with as little daylight as we get) and the fact that I was fatigued from the holiday season (despite it being slower than any in recent history, I was still working hard at the day job while trying to prepare for Santa's arrival).

Anyway. The thought of having to find artists willing to work on a short story or two for publication in our anthology, which - as is the case for anyone trying to break into the industry with self-publishing - costs us money rather than making us money, was a prospect I did not look forward to. So, I thought 2009 would be a good year to focus on prose, sit and write every day, polish up some older stories, and send those off to see if any publication would bite.

But, the open call at Ape had me intrigued, and I figured "what the hell." I might as well give it a shot. The first two tries were crap, but near the middle of December (less than two weeks from the deadline), I came up with something I thought would work. I worked it up, typed it up, and sent it off to the editor and figured that was it.

And 2008 turned to 2009.

NOTES FROM THE EDITOR, a prologue

So. I find myself always writing but in between, so to speak, with regards to prose and comics. Which means, often, I find myself making headway in neither medium and almost running in place. (although I am finally moving forward with some prose stuff that I hope to send off later this year, but I digress)

But this post, and subsequent ones in this short "series" will be dealing with comics writing and such. Ironic, since I decided at the end of last year 2009 would encompass my "push for prose."

Anyway. I had dropped by the Panel & Pixel forums run by Rantz Hoseley - set up after Warren Ellis was finished with the Engine - and discovered a recent thread dealing with comic anthologies, what ones were out there and submissions guidelines for same. One reply from Elton Pruitt, mentioned that Ape Entertainment was running an open call for submission to an upcoming UFO anthology. the entire submission blurb went like this:

Ape Entertainment is announcing an open call for short comic book stories for its latest endeavor: UFO. This will initially be published as a Web comic, with a print component to follow at a later date. Below are the details for the first stage of the submission process.

Content: Yes, you guessed it; a UFO must play a role in your story! No UFO, no dice. We’re open to all genres. All stories must be self-contained. No unresolved cliffhangers or snippets of a larger story arc. Your story should have a beginning, middle and end.

Format: Please send us a completed script of your story. It can be written in prose, comic book format, or whatever style you feel comfortable with, as long as it’s easy to read. If your story has already been illustrated, that's great, but if it has been previously published (online, print, or otherwise), please let us know. If you're unsure how your comic book script should be formatted, visit: http://www.scrypticstudios.com

Page Length: We prefer stories that are no longer than 15 pages. We’re not saying that your story should be exactly 15 pages long—only that you should try to avoid writing stories that are longer than 15 pages. If you have a lot less than 15, no problem.

Copyrights: Your story must be 100% original. This means that you are the copyright holder to your story. You will retain the copyright to your story, as you are only giving Ape the rights to publish your story (online and print).

Deadline: We’ll be taking submissions until December 31, 2008. Although the deadline is at the end of the year, you should submit your story sooner rather than later. Why? We will be giving the "green light" to stories as they come in. This will allow us to finish the project sooner. In addition, with projects like this, we tend to see a lot of the same themes, characters, and stories. If we've already approved a story that's similar to yours, then chances are it won't be accepted. If you're worried that your story resembles one that has already been accepted, you can email us a pitch first (a few sentences or paragraphs describing your story).

Submitting your script does not guarantee it will be accepted. Sorry, but only the best stories will make it. Scripts that receive approval will then move on to the art production stage (deadline undetermined). If the completed art is not of professional quality, you’re story may be rejected at this stage, so chose your artist(s) wisely.

Writers are expected to find their own artist(s) for their story and vice versa. Feel free to go here to find a creator to collaborate with or visit such sites as Digital Webbing, deviantART, or Penciljack.

Please send your submissions to submissions@ape-entertainment.com . Please use “UFO Submission” as the subject of your email. If you have any questions, you can post them here.

This was early December - around the 7th - so I needed to come up with something quick. My first two ideas - one of which I sent in - were old rehashings of UFO stories everyone's read before. The editor got back to me within a week on that initial submission and said thanks, but no thanks. I was trying to be cute, do "my own" take on something that had been done a hundred times. I knew better, but wanted to get something in so that I wouldn't have missed my oppotunity.

Luckily, the story doesn't end here.

to be continued . . .

BACK TO WORK

So. Last summer was a hectic time. Dan and I were prepping the latest issue of Warrior27, which I hope to have up on here soon, in anticipation of October's Small Press Expo. Our first time in Bethesday, in 2006, went extremely well, especially after the disaster that was our debut at Wizard World Chicago in 2005. So we had high hopes for the show.

It was a good show, but let us just say it was not as successful as our previous sojourn to Maryland. I did get to catch up with friends and acquaintances like Justin Fox and Kevin Colden as well as having an opportunity to quickly discuss comics with Jason Rodriguez, editor of the Eisner-nominated anthology Postcards: True Stories That Never Happened. But overall, it was not successful on the comics writing/publishing front.

When I returned home, I continued with a bunch of the house projects I'd finally started at the end of the summer (getting our new shutters onto the house [at least the first floor] and painting my older boys' bedrooms after almost a year with bare wallboard). I had also been reading a lot on Prohibition and WWI in anticipation of a novel I want to write - that is a post for another time - and so was spending far more time reading non-fiction, as well as a comic or graphic novel here and there, and working around the house than I was writing - which was at a crawl. Compounding this was the fact that I was still awaiting the site overhaul of the Pulse and did not have a deadline for my regular column hanging over my head to keep me honest. After a while, I found I really liked being able to curl up in bed in the evenings to read a good book or comic. And I wondered why I had been beating myself up by writing into the night as much as I had been with little to show for it.

But I did still have the itch. And with December, I finally returned to my serialization at 50YFN with the latest chapter going live a few weeks back (see previous post). I was also preparing to begin the novel and gearing up in my head for that.

And then I had a brainstorm for an idea that I cannot believe hasn't been done before, and hope that it isn't being done right now. It's a non-fiction analytical prose thing that I began a little over a week ago and am currently 11,000 words into it - beginning chapter 3 last night and hoping to knock out a large chunk of that today. With the focus, has come a renewed energy on my part, and I hate pulling myself away from the computer again. But, I also got some serendipitous news in my email inbox last week as well.

Wednesday night this arrived in response to a message I sent JUNE 28 last year. (Yes, I had completely given up on this avenue for this story):

Hey, Chris. I'm putting together the next Negative Burn trade right now and would like to look this story over. I can't remember if I have or not. Can you send me a low res PDF to look at?
Joe

Of course, this isn't an acceptance, but it does mean my synopsis got Joe Pruett's attention, and it's another baby step forward. But, even better, was the message I received the next morning in my inbox from APE Entertainment regarding a submission I'd sent a couple of weeks back:

Hey Christopher,

I’ve read your story. I really like the dialogue and tone of the story. I am a little unsure as to why seeing a UFO makes the character do a 180. He wasn’t even sure what he saw or if he saw anything at all. And it didn’t seem like the UFO did anything to him. So I’m not sure I’m sold on the character’s change of heart. I think if you tweak that one part of the story a little bit by having something happen to the character to justify his change of heart, I think you’ll have a nice little story here that we would be interested in.

Again, not an acceptance, but another baby step forward. It was a good two-for-one. I changed what they asked for, turned it around that night, and am now waiting. Here's hoping. Updates will follow either way. But it's time to get back to the book.

take care,
chris