Bloodwing Angel Chronicles Book 2

If you've read many of my posts, you'll know that I pour all that I know about drawing and storytelling into my work. Check out my Indiegogo crowdfunding campaign.

BLOODWING ANGEL CHRONICLES: Book 2

52 pages of the continuing adventures of Mychal, an angel who is unjustly banished to the mortal realm and struggles to survive amongst demons and living dead! Along the way, Mychal becomes the guardian angel to a neighborhood filled with killers and sinners!

• Episodes 3 & 4: "FLY or DIE!" and "ALTAR of DEATH!";
• and a special seven page 1717 CLUB standalone story "MIDNIGHT SPECIAL!”

Mychal must learn how to use her now limited angelic powers of flight and flaming fist while defending herself against demons! She, Josh Combs and his family, along with the dangerous Boys of the 1717 Club are the pawns in the opening play of a Cosmic Chess Match between the gods of Light and Darkness.

Bloodwing Angel Chronicles Book 2 is a full color mature action/adventure comic. Set in an altered universe, this series will appeal to you if you like the following: 

• Heavy Metal Magazine 
• Supernatural Heroes 
• Mature Stories 
• Fantasy/Horror

 

Making Stories For Comix: Episode 2: The Quest Plot

Update On Bloodwing

Hi, there! I've just uploaded another chapter in the story of Mychal Bloodwing. Read it free on Wattpad. And please leave a comment on the chapters you've read. Thank you!
http://www.wattpad.com/story/10804859-bloodwing-tearing-up-the-universe

New Series: Bloodwing

I am developing a science fiction/fantasy series called BLOODWING. So far, I have posted several short chapters on the free story site Wattpad.
http://www.wattpad.com/story/10804859-bloodwing-tearing-up-the-universe

 I would appreciate any feedback you might have—if you would be so kind, please post your comments on Wattpad.

Thanks, guys. I will be posting new chapters every few days until this novella is finished.

FREE EBOOK SAMPLER

Starting today, October 23rd and through October 25th, samples of our hard boiled crime fiction ebook novels are available on Amazon for FREE!

"Original Sin City 20,000 Word Sampler" contains the first 9 chapters of our Barry Award Nominated novel "Little Mexico" and the first 3 chapters of its sequel "In the Name of the Father." 

We hope that if you enjoy having a taste of our storytelling, you will buy the complete novels. Only $3.99 each.

http://www.amazon.com/dp/B00FLA8KN8

ON WRITING STORIES

I am hundreds of miles away from my home in Kentucky, working at an animation studio in Milwaukee, Wisconsin. This is the job that is paying most of our bills. For the past 14 months, I have been working away from home for stretches of six weeks at a time.

This separation from Cathie puts a damper on our daily collaboration. No matter how much time we spend on the phone or Skype, it's not the same as being next to a warm body. We work best when we are together in one room, bouncing ideas off each other...challenging one another...and then, kissing and making up.

Fortunately, we are at the stage on our present writing project where I concentrate on the basic structure of the story. Our Original Sin City novels each have a basic historical event, theme, and major plot through which multiple character story arcs are woven. This enables us to present a textured reading experience.

In essence, our novels are multiple novellas that are interwoven.

For the past week, I've been pulling together the first novella's three act structure. I'll use this structure for all the novellas. It enables us to control the pacing of the novel's overall story arc.

This is exactly how I plan my animation—I plant guideposts to hit. I then time my actions and create my individual drawings/words/sentences.

In both cases, I give the characters (drawn and verbally created) room to organically grow. Hopefully, the result will surprise the audience with the reality of the world we've created.

Check out our 3 Act Structure Outline.

Act One
Setup: Location/Relationships
1) What character wants/goals:
a) Start in the middle of struggle
b) Emotional need/want: hate, love, jealousy, respect from others
c) Physical need/want: hunger for sex, money, food, shelter

2) What's in the way:
a) Other person(s)
b) Self--lack of talent, knowledge, common sense, impatience, arrogance, self delusion
c) Confrontation

Act Two

3) Tries to overcome obstacles
a) Initiates personal actions towards goal(s)
b) Family members attempt to thwart success--ratchets up the negative feelings--feeds the desire for revenge
c) Outside opportunity from 3rd party appears
d) Tries to grab for it


Act Three
4) Climax
a) Confrontation between all involved
5) Resolution: Success/Failure
Points to future conflicts (both external and external)

For those who want to see how we interweave several story arcs, check out our "Original Sin City Sampler". Only $0.99 on Amazon.  

http://www.amazon.com/dp/B00FLA8KN8

ON WRITING LOGLINES

For those who are interesting writing for animation, check out my other blog that I write with my wife Cathie: Original Sin City. We are beginning a series of posts on writing mysteries and crime fiction novels. Those posts are informative regarding writing for animation as well.

The link to this first post is:
http://cathiejohnc.blogspot.com/2013/09/talking-about-loglines-1.html

The second one follows a couple of posts later. See you there!

A Future For Traditional Hand Drawn 2D Animation?

I've started developing a 2D video game to be played on mobile phones. It's a basic gather and chase game using one of my studio's animated characters as the hero.

As I develop the game, I'm concentrating on short animation cycles that convey my hero's personality...very much of a throw back to early cartoon pantomime. Makes me think "is this the future for 2D animation?" By the way, I'm drawing pencil on paper and scanning the drawings into Photoshop.

I find myself approaching the project as an early Fleischer cartoon in that I'm not censoring my imagination at this point of development. The characters in my game will perform actions that are eccentric and fanciful, as well as realistic. The overall design of the game will embrace both caricature and cartoony elements. Right now, I'm jotting down all ideas that come to mind. But the most important element is the playability of the game! Without that nobody will buy it!
I'm writing and designing this game as though it were a traditional cartoon short with a sympathetic and relatable character...but with the viewer being able to guide the main character past the villains and obstacles to a successful conclusion. The fun is that it is all action with sound effects and music,etc.

 

Thoughts on Script Writing For Animation #4

Let's pick up where I left off. We now continue with Scene 3 of my sample script pages, explaining why I chose to write what I did.

Again, for visual design, think of the Dick Tracy world of 1943, with all the caricatured images that suggestion creates in your mind. 

Scene 3

INTERIOR, THE CASABLANCA LOUNGE OF THE OASIS -- CONTINUOUS

As Pearl glides along the carpeted floor, MALE and FEMALE CUSTOMERS call out to her.
(Pearl resumes being pleasant and charming. This sets up the calm before the storm.)

FEMALE CUSTOMER #1 (O.S)

                                   "How's your son, Joey?"

PEARL

(smiling)

                                   "He's fine. Stationed in San Diego."
(Dialogue establishes that Pearl is a mother.)

MALE CUSTOMER #1 (O.S.)

                                   "Where's Carl?"

PEARL

(smiling)

                                   "In the Gaming Room."

MALE CUSTOMER #2 (O.S.)

                                   "Don't think so. I just came from there."
(Dialogue sets up the rumbling of the coming thunderstorm between Pearl and her husband Carl.)

As Pearl continues gliding, a flash of understanding passes through her.
(The first flash of lightning!)

Her expression changes from happy to suspicious to false pleasantry.
(Pearl momentarily loses her composure, but quickly slaps on a smiling mask to hide her anger from the public/paying customers.)

Without missing a beat, she turns on her heels and heads for the dancers' backstage dressing room.

(Pearl does not put off what needs to be done immediately.)

CUT TO: 

SCENE 4

INTERIOR, OUTSIDE OF BACKSTAGE DRESSING ROOM -- CONTINUOUS

CARL JULES (mid-40s, dark haired, wiry, a ready smile) watches the ten laughing and chattering CHORUS DANCERS (lots of ostrich feathers and long legs) file back from their performance onstage in the The Caravan Room. The music of Cab Calloway and his orchestra is loud and jumping. 
(This sets up the scene for the impending confrontation.)

 CUT TO:

SCENE 5

FULL SHOT: BIRD'S EYE VIEW -- CONTINUOUS

Carl gently pulls aside one of the dancers (GINNIE, 20 years old, red head, long legs) and chats her up -- how are things going? And so on and so forth.
(Shows Carl as being a smooth-talking skirt-chaser.)


Loud dance band music drowns out all conversation.
(Forces the audience watching this scene to concentrate on imagining what is being said between Carl and Ginnie.)


Pearl marches up behind Carl, swings him around.
(The fuse is lit!)


Ginnie escapes into the dressing room.
(Ginnie doesn't want to get caught in the crossfire between her two bosses/wife and husband.)


Pearl reads Carl the riot act, jabbing her finger into his chest. Carl gestures "What'd I do now?" Pearl jabs a final point and leaves to go back to her duties greeting customers.
(Pearl is warning Carl and ALL the girls in her employment to keep hands off each other. Pearl is staking her claim on Carl as HER man! And that's THAT!)


Carl gestures after her "I'm innocent!"
(Shows Carl trying to save face. This also plants the seed in the audience's mind that perhaps Pearl is overly jealous and jumps to conclusions.)

FADE OUT:

 So, to quickly recap: SHOW your story on the screen, not TELL your story; and use dialogue (as sparingly as possible) to reveal what can't be shown on the screen.

Thoughts On Script Writing For Animation #3

Picking up where I left off, let's continue with Scene 2 of my sample script pages, explaining why I chose to write what I did.

INTERIOR: THE CARAVAN ROOM OF THE OASIS -- FULL SHOT

The war is raging on both fronts in Europe and the Pacific. The joint is packed with 800 SOLDIERS, SAILORS, MARINES, and CIVILIANS all jumping to the live music of CAB CALLOWAY and his orchestra. Patriotic signs and banners decorate the walls. The Caravan Room looks elegant. The tables are set with white linen tablecloths, sparkling crystal, and the best silverware.
(Establishes high energy opening for the story. Creates an expectation that this story is taking place in an unusual setting that is also historical.)
                                                                                                                     CUT TO:

PEARL MAE JULES (late 30s, blonde, dressed to kill) glides through the room, greeting
customers (BIG SHOTS and COMMON FOLK alike) with a handshake or a touch to the arm, always a brilliant smile. Her unmistakable laugh -- controlled, never giddy -- can be heard over the crowd. Wife of Carl Jules and co-owner of The Oasis, the lady is steel encased in silk and velvet.
(Focuses on Pearl as co-owner of the club. She is a classy but tough lady.)

She marches into the kitchen, her sights fixed on the CHEF. She confronts him, ready to bite his head off.
(Shows through action that she is not to be messed with.)

PEARL

(controlled anger)

                                                 "This ain't a greasy spoon. You don't slop

                                                  the food on the plates like you're feeding

                                                  hogs. The next time I see a customer served

                                                  a plate with gravy dribbling off the sides,

                                                  I'm coming in here and kicking your butt

                                                  into the Licking River. Ya hear?"
(Dialogue is necessary to explain why she is angry.)

Chef quickly nods his understanding,
(Indicates he knows he's been slacking off on the job and that he better not do that again.)

as Pearl spins on her heels and marches out -- smile on her face.
(She knows she has power and enjoys it.)

                                                                                                                     CUT TO:


This first script page has quickly introduced:
                                                    1) The Setting (with a twist);
                                                    2) High Energy;
                                                    3) a Major Character (Pearl Mae Jules)
Next time, we'll see how the second script page introduces Pearl's husband Carl Jules and develops tension between the two.


The key thing to remember is to use ALL the story elements to keep the audience interested in what's happening on the screen.

Thoughts On Script Writing For Animation #2

As I promised in a previous post, today I will start focusing on sections of these two script pages, explaining why I chose to write what I did.

Again, for visual design, think of the Dick Tracy world of 1943, with all the caricatured images that suggestion creates in your mind.

 

Scene 1

FADE IN:

EXTERIOR. LONELY 2-LANE COUNTRY ROAD WINDING ITS WAY THROUGH THE DENSELY FORESTED HILLS JUST OUTSIDE OF NEWPORT, KENTUCKY. -- SEPTEMBER 10, 1943 -- NIGHT

(This establishes location and time our story takes place.)

CRICKETS CHIRP and BULL FROGS CROAK. We travel past thick brush and trees. No sign of human life.

(Sound establishes the feeling of solitude and isolation in a non-urban area.)

The CHIRPS and CROAKS blend into a pulsating, RHYTHMIC, JUNGLE BEAT...

(Starts a transition that signals we are heading into unusual territory.)

...and after a few bars become a fully orchestrated BIG BAND SOUND.

(Finishes the transition into the foreshadowing of a surprise: Urban Energy in a Country Setting.)

 The road takes a turn and we find ourselves in a clearing outside a 3-story stucco building lit up in neon. The building has a white dome, bright against the star-filled midnight sky. THE OASIS SUPPER CLUB in pink neon script and a neon palm tree complete the signage.

(Completes the surprise. Audience should be wondering "What's this doing here?")

The parking lot is filled with Cadillacs, Packards, and Lincolns.

(Compounds the surprise with the promise of High-Rollers frequenting this place.)

Before I go any further, let me say at this point that the story is based on historical events and characters. So, even though I combined fictional and historical characters, I have not exaggerated the primary historical setting and story elements. (http://www.cathiejohn.com/jp2.html)

More in my next posting.

Thoughts On Script Writing For Animation #1

A picture may be worth a thousand words, but when it comes to animation it may take a thousand individual pictures to show what a few words in a script describe. For example: "The two armies of angels clash outside the Gates of Heaven."

For me, an animation script is the beginning of the storytelling process. Using words is the quickest way to download the story ideas from one's mind. It's also the quickest way to organize and develop all the elements necessary to show the story on the screen. Note, I say SHOW not TELL.


The writer should be locking down the characters' motivations, their goals, the plot twists and resolution to the story. Dialogue should be kept to a minimum, being used only to reveal what can't be shown on the screen.


In the script, the writer should be thinking visually, and not be in love with his/her words. Yes, there is a place for "snappy dialogue" between  characters, but not when it stops the story dead in its tracks.


As much as possible, each word of an animation script should be an aid to the story artist who is interpreting those words. The script should be the solid foundation upon which all the film's artists, musicians, and technicians can build their performances and add sparkle to the finished piece.


To illustrate my point, the following two script pages describe an opening sequence. These pages are taken from my screen adaptation of "Little Mexico", one of a series of noir crime fiction novels I co-authored and published with my wife Cathie under the name Cathie John.


For visual design, think of the Dick Tracy world of 1943, with all the caricatured images that suggestion creates in your mind.


"Little Mexico" was nominated for Best Paperback Original Novel in 2001.


In future posts, I will focus on sections of these two script pages, explaining why I chose to write what I did.

 

 

(This content is copyrighted, John Celestri)