Wrote a new feature script: INCUBATOR. And I’m making the movie!

April 6, 2019 // 0 Comments

LOGLINE: When two tech bros move their startup incubator into a “murder house,” they find themselves haunted by a dead girl’s ghost, and by the former tenants, gentrified out to make way for them. Logline’s a bit long but I’ve found that leaving out the “gentrified” part makes it sound like a comedy to some people. Of course there’s humor because I wrote it, but it’s “social horror.” It revolves around the coming jobpocalypse as AI demolishes all the jobs that consist only of what a Brookings Institute report calls “routine task content.” I call them “binder jobs” – jobs where all you do is execute rule sets from “the binder,” no exceptions, no appeal, no variations. TL;DR, don’t go into Payroll thinking that’s going to be a career in five years. There’s a lot more to the social subtexts but, you know, explaining everything I’m putting in it just ruins [MORE]

I’m on the latest Let’s Get Dangerous podcast!

February 26, 2019 // 0 Comments

With my buddies Michael Graham and Uriel Cisneros, having a ball. You don’t want to miss the segment where the guys try and guess (as wrongly as possible) what my gayrom books are about based on the title and covers! https://www.stitcher.com/podcast/anchor-podcasts/lets-get-dangerous [MORE]

“Arriving in 4” is LIVE on Vimeo!

January 2, 2019 // 0 Comments

  Two brothers wait for a car to take them (or not) to their father’s funeral. I’m very happy with this – it’s a “real movie.” My actors, Cody Hamilton and Paul Sean Ward, did a stellar job and my DP Josh Larson delivered amazing footage on my $600 Panasonic Lumix G7. There were some sound problems, oh yeah, including replacing all of the original scene 3 audio with ADR (rerecording the dialogue later in studio). Nothing like filming on a warm Saturday afternoon to make it impossible to cut together takes with chainsaws, airplanes, trucks, children, etc. in the background from one take to another. And, hiding the lavs behind ties meant scritching and scratching to the point where I had to abandon a lot of that material. My next short will be about a movie star having a breakdown on a talk show… because I want to write something where I don’t have to hide the mikes! Pragmatism, right? Learn your lessons, and create within your [MORE]

“A Little Too Broken” Diverse Voices FINALIST with a 9.4 score, Overall Impression: TEN!

December 18, 2018 // 2 Comments

Yeah… 9.4. 10 overall. That’s a triple axel, a Super Bowl Threepeat, an EGOT. I know, it’s all subjective and I got a 6.4 in this comp earlier for a not-much-different version. But, still… I’m over the moon. I’ve worked so hard on this screenplay for going on two years now, and as always you can read the very latest version here, just updated again to remove the last of the mind reading and excess parentheticals. People say, Oh contests don’t matter if it’s not the Nicholl. Sure, if you’re writing “Swedish turnip farmer must accept his son’s emigration to Brooklyn to pickle artisanal beets.” Serious Screenplays for Serious People. But if you’re writing, how vulgar! a romance, however dark its components, you’re not going to win the Nicholl. So there is value in comps that don’t toss you to the curb if you’re not writing grim gritty doom shit that’ll get written up in Film Comment. [MORE]

“A Little Too Broken” Screenplay’s a SEMIFINALIST in Final Draft competition!

October 23, 2018 // 0 Comments

Read the script HERE! Yeah it’s kind of a big deal you know 🙂 Seriously, there are a lot of comps, and I’ve made quarters in a lot of them… along with, in one case, 430 other scripts. Or was it 470? But Final Draft, it’s real baby. They’ve got the categories broken up, so that an action-adventure script isn’t facing off with a romcom. The Diversity category now has 18 semifinalists; I’m not sure when finalists are announced, but yeah I feel good about getting this far. This is the seventh major revision of the screenplay, and it gets better, and places better, each time – so learn to take a good note, kids! And with CRUNCH 2 out in the world, I’m feeling more creative again. I gotta say the financial failure of Stabitha really punched me in the nuts for a while. That, and two months of back problems, really took the wind out of my sails. But I’m coming back to life. HAPPY FAMILIES is still happening, but there’s no [MORE]

CRUNCH Web series Episode Two is LIVE!!!

October 22, 2018 // 2 Comments

This is the second episode in a web series that I’ve been writing and directing for a year and a half. One of the most consistent pieces of advice I get on the Reddit screenwriting sub is to make your own stuff, create your own shorts instead of waiting for permission from gatekeepers, waiting for agents to maybe read your script or contest judges to maybe like it. And I did it. So here’s Crunch the webseries, episodes 1: https://vimeo.com/251681604 And now, just released, episode 2: https://vimeo.com/296187613 Lessons learned after 1.5 years to make 2 shorts, 25 minutes of content? That it’s fucking HARD. If I ever get credited with a famous line like “Nobody knows anything,” it would be, “Movies don’t want to be made.” They will fight you every step of the way, intent on collapsing into black holes. Any screenwriter who’s grumbled, “they ruined my script,” should do what I did. To be the producer, the director, the casting director, the location manager, the [MORE]

WHOO! A Little Too Broken screenplay marches on in the comps! TOP 3%!

September 28, 2018 // 2 Comments

As always, you can read the latest version here! This is the Final Draft screenwriting software Big Break contest, and I’m one of 78 quarterfinalists in the Diverse category. (I have a short, The Red Stuff, click here to read!, that’s also made QF in a contest, but I didn’t make a deal of it because it’s me and um is it 429 or 479 other quarterfinalists 🙂 The Final Draft one is pretty good news, since only 3% of scripts get that far. I also got a 7.9 in the Diverse Voices contest first round (I paid for notes) and that means I’m *probably* advancing there. I got great notes from WeScreenplay for the second time, and I incorporated his notes into the Draft 7 I resubbed for the next round. Wish me [MORE]

Stabitha OUT of KU! Coming soon to Apple, Kobo, Google Play…

September 24, 2018 // 0 Comments

…and lots of other places, as are all my gayroms. The paperback is now through Ingram and the ebook is through… everywhere. I’ll say it AGAIN. I had NO CHOICE but to pub in KU as a first time thriller writer, because Amazon A, will punish you in your New Release ranking if you don’t, which will really smother you since B, they have the market cornered on their site with their own Montlake and Lake Union serial killer thrillers, and are always privileging those in search results way above anyone else’s. So yeah. At Amazon, your publisher is… your ruthless competitor. But as I’ve said before, I could be waiting until the End of Days for an agent to answer a “Hey I’m nobody with no connections and would you please read this query letter and by the way my whole reader base is in gay romance so about 1% of them are going to follow me to another genre and thanks for your time!” I’m not sorry I published it myself instead of [MORE]

Stabitha OUT of CreateSpace, INTO Ingram for Wide Disti!

September 16, 2018 // 0 Comments

Finished the process today! I doubt it matters. But my wishful thinking self has this image of a fresh young intern, in love with the book, trying to get some pinchy old cod in a bow tie to acknowledge the wonders of Stabitha, but his derision of its shabby selfpub origins, a book that is “Not a Gentleman,” has damned said intern’s efforts… This article just happened. French bookstore owners are furious that a self-published book is up for the “prestigious” Prix Renaudot. Not so much because it’s selfpub, but because it’s via CreateSpace, and to booksellers in France, Amazon is the Great Satan – here too! But we don’t have a government that, you know, treasures arts and letters. Of course, the author has good reasons for doing so. The French-Israeli author, who has published more than a dozen books via more traditional routes, told the Guardian he was forced into put[ting] out an edition of Bande de Français himself after no [MORE]