Author has written 4 stories for Action, and Romance.
Monday, 22 June 2014:
Currently doing some copy-editing proofreading on "Headache."
[Last update . . . ]
2023 Tuesday, 15 February 2011:
Just a brief update. I'm having so much trouble writing! I set such a high standard for myself that I...well yeah, everything I write seems absolutely terrible. I'm trying, though. Encourage me if you can, lolz. I'm trying to plug back in. I'm sick of all the damn vampire stuff on this site. If it's well-written, that's different - then it's not just a vampire thing. I hope you see my point there. Anyway, yeah. I love this site, and FF.net. Go these two sites yay! I'm going to do my best to read and review for everyone.
here is my bio as it was before I signed in. it is rambling, but explains what I feel it should:
A certain someone read some of - I'm not sure how much and I don't want to sound as if she's read the whole thing - Fonda. It's just occurred to me I need an insurance policy of some kind so I find myself having to mention right now: Especially as per Bryan1111's review, there's a lot of crazy, stupid, but still undoubtedly high-level stuff going on in the story. As in, Johnny - or however I spelled it - 's hooking up with like every girl he saw isn't supposed to be realistic. At all. There's a meaning to that, even though I didn't do the story very well ultimately and it probably doesn't come through. I hope you (you being anyone who reads Fonda) can understand what I was trying to do with it, even though I didn't pull it off. I don't think I did, anyway. I don't think it's awful but it's not a success. One signifier: No, it's not complete. I just got stuck with it sometime around when I last posted a new chapter of it, and I haven't been able to continue since. For that reason I thought the right thing to do was say it was "complete," i.e. that it's dead and as I like to put it "disavowed." It sounds a lot cooler. I'm rambling now, and I needed to get offline like 30 minutes ago, so I'll just stop here. So my point is basically: Think about a lot of the higher-level, bigger details in Fonda rather than wondering why Elisa (that's her name, right? I don't want to go check the story, I'd feel silly, and I'm running late, and rambling) sleeps with and comes onto Johnny. Same with Ona and whomever else, like Ronny (that's her name, right?). Think of Joseph Campbell and Taxi Driver and stuff like that. I can't remember all of my influences at the time of writing, so I won't get more into that. Actually, I should'a stopped typing a couple minutes ago. So: If you read Fonda, I hope you enjoy it, and anytime you see something that seems "kinda unrealistic" (Bryan1111), I hope you question it and wonder about what it means, not why it'd happen - like that.
By the way, you probably shouldn't read MIGRAINE. I'm rewriting it right now, coincidentally, but my point is that it's too unrefined. And I haven't taken the time to consider anything bad about it that my beloved, Cheah, pointed out. The "my beloved" part is a joke, but I really value his opinion, so you see what I mean (hopefully). You see the point; I'm rambling, so I'll stop here. Again.
Most of the stuff I have posted here is popcorny action. I do love that stuff, particularly movies (Die Hard #1 comes to mind, even though it's kinda cheesy and dumb), and want to make some movies like it, but it's not the only thing - genre?- I want to do, either. Not by a long shot!
I'm always too wordy. Sorry.
A couple movies I like a lot at the moment - that I can think of: Young Frankenstein (Mel Brooks, 1975), The Star Wars (yeah, that one; George Lucas, 1977), Alien (Ridley Scott, 1979), Blazing Saddles (Mel Brooks, 1974), Jaws (Steven Spielberg, 1975), Airplane! (x3 dudes, 1980), Wes Anderson's The Royal Tenenbaums (2001) and Bottle Rocket (1994) in particular, Joel and Ethan Coen's Raising Arizona (1987 (mostly for Nicolas Cage's expressions)), Sam Raimi's Evil Dead trilogy (1981 (ish), 1987, 1992) and The Quick and the Dead (1995 (I know it's terrible, I just like the dolly zooms), El Laberinto del fauno (Guillermo del Toro, 2006), Michael Mann's Collateral (2004), The Mummy (1999, Stephen Sommers)
(If that's not enough, MySpace. But plz note that I haven't really been on there in about a year. That's not deliberate.)
Mini-new piece (screenplay): It Happened OR Wrath of the White Monster. Second part of title is supposed to sound silly and kinda juvenile. I just wanted to try to get rid of the writer's block I have. Just posted. I'm also going with a subtler, streamlineder design for screenplay-format-to-FP-format, so please let me know which you like better. I don't want to distract, I'm just trying to follow the screenplay format as best I can.
-If you read more than a couple scenes ("chapters") of It Happened you'll probably more or less figure it out. Anyway here's the deal: I tried to manipulate the 'play somewhat to make it more accessible. That said, tho, you probably won't read it, but if you do, you still won't review it. Please prove me wrong.
-The above - saying you won't R&R - is not a dare, it's just that the stuff I post here and really care about never gets any reviews, or at least hasn't since Headache. (By reviews I actually mean reviews, not just attention.) I'm feeling very discouraged at the moment. Rant over.
-I'm posting that because...I just felt like it, I dunno. The last time I revised it or anything was months ago, and I finished writing it years ago, so it's not currently being written, but please don't think you can't help make it better.
New piece (screenplay): Dream About How I Will Let Go. I'm writing the fourth scene, conceptualizing more, keeping my themes 'n' sitch (ref to tonight's new South Park episode) in mind. I have writer's block. Hard.
-Please read it and let me know what you think. It's a writing experiment and I desperately need your help. It's a writing exercise too, but...come on.
-Third chapter posted Wednesday, 9 April 2008. Second chapter posted Thursday, 3 April. No violence after the first chapter.
-Chapter titles: It isn't out of malaise but for lack of...fuel, I'll say, that I haven't named either of them. No ideas at all. Dried up. Barren. Unlubricated. If you have any euphemisms you'd like to contribute, please contribute them, and consider yourself credited for your work. Or for that matter, suggest a chapter (scene) title, forGod'ssake. I'll insert an A/N about it and hyperlink to your profile, or whatever else you want (that's just the plan I thought of). If nobody helps, I'll probably think of something eventually; The guys in Chiodos just throw out names for songs on their tourbus until something sticks; I'll pretty much do that.
-Begun exactly 1:16 am 16 March 2008, but thought of a month before then. It really matters to me which minute I start writing stuff. Not!
-FORMAT: I think it's important to note because while I cheat toward literature a lot more than real writers do (I'm not a writer), and overwrite anyway, I still try to stick to format, which can be and is confusing, not to mention contradictory (the link is basically right). 12-point 10-pitch Courier New (I don't know what "pitch" is), no double-spacing except between paragraphs 'n' stuff, but you can't indent and the margins are all fucked up. The elements are three: sluglines (like "INT. - LOCAL 432 - NIGHT"), action ("literature") and dialogue (character names in all-caps, occasional notes like whether somebody's onscreen or if it's voiceover...the list goes on). Also note that I include camera direction, which you're not supposed to at all as it's not a screenwriter's place to consider such things (listen to the Hostel 2 'cast). But I'm a director.
(And please excuse the length of the above 'graph.)
-The format shouldn't get in the way, it's just that it will stand out here. I'm also attempting it in the bad action movie screenplay MIGRAINE, below, and I tried it here once before in something nobody reviewed. So I'm a little more familiar with it now than some. Also note that because FP only has center or left-align - no tabs, margins, etc - the format may appear even weirder than it already would. Let me know if anything sticks out as...looks-wrong, please; I want to make the screenplay format fit the FP...rules, I guess, as well as I can.
-As of writing I haven't referenced it too obviously, and I probably won't, but one of the myriad things that inspired me to write Dream About How I Will Let Go is on this site - it's "Collateral for a Broken Heart," kanari kireteru doll's story.
-Another, more influencial inspiration: Gus Van Sant's Elephant. It's really good.
Old piece: Fonda.
If you're going to read it keep in mind that it is supposed to be pretty weird.