Saturday, December 18, 2010

BRYAN WINSLOW








IF I WROTE THIS THEN, MAYBE
WE WOULD BE FACEBOOK FRIENDS
NOW









I can hold you in my arms and promise you tomorrow
If it will stop you from crying
Tell you that I'll love you and only you forever
If I believed that my lying to you would bring relief
Would help mend your broken heart
And make it easier for you to start over again
I can tell you that while we are together
I'll never sin again
That I'll never take another number from another woman
Or wonder that phrase "what if" years from now
That I would find it within me somehow to be exactly who I am in your fantasy
That man that loves you tenderly daily
Cooks breakfast, lunch, dinner and even some snacks in between
Who is more girlfriend, than husband
And I'll even be your husband and create a family with you
If it would just keep you from spilling anymore tears
I'd quickly tell you that all I feared was commitment to you
Not because you weren't enough, but because I'm not
That i forgot who I was minutes ago
Figured that I wanted something different, that we deserved something different
But I can promise you that life will be different if you only
Stop sobbing to me
See I could never take a woman crying and I'm willing to lie to you
And deny me to insure that you are happy and
As for me
I can make me happy
Somehow
It may not be right now or a year from now, but
There is a chemistry between us, right?
And it's not all dark times with you, love
I can see the light at the end of the tunnel
While we walk to the altar, together
Balled and chained as the choir sings softly
I swear that I'll remain right here for years to come
And create and raise children with you
Grow old with you and tell you that God told me to
Forsake what my heart desired, desires
Needs
Nik I swear that if you just quiet down a bit
And open your eyes from those slits
I'll look you directly into them and tell you
That I'll love you for life
But you know it would be a lie
And I know it will be a lie, and this here wouldn't be alright
Ever
For when I dream of forever, I envision happy times created easily
Not forced
And our wedding day should produce butterflies and maybe cold feet
Instead of remorse for a broken hearted uninvited guest
And you know, and I know that
She is where my heart belongs
She is for whom I sing love songs
She is the reason for my determination
And she is the one crying hardest
So dry your tears, and release me
Hate me, curse, and then hate me some more if you must
But trust that i hold fast to the fact that I don't lie to woman
And I can't, in my hearts of hearts tell you I love you forever
And make you
The first
Go.

© 2010 Bryan Winslow


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Friday, December 10, 2010

EVE HALL









RESOLUTIONS








Another year has come and gone.
This is the time when we make new goals.
Resolutions that we fail to keep that are,
just another way of lying to ourselves.
Plans to lose weight and not stay up late,
that we will save money and spend less,
and not make our lives a terrible mess.

That we will be more peaceable,
and not always feel we’re right.
That we will admit to our wrongs,
and not try to fight.

That we will try hard to live and not die,
that we will be truthful and not lie.
That we will love and not hate,
that we will be early not late.
Why do we fool ourselves into making resolutions?
Because, we are human.


© 2010 Eve Hall

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SUPREME

Tuesday, November 23, 2010

A. SUPREME









FOR A DAY









God let me run things
for just one day
And She said
“Handle it, come what may”
So I sat at the desk
in front of the computer
And scanned through prayers
from Botswana to Bermuda

The first was from a little girl
who lives in Rome
She prayed that her father
would come back home
from a war she can’t understand
why he’s fighting
and if he could hug her tight
that would be so exciting

So I clicked the mouse
to send a reply
and the dialogue box said
Accept or Deny

And since in my hands
there was so much power
I decided to give all
the deserts a shower
And because of a friend
who’s from there named Sadie
I fixed all the stuff
that was going wrong in Haiti

But then things started
to get complicated
A group prayed to wipe out
another group they hated
They said that the only
way that they could be free
was if they got this divine
blessing from me

And then there’s the thing
with the Ozone layer
500 million people
praying that prayer

And hundreds of thousands
of folks in jail
just praying that somehow
they can make bail

And oh yeah the one from the CEO
who’s praying to find a way
to steal more dough

Even the whales and sea lions
troubled and toiled
praying to learn how
to swim in crude oil

By that time I needed
to take a break
and get some fresh air
for Heaven’s sake
So I rose from the chair
got out of the seat
and walked to the window
to take a peek

But just then God appeared
inside the room
and saw that my face
was drenched in gloom
“The task at hand”
She asked
“Did you begin it?”
I said
“I’m answering prayers Ma’am,
I’m all up in it”

She said
“Then what are you doing
away from your station,
are you taking some kind
of mental vacation?”

I said
“I’m doing this job,
I’ve answered a bunch
and now I am thinking
its time for lunch”

She said
“You used the phrase
You’re all up in it,
but you’ve only been at it
for 17 minutes”

It certainly seemed like
a lot longer was my plea
Then She raised an eyebrow you see
And asked why I hadn’t prayed
for anything for me

It’s true...
I could have had it all
love, happiness and wealth
But today the last person
I was thinking about...
was myself.

© 2010 A. Supreme

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SUPREME

Monday, November 15, 2010

LORRAINE TAYLOR










ONE MILLION BLACK MEN










I woke up this morning to a beautiful sky
The streets absent of men, the sun in my eyes
To Washington, DC these great men trod
Their feet barely touching your blood-soaked sod
A wonderful sight, one million Black men

In masses they came, by bus, train or plane
A day of atonement, not fortune or fame
Inch by inch and mile by mile
Their backs ramrod stiff, not cracking a smile
A glorious sight, one million Black men

From slave ships to your land, for Douglas and Tubman
From the whip and the lash to their blood on your sands
Their bodies so beaten, their spirits not weakened
Oh God I do love you, one million Black men

For Malcolm and Martin we cannot ignore
Your refusal to see them we truly abhor
You stole them away from our God and themselves
In this strange land they suffer and dwell
Oh how you have cried, one million Black men.

From Harlem to Nam, tenements to rice paddies
My husband he died there, my son has no daddy
Your welfare you dangle to tempt and to tease me
I must tell my son he’s an endangered species
Oh yes I do love you, one million Black men.

We’ve somehow lost hope, the hunters and hunted
Oh why oh why Lord is this world torn asunder
But still my eyes glisten with dignity and pride
As I gaze upon men with such purposeful stride
The heart of my heart, one million Black men

America you wanted a land of the free
But you just didn’t tell us you didn’t mean me.
The powers that be in your smoke-filled rooms
Apocalypse now, your doom and your gloom
And God if you’re listening to this my short story
Deliver to glory one million Black men.

© 2010 Lorraine Taylor

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SUPREME

Tuesday, November 9, 2010

LAUREN O'BRIEN







(UNTITLED)









Sometimes I get dragged down in the undertow of my emotions.
I get knocked by the weight of waves and hit my head on rocks.
Sometimes the waves of my emotions are so powerful I can't breathe
and I lose consciousness.
And sometimes my emotions wash me up on the shore of an exotic island.
Inhabited by beautiful people unsullied by western civilization.
Where I can survive on tropical fruits and the nourishment of the ocean breeze.
Where I can roam half-naked and unfettered by bills and concrete.
I like when my emotions do that.

(c)2010 Lauren O'Brien

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SUPREME

Wednesday, November 3, 2010

RASHIDA VASSEL






(UNTITLED)









It’s getting harder to separate
the real from the fake
When all I see are smiling faces,
to hide the traces of hate
Don’t ask,
Won’t tell
So I just sit back and wait
for the true colors to show
Then one by one...
I eliminate


(c)2010 Rashida Vassel

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SUPREME

Tuesday, October 5, 2010

A. SUPREME






YOU HAVE 1 NEW MESSAGE








Talk wit Ur thumbs
Nevr wit Ur gums
Talk wit Ur thumbs 2 me-e-e-e
Don't say a wrd
Bcause U wont B heard
So talk wit Ur thumbs 2 me-e
Woo-ooo-ooo-ooo-ooo-ooo-ooo-oooooo-Woo
Talk
Talk

(c)2010 A. Supreme

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SUPREME

Tuesday, September 7, 2010

A. SUPREME








HURRICANES







Why are the hurricanes all named Sharon?
And Mary and Bill and names like Karen?
Why don't they give them a name
that is hard to say like Rasheeda,
Keyshaun, Tameka or Dontay?

If I got a job at the Hurricane Center
I'd sneak into the computer room
and via keyboard I'd enter
some hurricane names that
would make you say
they must have a Brother
naming them that way.

(c)2010 A. Supreme

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SUPREME

Tuesday, August 24, 2010

NELSON MARRERO








MY LIFE FEELS LIKE IT'S CURSED






Why am I always the victim?

I try and escape but the memories won’t let me
Am I here to be lost and not find my true purpose?
Or is this the life my misfortune has chosen?

It’s not my fault
They continue to tell me
But my life does not change
So why don’t they help me

To reach for my future and release this inside me
‘Cause my time is wasting
at least that’s what they tell me

Is my life a curse?
Or is it just my surroundings
If I move from this place
Will the pain
Will it still find me?
If I change my appearance and take these scars from my face
Will this creature inside me disappear from this place?

If I lose all my habits and forget all the shame
Will this beast that has found me
Leave and just go away
No… this is his mission
He’s after my soul and where did he start this
In a place I called home

But it was more like a nightmare
Why didn’t they wake me?

And now when I ask
Nobody will face me …..

Is it because they believe
That somehow I deserved this

I can’t really tell
‘Cause all I see is their weakness


Every where that I go
It always pursues me
In the bathroom
The kitchen
And even the hallway

This curse follows me all around like it owns me

But what can I say
About the ones who disowned me
They gave me a reason to fight and oppose them
‘Cause I finally realize I was letting them own me

So I close my eyes
To forget my misfortune

And wonder why
I was not an abortion

It would have been better
Than this life of distortion

I know I’m the victim
But does that mean I’m worthless

So now I stand here
My life in caution
Slowly taking each day
With exhaustion
Really just waiting
For all of them to be done
Need to get to the finish
‘Cause I feel like I’m done.

(c)2010 Nelson Marrero

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SUPREME

Saturday, August 14, 2010

W.A.









THE BIG APPLE





There’s a lot to say for LA
And San Francisco gets a yea
Cheers for Boston and Dallas too
And San Diego has a view
Lots of cities come to mind
Where living is mighty fine
But for the very best, no need to grapple
Hands down it’s our Big Apple!

(c)2010 W.A.

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SUPREME

Sunday, August 8, 2010

A. SUPREME







LOVE WITH NO CONDITIONS









I love my car
She never leaves me
Never asks where I’ve been
Or where I’m going
Or how long I’m gonna be gone
Always stays right where I put her
Until I return
And doesn’t complain
Just opens up and lets me in
And we start again
Wherever we left off.

(c)2010 A. Supreme

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SUPREME

Wednesday, August 4, 2010

EVE HALL












A BAD DAY, A GOOD NIGHT









Working hard all day; rough hands, tired feet.
The phone rings, upset voices.
Stressful work conditions.
Starved, almost lunchtime.
Food comes, server plops it on my table.
Do not want to go off on her,
Like I did the other day.
Home at last, slippers waiting for me.
My bath water running; bubbles everywhere
You lying in bed, looking like, Adonis.
You beckon me to come near, my towel drops.
A bad day, turns into a good night.

(c)2010 Eve Hall

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SUPREME

Thursday, July 29, 2010

MARIA ARROYO










POKE









Once upon a time (this ain’t no joke)
I looked to my right and behold there was a poke
so I sent it back and much to my surprise
here came another and another that’s no lie
so as I sit here going through my posts
...(tharr be more) I see the pokes
from the ones who send the most ok...
I'm stuck here with no other line to say
so I'll keepa poking and be on my way.

(c)2010 Maria Arroyo

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SUPREME

Tuesday, July 27, 2010

E.S.







BURDEN OF PROOF






Miracles do happen…and my life has become a treasure of...
extraordinary circumstances...because of you...There will always be hardships…yet the showers of joy rained upon my soul keeping me faithful and my hopes alive to smell your sensuous fragrance of compassion. Turmoil has no place in this lover of life and just for today...the clouds have opened its majestic and the gates of heaven have welcomed my love for you eve...How eloquent the path to romance can be...when adoration accompanies your every sequential moment of intent...I have loved you for so long...I used to sit in the sandbox…of playful situations as a child watching how butterflies passionately entertained one another on spring days of pleasure…wondering what’s it like to be as free as they seemed to be…As a young man I secluded myself in the middle of open fields, dreaming about what it would be like to cuddle in your arms and caress what makes you smile…maybe hearing your laughter soar along in magical ways of cheerful...persuasion. I have always been in wonderment of you...and not knowing when you were coming. It’s like waiting for happiness to captivate you, knowing one doesn’t have the power of time within its grasp...So my dear I must say…it has been absolutely breathtaking and my void stands fulfilled. There are no limitations…nor are there any boundaries which can keep the obsession and fervor I have for you. You have fulfilled the prophecy of this lover and your arrival into my life upon chariots of exhilaration is nothing but an awesome experience of immeasurable conditions…delivered by...burden of proof.

(c)ES 2010

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SUPREME

Tuesday, July 20, 2010

BIRDIE HOUSTON








A Time To Forgive






There's a time to forgive
A time to embrace
A time to put a smile
Back on a frowned face
A time to calm
A time to scream
A time to relax
A time to dream
Let go of sorrows
Lingering grief
Slow down your anger
Stand tall to beliefs
Love yourself
Repair inner soul
For seasons will come
When you will grow old
Win your battles
Fight the good fight
Don't ever let darkness
Cover your light

(c) 2010 Birdie Houston

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SUPREME

Tuesday, July 6, 2010

H.K. BROADY















PERPETUAL SWIMMER





I hold my head high in the Rain,
I smile over troubled Seas,
Restless at Rest and
Resting in restless motion.
I am the perpetual swimmer!
Making FRANTIC strokes,
and Empty waves,
Yet leaving not the tiniest ripple.

(c) 2004 H.K. Broady

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SUPREME

Thursday, June 24, 2010

ELENA COPELL










WHAT IS PURPLE?




Purple is majestic,
waving in the wind
Purple is responsible,
mature, and fun
Purple is the name Jane
Purple is loyal when I'm sad
Purple smells sweet, and sour at once
Purple smells like a deep
harmonic melody
Purple looks like classical music
fluid and soft
Purple feels silky on my fingertips
Purple makes me want to fall into a
deep, deep, sleep
Purple is my friend.

(c) 2010 E. Copell

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SUPREME

Tuesday, June 15, 2010

KAREN GILL


















I WAS STARING AT THIS BLANK PAGE JUST WONDERING



Hoping that the words I just couldn't translate in my head,
would leap through my eyes and form the perfect love poem
Rather, the sweetest piece of literature, and most endearing
piece of crap you would ever read.

For it's not the sheet of paper that holds value,
It's the way I feel for you in my heart that matters.

And that's where the trouble begins, because without this piece of crap, I couldn't begin to tell you how I felt about you, why I fell for you, or why I etched your name inside me.

I found it hard to tell you that you meant a lot, that the desire to lay my eyes on you, was way stronger than my desire for sight.

That if I could not taste anything but the moisture off of your lips, my taste buds would certainly be satisfied.

If I could only run my hands all over the elegant design of your body, & sift through your hair with my eager fingers,
My arms would have no need for anything else.

My mind struggles to think, my breathing becomes harder I just plainly can't operate when you're not around.

And can't focus on anything else when you are.

I'm falling in love with you; I'm falling deeply in love with you.

And If I didn't have this piece of paper to let you know how much you actually mean to me, then I guess you wouldn't know.

I know this sheet of paper doesn't hold all the secrets of my love for you, but it does hold this one.

So this beautiful, sweet piece of crap literature, has some importance.

It's the gateway from my heart, to your ear.

(c) 2010 K. Gill

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SUPREME

Sunday, May 30, 2010

EVE HALL
















BEING WITH YOU

When I'm with you,
Nothing else seems to matter.
Time stands still just for us.
Worries are no longer thought about,
Problems seem so few.
I feel no aches or pains
I’m oblivious to life’s strife.
I cannot see or hear anyone else but you.
You are my reason for living.
My hopes, dreams, and desires,
I share them all with you.
Without you, I have no tomorrow,
No purpose, no direction.
I am at peace in your arms.
This is where I belong,
This is where I will forever stay.

© Eve Hall 2000

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SUPREME

Tuesday, May 25, 2010

NELSON MARRERO













IF LOVE WAS LIKE COOKING

If love was like cooking
I’d be living a dream

I would never be hungry
I would eat all I pleased

Never be bored with the same tasteless treats
I’d create all kinds of Pleasurable, memorable meats
Yes if love was like cooking, I’d be smiling all day
Using new form of pleasure I could use day by day
A sprinkle of mystery a dash of Oh my
And all this with just a wink of an eye
With a touch of cilantro and a dash of sazon
This Spanish flavor would make you want love
So if you have some suggestions
For this man in the kitchen

Just bring them all on
Because he’s on a mission

To bring you all
of the treats you’ve been missing
Making tender delicious
and wonderful dishes

So if at the end of the day
You don’t feel like cooking
Just come to my place
I’ll be up all night cooking

I would use all sorts of flavor and pleasure to feed you
And marinate you from morning to evening
With all kind wishes and kisses

Leaving you to desire more treats from my kitchen

I’d rub it all down
With the oil that I fashion
It would give relaxation
And lead to more passion
As now as I sit down to eat this great meal
Should I serve you a plate?
Or did you bring your own meal.

(c) 2010 Nelson Marrero

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SUPREME

Thursday, May 20, 2010

A. SUPREME
















WHERE DO PIGEONS GO AT NIGHT?

I know that they refrain from flight.
Do they go to a place that they own?
To spend some quiet time alone.
A place with a maid
who is there to feed them.
With Jet Magazines
and lamps to read them.
A place that's a home
not for vacation.
With cable, Tivo
and a Playstation.
I want my answer to be right
when some asks
where do pigeons go at night?

(c) 2010 A. Supreme

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SUPREME

Monday, May 10, 2010

KAREN GILL


















BURDEN


You love someone, you open yourself up to suffering, that's the sad
truth. Maybe they'll break your heart, maybe you'll break their heart & never be able to look at yourself the same way. Those are risks. That's the burden. Like wings, they have weight, we feel that weight on our backs, but they are a burden that lifts us. Burdens which allow us to fly.

(c) 2010 K. Gill

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SUPREME

Saturday, May 1, 2010

MOCHA SISTAH









SAFETY'S UNIVERSE





The youth inside my soul
wants to be safe
in the cocoon of hope's eyes
as it bellows in the spirit as I rise
Rise to speak
allow my voice to exclaim
"world I am here"
Help the boxes of knowledge
inform me..
that utter options for the building of my complete spirit
influence my positivity
2 empower peers and myself
to dare dangerous chains to be broken
as I build strong winds
that will carry me like a bird's wings
and I fly into unique zones of life to rise
I speak
I speak
I speak into my bones
love and peace serenity
peace's serenity...
and it's lullaby sings to me
and I will be anchored
always in the solid
space that I will
OWN.

(c) 2010 Mocha Sistah

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SUPREME

Wednesday, April 14, 2010

SUPERHUMAN SYNOPSIS



















So...You’ve finished your 120 page movie screenplay or your 300 page novel manuscript...and you probably think the writing process is complete...right?

Uhmmm...No!

Most novice authors personally believe that at the end of the script - the writing is done. That is as far from the truth as Earth is from the Andromeda Galaxy (2.5 million light years!).

Actually, the REAL writing is just about to begin. Now you must take that “blockbuster” screenplay or manuscript (that you have labored over for months) and cut it down to a few juicy paragraphs - that fit onto ONE mouthwatering page!

And if that doesn’t freak you out - maybe this will...those paragraphs need to have all the EYE-POPPING excitement of the complete script! The industry term for this particular one-page document is a...SYNOPSIS.

Hey...don’t get mad at me...you wanted to be a writer. You
should have picked an easy gig like professional boxing.

In my opinion (as a published author) the quality and content of your synopsis - is more important than the complete script. The synopsis is one of the major things literary agents and book publishers will utilize to determine whether (or not) you work gets “green-light” consideration or tossed in a pile with the rest of the
“to be recycled” paper.

Agents and publishers read two things before they read your completed script:

1) Your Query Letter

2) Your Synopsis

They do this to get an idea if the complete script is worth their valuable time to read. And your completed script could be John Gresham(ish) - but they will never find out unless your synopsis is like Kellogg’s Frosted Flakes...you know what I mean??? Grrrreat!

Look at it this way...Do you know how many books and movies hit the market yearly? THOUSANDS! Obviously, the authors of those works had something more going for them then the contents of their scripts. What I mean is - something prompted the movie prod-co exec or publisher to read the entire work...and it was probably a slamming synopsis.

(Okay Supreme...you talking all this crap about writing a great synopsis...HOW DO I DO IT?).

Yeah...I heard you...relax!

I’ll tell you this first...I’m not in the business of promoting OPB (Other People’s Books) - but I suggest you get a copy of Michael Hauge’s “Writing Screenplays That Sell” by any means necessary. Mr. Hauge offers advice that works well for book manuscripts and movie screenplays. One of the things he suggests is that you use a 3-Act paradigm (pronounced para-dime).

Always write in three-acts (Act I/Act II/Act III). It is an efficient way to get to the two most important words in your script - THE END. The paradigm-method is a good idea too - a scene-by-scene list of characters & actions - easy to reference when you need to make changes (and trust me - there will be changes).

How does all this relate to your EYE-POPPING synopsis?

Well...when reduced to its lowest common denominator - a synopsis is nothing more than a post-game highlight reel of your written work. Now that you have a chronological listing (paradigm) of the scenes - spread out over three acts - you can select the most exciting parts and meld them together to tell the “short-version” of your story.

Be sure that your synopsis makes sense. Remember...you will be “cherry-picking” data from your paradigm - and may find it necessary to manufacture slight wording changes - so that the scenes connect. You may even have to change the order of occurrences especially if you use a lot of “flash-back” and/or “flash-forward”.

My first published novel - “THE TIMECODE RAILROAD” - is a science fiction story that is set in the future - but most of the drama takes place in the past. I did a lot of damage to the space-time continuum with that piece - and had to resolve some of those “flash” issues while formulating the synopsis.

READ IT FOR YOURSELF:

“The Timecode Railroad”

SYNOPSIS: THE CIVIL WAR AS IT HAS NEVER BEEN TOLD BEFORE! The Timecode Railroad is a science fiction story that is set in the future but takes place in the past. General Lee and Confederate rebels are victorious over the Union Army at Antietam (Sharpsburg), the bloodiest battle of the conflict. Lee’s rebels quickly advance to Washington D.C. In the White House library, President Lincoln signs the Article of Surrender. The Confederate State of America is born. Jefferson Davis declares himself President. His initial executive order slavery is legalized above and below the Mason-Dixon line. Five hundred years later The American slave trade flourishes but there is much opposition! Colonel Menelek Armstrong commands a corporate-funded band of mercenaries, the H.A.R.D. Corps. They specialize in covert ops behind enemy lines stealing downtrodden slaves from maximum security plantations. Michele Fox is CEO of Maplesoft, a multi-billion dollar electronic empire headquartered in Quebec, Canada. The Canadian economy can no longer absorb mass emigration of runaway slaves from the Confederate State. Fox is eager to continue the work of her late husband, abolitionist William J. Fox. She contacts H.A.R.D. Corps and lays out an ambitious plan that will change the course of American history!

It’s Short – YES
It’s To The Point – YES
It’s Eye-popping – YES
All the elements a Superhuman Synopsis should contain.


So...put a couple of Pop-Tarts in the toaster...and grab a cup of Swiss Miss Cocoa. Return to your seat in front of the computer...and get your finger moving on that keyboard.
You got work to do...Copy That?
Cool!

If you have questions or comments - send me an email

nightwriterblog@yahoo.com


“THE TIMECODE RAILROAD”

The American Civil War Like its Never Been Told Before

Available at:

www.amazon.com/Timecode-Railroad-SUPREME/dp/1413714285

Write On!

A. SUPREME

Friday, April 2, 2010

QUERY, QUERY QUITE CONTRARY















You’ve finally finished your script and even crafted your synopsis.

Muy Bueno! (Very Good!).

Now you are seriously ready to start shopping your work to literary agents, book publishers and movie prod-co execs.

Hold your horses!

The first thing that you MUST do before you send your valuable work anywhere is...PROTECT IT! Google-search the LIBRARY OF CONGRESS in Washington DC. When you get to the homepage, look for the link marked COPYRIGHT FORMS.

FORM TX will be in PDF-format with usage instructions attached...I suggest you download it onto a memory-stick
for future reference.

Print Form TX and fill-out all of the pertinent data.

Mail Form TX to the Library of Congress along with the $45.00 registration fee and a complete copy of your script.

It will take some time to get a confirmation letter...but
at least you’ll know that your work is protected.

Don’t get me wrong...I’m not suggesting that agents, publishers and production-company executives are unscrupulous...it’s just better to be safe than sorry.

Can You Dig It?

Back to the subject at hand.

As quiet as it is kept...you will need to spend just a little bit more time caressing your keyboard before you contact FedEx for their (small package) shipping rates.

If you have paid attention over the last few weeks then
you know that I demand things to be Awesome! And the document that we are going to discuss today must be exactly that... AWESOME!

The industry term for this document is a QUERY LETTER.

A formal one-page instrument of introduction requesting consideration for representation or publishing.

You will need to do some research before you send your
Query Letter to (let’s say) a Literary Agency. I’m sure you’ve heard of some of the big agencies in the industry: ICM, CAA, UTA
and William Morris just to name a few.

It may be a good idea to search for start-up agencies or a new agent at an established agency...we’ll discuss this in detail later.

Google-search LITERARY AGENCIES

- or be more precise and type in -

LITERARY AGENTS ACTIVELY SEEKING NEW CLIENTS.

You should come up with a ton of websites!

Read carefully and follow instructions when gathering information.

You need to be GENRE SPECIFIC when targeting agents who
may be willing to represent you.

(Supreme...You know I’m a new-jack writer...
What the H#ll does Genre Specific mean??)

Relax...I’m getting to that!

It’s elementary...what kind of stuff do you write?

Fiction or Non-Fiction?

Maybe you’re a Poet or a Self-Help guru. Science Fiction
may be your thing or Children’s Stories or Chick-Lit.

Whatever you write - only search for agents who are
looking for what you do.

At the agency website...

There are usually biographies of all the agents in residence.
Feel free to read-up and chose the right one for you.
Click the link marked SUBMISSION GUIDELINES.

Here you will find out everything you need to know about what to submit.

Agents differ as to what they want to see from new writers ...but basically it will be your Query Letter (of course), your Synopsis and possibly a few chapters of your work.

Be sure to include an SASE (self addresses stamped envelope)
with your package...so that you can receive a reply.

Follow the submission guidelines to the letter! Only send what they ask for...I Repeat...if they don’t ask for it, DON’T SEND IT!

Oh...I almost forgot...this may be a good time to discuss the difference between Solicited and Unsolicited submissions.

Most big name literary agencies Do Not accept
unsolicited submissions.

An Unsolicited submission would come from someone like YOU:

1) New Author

2) Never Published

3) Not A Celebrity (Yet)

4) No Bankable Body-Of-Work

5) No Representation

Don’t be discouraged...There are still hundreds of agents
(out there) who need to build there client lists.

A Solicited submission comes from someone who already has representation: either an agent or an entertainment lawyer.

This is why I said earlier that it may be a good idea to search
for an agency that has recently opened or a new agent at an existing agency.

Literary Agents are in the business of representing Artists.

They make their money off of commissions from book deals with publishers and film companies.

And if your screenplay gets made into a movie - we could be talking about even more dough!

But it’s all based on the Artist’s income...they get a percentage
of what YOU make (15 to 20 percent).

Literary agents can’t succeed in the business without clients.

New agents and agencies are going to be looking to build their client lists.

And that’s good for You, Me and every other Unrepresented Writer on the face of this Planet!

I need to make a point here...you don’t necessarily need a literary agent to submit your work to publishers and prod-co execs. (For a fee) an entertainment lawyer can also perform this function.

Okay...you’ve located an agent and you think she may be the
one for you.

THE QUERY LETTER

Always address your query to a specific person - never
to dear sir or to whom it may concern. Agents like the “personalized” touch.

(Example)

Ms. Xaviera Riverbank
Night Writers Literary Agency
5700 Avenue of the Americas
Suite 630
New York, NY 10020

Start your query letter with a Standard Greeting -

Dear Ms. Riverbank,





Next, give the title of your work (CAPITALIZED), word count
and genre. Make sure you add that it is complete.

(Example)

NEW YORK INTERRUPTED is a completed 90,000 word science fiction set in near future New York City.

Next you’ll want to write a paragraph that give the basic plot
or theme of the story.

(Example)

Simon Kenyatta is an award-winning photographer/writer for Time Magazine. A red-eye flight brings him home from a week-long assignment in Amsterdam. He gets a cell phone call from his editor (Jules Fineart) the moment his plane lands at JFK International Airport. A space-shuttle is returning to Earth (from a furtive trip to the far side of the moon) and request emergency-clearance to land at JFK. Kenyatta is still on the clock and Fineart wants a picture for the magazine cover. Kenyatta arrives at the runway in time to see the space shuttle end its voyage in a somersaulting ball of flames. The cargo on board (an extraterrestrial) escapes into the night. Months pass before anyone realizes that Earth has been invaded. The extraterrestrial constructs a nest underneath Big Allis - an automated nuclear power plant on the shore of the East River. To save the city (the world), celebrity mayor Derek Jeter must bring together two entities on opposite sides of the law...NYPD and the Mafia.

Next is the paragraph where you write something about yourself.

It’s not a bad idea to start off with something like -

I am an unpublished author seeking representation.

Maybe you are a technical writer...Now is the time to list your qualifications relating to why you are “qualified” to write your book. Or you’re a poet and you’ve written a lot of poems and some of them have appeared in your social club’s newsletters. Maybe you’ve written your first book of children’s stories - and you and your spouse have 3 kids, a cat, a dog and a fish tank...your indisputable “life-experience” is totally tantamount to “qualifications”.

Now is the time to mention those things.

Do you get it?

Next, you will end your query letter with a heartfelt -

Thank you very much for your time and consideration.

Sincerely,

Your Signature

followed by:

Your Name
Your Address
Your City, State and Zip Code
Your Phone Number
Your Email Address

Congratulations! Now you can call FedEx (LOL)!

Most agents reply in as little as a few weeks to as much as a few months. (Find an agent that accepts email queries... you could get an answer in one day). During that time seek out other agents who may be willing to read your work.

Literary Agents are very busy. They get thousands of script submissions per year. Some agencies don’t mind if you call to follow up on your submission...be nice to the person who answers the phone (probably the literary agent’s Assistant).

In some instances (because of their workload) it is not the agent who actually reads your script...IT’S THE ASSISTANT!

So be VERY nice!

Just so you know...This will probably be an on-going process.

Although some of you might get lucky and land an agent
on the first try. Most of you will probably compile an
impressive stack of rejection letters before you locate
someone to represent you.

DON’T GIVE UP! Pray or chant Nam-Myoho-Renge-Kyo or whatever it is that you do spiritually...and keep sending out those queries!
Use those rejection letters as motivation to keep writing excellent scripts!

Maintain a peaceful and positive attitude and the Entire Universe will be energized to make your dreams come true!

can you dig it?

If you have questions or comments - send me an email

nightwriterblog@yahoo.com

Write On!

A. SUPREME

Author of: THE TIMECODE RAILROAD

“The American Civil War Like It’s Never Been Told Before ”

Genre: Historical Science Fiction

Available at:

www.amazon.com/Timecode-Railroad-SUPREME/dp/1413714285

BUY A COPY TODAY...THANK YOU!

Wednesday, March 17, 2010

THE SCREENWRITING DOJO – PART II









SCRIPT TERMINOLOGY

FADE IN – BLACK TO PICTURE

EXT. – EXTERIOR

INT. – INTERIOR

CUT TO – SCENE CHANGE

P.O.V. – POINT OF VIEW

CLOSE – CLOSE UP

CONT. – CONTINUED DIALOGUE

F.G. – FOREGROUND

B.G. – BACKGROUND

F.B.G. – FAR BACKGROUND

V.O. – VOICE OVER

O.S. – OFF SCREEN

TITLE – TEXT ON SCREEN

FADE OUT – PICTURE TO BLACK

Grasshopper...why are you just sitting in front of your computer - staring at the monitor? Chanting and praying won’t put words on the paper - you will have to let your fingers do some walking on the keyboard!

(I know Sensei. I’m just thinking about my characters.
I want them to be real)

Why don’t you let them start to interact with via conversation?

(Let them talk to each other?)

Yes Grasshopper...In the screenwriting world that is know as dialogue. You want your characters to be real - so that the viewing audience can relate to them.

They should have wants and needs - strong points and short comings. You want them to be human - unless, of course, your story is about space-aliens. Your characters must express themselves verbally.

DIALOGUE: The words your characters speak. Hopefully those words are interesting and intelligent. Stay away from a lot of unnecessary profanity. The character’s name [who is speaking] should be centered on the page in all capital letters - above the words she/he is speaking. The actual dialogue [words] should be centered (or indent] on the page and each line should run about 3 inches wide. dialogue is an excellent way for the viewing audience to learn things about your characters.

(Okay Sensei...take a look at this exchange of words and tell me what you think)

INT. JFK AIRPORT - TERMINAL 18 - NIGHT

A KLM jumbo-jet has just arrived from Amsterdam. TSA agents scan each person as arriving passenger’s barge into the terminal. JOHN SANDOVAL stands off to the
side - holding a torn-off piece of cardboard with the word “Kenyatta” Sharpied (in black) onto it. Flight-weary Time Magazine staffer SIMON KENYATTA finds his
way to the cardboard sign that bears his sir name. Sandoval and Kenyatta shake hands briefly.

SANDOVAL
Mr. Kenyatta...it’s a pleasure
to meet you! I’m Sandoval, chief
of security.

KENYATTA
The pleasure is all mine!

SANDOVAL
My car is parked out on the loading
apron. Right this way.

They walk...Sandoval is leading.

SANDOVAL
I like to read - mostly fiction but
I read one of your books. The one
about the Polar War - when you were
embedded with that squad of Marines.
What was the name of that one again?



KENYATTA
Hell Frozen Over.

SANDOVAL
Yeah...that’s it! It was pretty
good. You took great pictures too!

KENYATTA
Thanks.

SANDOVAL
The exit is this way.

KENYATTA
Can I get a cup of coffee first?

SANDOVAL
Sure!

Sandoval swiftly leads Kenyatta toward a bank of see-thru elevators. Kenyatta gets a sour look on his face.

KENYATTA
Can we take the stairs?

SANDOVAL
Don’t tell me you’re afraid of
elevators.

KENYATTA
Not afraid of them...I just don’t
like them.

SANDOVAL
Yeah...I feel the same way about
circus clowns!

They both laugh out loud...and walk toward the staircase.

(Comments...Sensei?)

Impressive Grasshopper! In this verbal exchange the audience will learn that John Sandoval supervises the TSA staff at Kennedy International Airport and he is an avid fiction reader - with an aversion to circus clowns. Simon Kenyatta on the other hand is a published author who works for Time Magazine and does not like elevators. You made them human - the audience will relate to them. Very good! Oh - by the way - are you familiar with the word parenthetical?


(Paren-what?)

Literal translation is things within a parenthesis.
They are writer’s directions - Grasshopper - that clarify certain things about a particular scene. For example - a character is speaking - then there is descriptive text - then the same character speaks again - you add (cont.) to indicate a continuation of dialog. Or maybe we hear the character speaking over the phone - then you add (v.o.) to indicate voice over. Sometimes a character is speaking in a scene but not actually on camera - then you add (o.s.) to indicate off screen. Get It?

(I think so...Sensei)

PARENTHETICAL: Lower-case directions centered over dialogue and under the [speaking] character’s name.

Try it Grasshopper.

(Okay...I’ll give it a shot)

INT. GRACIE MANSION - LIBRARY - NIGHT

NYC Mayor’s official residence (although Mayor Jeter does not officially reside here). Disheartened faces fill the room. Jeter looks at everyone before he speaks.

MAYOR JETER
You all may as well get comfortable
because we start early tomorrow
morning and nobody is going home
tonight.

Mob-boss TONY SPATZ clears his throat (in protest) loud enough for everyone to hear. Jeter ignores him

MAYOR JETER
(cont.)
Room and board for the night will
be provided for you all. So please
phone call your wives, husbands and
partners and advise them of the
situation.

Jeter scans faces again...pausing silently for a moment as his words are absorbed by everyone in attendance.

DETECTIVE SISKO
(o.s.)
Your honor...

Jeter eyes trail over to the window where NYPD Detective JACOB SISKO is standing. Sisko is looking through the glass pane and can see the big tent being constructed on Gracie Mansion’s Astro-turfed front lawn. No snow on
the carpet because of underground heating...but in the background, the city is blanketed in four-inches of
frozen precipitation. Sisko is thinking about his wife
and children.

MAYOR JETER
Yes detective?

DETECTIVE SISKO
Can we tell them why we won’t be
home tonight.

Before Jeter can answer, (his assistant) TYRONE VINCENT JR. voice blares over the public address system.

VINCENT
(v.o.)
Commander Riggs...report to the
control room.

You are performing above and beyond my expectations Grasshopper!

(Thank you Sensei...but there is really a lot of stuff to remember. And making all these manual format changes in my Word program is really time consuming. Couldn’t I just buy scriptwriting software to simplify the process?)

Screenwriting software is great - Final Draft Pro is one
of the best on the market. And as your writing career progresses you will probably want to purchase this type
of software. But it is better to learn the manual ways
of the art. Besides - what if there is a power failure
and you are forced to use a non-electric typewriter? Since you’re in the mood to buy stuff - get “Writing Screenplays That Sell” by Michael Hauge - you’d do well to read it from cover to cover.

Cool?

Until next time...

Write On!

A. SUPREME

CONTACT ME WITH YOUR QUESTIONS AND COMMENTS:

nightwriterblog@yahoo.com

PURCHASE COPIES OF MY BOOKS:

http://www.amazon.com/Timecode-Railroad-SUPREME/dp/1413714285

Sunday, March 7, 2010

THE SCREENWRITING DOJO - PART I








Welcome back Grasshopper...make yourself comfortable.

I have a question for you.

What would the film and television industry be if there were no screenwriters?

(I don’t know...Sensei)

This is a no-brainer! Haven’t you followed the industry news? Or have you been at the International Space Station for the past few years with no access to the trade papers?

(I...I...)

Silence! The answer is - The film and television industry would be in limbo...idle...inactive...at a virtual standstill...in cryogenic stasis!

In all honesty...when it comes to the feature-film business totem-pole...screenwriters are on the very bottom.

(Really, that doesn’t make sense...Sensei.)

Yes, Grasshopper...It doesn’t make sense to me either.

Without writers there would be no Five Fingers of Death -
no Fists of Fury - no Deadly China Doll – there would be
no movies!

But I digress...today’s lesson is screenplay format. And proper format is a key element in jumpstarting your scriptwriting career.

To be sure...there is a strict protocol in screenwriting. And you must adhere to that protocol as if your writing life depended on it...because it does!

One more thing – this lesson may be kind of boring.
But this is a screenwriting dojo! Not a Dancing With
The Stars dojo! If you want excitement – then you are
in the wrong dojo!

(Understood...Sensei)

So Grasshopper...let’s start with the basics.

PAPER for your printer: Paper should be 8.5” x 11”. Buy one of those 3-hole punching gizmos - they’re not expensive and you are going to need it. And please - if you don’t already own one - get a Laser-printer! The best draft-quality for written work is generated by Laser. The average toner cartridge should do somewhere between 5,000 and 7,000 printouts before you need to change cartridges. If you have an Ink-jet or Bubble-jet printer - then I suggest you buy stock in the company that manufactures your machine. You are going to spend a lot of cash on replacement cartridges...so at the very least when the dividend checks come in – you can reclaim some of your money.

(Ha, ha, ha!)

You laugh Grasshopper – but I am not joking.

(Oh...I thought you were)

MARGINS: Set margins at 1.5” LEFT and 1” RIGHT. There is a direct correlation between the left-margin and the 3-holes you will punch into each page. When you complete the final draft of your script and print it out...at some point you may have to bind it. Use 2-hole prong paper fasteners.

(Sensei...why should I use 2-hole fasteners if I’m punching 3-holes into the paper?).

Good question Grasshopper - I really don’t know - but for NIKE sakes...Just Do It! These are the Industry Standards, and you must follow them like sunrise follows sunset. What I do know is the 1.5” Left margin will allow enough space - so that when you bind the script - and open it - the text on the left side of the paper is readable and not covered by the fastener.

FONT STYLE: Should be COURIER!
Not Times New Roman - not Desdemona - not Helvetica or any of the Sans Serifs! If you use any font - no matter how cute it is - other than Courier - you will be admitting to prod-co execs [production company executives] that you are nothing more than an amateur - and your work is not worth their valuable time to read. So...COURIER ONLY! Do not Justify the text – do not use Bold – and instead of using Italics - use the Underline feature.


FONT SIZE: Should be 12 Point. It’s as simple as that...Courier 12 point is your font style and size.

(Why...Sensei?)

I’ll tell you why Grasshopper.

1) A screenplay needs to look like you used one of those old Olivetti machines that your mother learned to type on in high school.

2) The average feature-length movie is two-hours long. Every page of your screenplay represents One-Minute of screen-time. That is why your screenplay is 120-Pages long.

1-minute per page x 120 pages = 2 hours.

Furthermore...Courier is a proportional font...that is to say that each letter takes up the same amount of space on the page...just like your mother’s Olivetti.

Lower-case or Upper-case - it doesn’t matter – same amount of space.

(I get it!)

Good. And don’t forget to call me Sensei.

(Sorry...Sensei)

TITLE PAGE front cover: Title and author name - pen name if you have one - should be centered about fifteen spaces down from the top of the page.

Somewhere close to the bottom right-hand corner of the page - use a no-line text box for your given name, address, city/state/zip code, phone number and email address.

Never add copyright data, a date or what draft it is to your title page.

This next part may be a bit confusing Grasshopper – so I will explain.

PAGE ONE: Although the Title page is the first physical page of your script – it considered a cover. The second physical page of your script is actually Page One.

(Understood...Sensei)

Top of page-one begins with the words FADE IN all capital letters.

I will explain “FADE IN” in the section that covers “Script Terminology”.

SLUG LINE: Tells where and when the action is taking place.

DESCRIPTIVE TEXT: Tells what action occurs at the location mentioned in the slug line. Descriptive text should run about 6” wide.

CHARACTERS: Are the people in your story. It’s a good idea to start introducing the main characters as early as possible in your descriptive text. Character names are CAPITALIZED for initial introduction [with one exception to be explained later].

(So start with fade-in at the top of the page. Slug lines are followed by descriptive text. And character names are all caps when first introduced...is that correct Sensei?)

Yes...Grasshopper

(So the beginning of my screenplay should look like this)

FADE IN Page 1

EXT. NYC – BROADWAY AT WEST 54TH STREET – DAY

The Future. We see a street-level view of the wildly cheering crowd (fenced-in by metal police barriers) in front of renovated Ed Sullivan Theater. A black Lincoln Continental limousine slowly rolls into view. Blue number 2 embossed on the white license plate. Magnetized video-placards, on the passenger compartment doors, stream Republican National Committee public relations commercials. Barely visible behind the bullet-proofed tinted windows are New York City’s celebrity Mayor DEREK JETER, Deputy-mayor ANNETTE BENEDETTI, and ZOLANGÉ DEPASSE, the mayor’s chief of staff. The smiling ex-Yankee, hall-of-fame, jock-
turned politician shows a thumbs up to the camera.

Very impressive Grasshopper...you are on your way to an
Academy Award for Best Screenplay!



Come back next time for...

THE SCREENWRITING DOJO - PART II

Write On!

A. SUPREME


Author Of

THE TIMECODE RAILROAD

“The American Civil War – Like It’s Never Been Told Before”


For information about how to purchase my books or if you have questions or comments please send your emails to:

nightwriterblog@yahoo.com

Sunday, February 28, 2010

READY TO RUMBLE


So you want to be a writer?

Consider this...professional boxing may be a better choice. You get into the ring. Take a few punches (left-hooks) to the head. And you wind up flat on your back...knocked unconscious. Then you get your paycheck and go home.


Being a writer is similar to boxing. The ring (is that confined space in front of your computer keyboard). The punches (are all the in-depth research you will have to do to make your fiction or non-fiction stories credible). When night falls you will be in bed, out cold on your back. At least with boxing you know when the paycheck is coming!


Good Luck and Godspeed! I guess if you didn’t want to be

a writer, you wouldn’t be reading this column...say word?


So let’s get right down to the real nitty-gritty.

You’ll have 3 opportunities to prove to literary agents

and book publishers that you are a GREAT writer.


OPPORTUNITY #1) Your Written Work (completed): Movie Screenplays (120 pages), Book Manuscripts (300 pages), Poems (at least 200).


Most novice writers personally believe that when the script is finished...the writing process is over. That is as far from the truth as Earth is from the Andromeda Galaxy (2.5 million light-years!) Actually, the end of your script is when the real writing is just about to begin!


That leads us to...

OPPORTUNITY #2) The Synopsis. This is where you take your 120 page screenplay or 300 page manuscript (that you have labored over literally for months) and condense it into a slick one page overview. And most importantly - that one page has to have all of the eye-popping excitement of the complete script.

(OMG!) Yeah...I heard you. Is boxing starting to sound more appealing? Relax...you’ve made it this far - to late to turn back now!


You’ve finished your script (sans typos, grammar errors, etc.) and typed out your synopsis - now you are ready to start pitching your proposal to agents and publishers.

You are going to need...


OPPORTUNITY #3) A Query Letter. A formal one page letter that is sent to ask agents or publishers to consider your work for representation and/or publishing.

An excellent query letter is an important tool and can be the difference between writers getting a rejection letter or a request for the full manuscript. Your query letter should be addressed to a specific person - never “To whom it may concern” or “Dear Ms”.


It should include:

Paragraph #1 - A brief introduction with the title and word count of the script you are sending.


Paragraph #2 - A script “teaser” and why you think the work is marketable.


Paragraph #3 - A short biography and credits (if you have any) on why you are qualified to write about the subject matter.


It’s cool to brag (just don’t over-do it!).


End with a sincere Thank You for using so much of the agent or publisher’s valuable time. Your name, mailing address, phone, and email should also be included.


Script, Synopsis, and Query Letter are ready to be mailed. And don’t forget to add a self-addressed stamped envelope (SASE)...so you can receive a reply.


Do as much research (as you can) to find out which agents or publishers are inclined to read your work (be genre specific). The Internet is a valuable resource so Google-search literary agents and book publishers. Go to their websites and look for the submission guidelines link on the home page.


The guidelines will show you exactly what and how to submit. Only do what the guideline say to do to increase the chances of your script getting read.


Okay...you found an agent or publisher that wants to see your work. You mail it out in a neatly wrapped package. Now the fun really begins! A few weeks of patient waiting and guess what you get in your mailbox...a form rejection letter. Get used to it! Rejection...that is. Well, you said you wanted to be a writer...right? Rejection is going to be an integral part of your run-up to a Pulitzer Prize.


But...Never! Never! Never let rejection deter you from continuing to write.


Look at it this way...You are an 8-cylinder, Turbo-charged, Petrol-burning Writing-machine...and every rejection letter is the High-octane fuel that drives you to continue to write fascinating scripts! I know...that analogy would Freak-out the average Global-ecologist...but I think you get my drift!


In future columns we will cover the topics discussed

today in greater detail. And you will become an expert

at crafting scripts that meet (carved-in-stone) publishing industry standards.


So let me be the first to welcome you to the elite group

of Humanoids who make magic with paper and pen!


Write On!


A. Supreme


Author Of

THE TIMECODE RAILROAD

“The American Civil War – Like It’s Never Been Told Before”


For information about how to purchase my books or if you have questions or comments please send your emails to:

nightwriterblog@yahoo.com