I should
refer back to something else as a lead in. When I was writing about
"Grimm", and when I was thinking about writing some spec scripts, I
repeated that they always say that you shouldn't submit a script for the show
you want to write for, but instead submit one for a similar show. I had seen
that more than once, and the reasons given made sense.
In Showrunners,
two of the people profiled ignored that advice. Maybe they had never heard it.
Steven DeKnight submitted a spec script for "Buffy the Vampire
Slayer" to "Buffy the Vampire Slayer" and ended up writing on
several Joss Whedon shows before becoming the showrunner for
"Spartacus". Ronald D. Moore sent a spec script for "Star Trek:
The Next Generation" to "Star Trek: The Next Generation", and
worked on that and "Deep Space 9" and "Voyager" and other
things before reviving "Battlestar Galactica".
Perhaps if
you are good enough at it you can ignore advice, and perhaps advice being
repeated a few times doesn't make it good. I mention it because other advice I
have seen is that you just write one thing at a time. If you get a great idea
in the middle of something, you finish that something first before going after
the next great idea.
I know
other people ignore it. One of the television writers I follow, Akela Cooper,
always seems to have six or seven writing projects going on. This is important,
because even though I totally intend to be focused on screenwriting now, I am
getting into a comic.
It's
because of the MOOC.
Part of
studying the history of the rise of superheroes in comic books is creating your
own. I was having a hard time getting to it. First of all, the assignments are
given via PowerPoint slides, and they only release one week's worth at a time,
and I had to upgrade PowerPoint, and some of the slides are less than
user-friendly. I do have that set up now. Then it was just a matter of a
character I could live with.
There are
several things that came together. One of the 6 page screenplays I wrote in
October was for a comic I have in mind, with depressed teenagers who love music
and start a band. When I was thinking about it I was thinking about my teens of
course, and I wondered if I should bring in issues like eating disorders and
self-harm and mental illness. It didn't feel right for that one, but it seemed
like something I could do later.
Another
source of inspiration was Gerard Way. He recently changed his Twitter
handle to "Goth Claudia". The name stuck with me, like, "Yeah, I
remember her." At least two of his friends have also changed to names
apparently representing 1994 alternative selves, so that may be a thing. (Theme
Park starts in 1994.)
So I was
thinking about those things, but the person that was taking shape was more Emo
than Goth, but that kind of led to her power. What if she could throw emotions
at people? Take a bully and throw the anguish they are causing right back?
It's not
that super a power. I mean, she won't defend the earth from an alien invasion.
She might be able to interrupt a crime in progress, but mainly it would be a
very personal thing, trying to help people.
I'm afraid
this makes my work on her altar ego very lackluster, because she doesn't really
need one. At this point, people aren't aware of what she is doing when she does
it, and her scale is small. Teenagers hide so much anyway, a secret identity
would be redundant.
I got
concerned when we had to tie our hero to a mythic deity. Because of the Gerard Way song "Maya the Psychic",
it totally made sense that Claudia would have Mayan ancestry on her mother's
side (and that her mother had some psychic ability as well). Looking at the
Mayan pantheon, the only good fit was Ixtab, the goddess of suicide. I don't
want to make suicide an option. Too many teens look at that too much anyway.
Claudia can't do it or glorify it. But in other ways it was a fit. She might
not try it, but she's thought about it.
Ixtab ended
up completing the look. She has a black mark on her cheek that represents
decay. Claudia has a bruise that won't heal. The rope around Ixtab's neck
becomes a necklace for Claudia. The bracelets Claudia wears are familiar to a
lot of hurting girls.
I worry
about how triggering this could be for some readers, but I also believe it can
be helpful. Coming out of Family Ghosts, with Allison and Sarah they
were both healing, and what I know from what's coming up is that they are going
to become very powerful in different ways. They needed to heal first. For
Claudia, it's finding her power that is going to help her heal.
It will
change her. She will become more aware of other people, and that's going to
lead to a desire to interact more and not be so withdrawn. Her nemesis will
exploit that, but there will be growth.
I can see
her getting to know her mother's family. Part of her problem is a lack of
connection, but she does have a heritage and a history. Going to the Yucatan could be transformative for her.
We needed
to specify her vulnerability - she is a teenage girl; she is all vulnerability.
She will miscalculate how much she will affect someone and feel guilt over
that. She will not always exercise good judgment. Her arch nemesis is a good
looking teenage boy who took the same experimental medication, only he was
abused instead of neglected so he is a sociopath. She is full of vulnerability!
But that's not all there is to her.
So, I need
to work on this. I believe I can work on both it and the screenplays that are
coming up. Today I just did a sheet of dialogue that would be about three pages
of panels. That gives her background right until her counselor recommends the
pills. A page of script a day, plus drawing whatever is in the assignment,
should be manageable.
I believe
we will be drawing a confrontation with the nemesis for the last week. Frankly,
she will lose their first one. I guess I should draw the last one instead. I'll
have to see what it says.
For now I
have only drawn one picture, but it's her. And I still feel like I draw like a
14 year old girl, and it's inadequate, but there's still something there. I
recognize her. Claudia King. Code name Emo.
Posts
