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Welcome to Write Visions. Feel free to browse around and get aquainted with who I am, what I do, and my vision as a writer,
including all genres and mediums. I've been a writer since I was a child, beginning with poetry, moving into short stories,
then novels, commercial narrative non-fiction, and, in most recent years, screen and playwriting. My primary dual focus at
this time is screenwriting and commericial narrative non-fiction, although I just finished the final act of my first stage
play.
My first spec script intended for the silver screen is a romantic comedy currently being reviewed by
a producer in Los Angeles and I have just recently completed a second script, a comedy, which I expect to pitch in the coming
months.
My newest work is a narrative non-fiction book on political economy and is scheduled for release
in February, 2006 by Publish America, www.publishamerica.com. It's called
"CHINA---How Its Progress Will Affect America &
The World Economy."
Currently, I'm half way through a non-fiction book project called LEADERNOMICS®.
This work illustrates how the presence of leadership impacts peoples, economies, cultures, and nations whether it is the result
of positive LEADERNOMICS® or negative LEADERNOMICS®.
In addition, I just completed another non-fiction work on business
leadership under the working title:
"SOCIETY'S MOST OVERLOOKED SUPERHERO: THE INCREDIBLE POWER &
VALUE OF PROFESSIONAL SUPERVISORS & THEIR IMPACT ON CIVIL SOCIETIES."
My third spec film
script project is underway about a World War II drama based on true experiences of a group of particular Army Air Corpsmen
of the European & Mediterrenean Theaters. I just started it and am almost through the first act. In addition, I am also
writing my father's World War II memoirs called Sargent Ray. I
suspect that too might turn into a script as his story is quite remarkable.
Finally, but not all inclusive, I have
also completed nine chapters on two different novels. One is based upon a true story. I suspect I should finish them in the
next two to three years after I have met the demands of current endeavors. I am also really starting
to get fascinated with geopolitical fiction. I love "24" and any type of CIA intrigue. I've been told I must be the
consummate writer since my interest is in all of the different mediums to include various genres. Writing has always
been my passion. As a result, I like to study the crafts of each medium and explore the many and varied genres
that interest me.
We all have been given various gifts that make us stand out in some way. For many, discovering what
they are is their primary objective in life. For others, they know exactly what they are. For me, it's been a combination
of both. I have reached a point in my life where I know that script writing for the silver screen is a strong primary gift,
but then so is commercial narrative non-fiction. It seems to just flow out of me. In addition to my writing skills, I'm a
very visual person mentally. This combination, of course, has led me to discover why I have a penchant for screenwriting.
One of the things I have noticed about many films that are made today is the lack of originality. A large percentage are simply
rewrites of older films or classics that give the impression to many in the film audience that there's nothing new and what
can be done has already been done. While I don't have a problem with borrowing ideas from successful films, my personal focus
is developing original story ideas with a distintively new flavor that appeals to people where they live today as well as
the future to which they are headed. Of course, I also enjoy writing stories that the audience relates to in the spirit of
pure entertainment as well to include important historical and current event peices that deserve the attention of the ages.
Screenwriting challenges my creative resources while narrative non-fiction enables me to express myself and the views which
are of great importance to me.
My "square job" is as a strategic development consultant to companies to include business
as well as human capital development. I believe doing this for the last sixteen years has given me a great deal of practice
in experiencing the future before it becomes reality. Combining this practice along with being a movie buff has really sharpened
my screenwriting abilities and has enabled me to think more creatively not just in concept but in the writing itself. Moreover,
with an honors degree in Political Science along with a strong concentration in history and English literature, to include
my work as a Strategic Development Consultant, the two combined has additionally inspired my works on the subjects of political
economy and business leadership. Personal leadership is also a hot topic for me.
There is much more I could share
about what I have done and have plans for, but I'll save it for later.
Write Visions is a brand new web site.
In the future, I will be publishing some of my scripts for reading. I invite you to come back for periodic visits. Feel free
to email me with your comments or questions. I look forward to hearing from you.
The following are questions that are common to many new screen writers. Feel free to give your answers to these questions
or comments. Write Visions will engage your discussion via email. Later a group discussion board will be established.
Q.
1) New writers are often at a loss as to what to do next when they type FADE OUT. Do they pitch an agent or a production company?
My personal experience is that I met a producer at the Maui Writer's Conference in Y2000. I pitched the idea and he liked
it and told me send him the script. I still don't have an agent as yet. What's your understanding or experience?
Q.
2) What is the best way to determine whether you should accept an option or turn it down?
Q. 3) How is the value of
a script best negotiated in terms of selling price? What are the various ways of doing so?
Q. 4) How often is a percentage
of the box included in script values in addition to a base purchase price?
Q. 5) Is it common for foreign rights to
be consolidated in the first offer or more wise to negotiate them separately?
Q. 6) When a director decides to add
a writer, what parameters typically determine joint credit or a separate by-line?
FEEL FREE TO ASK YOUR OWN QUESTIONS
AND WRITE VISIONS WILL POST THEM FOR VIEWING.
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