You only get to see glimpses, moments, flashes of the action. But comics are like watching a film during a lightning story or while standing beneath a strobe light. Like screenplays, scripts for comics are a blueprint for a visual storytelling medium. But writing and editing scripts for comics do give you a lot of skills that are eminently transferrable to screenwriting. The fact I'd worked in comics was of no interest to my tutors when I applied for the course. I'll be 40 next year, it was time to get my shit together or get off the pot. This was my chance to get the craft skills I lacked and to build up a fresh network of contacts.
Sinking in the rain quicksand visuals tv#
I'd almost given up on film and TV when earlier this year I heard Edinburgh's Napier University was launching an MA Screenwriting course, as part of a new Scottish Film Academy being established on campus. I knew a few people, but lacked the craft to exploit my chances. Who you know will get you chances, but what you know will turn those chances into commissions.
I kept getting close but certainly lacked the craft to make a success of any opportunities that came my way. I quit to become a freelancer five years ago and have been banging my head against a wall ever since, trying to penetrate the magic circle of TV writing in Britain. I spent the 90s as a comics editor in London, first on the Judge Dredd Megazine and then on the legendary science fiction weekly 2000 AD. I guess I am in transition from comics to screen, though it feels like I'm only a few steps down a very long road. Let's deal with the party of the first part first - me. Alex Epstein asks: "Will you write a bit about your transition from comics to screen? A number of TV writers are moving in the other direction, and I'm testing the waters, so I'd love to know your thinking."
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