RUN LIKE HELL – The long and torrid history: PART THREE.

I can't just sit here

Yep, here we are one final time.  I’m here to conclude the eternal tale of the struggles to get Run Like Hell out there, and move it on to its final chapter.  But remember, all of this is for nothing if we don’t hit our goal!  We are SOOOO close!  Help us push it over the edge.  The time for delay is over.  It’s put up or shut up time, so please PLEDGE!

http://www.kickstarter.com/projects/673073345/run-like-hell-a-seriously-twisted-graphic-novel

(**UPDATE: Obviously the Kickstarter campaign is long over, so ignore these requests.)

And now, let’s finish this adventure.

…Continued from PART TWO.

(Or you can start from the beginning with PART ONE.)

MY COMIC BOOK/GRAPHIC NOVEL LEARNING CURVE.

Let’s see, where were we?  Oh yes, a graphic novel.  I had connected with Jason Burns, who as you may have seen from that previous Variety article, was working for Viper Comics at the time (a company I actually had history with since I had pitched a film adaptation for one of their properties, but didn’t get the job.  But that’s a whole other story).  Jason was going to shepherd me through the process of adapting my screenplay into a full fledged graphic novel.  Only, there was that little, itty-bitty issue of me having never written a graphic novel, let alone a comic, and thus having no clue how to do it.  I know, just a small problem.  But that wasn’t going to stop me.  Like I’ve done many times in my career, I was simply going to figure it out.

Writing is writing, and a medium change was nothing.  I tracked down countless raw graphic novel scripts and read like crazy.  I learned the formats.  I learned the tricks.  I learned everything.  Screenwriting itself is a visual medium, meaning you can only write what you’re able to see on the screen. You don’t get a novel’s (or blog’s) crutch of being able to hear a person’s thoughts or inner voice.  So the visual aspect was something I was already used to.  But there were a lot of other tricks that were unique to the medium.  I learned things like making sure you keep your panel count varying because if you just always look at uniform pages of 6 or 8 panels, it gets boring fast.  And sometimes you have to even hammer home a moment with a single frame “splash page”, and that is a finely tuned skill when to use it.  I learned that dialogue has to be kept to a minimum, especially back-and-forth dialogue, or else it wouldn’t fit in a panel.  I learned how each and every page had to end with a type of page-turner, so, well, people would actually turn the page.  I learned that when writing a script for a graphic novel, not only are you writing the dialogue, but you are writing every single thing that happens in that panel, and even if it’s in wide, mid, or close up shot range.  In a graphic novel, you are not only the writer, but you are the director and cinematographer as well.  It’s enlightening actually, but also a lot more work than people may first realize.  I have a HUGE respect for comic book writers.

So I had engrossed myself in reading these scripts, learned the format, and was ready to start.  This was when I was given my printing parameters.  They told me that it was to be three chapters, roughly 32-33 pages each, with a total page count of under 100 pages.  Anything over the 100 page mark and the cost of the printing, thus the book, goes up.  There was a magic number to hit so they wanted it to be kept under 100 pages no matter what.  Plus, chapters?  Okay, now I had to relearn things again.  Each chapter had to be broken up into its own thing.  In a film script, it’s a three-act structure, but the middle act is WAY bigger than the other two.  A simple translation wasn’t going to work here.  I was told to think of changing my film script into three episodes of a TV show instead of a three-act film.  It’s a tricky situation because that meant A LOT of material was going to have to be axed.  Well, it had to be done.  Sorry script.

Long story short (I know, too late), after a few months of research and learning curves, I finally had a graphic novel script.  I had lost numerous characters.  I had lost numerous plot points.  I had to combine some of these characters into one, and mash some storylines together.  Plus, there were some sections that simply wouldn’t translate for the book, so they had to be altered completely.  But alas, a finished script.  I was ready to move on.  Oh, and I should note that by this time, Jason Burns had left Viper and was working for another company called Outlaw Comics.  That company shuffle that seems to plague me, and so many others in the film world, had already started in the comic world too.  Regardless, I didn’t care.  I had a script.  Now to find my artist.

CUE KARL SLOMINSKI.

I’m not going to mince words.  Karl Slominski was a breath of fucking fresh air.  I had looked at tons of artists’ samples, and couldn’t find the right fit.  It’s not that these other artists weren’t great.  In fact, they were all amazing.  Some of them have even since blown up into huge and successful artists.  But they just didn’t fit with this material.  My script was nuts.  It was bizarre.  It was horror, but comedy, but adventure, but effed up.  The style of the art had to emulate that same vibe that was in the writing.  It was then that I came across Karl.

Karl’s style was amazing.  It was exactly what I was looking for.  It was jagged, wreckless, and what I like to call “controlled chaos”, which for me, is pretty much the highest praise.  I connected with Karl, he did some test sketches of the first couple pages, and sketched a few ideas for the characters, and as soon as I saw them, it was game on.  We worked together over the phone and internet (mainly internet).  He was an east coaster, I was a west coaster.  Welcome to the world now.

This process took a few months, but they were fun months.  Karl would send me page dumps, usually around 10 pages at a time.  Every time I got one of those emails I couldn’t stop smiling.  Slowly, but surely, I started to actually see this project of mine that I had held in my head for so long, pop to life.  Characters had expressions.  The insanity actually was starting to be visualized.  As with everything, I was never completely correct on the first try.  There were some pages that had to be altered a bit, a few that had to be resized or retouched, and a few others that had to be completely redone.  But honestly, for the most part, these situations were minimal.  Karl was a pro, through and through, and his work was bar none amazing.

Finally, after those fun few months, we had a fully drawn book.  Our partnership just clicked (and that’s what a graphic novel is, a partnership).  Just as requested, it clocked in at just under 100 pages.  98 to be exact.  We were now ready for our final review and then we could get this baby lettered and launched.  This was 2008.  FIVE years ago.  Book.  Done.  Ready to go.  Boom.

WHO KNEW THE COMIC BOOK INDUSTRY WAS JUST AS CRAZY AS THE FILM INDUSTRY?

This was when all the weird shit started to go down.  Now, I’ll say as much as I can, mainly because to this day don’t even know all the details, but let’s just say things went awry.  The people at Outlaw all of a sudden disappeared.  I couldn’t contact anyone.  I didn’t know what was going on.  It was radio silent.  My point man Jason Burns had since left for APE Entertainment, so he didn’t really know what was going on anymore either.  It was a weird time.  Working with a company for so long on something, then POOF, nothing.  It wasn’t until a few months later that I finally discovered that there were some legal issues with the company.  I don’t know the specifics of them.  I don’t WANT to know the specifics of them.  Business stuff always scares me, which is why I prefer to be the artist.  But long story short, I heard through the grapevine that all of Outlaw’s assets were frozen while some kind of internal investigation was taking place.  Super duper, because guess what?  Run Like Hell was one of their assets.  Run Like Hell was frozen as well.  Sigh…

My book was locked away and untouched because of all of this for over two years.  Many San Diego Comic Cons came and went when I thought I’d have my book in my hands, and didn’t.  It killed me to walk around booths of companies I knew I could have worked with, and didn’t.  It was a tough time.  It soured me on the comic book industry for a while.  I even had three additional graphic novel ideas I was prepared to do next, some of which I had already scripted out, but I didn’t pursue any of them.  I figured if all this garbage can happen to my book that’s already finished and can’t get released, why wouldn’t it happen to my next ones too.  So I simply left it all behind, and went back to my insane film career.

I’ll try to fast forward through this section because I get a little heated here.  It was a crazy time.  After many years, I finally connected with some people who said they could help me with my book.  I’ll leave specific names out here because, well, to put it nicely, I don’t feel I was treated right.  Numerous promises were made.  Numerous dates were given.  Numerous companies were “supposedly” contacted.  I was ignored.  Emails and phone calls weren’t returned.  As an unproven entity in the comic book biz, I was ignored and disrespected in pretty much every way possible.  Whatever, after spending a long time in the film biz, you sort of get used to this type of behavior.  On the bright side, I did luck out in one way.  Because after a few years, my attorneys were able to actually get my book unfrozen and back to me.  I had heard many others weren’t as lucky (like many of poor Jason Burns’ books, who is an amazing writer and deserves insane kudos).  So I know I was lucky in that department.

Still, even with my book back to me, I was stuck.  The book had no home now and was essentially nomadic.  Without a company behind it, no one wanted to take on the bizarrely out-there material from a first-time graphic novel writer.  We were looking for, in the film world we call, a “negative pickup”.  And it was just not working.  Many companies expressed initial interest then moved on with their own properties that they had a more vested (and financial) interest in.  Two more years passed during this time.  It had now been four years since the book was actually COMPLETED, and still it just sat.

FINALLY, A LIGHT AT THE END OF THE TUNNEL:  KICKSTARTER.

It was now 2012.  I had had it.  My book was going to get released no matter what.  After all this time, I was just sick and tired of it all.  I tracked a few people down at SDCC that I knew knew something, and cornered them into giving me answers.  Finally, I got them.  In a weird irony, I was told that Outlaw Comics was now getting a second chance at life.  Only it was a new incarnation.  The Outlaw label had now been bought by APE entertainment, and was going to be the name for their new “mature readers imprint”.  APE themselves were mainly known for licensed fare.  Usually geared toward kids.  They did Richie Rich comics, Sesame Street, Kung Fu Panda, amongst many, many others.  They’re an awesome company, but they couldn’t release something like Run Like Hell under that banner, so they were going to use the Outlaw name for that kind of thing.  They planned on making a big splash by re-launching Poison Elves, a hugely popular adult series.  Fine by me.  As long as my book came out.  I was a little sheepish with going back to Outlaw, since that was the name I connected with the beginning of all this madness, but whatever.  New company.  New vision.  I had hope (again).  Let’s do this.

That’s when I was told that they didn’t want to do print.  They only wanted to do digital. *face palm*

I had discovered that during the past 5 years of my nomadic book’s life, the entire comic book industry had been changing drastically. Everything was going digital now.  No companies wanted to spring for actual print costs anymore.  Especially for an untested property like myself.  But dammit, I still wanted to have my first graphic novel printed on actual paper.  It was abundantly clear that if I wanted this book to actually see the light of day, I’d have to make it happen myself.  And dammit, that’s what I decided to do.  Enter Kickstarter.

Kickstarter was going to be the answer.  That sounded easy enough.  All I needed to do was earn $8000 for printing and shipping costs and my decade-plus dream of Run Like Hell could be a reality.  Simple enough.  Not only was it my first graphic novel, but now this was going to be my first Kickstarter as well.  This whole project was wrought with a ton of firsts.  Well, guess what?  Building a Kickstarter is NOT easy.  Kickstarter is a TON of work.  Lucky for me, I was introduced to a “king” of Kickstarter to help shepherd me through my process.  Josh Elder, if you are reading this, thank you.  Thank you for getting me through this last chapter in this seemingly endless scroll of insanity that is my book.  Just a splendid and fantastic guy all around.

The next few months were set in motion.  Writing up the Kickstarter.  Coming up with a “road map” full of rewards and benefits that would draw people in.  I knew I had to create a video for the campaign so I wrote one up that continued the weirdness of the book.  To make this video become a reality, Godofredo Astudillo and his company, Tidy Brighty Productions, became my heroes.  They helped film and edit my little two minute ditty I wrote up, and they did such an amazing job that when I saw the completed version, it made me want to animate the whole thing!  By the way, if you ever need any of this kind of work done, go to them.  They’re amazing.  They’re professional.  And they’re damn good at what they do.  www.tidybrighty.com.  So finally, after a few more delays (of course, right?) eventually, after pulling teeth every step of the way, here we are.

As of writing this, I have 5 days left in the campaign and I’m $7,160 in toward my $8000 goal.  I have full confidence that I will hit it.  But it’s a weird feeling.  I’ve been with this book through so much of my career, that I honestly don’t know how I’ll feel when it finally comes out.  Like I’ve mentioned earlier, the struggles with this book and the struggles in my career in general have mirrored each other so much that it’s odd.  When the struggle defines you, what do you do when it comes to an end?

IN CONCLUSION..?

Anyway, there you go.  The Run Like Hell journey.  Believe it or not, as long-winded as this tale was, can you believe I even left a bunch of parts of Run Like Hell’s crazy story out?  I didn’t even touch on the Comics Accelerator drama, the brief situation with a few specific (unnamed) companies, and a LOT of the initial screenplay drama.  But I think I said more than enough…

Regardless, realize this is just one tiny little snapshot into the difficulties in getting any story to see the light of day.  Whether it’s a film, TV show, comic book, web series, art show, clothing line, ANYTHING… always know that most of the time there are countless issues and struggles behind the scenes you’re unaware of.  When someone’s art comes out, show respect.  You may not like it.  Hell, everyone has an opinion.  I know I do.  But dammit, just respect that a ton of work went into it.  Horrible movies, crappily created art, even novels that seem like they were written by a 3rd grader, all have been a labor of love for someone.  You don’t have to love it, but just know that they do.

Now, let’s just see what happens from here with my own little piece of art.  Run Like Hell’s torrid past has been over a decade old now, but its future is far from over, but let’s just hope that it’s (relatively) smooth sailing from here on out.  Although, somehow, I doubt it.

Thanks for listening to just my cathartic, emotional, road trip through Run Like Hell’s history.  And to think that this this is just one project out of hundreds of mine.  Each one with their own history of insanity.  And that’s just me.  Everyone has their own stories of their trials and tribulations.  These are crazy industries I work in, for sure.  But dammit, I love them too much to stop.  I’ll deal with the crazy forever.  It’s worth it.

Take care, friends.

UPDATE:  Guess what!? In a surprise twist, there’s an unexpected PART FOUR to this journey!!!

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RUN LIKE HELL – The long and torrid history: PART TWO.

Lucky on the first try

Again, like before, if you haven’t already, PLEASE PLEDGE!  Seriously, this project does not happen without you!  And after how long it’s taken to get to the this point, don’t let it conclude here.

http://www.kickstarter.com/projects/673073345/run-like-hell-a-seriously-twisted-graphic-novel

(**UPDATE: Obviously the Kickstarter campaign is long over, so ignore these requests.)

Now… where were we?

…Continued from PART ONE.

HOLLYWOOD VIRGIN:  MY FIRST EXPERIENCE WITH THE INDUSTRY.

Zide/Perry told me they wanted to send it to seven places that would be up for doing this kind of “outside of the box” material.  They sent it out, and of the seven, five of the places loved it and wanted to meet with me.  Looking back now, I had no clue how huge this was.  That’s such a high percentage of success for an untested screenwriter with nothing under his belt.  But I was pumped.  I went out, bought a bunch of new fancy “meeting clothes” and set out for my meetings.  The fact that I felt I needed to look my “church going best” seems so hilarious now.

My first business meeting ever in this industry was with a nice guy named Jim Wedaa.  He was located on the Disney lot, which is why to this day I have an affinity for that lot.  My first meeting ever was there.  Aww… nostalgia.  Anyway, so I walked in dressed to the nines (just short of a full suit), and his first comment was about how nice I was dressed.  This was my first clue, followed my maaaany others, that informed me to the fact that I was WAY novice at this.  No one dresses up like this.  Ugh.  I was a glaring, well-dressed beacon that practically had “n00b” blinking on his chest.  Anyway, we talked about the project, he told me how much he liked it, but then it ended with a “but I’m not sure if we’d ever actually do this.”  He wanted to know what else I had.  This being my first meeting, I didn’t quite know how this all worked.  Why would you meet with me if you didn’t want this project?

My next few meetings went similar.  All great companies, great execs, mostly on awe-inspiring studio lots (I still hold awe for those lots, even though they have definitely lost a little of their luster to me in the last decade).  But they all ended the same way.  Love the script.  Love the project.  Love the writing.  But too risky to bring into the studio.  What else do you have?  This was my first experience with the fear that runs this town.  It’s an odd negative energy where people make most of their decisions based more on fear and risk than anything else.  Fear holds sway.  I’ll end up learning a LOT more of that down the road.

Finally, my last meeting was with a company called A Band Apart.  I was really excited for this meeting because as a film geek, I worshipped Quentin Tarantino, and this was his company along with Lawrence Bender.  While I didn’t get to meet Quentin, I did find out a different bit of interesting news.  While I was expecting another “we love it, but can’t do it” conversation, they informed me that wanted to take it into Dimension Films and see if we can get this made.  Wha??  Sure enough, they brought it in, Dimension loved it, and wanted to meet with me.  Double Wha??  This was awesome!  Top of the world!

BEWARE:  THE WAY UP IS SOMETIMES FOLLOWED BY A STEEP DROP.

My first studio meeting.  Holy cow, I was both terrified and elated.  It was in the old Miramax building on Sunset.  Such a cool place.  I went up, walking by all the amazing posters of horror movies they had done, and really had a great feeling about the whole thing.  I met with my exec, everything seemed fantastic… and then, this is where things started to get a little weird.  *I should also note that this is an area where I can’t really discuss specific names, and specific scenarios, but just know it got nutty.

Long story short, my project was well liked, but ultimately died over there.  Odd things went down, confusion arose, and well, let’s just say that it all ended with an abrupt firing of the exact exec I met with, that could have championed the script.  Myself nor Run Like Hell had nothing to do with anything.  It was just a fluke that this scandal had to do with the same exec.  I only heard about bits and pieces second hand.  Long story short, when he/she was (literally) escorted out of the building, sadly, my project was collateral damage.  There was no second chance.

Now what?  What do I do now?  Well, this is when I entered the confusing area.  I started working with a few guys over at Zide/Perry on another project.  I was told to “move on” from Run Like Hell because everyone just wanted to see the next, next, NEXT!  No one lingers.  Onward!  So, that’s exactly what I did.  I moved on.  I decided to write a ton more projects, and establish myself more as a well-rounded screenwriter.  It was soon after that another of my projects won a big screenwriting award, and that became my focus.  Run Like Hell was forgotten.  And even though it was the project that garnered a ton of praise and helped me start my career, it now gathered dust while I moved on.  To this day, only those initial 7 people (and 1 studio) have ever seen that original screenplay for Run Like Hell.  Weird, but true.

A SECOND LIFE:  A GRAPHIC NOVEL?

Many years later, I had established myself as a horror screenwriter around town.  One thing that seemed to be my niche at the time was adapting horror comics or graphic novels into screenplays.  I had worked developing a lot of them into projects, and people were always giving me graphic novels to read and see if I’d want to adapt it.  At the time, I was working on a project with a producer, and damn good guy, by the name of Scott Nemes.  The discussion of graphic novels came up in conversation, as they were prone to do at that time, and for the first time in a VERY long time, Run Like Hell magically popped into my head again.

An idea.  A spark.

I had been working adapting graphic novels into screenplays for so long, and this seemed to be working, so why the hell wouldn’t I do it the other way around?  Why wouldn’t I take a screenplay of mine and turn it into a graphic novel?  When I told Scott this idea, he introduced me to a damn good chap by the name of Jason Burns, who worked for Viper Comics at the time.  I clicked with Jason right away, and we looked to be on the same page with our twisted sensibilities.  I was going to write my first graphic novel.  Yes!

As Jason and I started working on making this a reality, things popped with another extremely high profile project of mine.  It was a graphic novel adaptation called FRAGILE that had just hit the front page of Variety.  Here’s an ancient blast from the past for you:  http://variety.com/2007/film/news/zombie-story-for-rodriguez-1117973287  While that project is sadly mostly dead now, and most of the people involved are not even involved anymore (welcome to Hollywood), if you look on that link, you’ll notice a mention at the end about Run Like Hell.  This article was dated 2007.  Now hopefully, you’re starting to see just how long this damn project has taken to see the light of day.

Once again, things for Run Like Hell looked on the up and up.  This much loved, but hardly seen, screenplay of mine was finally going to see the light of day.  The comic industry wasn’t nearly as cutthroat and insane as the film industry, right?  It should all go down slick as snot, right?

Oh boy, how I wish that were true.  Like the film history before it, the comic history of Run Like Hell was about to go down its own bumpy road of insanity.  Buckle up.

TO BE CONCLUDED… with PART THREE.

The long and torrid history of Run Like Hell: PART ONE

This sounds like trouble

Before I start, if you haven’t already, PLEASE PLEDGE!  Don’t wait.  Don’t “keep as new,” or decide, “I’ll get to it later.”  No.  Just do it.  Seriously, this project does not happen without you!

http://www.kickstarter.com/projects/673073345/run-like-hell-a-seriously-twisted-graphic-novel

(**UPDATE: Obviously the Kickstarter campaign is long over, so ignore these requests.)

Okay, so I promised to tell you the long and torrid history of this sweet little project called RUN LIKE HELL.  Yes, this is going to be long.  Yes, this is going to be detailed.  This is why I decided to break it up into smaller parts, because otherwise it’s just too long of a ramble.  So here we go with the first section.

Needless to say getting this book out there has been a lot of trouble.  In a way, it’s been a reflection of my career out here in Hollywood.  The story of Run Like Hell’s beginnings are also definitely the story of my own out here in the city of glitz.  It’s been a beacon, reminding me of everything that can go right, and suddenly wrong, within these crazy industries.  Whether it’s the comic or film industry, both are wrought with similar land mines.  *Bear in mind, in some places within this little blog history, I’ll be able to talk about specifics; in others, due to either legal reasons, or career suicide, I’ll kind of have to gloss over it a bit.  But don’t worry, there’s still quite a bit to discuss…

EARLY YEARS:  IT ALL STARTED IN COLLEGE.

Like most of my projects, Run Like Hell started as a film screenplay.  In fact, I started the initial version of the script for Run Like Hell as far back as college.  Yeah, THAT long ago.  I was prepping for a move to Los Angeles from my sweet little town in Utah and I wanted to get some work under my belt.  After writing my first script just before, which was far more commercial, I decided to really show what I could do with my warped imagination.  It was essentially an experiment on my part to just write something balls-out crazy.  I wanted to show who I was, and what I was capable of.  I wasn’t thinking about “what the business is looking for” or “what’s selling in the market right now” or anything like that.  I just wanted to do something fun, original, and completely nuts (which is actually how some people describe me).  So yeah, that’s exactly what I did.  I started to write a project about a guy in Hell, who worked for Hell, who wanted to escape Hell.  It was essentially Logan’s Run (one of my all time favorite movies), set in Hell.  Have I said Hell enough?  Okay, one more time.  Hell.

Now, I normally don’t like people reading anything of mine until it’s finished.  But because I was toward the beginning of my career, as I churned out pages, I shared them with numerous people for notes.  What was astonishing to me was that no matter what walk of life I shared them with, everyone really enjoyed them.  Everyone was hooked and wanted to know what came next. Remember, at this time I was still in Utah, so when staunch Mormons are telling you that they loved your seriously twisted script set in Hell, you know you’re on to something.  Finally I got a draft complete, and that’s when I moved to Los Angeles.  Oh boy.

CULTURE SHOCK:  THE MOVE TO LOS ANGELES.

As anyone knows who’s moved to this city, a move to Los Angeles is NOT an easy thing.  There’s an adaption process to say the least.  Especially for me, because I was a walking cliche.  I didn’t have a job.  I didn’t have a place to live.  I literally packed my car and moved out with nothing but a dream in my head, a Hollywood Creative Directory in my hand, and a friend’s couch to sleep on.  What an idiot.  But dammit if I didn’t cold-call every single place in that HCD, from A to Z.  After a few failed places, I ended up lucking out at Jersey Films, all based on a simple phone call.  See kids, tenacity does pay off!  Well, long story short, while I was toiling around in the business side of things, the script for Run Like Hell (as was all of my writing) was forgotten for almost a year.

While I was happy to finally be working in an industry I had worshipped all my life, I had to deal with the reality that I wasn’t writing.  At all.  Anyone in the business knows how all consuming it is.  So finally, after working mainly as a runner and producer’s assistant, I decided I had to leave the business side of things to focus back on the creative, which was why I came out here in the first place.  So I quit, ate my farewell cake, brushed the dust off Run Like Hell, and was ready to truly test the waters of Hollywood with my script.  This was the reason for moving to Los Angeles.  I had to dive right in.  This was going to be a first.  I was scared as shit.

Through a bizarre channel, I was able to anonymously submit Run Like Hell to a producer named Warren Zide (producer of the American Pies and Final Destination movies, among many others) who read it and loved it instantly.  I didn’t have any connections over there or anything.  It was all based on the writing alone.  Their company contacted me and I went in for a meeting.  This was the first time I had ever submitted anything and it clicked!  SUCH a rarity in Hollywood.  I was still SO new at this, I had no clue what I was getting myself into.

At the meeting, they told me that they had a management side, called ZIDE/PERRY, and they wanted to “hip-pocket” me on the project and send it out to a few places.  A “hip pocket” situation is where a management company reps you solely for one project, sometimes as a test, but don’t actually rep you as a client.  I didn’t care.  I was jazzed.  This was amazing and new.  A real Hollywood company had taken notice of something I had actually created.  Wow.  It can only go up from here, right?

RIGHT???

To Be Continued… with PART TWO

RUN LIKE HELL – Over 50% funded in the first 48 hours!

Thank you, thank you.

That kind sir above is WAR, one of the Four Horsemen of the Apocalypse, thanking you from the bottom of his black heart.  And I thank you from the bottom of my (also black) heart as well.  I’m overwhelmed by everything that been going on with this Kickstarter for RUN LIKE HELL so far.  The mass amount of pledges.  The messages from people overseas wanting me to add international shipping to the mix.  The people who really loved the trailer.  The representation requests.  Hell, I’ve even already had an inquiry about potential film rights!  I’m telling you, there’s no telling where this runaway train is heading.  And this is all in the first 48!  Well, we’re halfway there, but we still have halfway to go, let’s keep this baby rolling!!!

THANKS EVERYONE!

http://www.kickstarter.com/projects/673073345/run-like-hell-a-seriously-twisted-graphic-novel

RUN LIKE HELL – The graphic novel they didn’t want you to see, is live on Kickstarter!

rlhcoverforreview

It’s finally here!  Holy crap, I can hardly believe it.  After the numerous years of torment, insanity, and flat out idiocy surrounding the numerous failed launches of this book, it’s finally going to see the light of day…  But ONLY with your help.

Before you read on, you first need to go to the Kickstarter page.  Definitely watch the amazing video.  Read through the page.  But most importantly, PLEDGE!  Well, actually it’s more of a pre-order than a pledge.  You’ll see.

http://www.kickstarter.com/projects/673073345/run-like-hell-a-seriously-twisted-graphic-novel

Now, many have asked and wondered about all the countless delays with this book.  There are so many, it’ll be difficult to even share them all.  Some things I don’t know; some things I legally cannot share; and some things I’ve simply forgotten (or blacked out on purpose.)  Regardless, I will be sharing more about the entire journey soon.  I will explain the trials and tribulations, give you a little bit of insight into both the film and comic industries, and eventually show you how I finally got here.

This blog will finally be coming back to life during this campaign.  And it will be juicy and fun.  But until that, please, please, PLEASE, pledge to the campaign.  I guarantee this campaign needs it a lot more than Zach Braff or the Veronica Mars people.

Thanks all!