Whose idea was it to create this resource for aspiring comic book writers?

KEP: Ryan … it's his baby.

RYAN: Yeah, it was my idea, but I couldn't have done it alone. I knew I was going to need a few more hands on the website, and these guys deserve just as much of the credit for the final product!

DAN: Well, if Scryptic Studios turns out to be a major success story and a major cash cow we're all going to squabble over which one of us gets the credit for creating the site. It'll make Gaiman vs. McFarlane look like an episode of People's Court.

RYAN: I said you all deserve "credit," Dan … not a share of the profits. LOL!

JEFF: It's Ryan's fault! He started the mad quest to create this resource, and he started it all by recruiting more insane writers to help him out.

How does it differ from some of the work done by Digital Webbing?

KEP: Digital Webbing is a fantastic forum that has been acting as a place to learn writing. However, its true purpose is to connect the talent with each other. In contrast, Scryptic is focussing entirely on the writing aspect, and breaking it down in ways we simply can't do on DW.

RYAN: What he said. Digital Webbing is a great site, and we all kind of hooked up there, so we have much respect for Ed and what he does. The difference is that he's more diverse, spreading things equally amongst all creators; whereas we're all for the writers. I just felt like the writers were being ignored on a lot of sites, so this was all for them.

DAN: If it weren't for Digital Webbing I probably wouldn't be writing and publishing comic books today. It was with Digital Webbing how I found artist Chris Fason and managed to create our first comic book. It is an invaluable resource for individuals wishing to get their hands dirty in the comic book industry. Scryptic Studios not only will educate, but also serve as a support group of sorts. We writers can be quite fragile.

JEFF: Digital Webbing will always be the "talent engine." It's the best place for talent to post ads, hook up, and get the comics rolling along, and it even publishes the Digital Webbing Presents anthology book to showcase some of that talent. Heck, it's where most of us met. But it's an all-encompassing message board for creators... Scryptic focuses on just writing, and with that focus, we provide a categorized listing of websites and books to help writers learn the craft and to help them find the research they need for their stories. We provide sample scripts for writers to download and read, and we even write articles to share our experiences in the realm of writing.

What's your professional experience?

KEP: Writer for Ted Noodleman, Bicycle Delivery Boy, Interplanetary Grift, and numerous short stories in various anthologies. Letterer for Sorcerer of Fortune, Image's Roundtable of America and Small Gods, and too many short stories to count. Several larger projects are currently in development and will be formally announced soon.

RYAN: I've done books like LEGEND OF ISIS and 10th MUSE for Angel Gate Press, and I'm working on a few comic projects now that I can't talk about yet. I've also done a lot of media and journalism; having worked with many comic news sites (including Digital Webbing, Zentertainment, Mediasharx, Comixtreme, Movie Poop Shoot, and more), as well as working in newspaper, radio, Associated Press, and doing Public Relations for several small press publishers and studios.

DAN: I'm probably best known as the writer of HERO HAPPY HOUR (formally SUPER HERO HAPPY HOUR), self-published through GeekPunk, and co-created with my artist partner Chris Fason. Besides currently dealing with the Hollywood side of HERO HAPPY HOUR, I've also got a few other projects in the works including writing for the upcoming WESTRERN TALES OF TERROR published by Hoarse & Buggy Productions.

JEFF: Writer on Brat-halla at MoviePoopShoot.com, The Comicaze Report (monthly newsletter that's a satire tabloid of the comics industry), and a number of published short stories (comic and prose). I'm also working with Brat-halla artist Seth Damoose on a couple different projects (like Spook'd--our ongoing series of one-pagers for Digital Webbing Presents that's basically Punk'd with creatures of supernatural legend). Like Kep, I also have larger projects in development that will be formally announced when they're ready to go (and I'm even co-writing one of those projects with Kep).

KEVIN: I created "Bad Elements," which appeared in Digital Webbing Presents #11, and will return in Issues 17 and 19. I'm also developing that as a series, while working on several other comic projects. I was a journalist for several years, working at several daily newspapers and alternative weeklies.

This resource seems to professionalize a part of the industry. Yet, the numbers of comic book fans are dwindling? Is this a case that all the comic book fans left are hardcore aspiring writers?

KEP: The state of the industry is a bit more complicated than that. When I talk to people on the street and tell them I write comics they're always interested and often have fond memories. More often than not, they say they haven't seen one in years and didn't realise they were still produced. The loss of the spinner-rack has seriously hurt the fan base, but there are people out there who WANT to be fans… we just have to get back in touch with them.

DAN: I don't believe so. If that were the case I truly believe we would see more of these hardcore aspiring writers actually getting out in the trenches and self-publishing. While it may be the case that breaking into the writing side of the comic book biz is tougher than it's ever been, it's still possible to get your writing out there and be read. Hopefully Scryptic Studios will inspire more fans/writers to do so. The more talent we get out there the more diverse comic books will be. With any luck that ought to slow the numbers of comic book fans from dwindling.

JEFF: How many people have a favourite movie that inspires them to think they could write a screenplay? How many people have a favourite author that makes them ponder dozens of different story ideas? How many people enjoy a television show so much that they'd do anything to be a part of that magic? And that's just it...when you're really enthusiastic about something you have a greater chance of getting the urge to be a part of it. But I don't think all the fans are hardcore aspiring creators. I've met some people at conventions that are just happy being fans.

KEVIN: Is the number of fans dwindling? We're seeing a marked decrease in the number of folks buying traditional monthly comics through the direct market, but more people are buying graphic novels and manga in the book market. I guess it depends largely on how you define "the industry" and where you're looking for fans.

One of my pet peeves is how much power writers have this decade compared to artists, during the 1990s. Do you feel that there's a need to adjust this over dependency on writers within credits?

KEP: No. I think fans, publishers, and critics finally realised there's more to comics than snappy lines and pretty pictures. During the 1990s (and periodically before) there was an emphasis on who pretty / dynamic / disgusting a page could be made. But slowly (it really has been longer than just a few years… at least 41) there has been a shift to the focus on the stories themselves. Comics are becoming more synergistic. We're not looking at overcompensation as much as a change of perspective and an evolution in the way the stories are told.

RYAN: I think that there's more of a desire now for well-told stories than ever before. I don't think that means all the fans are writers, I just think it means people's tastes have evolved and they've decided a bright red sports car is nice to look at, but it's what's under the hood that makes it a great car! By the way, I know just about as much about cars as I do quantum dynamic theory.

DAN: You're asking writers this question? We don't have enough power! Seriously, the demographic for the average comic book fan has changed - we're older now. And, while we still read comic books, we have matured. Comic book writing has had to change in order to accommodate the tastes of the current comic book buying public. Comic books aren't getting any cheaper, and no matter how good the art is, it cannot provide all of the meat and substance that the reader is looking for today. The writer's role is being recognized more often now.

KEVIN: There's an "over dependency" on writers? The focus of comics should be storytelling, plain and simple. If a certain story is best told through an emphasis on dense narration or complex subplots, so be it. If the next issue is better served by "cinematic" pacing and several two-page spreads, then do it. This isn't a turf war; just do what the story requires.

Since Hollywood and others discovered that comic books were "cheap" testing grounds for movie and television properties, do you feel that this will crowd an already small market?

KEP: Exactly the opposite. I think we're going to see the market rapidly expand as people rediscover comics through the Hollywood connection.

DAN: Not really. Even if more creators start producing comic books in order to be recognized by Hollywood, the comic book buying public will still weed out the weak from the strong. The weak won't even last long enough to be noticed by Hollywood.

JEFF: It's not really a "cheap" testing ground...it takes a big investment of time to do it right and build an audience for the property. That's time studio execs don't have. I see it as more of a smorgasbord. Other people prepare the properties and put them out there where anyone can try them, and the Hollywood types come through and pick the ones that look good or the ones they've heard good things about. Still, it'll give more people incentive to create comic books to chase those Hollywood dollars, and that might increase the number of books out there initially. But a lot of those will disappear once they realize it's not as easy a meal ticket as they thought.

KEVIN: The current comics-to-film craze bothers me a little because too many creators are chasing after the perceived Hollywood gravy train, churning out sub-par books that are obviously intended as film pitches or TV pilots. But I'm not sure that Hollywood is using comics as a "testing ground" any more than it uses prose books or plays. Do mystery novelists worry that television's current fascination with the police procedural will crowd their market? I doubt it.

In your opinion, in terms of techniques, what makes comic book writing different from television or play writing?

KEP: Time. In comics, more than any other medium, we can control time. An instant can be drawn out to 100 pages and an eon can flash by in a panel. Similar things can be done on film or stage, but not in such a concise way. Also, when dealing with actors the story changes through inflection, style and direction. In comics the writer/artist is the first and last word (shhh… don't tell the editors).

RYAN: I think it's the total freedom that it brings. In film or television, you have a budget, and the writer has to write something that can fit within that budget. If you write a scene with a major battleship explosion, that's going to cost a lot to create. But in comics, it's no more difficult than the imagination of the artist. That's total creative freedom, right there!

DAN: Writing for film and television is very formalistic - there's an almost exact science that seems to have been developed over the years. While there are rules and/or guidelines for writing comic books (as well as most writing in general) they don't seem to be as concrete. I feel like there are more chances that I can take while writing a comic that I would never try with film or television.

JEFF: The big thing with television, plays, and film is that you have motion to work with. With comics, you work with static images. Yes, they can be dynamically drawn, but you're still dealing with creating a story from captured moments in time...a slow-moving flipbook where your imagination fills in the steps from panel to panel and page to page. One of the exercises I used for learning the craft of comics was taking a DVD and grabbing freeze-framed screen captures. I'd experiment to find the smallest number of images needed to recreate the story behind that scene and still maintain its mood. You basically deal with moments in comics, and you have to find the right moments and proper arrangement of moments to get your story to the reader.

One major understatement in the American comic book business is that much of what writers write is related to super heroes - and there's absolutely nothing wrong with that. How can you attract talent and help them train to become better writers if most will be spearheaded into traditional comic books?

KEP: The capes-and-pajamas books will always be around and will always attract talent whether a resource like this is around. Yes, it's the spearhead of the industry, but that is changing faster than most people realize as we see Manga sold by the bushel at B. Daltons and books like 30 Days of Night and Blankets showing the world that comic books aren't just for Spandex any more. As the general public demands more diversity there will be writers (and artists) to answer the call.

RYAN: There are a lot of different genre's out there, but I think superheroes are often isolated into one by themselves, when I prefer to think of them as a diverse playing field. Just because it's a superhero doesn't mean you can't be serious, or comedic, or romantic, or horror, or a western, or sci-fi, or anything else. Superheroes aren't all about the powers and outstanding abilities; most of the time they're about people. After all, a successful story is about how well the reader can identify and empathize with the characters, and you just CAN'T identify with someone who can lift a tank or fly at the speed of sound - but you can always identify with the basic human emotions that make us who we are. That's the future of comic books.

DAN: I don't think most of the writers looking to break in or gain recognition are really going the route of the superhero as many would think. This is especially true with the self-publishers. While comic books may always be associated with superheroes, I believe that the number of different genres represented in comics will continue to grow.

JEFF: Super hero comics still use stories as their foundation. Writing is writing...and good stories will transcend genres. Our goal is to give any writer the resources they need to help them put out the best stories they possibly can. Any genre, any style, any format...

KEVIN: Whether you're writing about superheroes or cowboys or custodians, the principles are still the same. To my mind, a poorly written capes-and-tights story is just as offensive as a poorly written Western. It's important to learn the craft, decide what story you want to tell, then decide what genre you want to use to tell it.

Several schools now offer training or courses as part of sequential art- based degrees. Do you feel that they cover sufficiently comic book writing?

KEP: The real question is if I think they should do it at all. I don't. Teach people how to spell, punctuate and use a dictionary then let them go. Formal writing training is great if you want to discuss why Huckleberry Finn is the only Great American Novel… but it is worthless if you want to write the next Great American Novel. I encourage everyone who wants to write comics to take a creative writing class or two, but do NOT expect to learn how to write creatively from it. For that, you need experience. Experience is not gained in the classroom, it's learned on the streets, in the bars, and on the soccer field. Want to write creatively? Live a creative life.

DAN: I took a comic book writing course through an extension program years ago. It was horrible and quit showing up after the second class. That's not to say that there might not be a worthwhile comic book writing course out there. A course might educate you on "how" to write, but not "what" to write. But the "how" can be found anywhere. It's tougher to come up with the "what".

JEFF: I follow Kep's philosophy on this. My writing "education" is high school classes, books, practice, and decades of observation (in lots of different jobs). As for the schools that teach sequential art programs, let's look at one. The Savannah College of Art and Design offers a Sequential Art B.F.A. For writing at a minimum, you have an English Composition class, an English Elective, and a single class on Comic Book Scripting required for the curriculum. The description of the Comic Book Scripting course sounds like it covers just the bare minimum:

"Students develop narrative ideas and express them in written form, from the basic plot to the finished script. Dialogue, captions, sound effects, panel and page layouts, and the relationship of image to text in dramatic situations are covered."

They also have an elective called "Advanced Writing for Comics" that focuses on the issues with writing larger comics (graphic novels). How well these cover writing, I'm not sure...I've never attended the class (or had a chance to talk to any of the students or instructors of these courses). But you can write without classes (and with a smaller investment than what you'd probably pay for the textbooks for those classes).

KEVIN: Honestly, I have no idea. I majored in journalism, and have supplemented that education with extensive reading and life lessons.

There are several school of comic book writing. Some prefer the Stan Lee way. Others the Full script approach and so on. From your experience, which suits most projects the most and which one do you favour?

KEP: I favour full script because I'm a control freak. However over the last couple of years I have worked with artists who liked the "Marvel" way, and I have begrudgingly grown to appreciate it. There's a lot to be said about focussing on plot and dialogue only and not worrying about the details… it's a different mindset but one that's fun to play with.

RYAN: I usually prefer the full-script too, for pretty much the same reason. I like to control the story, at least as long as it's on my desk. When the editor or the artist gets it, then it's up to them to control the story through their work. I have done the "marvel way" of writing, though, and it has its advantages - especially when you're on a tight deadline. But I will always prefer the full-script method. Of course, it also depends on your artist. Sometimes they prefer one over the other.

DAN: I tend to go with the full-script method because my writing background is in screenplays. So, it's just more natural for me. But, after working with Chris Fason for as long as we have now, my scripts for HERO HAPPY HOUR tend to be little more than just the dialog. Whatever way a writer and artist can work the best together is my preferred method.

JEFF: I'm a fan of full script, and it works well for most cases. I do have a looser style of scripting than some writers, so that allows me to jump back-and-forth between the two styles easily. Most of the time, the biggest factor will be what works best for the artist. I want to accommodate them with whatever script format they're comfortable with...whatever will allow them to bring their enthusiasm and energy to the story.

KEVIN: I also use full script, but I think it's important to use what works best for a specific project and for a specific collaborator. If I were comfortable with a certain artist and knew we shared a "vision" for the story, I'd be fine with using plot-style.

What's your opinion on fanfic and that whole movement of writing about your favourite characters that has been fed by the Internet?

KEP: I'm not sure if the Internet has fed it as much as the Internet has cast a light on it… sort of like shining a flashlight behind the fridge and finding all sorts of little nasty bits. I think if it brings you joy then do it. Personally, I'm less interested in someone's interpretation or glorification than I am in someone's original thought, so I don't usually dig fan fiction.

DAN: If it gets someone to write I'm all for it. From my exposure to fan fiction I've discovered some rather entertaining reads as well as some outright horrid writing. There's no one regulating fan fiction - nor should there be - so you've got to take the bad and ugly with the good. I'm not above fan fiction. I've written a little myself - more as exercises when I'm stumped on something of my own that I'm writing. It's fun to play in some else's sandbox every now and then.

JEFF: Well, I used to have about six notebooks filled with fan fiction from way back in the day (I just made myself feel old), so I don't really have a problem with it. It was actually good for getting out and studying what makes a character tick. Personality, emotions, mannerisms, quirks, and feelings toward different people, places, and objects. It was a good learning experience. As for being fed by the Internet...not much of my fanfic made it to the internet, but I wrote most of mine because I wanted to see those characters come to life once more or see what would happen if they took the road less travelled. I wrote it for my own entertainment. There are other fanfic writers like that, and there are some that just seem like they're looking for some kind of attention. "Hey, people will notice me if I just do something controversial with these really popular characters." And the Internet gives them a big audience to work with, and they know people will respond to that kind of thing (thus fuelling them to write more of it and encouraging others to do the same).

Now that most publishers refuse to accept unsolicited scripts, how can aspiring authors make their mark?

KEP: Write. Write and write and write. Breaking in to comics has been compared to breaking in to movies… and the movies are considered easier. If you are a writer, you're going to write whether you are contracted by a publisher or not…. So do it. And publish it. Publish it online (Scott Kurtz) or self-publish it (Brian Michael Bendis) but get it out there… people will notice. Also, hit the conventions and talk to the editors. Establish relationships online and off with artists and other writers. Make yourself known both by your body of work and your professionalism. Be a guy people want to hang out with and you'll be a guy people want to work with.

RYAN: Yes, it's extremely difficult, but the key is in your own persistence and desire to succeed. It's easier to be published today than ever before, with print on demand services, small press insurgence, web comics, zines, underground comics, etc. Just get your name out there in the community and become a name they recognize and eventually bigger doors begin to open.

DAN: Self-publish! There are so many options now for the self-publisher that they don't have to absolutely risk breaking-the-bank in order to get their material out in front of readers. You're not going to break into the industry complete gangbusters right out of the gate. It still needs to be earned, and self-publishing gives you that opportunity. If you're not willing to gamble on yourself, why should anybody else?

JEFF: "Nothing in the world can take the place of Persistence. Talent will not; nothing is more common than unsuccessful men with talent. Genius will not; unrewarded genius is almost a proverb. Education alone will not; the world is full of educated derelicts. Persistence and determination alone are omnipotent."

In the book The 101 Habits of Highly Successful Screenwriters, there is a chapter called "The Four Ps: Keeping the Dream Alive" that starts with that quote from Calvin Coolidge. That chapter discusses four attributes that are essential to making your mark--patience, perseverance, passion, and practice.

KEVIN: I'll add my voice to the chorus: self-publish. Or, if that's beyond your means, submit your work to a quality anthology, such as Digital Webbing Presents. Then go to conventions and give editors and pro creators copies of those books. They may not read your unsolicited Ant-Man script, but they'll most likely flip through your published original story.

Part of the comic book business is about politics and who you know - like every other business endeavour. How can a young author break into such a tight knit group?

KEP: Again, be a guy worth knowing. No one wants to hang out with a whining wannabe. You want to swim with the sharks you have to show you have the teeth. Publish something… ANYTHING… just so people know you're more about the book than about the dream. Professionals like to hang out with professionals. If you don't have the portfolio, that's okay… sit down and start writing. Now.

RYAN: And like Kep, I'll again reference my previous answer. Put your name out there and don't let anyone forget it. Remember there are millions of other aspiring creators out there, and you need to stand out. Once you've gotten your name out there, people will know you and you'll find that things are much easier in this industry when people know who you are.

DAN: If you do it, you'll be noticed. Maybe not on your first attempt, maybe not on your second, but eventually if you keep plugging away you'll get there. But, no one will take notice if you're just talking about it. People want results.

JEFF: Outlast them...they can't live forever. Eat healthy, exercise, and drink lots of green tea, and you'll have longevity on your side. Seriously though, you have to remember that not everything is as cut and dry as everyone in the comic business being in a "tight knit group." People like people. People hate people. People tolerate people. Will they prefer to work with people they like? Yes...wouldn't you? Will they work with people they just tolerate or don't know personally? Occasionally...if that person has a proven track record and can sell books, they have a better chance at getting the call.

What secondary skills does a comic book writer needs in order to become very good?

KEP: Listening. Strong dialogue is what separates most comic writers from the pack and dialogue is learned by listening to how people speak (and what they say when they do). Most people get into writing because they have something to say, but if you want to be good you have to shut-up and listen.

RYAN: Patience. It's a long, hard road, and you won't survive without it.

DAN: Self-discipline. While it can seem such a pain in the ass at times, there is no question that you need self-discipline in order to succeed.

JEFF: To become good, I have to reiterate Dan's discipline comment. Tons of creativity and talent won't mean a thing if the story doesn't get written. Now to become successful, marketing skills are always helpful.

KEVIN: Persistence.

One of the problems in this industry is that critics expect every piece of work to be the best possible form of artistic expression ever made. There is no relativity which makes many comics seem as crap by smart commentators. What's your take on that?

KEP: Screw the critics. If you're writing to impress the critics you're NOT going to do your best work because it's not what you want, it's what they want. Write for yourself and your audience will find you.

RYAN: I couldn't have said it better myself. Be your own man and be true to your work, and you'll always find someone out there to connect with. There will always be critics, but it's your responsibility to choose who you want to listen to: the cynics or the fans.

DAN: Once I accomplish "the best possible form of artistic expression ever made" I'm hanging it up and calling quits. Why bother after that? You can't please all the people all of the time. So, I'm not even going to try.

JEFF: Just write the stories you'd enjoy reading out there, and you won't be disappointed. I have some published stories that could easily falter under any critic's eye, but when I go back to read them, I still get a smile on my face. Besides, it's much easier to sell a story you really feel passionate about, so write for yourself and have fun.

Can you describe what you consider the professional attitude writers should adopt in this business?

KEP: Gads! That's a bit broad. Everyone has a different attitude about these things. But, if I have to choose a couple its deadlines and excuses. Hit the damn deadline. Even if you set them yourself, make sure you hit them… and when you don't, don't make excuses.

RYAN: Definitely deadlines. If you can't do those, you might as well start considering Plan B.

DAN: Deadlines are a writer's curse. But, it's something you have to live with, so get used to it.

JEFF: Sorry, I didn't have time for this question cause I was attacked by a rogue band of writer-hunting samurai. But to add a little more than just the all-important deadline comment--always try to remember that you're part of a team (well, except for the people that do the entire book themselves). Some of the things you do can impact the people working on the story after you finish the script. Try to put yourself in their shoes and think about them every now-and-then. Think about what you can do to make their jobs easier and their lives better.

Another problem of struggling writers is that they write once and don't accept rewrites and edits. What's your take and experience with that?

KEP: If you're writing for your own enjoyment then do what feels good. However, if you're under contract, take your rewrites like a man and get the work done so you can cash the check and move on to the next project. Also, don't get hung up on one project for years at a time. If you've been writing the same 22-page script since you were 14 and now you're 25 you're not evolving as a writer you are masturbating. Put the damn thing down and write something else… you can always come back to it.

DAN: Then that writer will continue to struggle as long as they fall into that trap. Rewrites and edits are a natural course for the writer. Some times there will be less than others, but they're bound to happen. I'm sure Leonardo Da Vinci gave the MONA LISA a few touch-ups before hanging her up to dry and calling it done.

JEFF: Ahh, rewrites and edits. I've had both painful and pleasant experiences with those. The big thing that helps me is to remember that anything's possible. It might sound like the craziest suggested change in the world when you first hear it, but there are always scenarios where it could work. Evaluate the edits/suggestions and see how they impact the rest of the story. If you feel like it's an important part of the story, don't just refuse the changes or bitch about them. Explain why they're important to the story, and then list out a couple ideas for making that change fit into the story if it's really needed (sometimes the scope of the changes needed to make it work can convince someone how vital it is).

KEVIN: I think most struggling writers are begging for someone to critique their work, to suggest rewrites and edits. Sure, there are a few who think their first draft is the next Watchmen, but most I see are grateful when someone offers honest criticism. Those who won't accept criticism have a long and disappointing road ahead of them.

Several aspiring artists and writers don't believe in practice. Yet, unless you write and draw until you hands bleed and you go blind, you won't get better. What's your experience with that?

KEP: Buy stock in Band-Aids.

DAN: You can practice writing in many different ways. You don't always need to be working on that one great American novel, screenplay, or comic book series. Write a journal, write greeting card gags, write a comic strip, write letters to heads of state. Just write.

JEFF: The odd thing is...you could write and draw until your hands bleed and you go blind and still not get better. Practicing the wrong things over and over can lead to bad writing habits (that will be more difficult to break later on). You just have to be careful that your practicing isn't reinforcing bad writing. But everyone should practice...it's crucial for learning new things about your craft and maintaining your writing discipline. I still do 30-minute speed writing drills every day for practice (on top of all the other writing I do), and I always will. "Use it or lose it." That old saying speaks the truth.

Ego is another problem in this business. How can aspiring creators learn to tame theirs?

KEP: Get a good editor and let them have at your script. If you still have an ego after that, you're probably entitled to it.

RYAN: Whenever I ask for script feedback, I always ask for the good and the bad. Don't just ask your friends and family. Of course your mom thinks it's the best story she's ever read … now ask someone who ISN'T bias and see where it really stands.

DAN: Check it at the door. There will always be someone out there who is better than you. And, odds are they're probably right behind you looking for exactly what you are. An inflated ego will only slow you down.

JEFF: Date someone with a bigger ego than you...that cut back most of my ego real quick (and my ego stays mostly in check because I'm still married to her after nearly 10 years).

A crucial element of any project is the pitch. Even professionals have problems writing effective pitches. Is this something you will address?

KEP: I will absolutely be addressing pitches in AEIOU and expect several of the others will as well.

RYAN: We have a small, but growing resource on how to pitch a story. It's a very big part of the job, and we'll always be looking for ways to help people in this, and other, areas of the industry. I don't know right now what we'll be offering, but as we come up with unique ways to help writers, you can bet we'll always share them.

DAN: Pitches - like in baseball - there are many different types. I don't think there's one true way to make the pitch. It all depends on what inning your in, who's on base, and who you're facing in the batters box. So, I expect this aspect of writing to be explored a lot.

JEFF: I'll be discussing it. I'll actually be attending a screenwriting Pitchfest next month, and I'll probably chronicle my misadventures of stuttering, rambling, going blank, and possibly vomiting in front of studio execs, agents, and managers. Then (after I get over a couple weeks of nervous twitching), I'll turn around and break down the tips and techniques I pick up and see how they apply to pitching comic stories.

Will you guys answer some of the common legal/copyrights questions that aspiring creators have?

KEP: Absolutely. In fact, if there are any (!) questions about anything having to do with comic writing we encourage writers to bring them to the forums. If we don't know the answers, and other forum members don't, then we're going to start the research. If an answer can be found, we intend to find it.

DAN: Get a lawyer. That was what Bendis told me awhile back. I'm glad he did.

JEFF: No matter how much people joke about them, lawyers are your friends.

A skill that is lacking in this industry is how to write visually - let images talk without resorting to captions. Do you have a quick tip for aspiring writers?

KEP: Write a silent script. No dialogue, captions, sound effects… NOTHING but the art. Do a few pages of that and you'll teach yourself to use the art.

JEFF: To write visually, you have to think visually. The exercise I mentioned early about taking DVD freeze frames to capture the essence of a scene in a movie is good for that kind of writing. Another quick exercise to help with visualization of a story is to pay attention to the things people do when they're experiencing different emotions. Follow the visual cues people project when they're angry or sad or excited, and take note of how they can express these emotions without a single word and without you knowing their thoughts.

Is the creative process different for writer artists than it is for straight writers?

KEP: I can only speak as a writer/letterer, and yes, I think it's different. I prefer to letter my own work, and when I do I rewrite on the fly… something I couldn't do if I was handing it to another letterer. For me it works.

RYAN: I'm not an artist … not professionally, anyway … so I can't say.

JEFF: When I used to work on my own little cartoon strip (almost said "way back in the day" again, which would have made me feel even older), I actually went through much of the same process I do now. Write out the breakdowns of what happens, sketch out little thumbnails as a sanity check, and then write out the dialogue before working on the drawing. The big difference is that I send it off to someone else to draw now.

How has the response to the Web site been so far?

KEP: MIND-BOGGLING!

RYAN: I kinda expected that people would be happy with it, but I could never have imagined how much attention it would get; from the media to aspiring creators, fans and pros alike! Just goes to show you how badly it was needed, I think.

JEFF: Really great. The community that's growing in the forums at the site is great. There's a lot of camaraderie there with people helping each other learn and grow as writers.

Will you provide limited support for artists, colourists and other aspiring comic book creators?

KEP: Only if it relates to writing. There are lots of other places for them to go with more qualified people. However, there's a lot of crossover, so I encourage artists of all veins to come by and hang out… their different perspectives can only help us all to become better writers.

RYAN: As Kep said, there are a lot of other resources out there for other creators. SCRYPTIC was created specifically because of the lack of comic writing resources; which is, I think, one of the reasons it's been so well-received.

JEFF: Anyone that wants to learn or just discuss the craft of writing is welcome.