Search Results : project rebirth

  • Canister X Movie Review #83: Superman: Doomsday (2007)

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    Click Here to Order from Amazon.com
    Superman: Doomsday (2007)
    Written by Duane Capizzi
    Directed by Bruce Timm, Lauren Montgomery and Brandon Vietti
    Runtime 78 min.
    4 out of 5

    Digging deep beneath the planet’s surface, Lexcorp accidentally unearths the merciless killing machine known as Doomsday. Immediately, the behemoth of rage goes on a rampage, destroying everything in its path, and all efforts to stop it fail.

    The Man of Steel, learning of the destruction and deaths in Metropolis, takes it upon himself to bring the monster down before more lives are lost.

    The battle is epic.

    The action is huge.

    The consequences are dire.

    Superman fails, falls . . .

    Dies.

    Adapted from the biggest and most shocking comic book story of all time, Superman: Doomsday is the emotional and action-packed tale of the life, death and return of the world’s greatest superhero.

     

    This story is dark, and not just because Superman dies. This isn’t a kids cartoon. The themes are mature (i.e. Lois half-naked in the Fortress of Solitude), Lex Luthor, distraught over Superman’s absence in his own weird way, is the most evil Lex ever seen in a cartoon and the things he does at some points in the film make you go, “Man, that’s evil. Not just evil. Hugely evil.”

    What was most astonishing was the swearing. I never would have expected that from a Superman cartoon.

    On the plus side, the battle between Superman and Doomsday is the greatest slugfest this reviewer has ever seen in a superhero cartoon (and I’ve seen nearly all of them). The story is solid and packs a lot in given the amount of time Warner Brothers seems to allow for these direct-to-DVD animated movies of theirs.

    The animation is dynamic, the coloring bold, the art in the style of the Justice League cartoons.

    This DVD includes a few special features, most notably the enthralling documentary on the life, death and return of Superman, chronicling the death saga from conception to fruition, with interviews with the many artists, writers and editors on the project.

    A very awesome movie.


  • Canister X Movie Review #70: Spider-Man 2 (2004)

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    Click Here to Order from Amazon.com
    Spider-Man 2 (2004)
    Written by Alvin Sargent
    Directed by Sam Raimi
    Runtime 127 min.
    5 out of 5

    Who ever said being a superhero would be easy?

    In this second installment in the Spider-Man franchise, Peter Parker has his back against the wall as he tries to juggle life as a student, being best friends with Mary Jane Watson, carrying the guilt of his uncle’s death, freelancing for the Daily Bugle, delivering pizza, and, of course, being ever on-call as your Friendly Neighbourhood Spider-Man.

    No matter how hard he tries, Peter just can’t seem to balance everything at once and the constant sacrifices he makes in his personal life so he can help others wears him down . . . down . . . down . . . until he can’t take it anymore and his spider-powers begin to change.

    Then vanish.

    The timing couldn’t have been worse, either, because Dr. Otto Octavius’s energy device backfired and has fused four robotic arms to his body, their AI worming its way into his brain, controlling him. All they care about is fulfilling their purpose and they don’t care who they have to hurt to recreate the device they were made for.

    Dr. Octopus’s (Doc Ock’s) rampage through New York is met with little resistance until our favorite web-slinger attempts to take him on.

     

    This movie thrills the inner fanboy much more than its predecessor and officially is my favorite—so far—in the Spider-Man series. This flick carries near start-to-finish classic superhero goodness: stellar aerial battles, eye-popping web-slinging, dual identity troubles, nerd-can’t/won’t-get-the-girl issues, a hardcore villain bent on his mark, trials, sacrifice—all crammed into a-little-over-two-hour movie. But the pacing works and doesn’t feel over cluttered at all.

    You feel for Peter Parker every minute of this film, both when he’s at the top of his game and when he’s at the bottom, and when he loses his spider-powers, your heart sinks and you cry out, “No! Not Peter! His powers are part of who he is. How can you take them away?”

    Tobey Maguire was extremely believable in this film and brought a real depth to Parker that—though was present in the first one—really shone through in this. And Alfred Molina as Doc Ock? Such duality. When you first meet Otto Octavius, he genuinely seems like a nice guy, an almost fatherly figure in a way, but when he loses his project and those he cares about, things switch and he barely resembles the man he once was. Yet deep within, you see him struggling against the mechanical arms that have taken over his body and mind.

    J.K. Simmons as J. Jonah Jameson was hilarious as always, and Kirsten Dunst as MJ—there was more maturity in the character this time around and though she still acted kind of “high school-ish,” you also saw someone struggling with who they were—more specifically, trying desperately to reach out to the man she’s fallen for but who is pushing her away.

    Spider-Man 2 thrilled me to pieces. I was there on opening night and I left the theatre all smiles and in a state of disbelief at how downright cool it was. I wasn’t sure if it would top the first one because most sequels—’til that point because the Superman movies and the previous set of Batman films were pretty much what we had to go on except for X2—usually don’t nail it like the first one.

    I was proven wrong.

    This movie rocked so hard I went back a couple more times and bought it on DVD as soon as I could.

    Check this flick out. You’re in for an amazingly cool, web-slinging good time.

    Recommended.


  • And Then There Was Comics . . .

    Mech Apocalypse has hit Kindle and in a few days will be popping up on-line in paperback form. The book is almost out and then I can start marketing it. Now, with that project out of the way, I’m free to focus on other things so this week I came up with a graphic novel concept I’m eager to delve into. I wrote up a treatment for it–basically a story overview sans any specific details–and am about to hunker down and outline the thing scene-by-scene. Once that’s done, I’ll go back over it and expand the scenes by adding in dialogue, captions, camera angles and all the rest. It’s going to be a big book, over a hundred comic pages when done. The plan is to draw it once it’s written. I’ve wanted to get back into comics for a while and this seems like a good opportunity to do so. Don’t worry. It doesn’t mean I’m abandoning prose. Just taking a break from it. The sequel to Mech Apocalypse is half-written so it won’t take long to finish that up and bring it to you guys in the New Year. I’ll follow up with the third volume in the trilogy later on in 2015.

    Thing is, I want to do an “in-between” project, something to keep me busy while I let the Mech Apocalypse world of mech-bots and exo-suits percolate in the back of my head. Comics seems a good place to do so. I also plan on doing an in-between project between Mech Apocalypse 2 and Mech Apocalypse 3. I have a book that’s already 3/4 written. The problem is it’s horror and since I don’t do horror anymore, it’d be an awful shame to let so much of an already-written book go to waste. So I’m going to retool it into a sci-fi, which, given the story, would be quite easy to do. More details on that project when the time comes.

    In the meantime, I’m going to make some comics.

    I plan on giving more details about this graphic novel project, along with its title, once I script the thing. At that point, with the script locked down, it becomes official and I can then start talking it up to get you interested.

    Besides, I’ve been itching to draw comics again for a good while now.

    Now’s a good time.


  • Secret Project No. 1 is Complete!

    Yesterday I finished writing Secret Project No. 1. It came in at roughly 51,100 words, which is about 1,100 more than I estimated, which is fine. I think it was Sunday that I thought of the ending and Monday I was able to put it down.

    Taking today off writing-wise, though I did write the first draft synopsis for Secret Project No. 1 along with this Saturday’s newsletter. (It’s free to sign up for, by the way; just use the email box on the right of the screen.)

    I hope to reveal the title to Secret Project No. 1 in the near future, and by near future I mean between now and the end of June. Might even throw the titles to Secret Projects Nos. 2 and 3 in there, too. Stay tuned, as they say.

    But it feels good, takes some pressure off, and I’m able to gear up for Secret Project No. 2. Like the first one, you can watch my progress via the word-o-meter on the side of the screen. I can’t remember how long it took me to do the first one–maybe a month-ish–but Secret Projects Nos. 2 and 3 first drafts are due by the end of June. That’s 100,000 words minimum in 41 days. Totally doable as that averages 2,400 or so per day, every day. I know some days I’ll do more so I’ll be on track barring the world doesn’t end or something. July will be spent editing–both by myself and my editor–and I hope to release all three of these projects in August sometime.

    As for another hint as to what the story might be about, it involves mechanical things. Big ones and small ones.

    Peace.


  • Publishing Isn’t Free

    Publishing Isn’t Free

    Pen and keyboard publishing isn't free

    Raising Capital for Your Book
    by A.P. Fuchs
    (from Getting Down and Digital: How to Self-publish Your Book)

    Publishing books costs money. Like the saying goes, you’ve got to spend money to make money. There’s no way around this. Thankfully, desktop publishing has dramatically cut that cost down and instead of having to spend thousands of dollars up front like in the old days, you can publish your book for less than a couple hundred on the low end, or a thousand or more on the high end.

    This book shows you how to publish your book for around $200, give or take a little depending on what you hire out when producing your book and where you live.

    Keeping up with the spirit of this book, which is starting out with little to no money like I did, let me make a few suggestions as to how to raise that $200 if you don’t have it saved already.

    – set aside a set amount every payday so you can publish your book in a timely manner

    – if things are indeed tight and nothing can be spared, then consider getting a temporary part-time job to cover the expenses of book publishing

    – if your book is complete, write up a synopsis of your book and take pre-orders from family and friends. This may be tricky, however, if you don’t know how to price your book. See the section on pricing for more info

    – have a yard sale

    – start a Kickstarter crowd-funding campaign at www.kickstarter.com

    – sell off your unwanted CDs, books, records, etc. to stores that specialize in those items

    Of course, there are many other ways to fund your project but the above are a few suggestions. After all, publishing isn’t free.


  • Progress Report – May 14, 2014

    About to settle in to do some more work on Secret Project No. 1. As of this writing, it’s sitting at roughly 39,300 words, which, according to my word count-o-meter, means I’m 78% percent done. I’m hoping to finish this book by Monday at the latest, hopefully sooner.

    It’s coming along well. I’m taking things scene by scene while keeping a general direction in mind. This book is a definite departure compared to my usual stuff, which is good as I think it’s important for writers to try new things. I hope you’ll all agree it was a good move come publication time.

    I’ll drop another hint as to what I’m cooking up here in the North . . .

    It involves armed forces.


  • The Most Overlooked Step of Self-publishing or The Three Types of Writers

    The Most Overlooked Step of Self-publishing or The Three Types of Writers

    The Most Overlooked Step of Self-publishing or The Three Types of Writers

    Choose Your Target

    You need to know where you’re going before you can figure out what you’re doing. A simple—even obvious—principle, but one often overlooked by writers and artists looking to get their work out there.

    I made the mistake of jumping right into this business and publishing my first book, A Stranger Dead, via a vanity/subsidy press. Next thing I knew, I was in the hole around $2500US and never made my money back. Back then, because of the US-to-Canadian-dollar exchange rate, you could add about 40-45% to that bill, so I plunked down somewhere around $3,625 Canadian for a book that went, well, nowhere. I think, all told, I recouped maybe a couple hundred bucks and that was it. Of course, a couple hundred is better than zero, but had I known that jumping in without stopping and researching and honing my craft, I would’ve come up with a different plan, especially since I was trying to make writing my livelihood. This was not proper self-publishing.

    Yet many jump in. They believe the self-publishing Kindle hype and jump in. They pay someone to publish their book and jump in. They hook up with a small press without knowing its history or who’s behind it, and jump in. The list goes on, and heartbreak and frustration often follow.

    The problem with jumping in and not knowing how to swim is that you drown.

    Like all journeys—and believe me, publishing is a journey and not some place you can just get to by stepping out your door and, poof, there you are—you need to figure out where you’re going first. And this destination is different for everybody.

    It’s based on goals.

    There are a few categories of people when it comes to the publishing business and though money is involved, it’s not all that’s involved.

    The first thing anyone needs to do before they embark on any creative journey in regards to getting their work out there, is to decide what their end game is. No way around this.

    Don’t go any further without establishing this. Without it, it’ll be like being in the middle of the ocean and not knowing which way to swim to get to land. You will quickly tucker out as you try different directions, get frustrated, even mentally broken in some cases and, eventually, you’ll pack it in.

    There are three general categories the writer falls into. Find which one you’re in and you’ll make your life easier going forward.

    The Hobbyist: this person creates solely for fun. Money is not the main motivator and they usually give away their work for free or sell it for very, very little, the main drive simply to have a good time with their art and that’s it. They might also not even distribute their work and just fill up a hard drive or journal with their stories solely for their own amusement.

    The Part-timer: this person is interested in making money with their work, but thanks to either a working spouse or a job they love, their craft isn’t a career-goal for them. Regardless of the money involved—but there has to be some as they are, indeed, looking at their art as a “part-time job”—the main motivator is to use their art to put food on the table in conjunction with other sources of income.

    The Full-timer: this person aims to make their art their sole livelihood and so work their butt off to obtain that. Some find success right away, others take years, even decades. The amount of money it requires to achieve this varies on lifestyle and personal desires.

    Each of the above involves taking a different path. Though “all roads lead North” isn’t true for this biz, there are many roads to achieve each of the above goals, most of them being a case of finding what works for you and running with it.

    However, generally speaking, the roads look something like this:

    The Hobbyist: with money not really an issue and/or motivator, this person will either invest their own funds into their project, put it out themselves, distribute however and whenever, or simply throw everything up on the Web for free and call it good. They might publish with a small press and if the book is a flop, it’s a non-issue for them. Also, as previously mentioned, publication might not even be pursued and the stories are kept private in journals or on a hard drive.

    The Part-timer: money being a consideration, this person will either get involved with a small-to-medium-sized press, make a few hundred dollars to a few grand a year, and are more than happy with that.

    The Full-timer: with their livelihood at stake, this person will aim to find incredible success with a traditional publisher, whether big, medium or even small, depending on the number of copies sold. Though lifestyles vary, $20-25,000 minimum would probably be required to live off of if you are single in today’s economic climate. To secure this kind of advance for a first-time author is difficult, but not impossible. First-time author advances range from $100-10,000 in general (and depends on the size of the press), but with a good marketable book and a good agent, getting $20,000-plus up front isn’t farfetched. While the high-end first-time author advance of $10,000-$20,000 may or may not be enough to live on, it does give you access to a publisher’s resources and distribution channels, their brand and connections, and, you never know, your book might take off thus putting you in demand and getting you a higher advance for a second book. There’s also the possibility of signing a first-time author multi-book deal (i.e. $30,000 for 3 books at $10,000 each).

    All three of the above can also take one final path: entrepreneurship, in other words, self-publishing, which is the main focus of this book.

    Each goal can also be achieved self-publishing-wise based on one’s entrepreneurial model.

    You can also mix-and-match, meaning you can shoot to be a part-timer but end up scoring on the publishing roulette wheel and still net a full-time income on the side.

    In the end, goal-setting is priority one. It’s the first step. You’ve got to know which way your feet are pointed before you can walk out the door.

    I’ll emphasize it again: you must do this if you are to save yourself weeks, months or even years of frustration and spinning your wheels. Self-publishing is no easy feat despite how it may look. What goes on behind the scenes is definitely a journey and a lot of work, but it can pay off for you, dear reader, as well. After all, isn’t that what self-publishing’s all about? Bringing stories to readers?

    I think so.


  • Writing Corner – My Current Office

    For years I used to sit down at the computer desk and write my books, and only once have I written an entire book longhand–never again, by the way–but there came a time where I would be sitting on the couch and be inspired and would want to write, but couldn’t immediately/conveniently do so because the computer was all the way upstairs, I’d have to wait for it to boot up, get myself settled, etc. So, a few years ago I bought a laptop and have since done all my writing on it. Now I can write anywhere in the house. For a while it was on the couch in our rec room, then I took a liking to sitting in bed and writing, but these days I’m on the big comfy chair in our front room. What you see above is my current office as I work on Secret Project No. 1. I’m getting a lot done in this space and, so far anyway, plan on using it for Secret Projects Nos. 2 and 3.

    Production work for these books will be done on the desktop in the studio, but the editing will be done anywhere, most likely in bed as I like to lay down and do my edits. Don’t ask me why. I might go the coffee shop route and do my edits there. Not sure. For each round of edits, I always type them up on the desktop computer as that’s where the printer is and that’s what I’m used to.

    Anyway . . .

    What about you? Where do you write?


  • Why You Should Self-publish Part Two

    Why You Should Self-publish Part Two

    why you should self-publish

    (from Getting Down and Digital: How to Self-publish Your Book)

    By taking on the role of a publisher, the one who fronts the cost to turn a manuscript into a published book, the self-publisher takes all the risk—but also reaps all the reward as a result. Think of it as an investment. Folks go to the bank all the time and dump in fifty dollars, a hundred dollars, a thousand or more into RRSPs or GICs, money they’ll never touch for years, but while it’s sitting there, it’ll earn them much more than they originally invested given enough time. Self-publishing is the same way. Even if your up-front costs are a thousand dollars, you start selling your books and, depending on format, make $3-10 profit, once you’ve sold 100-333 copies, you’ve made your money back. Everything above that is your return on your investment. And instead of making a dollar or even two dollars a book sold as per the traditional royalty system with the rest going to your publisher—and to be fair, they deserve to make money for bringing the book to market for you and taking care of you during your contract with them—you get to keep all the profits for yourself.

    There’s huge potential to make a lot of money self-publishing. Like I said, if you set up your system to ensure you make $3-10 profit per book (i.e. $3 minimum on an eBook sale and $10 or so on the high end for a paperback sale), you could come away with a very secure future assuming the market is kind to you. To sell 50 eBooks would pay my water bill for three months. I could do the same if I sold 15 paperbacks at a convention as I average around $10 profit per sale through those direct-to-reader venues.

    Before, a writer would have to sell thousands of copies of their book just to stay afloat because they made anywhere from 80 cents to a couple bucks a book depending on format. Sometimes less. And while it’s great that they sold those thousands of copies so they could pay their bills, imagine how much more they could’ve made had they been able to do the same volume of sales on their own? If they sold 2000 books total and made the aforementioned 80 cents to two dollars, that would be around $1600-4000 in their pocket. If they self-published and averaged $3-10 per sale, that’s a range of $6000-20,000 to their credit. A huge, huge difference, and for some, enough of a difference between having a bed to sleep in and food on the table.

    The beauty of self-publishing is the ability to produce a book for a niche market, something that you don’t typically find in the mainstream, if at all. For example, I write superhero fiction. Back when I started doing it in 2006, my series, The Axiom-man Saga, was one of a handful of other independent superhero fiction books. There was no way I could take my manuscript and sell it to a publishing house because no one would take the risk on a completely unknown superhero with no proven track record. Well, guess what? By self-publishing the series, I’ve been able to find an audience for it and every time a new installment in The Axiom-man Saga comes out for a convention or on-line, people buy copies. And when I’m behind on getting a new book out because I’m committed to other projects, people start asking me when the next book in The Axiom-man Saga is coming out.

    Self-publishing is also great for those who can’t keep their hands to themselves. Some writers need to be involved with their book every step of the way, and while this goes back to self-publishing enabling the writer complete control of the project, it also lends itself to writers who are also entrepreneurs, who are business people by nature.

    There are two types of people in the world: those who take risks and those who don’t. Entrepreneurs are risk-takers. They see the potential for a business and are willing to spend the money—sometimes money they don’t have—to make it happen even though there’s the possibility it might not work out. And that’s their mindset when it comes to self-publishing: it’s a business. And what do businesses do? They manufacture a product and market it to people. Even service-providing businesses do the same because a service is a product. The entrepreneurial self-publisher is someone who isn’t just a creative individual, but also one with a business-oriented mindset, someone who has a vision for their book beyond simply writing it and are willing to take the risk(s) involved to make that vision a reality. While I personally don’t view books as “products” but works of art, from the outside looking in that’s what a publisher does: sells a product.

    The other advantage to self-publishing is to take a book and prove to a traditional publisher there is a market for it. There are many stories of writers self-publishing rejected manuscripts—which weren’t necessarily rejected for quality reasons—and turning them into bestsellers. There are also those who have self-published, had major success, and then were picked up by a traditional publisher who took on the publishing duties of the same book. Often, these publishers paid a lot of money to have these books in their catalog because the writer showed them there’s an audience for their book(s) out there. You need to sell several thousand copies to catch a traditional publisher’s interest, something to the tune of 5000 copies-plus, but self-publishing is an excellent way to give a chance at life to a book that otherwise would’ve been sitting in a rejection pile somewhere.

    By self-publishing, you are also the sole rights holder to the book. And while true even if you sold the book to a traditional publisher you’d still be the sole author and copyright holder, the traditional publisher would be the one who holds the print and electronic rights to it, meaning they could be the only ones to publish the book in the language they represent. Depending, some traditional publishers take additional rights when taking on a book: audio, film, even foreign translation rights if they are connected in that way. The first two are the most common. By going it alone, you decide who gets what, so if some guy from Hollywood wants to make a movie out of your book, you don’t need to share the monies offered with anyone if you negotiate the deal yourself. You’d also get to decide how much influence you’ll have on the movie, though, of course, if you want too much influence—and how much influence is “too much” is up to Joe Hollywood—then the deal might not happen at all. Regardless, to be the one in charge of deciding what other ways people can experience your story is up to you if you self-publish.

    If you’re a salesman or are good with people, then the marketing of self-publishing should excite you. For some, sales are a thrill-of-the-chase thing and for every sale they land, they get a high off it. And to know that for every hour of effort you put into selling your book will reap you and you alone the financial reward of doing so should make you even more excited. Books usually don’t sell themselves, but if marketing and creating campaigns is an area of interest for you, self-publishing is an excellent field to do it in.

    As you can see, there are numerous advantages to self-publishing your book, the main ones being control and the potential to make more money. You also get to bypass anyone who might reject publishing your book and just take it directly to the reader themselves and let them decide.

    But most importantly, self-publishing is a ton of fun and I love every minute of it. Unless a traditional publisher comes along and can do something for me I can’t do on my own, then I plan on self-publishing for the remainder of my writing career.

    Having too much of a blast doing so.

    Maybe you will, too.


  • Progress Report – April 28, 2014

    Progress continues on the writing of Secret Project No. 1. Very few people know the details and I’m enjoying keeping things under wraps for now. According to the wordometer on the right side of this blog, we’re sitting at about 10,700 words on the first draft. Not bad. The story’s flowing and I know where I’m going with it, currently thinking 2-3 scenes ahead.

    I gave a hint on this blog entry as to what it’s about. I’ll give another: it’s a new genre for me to write in.

    Genre variation is something I think is important for writers to experiment with. It’s a chance to stretch one’s creative muscles, try new things and not get stuck in the same ol’, same ol’.

    In other progress news, today I’ll be reposting an old self-publishing article on this blog as part of my rebuild motto that I got going on over here.

    I want to say thanks to those who’ve supported my books this year thus far. I’m grateful for every reader, especially in this competitive industry. So, again, thank you.