animation writer

She got me praying all hours of the night, say she want my heart, She pulling me to the river, drawing me with her siren's call, Done gave her my heart but now she wants my soul, Well I already sold it to the man in red, "Fell in love with your charm," but its a curse; cos am dead, Girl you're not who you say, bad girl they say you are Innocence isn't where am at, wear your crucifix bae Don't make me out all serious bonnie, slave to this bad religion, Unrequited love, praying at my shrine, cos I don't have a heart Like a dead man walking, I lay at your side, Make sure you're alright in my world, atleast that for you girl,

I gave her my heart but she wanted my soul

“Has the Scooby-Doo writing been getting weirder lately, or have I just not noticed it until now?”

Ted the Animator: “Uh… give me an example.”

Carl the Animator: “Well, take this scene, for example. The purple vampire one–”

Ted the Animator: “Sibella.”

Carl the Animator: “–makes a really terrible, clunky vampire pun with ‘bite,’ or something….”

Ted the Animator: “Eh, that seems pretty normal Scooby-Doo to me.”

Carl the Animator: “Yeah, but then the camera zooms in, and holds on a shot of her fang, sparkling there. Y’know, just for the off chance that someone in the audience somehow didn’t manage to pick up the gratuitously-obvious vampire pun about vampire fangs.

Ted the Animator: “Fair ‘nuff.”

Carl the Animator: “And here, too. The purple vampire one–”

Ted the Animator: “Sibella.”

Carl the Animator: “–is talking to the blue ghosty one–”

Ted the Animator: “Phantasma.”

Carl the Animator: “–and she, a second time, makes the exact same joke with ‘fang-tastic’ she made earlier in the episode.”

Ted the Animator: “Scooby-Doo has always had bad puns, though.”

Carl the Animator: “Yeah, but not the exact same joke, twice, in under 3 minutes! C’mon, people, we’re not even 15 minutes in yet, are we already out of material?”

Ted the Animator: “Entirely possible.”

Carl the Animator: “Reading the script, it’s… hey, wait, they do the exact same thing here! The werewolf one–”

Ted the Animator: “Winnie.”

Carl the Animator: “–is talking to the mummy one–”

Ted the Animator: “…ok, I don’t remember her name either.”

Carl the Animator: “–and makes the same howling joke again! Is the audience expected to have forgotten that we already heard it mere minutes before?

Ted the Animator: *shrugs*

Carl the Animator: “I mean, think about it. A viewer could hear the joke, leave the room to make toast, and come back to hear it made a second time. Sad, really.”

Ted the Animator: “Wow. That’s a really effective way to put it, Carl.”

Carl the Animator: “I know, right? Toast-making is the best metric of time.”

Something to make up for the angst last night. Inspired by Paper Flight by (correct me if I’m wrong) @blackwatch-mccree

just as a tidbit to anyone who isn’t feeling confident about their shipping art, know that legendary disney animators ollie johnston and frank thomas said in their animation bible “the illusion of life” that love is probably the hardest emotion to portray, because it comes from a delicate awareness of the artist on when a specific look or gesture can convey that. it’s something that the best artists at disney had a hard time with, since portraying love is also built on the audience’s absorption of the relationship, which comes from creating believable and relatable characters. no one can call it “easy” or that practicing it is “a waste of time.” it’s an admirable artistic challenge, and if you can make yourself and anyone who sees it happy, you shouldn’t feel the need to give up.

yoi is literally the definition of how good a series can be when it has an amazing writer, animation staff, and seiyuus all working together. bless kubo for this miracle, making me believe in romance again and showing how a woman can write a successful, supportive pairing better than any man will ever manage to do and still create a plot that ties together.

i never tag sports anime ships because they’re always so queer baited, but victuri always gave off the impression it was meant to be more. over the course of 10 episodes we saw how victuri’s relationship snowballed to what it is today - a wholesome, dynamic pairing - and we now understand how they started well before episode 1. my expectations have been broken by all means, this anime makes getting out of a busy day of classes worth it.

3

“Miles has been promoted to the Head Writer of Animation at Rooster Teeth, so congratulations to Miles, who will now be doing a victory lap here in a moment.” - RT Podcast #349

The Harvey Beaks Writing Process!

This post is to show a little bit of the process the writers go through as well as a peek into some of the documents they create!

The writer’s main job on Harvey Beaks is to come up with adventures for Harvey and his friends. The HB writers room has a Story Editor (the head writer), three Staff Writers, and a Script Coordinator (someone who takes notes during story meetings, manages the schedule, and creates record scripts). Harvey Beaks is a “Board-Driven” show, which means the writers come up with the stories and how they play out, and the storyboard artists and directors continue writing the same stories while drawing out the action.

Once one of the writers has an idea, they pitch it to C.H. Greenblatt and the rest of the writers. Everyone talks about it and pitches ideas on what could happen in the story. Eventually, the main bits of the story are present, and one writer goes off to write a BEAT SHEET.

A beat sheet is usually around a page long and features quick, short story beats that explain the entire story in as few words as possible. The idea is to keep it simple and clear without too many details cluttering the backbone of the story.

C.H. Greenblatt and the other writers all weigh in on the story with pitches and ideas, constantly working to improve the story. The writer in charge of spearheading an episode will make the changes and eventually the beat sheet goes off to network for approval.

Here’s a link to the official beat sheet for the episode, “Princess Is Better Than You”:

http://www.scribd.com/doc/292957791/Harvey-Beaks-Beat-Sheet-Nickelodeon

Once the beat sheet is approved, it’s time to get more detailed! The writers flesh out the document into an OUTLINE and incorporate any network notes.

An outline is usually around three pages and features more details, jokes, and sometimes a tiny bit of dialogue. This document goes back to the room where everyone pitches on it again. The writer continues improving the document until it’s the funniest, best version they can make it! Then it goes back to network for approval.

Here’s a link to the official outline for the same Harvey Beaks episode, “Princess Is Better Than You”:

https://www.scribd.com/doc/292957796/Harvey-Beaks-Outline-Nickelodeon

Each writer is working on at least one episode, so the room is constantly discussing around three or four episodes at a time.

Once the outline is approved and any further network notes addressed, the story is sent to the storyboard artists (who are also writers). These folks take the story and continue fleshing out the specifics. They write the dialogue, jokes, and figure out exactly how the scene is going to play.

An animated story has many hands working to improve it and every story is constantly being rewritten. Even in editing, the supervising producers will be rewriting bits of dialogue!

After the storyboards are complete, the Script Coordinator compiles a document with all the dialogue written in the storyboards to create a recording script. This is what the voice actors read while doing the voices for the show.

And that’s about it! Hopefully you now know a bit more about what the Harvey Beaks writers do! For more info, follow the @HarveyWriters on Twitter!

2

The Nick Writing Program is now accepting applications for the 2016/2017 cycle! If you’re an aspiring TV writer, this is a great (PAID!) way to hone your skills and make industry contacts.

And get this – there are Domestic AND International programs.

Check out our website for application instructions and answers to any questions you might have.

Writers… do the thing!

When I was still working for that animation group the chief writer gave us all copies of the original scripts of the last Kim Possible episodes (Graduation Part I & II) before a lot of scenes were rewritten or taken out in pre-production and let me assure all of you that Drakken/Shego was 200% canon.

3

Hey Beaks Freaks!

Our Harvey Writers Twitter Team is running a 25 days of Harvey Holidays campaign! Every day they tweet a different holiday theme and YOU guys send in your drawings by tagging them and using the #HarveyHolidays hashtag! Check out some of the great stuff that’s come in so far! Holiday sweaters, gifts, holiday snacks, Santa’s sleigh, Piri Piri singing and more! 

We’re creating a whole new wall of fan art from these awesome submissions, so make sure you follow along and send in your stuff! Check it out! 

7

Artists in Action!

Meet Peter DiCicco, writer for Teenage Mutant Ninja Turtles and nerd extraordinaire! We sat down with him to talk about his career, the joy (and grind) of writing, and the Royal Library of Alexandira (really).

Read on to learn more about this dedicated Turtle-head.

———

Tell us a bit about yourself!
My name is Peter, and I’m a writer on Teenage Mutant Ninja Turtles. I’ve also written comic books and a mobile video game. And I’m a big Star Wars nerd and bit of a pie connoisseur.

How did you get your start?
I’ve been writing since I was a kid. I was involved in my high school theatre, and for college I went to New York University and studied in the Film/TV Production program there at the Tisch School of the Arts. When I moved out to LA, I worked a variety of jobs, including as a P.A. (production assistant) on a couple shows. I first started working at Nickelodeon in 2007 as an executive assistant in Live Action Current Series, then I eventually moved over to production at the Animation Studio.

What do your day-to-day tasks look like?
I usually meet with Brandon Auman (Story Editor/Executive Producer) every day to talk story or give notes on scripts and outlines we’re working on. If I’m working on a specific episode, I’m basically writing all day, working out the story beats into a premise, then outline, then script. Every week, we have at least two or three outlines or scripts due, so we’re constantly going.

Favorite parts of the job?
There’s usually some key element to each story that excites me, whether it’s a specific character or a story point, so when I figure out what that is, I get really jazzed about writing it. That and the excitement of seeing the story come together in the boards and seeing how the board artists interpret and sometimes improve on it.

Advice you’d give to aspiring artists in this industry?
Study and practice. Study movies and TV as much as possible, not just for enjoyment and inspiration but for the craft and to see why they work.  And especially if you want to be a writer, write something every day, whether it’s a story idea or character, anything just to practice and build your skills.

What tools have helped you get to where you are?
Studying really helped because I got to really understand the language of film, which I think applies just as much to TV these days.  What’s nice as a writer is you can do it anywhere. You don’t even need a computer, you can do it with pen and paper. I use Final Draft 8 for scriptwriting, but outside of formatting you can write in any word processing program.

What inspires you?
Whenever I see others being creative. I love looking at a lot of art and photography. The adage that a picture is worth a thousand words is so true. It’s always fascinating to me seeing how an artist renders a world from a point of view I might not think of.

What are some of your favorite hobbies?
I read a lot of books, and I play video games quite a bit. I’ve been playing through the Mass Effect games, which are a total time-suck but really fun. Also, I’ve gotten into drawing for fun again, so I find myself doodling a lot now.

What is your biggest responsibility?
Getting my scripts finished (and making them good!). The production schedule is really tight, so we’re constantly forging ahead.

What is one of the most challenging aspects of your job?
Staying fresh can be very difficult. There are some days when I’m constantly writing or trying to think up new ideas, and that can get mentally exhausting.  I sometimes have to force myself to take a break and just stand up from my desk and stretch my legs or just look outside the window just to give my brain a break.

Tell us about a project or accomplishment that you consider to be the most significant in your career.
It’s hard to pick one because every new thing is significant. Maybe seeing “Metalhead Rewired” for the first time because that was the first episode I wrote. But every time a new episode comes out that I wrote, I get really excited, like “I did this thing!” And then the next thing comes out and I get just as excited. And every time I hear about a voice actor that gets cast on our show, I think, “Wow, I can’t believe this awesome person I admire is going to speak my dialogue!”

Where would you go in a time machine?
So hard to choose. I’m such a nerd, I’d want to go back to the Ancient Library of Alexandria before it was burned down by the Romans just to learn all the history that was lost. Or maybe back to the day Star Wars first opened in 1977 so I could experience people reacting to it for that first time.

Choice of superpower/ability?
The ability to freeze time. I’m gonna sound like an old man, but everything is so fast these days, I wish I could slow it all down and appreciate the world for a bit. Also, I’d be able to snooze a bit longer in the morning.

Favorite dessert?
A local pie shop near my house, Republic of Pie, does an amazing chocolate banana bread pudding pie. It’s to die for.

———

Follow Peter for more insights into his creative process, plus behind-the-scenes goodies from TMNT!

Tumblr: peterdicicco.tumblr.com
Twitter: @PeterDiCicco

The Nickelodeon Writing Program is now accepting applications for the 2015/2016 cycle ya’ll!  If you’re a writer and love writing and want to write for us or any other studio one day, this is a great first step.

And get this- there’s a Domestic AND International program.

Check out the website for instructions on how to apply and answers to any questions you might have: www.nickwriting.com

Writers, do the thing.

Disney success tips and advice for Disney.

So, I’ve been telling you guys from time to time that I want to write and produce movies for Hollywood and Disney in the future.

The process is hard, yes, but I’ve been working hard on my writings. So I think I can make it.

But this text post is not just about me, it’s for everyone who wants to do what they wanna do (Writing, or for you, drawing/animating), and why Disney needs to expand when getting directors, producers, and writers.

FIRST: FOR EVERYONE

(I KNOW I HAVEN’T DONE THIS, BUT THESE TIPS COULD BE USEFUL)

HERE ARE MY TIPS ON GETTING A JOB FOR DISNEY OR ANY BIG STUDIO

•Whether you want to draw/animate or you want to write/produce/direct, you can go to community college. Because if you don’t know what you actually want to do, this college will help you on your decision. And community college can help you with internships for film companies and you can transfer to a bigger university based on your experience.

•If you meet someone or some people who loves what you love, then make friends with them immediately! Making friends can help you, because teamwork is a huge aspect of success. You guys can help and learn from another and that would be cool.

•This is silly, but you might need to know someone to get you the job. This is not necessary, but it would be a huge advantage for you. AND I AM NOT JOKING, I HAVE ONE FRIEND WHO LIVES IN LA AND HAS BEEN TO DISNEY STUDIOS BEFORE!!


SECOND: DISNEY EXPANDING THEIR CREW

DO NOT GET ME WRONG! I love the filmmakers of the Disney animated films.

But the problem is that whenever a new Pixar film or a new Walt Disney animation studio film comes out, the company always brings out the same directors.

Again, I really like their films, but come on.

Try to get other talented directors and writers.

Let’s compare the animation companies to Marvel.

•Disney animated films usually get directors that have done some of their films from before.

•Marvel mostly gets new directors for every film that comes out.

I just want to have a little expansion.


Well, that’s my take.

Thank you.

LEAVE YOUR THOUGHTS BELOW.

@thebronyphilospher @theboywhoflydragons @ktrk5 @justlookatthosesausages @hoppinwildely @wilde-hopps-shippers @thebestbunny75 @thefirstbunnycxp @tryeverythiing @master-tigress-of-tiger-style @haru-android @elenamonomah @equinox-vixen @elvis2309 @vivziepop @victoriamiller1posts @vausq @daisyridliey @flowers-and-crossbows @fanblubbering @fanboyofallthingsfandom @nrbnation @nicholas-p-wilde @nerdalicos @negliocchidiunasognatrice @marvelbros-oneshots @mrbroso @mrsbackpack @disney-shooting-star @princessisabellaofarendelle @psychempress @pace2n9tmaker @thephantombeyond @agentexeider @megan-peabody
@meltedpixels