Category Archives: Interviews

Ean Weslynn 2: Return of the EBCP

Back when I first started running occasional interviews with some of my favorite EBCP (Extremely Brilliant Creative People), I began it all with writer/ actor/ all-around extraordinaire Ean Weslynn. I’m happy (well insanely delighted would be the more apt word) to say that since the interview Ean’s webseries, the hilarious Day Drunk Gays, has appeared to much acclaim! And, so I decided to ask Ean some more questions and hopefully get some of you (yes, YOU, there reading this!) to get some links to Day Drunk Gays in all of its glory!

So five quick questions for Ean Weslynn— the OEBCP (the Original Extremely Brilliant Creative Person):

1.) What is the biggest thing you learned about translating a written script into a filmed series?
i learned a lot over the past few months.  one, i learned that even when i’m writing for myself, i’m not a great actor.  two, that good writing leads to great acting (for others, not myself).  but the biggest thing i learned was how many times things are written in this medium.  it’s often said that writing is rewriting, and i’ve never rewritten things more.  before we even shoot something, i rewrite the script numerous times.  then we have a table read, i hear what works and what doesn’t and i do a final pass or two before we shoot.  on the day, we have a rule with the actors that they give us a solid take as written then they can take their own liberties.  but the work isn’t done then.  in the editing bay, it’s not a matter of just which take to use, but it’s how much time between lines.  the pacing is the thing that can make or break a good script.  the editor has a ton of power and i’m happy to say that my producing partner is a way better editor than i am a writer, but we work well together.
2.) What was the best thing about the filming process?

the best part about filming for me is actually getting to sit at the table with my boys, surrounded by the crew and knowing that we wouldn’t be there if i hadn’t spent all that time rewriting that silly idea i had that i thought others might find funny.

3.) The most unexpected thing?
the most unexpected thing about this process was actually how well the cast worked together.  it might surprise people to know that the first time the four of us were in the same space was about 15 minutes before we shot the first episode, brunchr.  i think there’s a real chemistry between the guys, but they were all cast based on my interactions with them.  i thought they were funny, they got my sense of humor and i had a feeling that they would like one another.  luckily i was right!
4.) If you had to describe Day Drunk Gays in a ten word pitch:
like brunch with your gay friends but with worse writing!
5.) What’s next in the world of the show and the world of Ean Weslynn?
i actually just finished up the next few episodes that we will be shooting in early april.  we will start to have more guest appearances and we will see the boys away from the table.  the important thing to remember about the show is that it’s about day drinking friends, not brunch.
in regards to me, it’s amazing how little time one has to day drink with his friends when he’s writing a show about day drinking friends.  i mostly spend my time writing and will continue to do so for the foreseeable future.
Follow Day Drunk Gays on Twitter: @daydrunkgays
Check out there website:
And, OBVIOUSLY, actually check out the series and watch it here:



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Kristin Gulotta: The Interview

I met Kristin Gulotta in a poetry workshop. I remember reading a poem of hers for the first time and being stunned. Her use of imagery was vivid and she had a certain something in her poems that I can’t quite put into words. Since that first poem, she has become one of my dear friends and this has given me the chance to continue to get to read her amazing poetry, playwriting, and fiction. Kristin is the real deal—a wonderful writer and a wonderful person. I am delighted to have interviewed her as my third EBCP (Extremely Brilliant Creative Person, if you’re new to Pints and Cupcakes). So, enjoy dear reader, and check out a link to one of Ms. Gulotta’s fabulous poems!


1.)        When did you begin writing? And why?

When I was nine. My fourth grade reading teacher was this really cool, fun, hippie chick, who was always telling us to use our imaginations and having us write stories and poems. At the end of the school year, she told me that she really liked my writing and that I should keep doing it–and then she handed me this little green journal with gold-lined pages to fill up. So, I did. I still have it, and there’s some beautifully horrible work in there, the poem “Living in a Bottle of Toothpaste” (“Living in a bottle of toothpaste / isn’t much fun; /  Your [sic] very weak, since you don’t get any sun”), and a horror story called “The House on the Bluff,” in which a man moves into his dream home, only to realize that all of his neighbors are (da-da-duh) dead.  Anyway, writing’s just felt like something I needed to do ever since.

2.)    Describe how you approach an idea for something you’re going to write

Hmm. . .  I don’t really feel like I approach the ideas. I feel like they approach me, or at least, I prefer to think of it that way, that there’s something a little special and magical about it, and a kind of falling in love happens.

Just let me have my dream.

3.)    What is your “aha” moment when it comes to thinking of poems to write—do you start with something you want to write about? Or do you just start writing?

I’ve written both ways. In workshops, as you know, you’re sometimes given exercises and just have to write, hoping something will come. But, I’ve never felt comfortable with that approach on my own. I can’t journal either.  So, I write when I get struck by some idea or image or song or person. A “fell swoops” kind of thing. I guess in lieu of journaling or any other writing routine, I’m diligent about finding or looking at or learning about new things, so I have opportunities for a spark to happen.

4.) I remember hearing you read a poem about fracking…Are environmental issues something important to your writing? How did that poem come about?

I actually have two fracking poems now. (fracking poems. heh.). Like anything I write, those poems started with an idea that became overwhelmingly important once it appeared to me. So, fracking was (is) important, and I was also feeling really affected by so many horrible things I’d learned about, not just fracking but factory farms, GMOs, the disappearing honey bees. So, that all ended up in my work. I have another poem about Mitt Romney’s “binders full of women,” because that struck me pretty significantly after the debate. But, I wouldn’t say I make a point of dealing with environmental (or political) issues, especially because that seems like it’d get sort of preachy and annoying. And, you know, sometimes beds or chocolates are really important too.

5.)    Do you mostly want to work within poetry? I know you also write short stories, how does that process differ for you? Do you have a preference between the two? What makes you turn one idea into a poem and one into a story—is that a conscious decision?


I think I do feel most at home working in poetry, but I don’t want to limit myself to that. I’ve had to specify for my thesis (and for applying to MFA programs), and I was really torn between choosing fiction of poetry. Well, and playwriting, but mostly fiction and poetry.  So, I took a fiction workshop to help me decide–and that settled me on poetry. I just like how quickly I can get an idea out in a poem so that, within a couple of days, I’m working on revisions. Fiction takes so much longer, and by the time the ideas are all out, I don’t always have the patience to start whittling and polishing. Though, I have been playing around with prose poetry some, and that’s kind of a nice compromise between the two.   As for choosing which ideas might end up as stories or poems, I don’t know if it’s conscious. It sort of just feels like I see some ideas as more . . . cinematic, I guess, or as just needing more words and details than a poem would usually allow. So, those are stories.

6.)    I’ve had the pleasure of reading a good deal of your writing (though never as much as I’d like since I want to read EVERYTHING by you), but could you describe your style/ types of writing you do:

The feeling is mutual! I love all your work. But describing mine. . . based on what I’m doing now, which is what I feel I’ll be continuing with for a while, I suppose narrative, formal. Historical. It’s sometimes humorous, occasionally a little sentimental, but almost always telling a story. I really love making characters and writing from their perspectives. But some of my work is lyrical or a little confessional, too. So, that’s my poetry. My stories tend toward horror or suspense.

7.)    You’re currently working on a creative writing thesis…Can you tell me what that’s about? How has that kind of concentrated process been for you?

I’m doing a project book, a collection of poems on my current obsession: dime museums, which were popular in the 19th century and were amazing buildings stuffed with wonders: freak shows, theatre, fortune tellers, phrenologists, musicians, magic lantern shows, art, historical artifacts, faked artifacts, wax works, etc. P.T. Barnum got his start with them. So, my work is from the points of view of different “exhibits” or spectators, trying to give an idea of the excitement and awe you’d have visiting a dime museum, but also looking at some of the troubling parts, especially concerning “human anomalies” and how they were treated or viewed. And I’m thinking about how we’re all sort of little dime museums – a jumble of the wonderful and creepy, real and fake.

I’m really enjoying working on this. It’s been fantastic to have an excuse to spend lots of my time writing – and to do research just because I need to know more (or everything) about this. I’ve read a bunch of books, and I recently went to the Chicago History Museum to research the Libby Prison War Museum, a dime museum Charles Gunther opened in 1898. I actually got to read – and hold in my own hands – bunches of his personal letters related to the museum. It was thrilling!

8.)    Dream projects you’d like to work on:

Well, this will probably seem out of left field, but tucked in the back of my heart is this longing to write about Scopitone films. They were popular from the late ‘50s until the ‘70s and were sort of the precursor to music videos. So, musicians had to make these little films to promote their songs, and they’d play on Scopitone machines that worked like jukeboxes. These films are the best, most campiest things ever. They’re full of scantily clad, gyrating women (or men) and crazy costumes and sets. I seriously love them all. So, I want to write a book about them and make a documentary. Really, I’d just love to be able to interview anyone involved with them who’s still around – and I need to see (and own) a Scopitone machine.


9.)    What is your revision process like? Is that hard for you? How do you decide when a piece of writing is finished?

I’ve gotten much better at doing the work of revising, mainly because I’m working in forms. In my own writing, I feel that I’ve sometimes used free verse as an excuse to be sloppy and let myself get away with thinking, “It’s okay if the ideas are vague or abstract. That’s how poetry is.” But, in most forms, there just isn’t room to be sloppy or complacent. To say what I want and also conform to the restrictions of forms (rhyme scheme, meter), I have to keep working at it. And yes, it’s hard. I just finished writing a crown of sonnets. Well, it’s not finished, because I’m still revising. But all seven sonnets are there. It’s been torture. Maybe with forms it’s a bit easier in some ways to know if something is or isn’t done: a sonnet has 14 lines, so at 14 lines, you’re technically finished. But, it take a lot of reading and re-reading and playing around to get the words to say what I want before it’s really be finished. I’m also lucky to have the inimitable Ron Wallace as my thesis advisor – and he’s been great about telling me where the ideas get tripped up. Usually, I already know these are the rough spots, but it’s good to hear from someone outside my own head that they are – and it’s motivating.

10.) You’re an insanely fabulous reader of your own work, having made appearances at such places as the Wisconsin Book Festival. How do you prepare for readings?


Aw, shucks. Thanks. I’ve done a fair amount of theater, so I feel pretty comfortable in front of a crowd – at least when I have something that I can lose myself in. Even though some of my work is personal/confessional, the writing is removed enough that I can think of it like a character and sort of trick myself into thinking I’m taking on a role. I also spend a little time rehearsing before a reading, mainly thinking about where I’ll need to take breaths. Sometimes, I’ll even re-format the work I’ll be reading, break it up by where my breaths need to come, to keep the reading smooth.

11.) Thing you think every writer should know:

Keep reading and learning and putting ideas in your head.

12.) Thing you’d most like people to get out of your work:

To feel it’s true or real–and maybe to feel they’ve discovered something new.

13.)  Writer you’d most like to meet:

Honestly, I don’t know how to choose.

14.) Thing you are most proud of in your writing:

When I capture something true.

15.) Who are some of the writers and artists who have most inspired your work?

Well, here are some that come to mind.

For their mastery of forms: Christina Rossetti, Edna St. Vincent Millay, Ron Wallace, Mark Jarman

For being wonderfully creepy, horrifying, and/or surprising:  Alfred Hitchcock, Orson Welles, Edgar Allen Poe, Charles Baudelaire, Katherine Dunn, Samuel Beckett

For the ways they make my heart catch, or break it: E.E. Cummings, Pablo Neruda, Shel Silverstein, Charlotte Bronte, Paul Simon, Victor Jara, Albert Camus, Werner Herzog, Susan Mitchell

For their humor and wit: Allison Burnett, David Sedaris, Shel Silverstein

16.) What is coming up next for the world of Kristin Gulotta?

A flurry of MFA applications. But right at this moment, a pumpkin cheesecake.

17.)  The most difficult thing you find about writing in ten words or less:

Knowing I need to fix something but not knowing how.

Thank you, Kristin, for such an engaging interview! Dear Readers, if you’d like to check out one of Kristin’s gorgeous works of poetry, please follow this link to an issue of Goblin Fruit

Bio: Kristin Gulotta is a creative writing major at UW-Madison where she’s also on staff with the Madison Review (and, formerly, with REDzine).

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Dan Pankratz: The Interview

I met Dan Pankratz years (wow…that’s weird to write) ago. He is one of those writers who always makes me want to read just one more thing by him and so luckily he lets me be his friend and read his stuff. I think he deserves a much wider audience though (I know despite my awesomeness, Dear Reader, I do not equal out to every reader in the world) and so for my second Extremely Brilliant Creative Person interview (EBCP), I have selected him. Dan was willing to answer some questions and give us a sneak peek into the unique world of his novel series that he has been working on. So, enjoy Dear Reader, and please check out links to more of his work.


When did you begin writing? And why?

I started creating things in second grade. I was a huge fan of the Captain Underpants series then, so I drew comics. I created a Marvel-sized universe of superheroes—Flame, Windgirl, Waterboy, to name a few. Flame was my favorite. He was a ninja garbed character with a hand cannon. I was terrible at drawing, though. My best friend Keith in grade school used to draw a lot of things back-to-back with me, but eventually we split the work and I did the writing while he drew. By the time I was in sixth grade I’d turned completely to full-length prose. I started off by writing a really bad high fantasy novel. Though I’ve kept the scripts, I don’t think I’d even show them to a future spouse if it comes to it.

I started writing because I was compelled. Writing made me feel powerful, too, which is super important for kids. Writing gave me the space to play god in a social hemisphere where I was otherwise powerless. Kids at my elementary school were vicious, and I didn’t have many friends. A lot of kids got bullied worse than me, though. I was lucky. I was just the kid that wrote in the corner. Nobody really paid any attention to me.

When I went to high school I stopped writing for two years. I’d like to think that was because of the necessary adjustments my life had to make. I was figuring out who I was and where I was going. After visiting Italy with my mother my junior year, I started writing a fantistorical (we’re not sure if this is a real term…but I, dear reader, want it to be a real term…so we’re going to just go with it)  novel set in a realistic Roman Empire type universe. Even though I’ve long abandoned the project, I’ve been writing every day since.

Describe how you approach an idea for something you’re going to write.

Hey Dan, are you having fun? Yeah, seems like. Will others have fun reading this? If yes, then get to work, fool.

My instincts have never failed me when it comes to understanding the difference between personal writing and the kind of writing that can be shared. A lot of my poetry is personal and will never see the light of day. It’s the kind of stuff I write to help myself cope and understand the universe. But that’s for me. My writing that I consider shareable has some personal elements, but it’s more disguised.

You’re currently working on a series of novels…tell me everything about that process and also what you’re working on.

This seems like a tease for information about book two. I’m not biting. (It totally was a lure, of course. Curses! Foiled again!)

At current, I’m finishing up revisions for book one. It’s an insane amount of work. The novel is almost at 800 pages now, with nine unique perspective characters and almost forty or so others on the side. It’s hard to keep things consistent.

My schedule every day goes like this: I wake up at about eight, then write or edit until lunch. A lot of times I’ll write beyond that, or have an evening crunch, but I do my best work in the morning. I have several types of days beyond that, depending on where I am with a particular writing project.

First and foremost, I have free-write days. On those I just spew crude drafts of chapters. These usually happen when I’m starting a novel. The further I get in, the more specific certain days become. For instance, in my upcoming novel House of Spiders, I have seven perspective characters that I alternate between for each chapter, sort of like how Game of Thrones. Some days I’ll write or edit only from a specific character’s viewpoint. This morning was a Ben day, for instance, while yesterday was a Desna day, and so forth. It helps keep things consistent.

Right now I’m finishing up the end of Part Two for my novel and digging into Part Three, though by the time this interview gets posted on the internet I’ll hopefully be done with the whole thing. Halloween is my absolute deadline for the entire book, after all, so I should be in the thicket of writing the crude draft of book two, Garden of Fire. That’s the hope, anyway.

Do you mostly want to work within the bounds of novels? Do you write anything else (poetry, nonfiction, scripts, etc)?

My next project after finishing the five novels that comprise The Glass Towers will be either be a series of television scripts and/or a graphic novel. I think I’m lucky among writers in that I have way too many ideas. It makes me excited.

Could you describe the style/ types of writing you do:

I focus almost entirely on character and as diverse a cast as possible. I infuse a lot of personal questions and issues from my life into my writing, usually disguised. I like visual descriptions, probably more than you would like, or so you’ve told me! (Pints is kind of a harsh critiquer, folks. It’s shocking but true)

I like capturing the most important moments of a person’s life in a bottle, and letting that firefly blink or wither. That’s what my scenes feel like to me, at any rate.

What got you interested in the idea of doing a series of novels?

This might sound insane and egomaniacal, but I want The Glass Towers to cast a shadow alongside Harry Potter and Twilight (Twilight? Maybe Pints is a little frightened about recommending him now…). The level of prestige and depth that can be obtained from writing is staggering, and the stakes are high. I crave that. Above all, though, I want to reach people and make them feel something valuable. Urban fantasy has a horrible reputation for being all about vampires and shitty romance, and that territory needs to be taken back. There’s treasure to be found beyond all the bad gothic make-up and fake plastic teeth. I just know it.

Dream projects you’d like to work on

There’s a graphic novel series about anthropomorphic fish that I intend to write and draw before I die. It’ll probably end up being a web comic, but we’ll see.

You do a lot of visual work to incorporate into your writing (character sketches and such). What got you into adding that component?

I play a lot of video games and watch a lot of television, probably more than I read novels, I think. There are just so many amazing stories on so many platforms that I can’t help but explore a wide berth. It’s wired my brain towards specific visual interpretation, though, and that definitely appears in my writing. I had a professor once refer to my writing as cinematic.


Thing you think every writer should know.

Whenever you resume working on a particular project, don’t ask yourself, where do I pick up from here, but rather, why did I stop?

Also, if you’re not writing on a daily basis, you’re doing it wrong.

Things you’d most like people to get out of your work.

Value, mostly. I want people to forget who they are and dissolve in the page until they’re done with the book.

Writer you’d most like to meet.

Patrick Rothfuss. Because, beard. No, more than that. He’s like my chaplain of the word. His writing is a cornucopia of radical. I bow at his altar. But most importantly, I just want to be friends with him. He’s a phenomenal guy, and I’m not friends with many fellow writers. (Well, thanks, Dan…Dear Reader, your easily offended blogger storms off the set).

Thing you are most proud of in your writing.

I think I write children in a unique and fresh way. I always have the most fun writing from their perspective, at any rate. I also think I handle the introduction and understanding of fantasy elements at a natural pace. A lot of fantasy writers throw strange things at the reader too early, and that’s part of the reason why I love urban fantasy over high fantasy. It takes the world we know and slowly coaxes you in like a warm bath—at least, that is, until you realize those bubbles aren’t exactly what you thought they were.

What is coming up next for the world of Dan Pankratz?

After House of Spiders is done, I need to find a stable job for now and seduce an agent into taking up the introduction of the book to the publishing world. I’m honestly terrified in a sharp, knife-sinking sort of way. It’s really hard to publish right now and this is all I ever really want to do with my life. We’ll see how things go.

The most difficult thing you find about writing in ten words or less.

Writing women for what they are: as people, as human. (The blogger sighs…. But, seriously, Dan is making himself sound like more of a man-jerk than he actually is. I think?)


For more information check out Dan’s blog or feel free to send an e-mail!

Dan Pankratz is an alumnus of University of Wisconsin-Madison with a degree in English-Creative Writing. He is currently seeking an agent for his first novel, House of Spiders, while working on the book’s sequel. Be sure to check out his blog at

Contact him:


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ean weslynn: the interview

Dear Readers,

Here at Pints and Cupcakes, I like to think that all great artists should gain as wide an audience as possible. In that spirit, I am inaugurating a new post. Every month or so, I plan to feature an interview with an EBCP (Extremely Brilliant Creative Person). I hope you all enjoy this new segment on your favorite blog (I’m your favorite, right? Right? Guys??).

For my first ever EBCP interview, I have chosen the wonderful and insanely talented ean weslynn. I met ean weslynn (he’s a fan of no all-caps in his name and so I’m respecting that throughout) quite a few years ago now. I met him through his writing and was insanely impressed with his storytelling skills. I came to know him on a more personal level and was just insanely impressed all around. He’s hilarious, wildly intelligent, and so imaginative in his works that basically I just want to listen to him talking about his work around the clock (and, usually, with writers that is NOT the case, let me tell you). So, here Dear Readers, is a small glimpse into the mind of AWESOME.

Ean photo yes, he is in a onesie and on-set.

1.)     When did you begin writing? And why?

I’m gonna start this out sounding pretentious but even though I didn’t start writing until later in life, I was always a storyteller.

From a young age I knew that I liked making people laugh but it wasn’t until I was well into my twenties that I realized I could do it while not in the room.

2.)     Describe how you approach an idea for something you’re going to write

Ideas are as common as they are fleeting.  Normally when I have an idea I write it down (thank god for the notes app) and then promptly forget about it.  I try to go through my note app once a week by emailing myself the note, bullet point it and then use it as an action list. I go down the line and implement edits, flesh out story concepts or whatever the note may be.

This works well when I have time to work but I’m not sure what to start with.

3.)     You’re currently working on some screenplays…tell me everything about that process and also what you’re working on

I’m currently working on a few things.  A short. A web series. A feature. A TV pilot. A PSA and another web series, cause why the hell not?

Each process is different.  Most were my ideas; some were not.

For instance, the short is a collaboration.  My producing partner’s idea that we developed together and then I went off and wrote it by myself.

The web series was a one-off idea that people seemed excited about so I spent some time with it.

The feature became a feature when the story I was writing was too short for a TV series concept but too necessary not to write.

The TV pilot was the inevitability of my time as a novelist.

The PSA was the result of a drunken pool-side conversation with an acquaintance.

And the other web series is something that just kept coming back up in my head.

But once I start writing it’s always the same process: write it.  Print it out.  Edit with pen and Sharpie.  Put in the edits.  Print it out.  And if it’s in bad shape I type the whole thing back in to promote scene cohesiveness.

4.)     When I first met you, you were working on a novel/ series called The Freshman 15. Can you tell me about that project and where it stands now?

Writing a novel was a great experience because it made me realize I’m not a novel writer.  As I wrote the prose for Freshman 15 I found myself writing it as if it were a TV show.  After self-pubbing the book on amazon and then reflecting upon the experience it made me realize that the entire time the story itself wanted to be a TV show, I was just not in a place to see it yet.

5.)    I had the delight of reading some extremely funny and smart short scripts you’ve written for a potential web series (Day Drunk Gays). Would you describe this (as you’ll do it way better than I will)?

Four gay guys + infinity mimosas + camera = why hasn’t someone else already done this?

6.)    What got you interested in working more on screenwriting than on novelling?

When you tell someone that you are a writer, they will inevitably tell you about how they wish they could be a writer, and then they will go into great detail about their great idea that you should totally write for them.  A little while later, they will ask you who some of your favorite writers are.  This question always embarrassed me because my favorite writers are TV writers.  Joss Whedon, Carter Bays and Craig Thomas, Jane Espenson, David X Cohen just to name a few.

7.)    You have done some producing…What was that like?

It was funny, I fell bass-ackward into producing, it wasn’t my initial goal because honestly I didn’t know what it entailed.  It wasn’t until I was on set for my first production assistant job when a producer turned to me and said ‘you are a producer.’

My nosiness, along with my ADD and my desire to have my fingers in multiple pies means I’m a natural.

I have learned a few things though for those who aren’t sure what a producer does. A producer does whatever they can to help everyone else do what they do.

In short, producers make shit happen.

8.)    Ideal shows you’d love to work on, projects you’d like to be involved with, etc

Sadly, the one show I would have loved to been a part of was canceled shortly after I moved to LA.  For those of you who haven’t seen ‘happy endings’ please do so immediately.  It is a great show full of manic comedy and great characters that are easy to relate to.

9.)    You’re also getting into acting…Where/when/ why did you discover that as a passion?

In truth, I’ve always been a performer.  Singing in church from the age of three until I was smart enough not to be down with church anymore (around 9) but luckily that was the time I could join the school choir (save the arts!)

Musical and show choir dominated my high school career, but when I matriculated at UW-Madison I decided I no longer wanted to be on the stage.  I wanted to be normal.  Something I share in common with the protag in the Freshman Fifteen.  But as is always the case, those born into the spotlight can’t stay behind the curtain for long.

That makes me sound up myself, but in reality, I got back into acting for a selfish reason, just not the one you’d think.

If I act in the things I write, that’s one less person to have to deal with, plain and simple.  I know how it’s supposed to sound, feel and I don’t like having the option of blaming someone else.

10.) Thing you think every writer should know

I’m not good at being brief, so i have a few things that every writer will find out in their own time:

1) Writers write.  

2) Writing is actually rewriting.  No, actually, rewriting is writing, yeah, that’s it.

3) If you don’t enjoy writing it, no one will enjoy reading it.

4) There’s no such thing as writer’s block. 

This one needs a little explanation:  I’ve found that if I can’t write about what I want to write, it’s because there’s something else I need to write.

So I write whatever is going on in my head.  I just get it out. Sometimes it’s personal stuff, other times it’s a new idea I’m more excited about.  Sometimes it’s my brain’s way of telling me that there’s something wrong with the scene: a character missing, a plot point, or something more fundamental like motivations.  But I never know until I write it out.

11.) Thing you’d most like people to get out of your work

Catharsis. Be it laughter or crying.  Preferably a mixture a both.  My favorite moments of narrative are where they are so honest, so primal that you lose control of your body.

12.)  Writer you’d most like to meet.

Joss Whedon.  He has not only inspired me, he’s inspired other writers that inspire me.  His dialogue is so totally his own, I hope that one day people will be able to tell something I wrote simply by hearing the characters talk.

13.) TV show you could imagine living in

This one goes back up to Happy Endings.  But if it has to be a current TV show…True Blood.  I loves me some True Blood.

14.) what is coming up next for the world of Ean Weslynn?

ean weslynn is going to have a nap and zen fire zee missiles.

15.)  the most difficult thing you find about writing in ten words or less.

Making sure what’s in my mind gets on the page.

Bio: ean is a writer, actor, producer and all around human being living in LA.  he’s single (for good reason) unavailable guys to the front of the line.  (oh this isn’t a dating profile is it?)

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For more on ean weslynn and to become even more of a fan of his insanely brilliant awesomeness:

Twitter: @eanweslynn

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