Breaking In to Writing for Animation, with Jarod Rosello
And more references to felines than I planned for, but that is probably to be expected?
From the Writing Desk:
Pheeeww.
Talk about in like a lion.
March was…something. Not my favorite month I’ve ever had. For about a third of the month I was dealing with one of the oddest and lingeriest sicknesses (not Covid) that I’ve ever had, and spent that time holed up in my apartment. God bless Tony Shalhoub and the rest of the cast of Monk (and my kitties, of course) for keeping me company and helping me not go insane.
There was just a lot of physical, emotional, and mental fighting that had to happen in March. It be that way sometimes, and the good news is, the bit about how March comes in like a lion also says it goes out like a lamb, and in the last few days/week things have resolved a bit and calmed down and I’m feeling ready for April.
On the writing front, some rejections have started to come in for my illustrated chapter book. Part of the battling that had to happen last month. But actually there’s good news—the rejections have all mentioned the same unsurprising, and fixable thing. Plot and structure, my old nemesis. It’s a matter of focusing and simplifying, which is absolutely doable. My wonderful agent is very helpful and encouraging, and this is by no means the end.
And the excellent news is that they all mentioned that they loved the illustrations. I was anxious about that one, honestly. Part of me was afraid I’d be laughed out of the room or something. Its just been me teaching myself for the last couple years, and it’s only in those years that I’ve even considered I might possibly be someone who could any kind of art thing. I’ve always wanted to…I’ve been obsessed with Shel Silverstein’s drawings and Quentin Blake’s Roald Dahl illustrations since forever. But with the neuroquirky and limited fine-motor ability stuff, I’ve never viewed as even a possibility until the last few years.
So we’re gonna keep tryin’.
Other than that, I’ve been in the very beginning idea-spark-putting-out-feelers stage on a couple scripts, a couple middle grade projects, and *gasp* an adult novel. (About retirees, of course. We’re fans of under 15 and over 50 round here hehe). Not sure which if any of these sparks will grow into full flame, but we shall see.
Onward!
Breaking In to Writing for Animation, with Jarod Rosello
I have a confession—I started the interiews in this newsletter for very selfish reasons. This is my excuse to talk to awesome people who do awesome things that I want to learn more about.
In that vein, I could not be more excited to welcome Jarod Rosello to talk to us about animation. I was introduced to Jarod and his amazing work as his student at the University of South Florida. He’s a talented and prolific comic artist and graphic novelist who has made the move into animation, and we are so lucky today to learn from his expertise!
Welcome Jarod!
1: How can a writer best prepare themselves to write for animation?
It’s really helpful to watch your favorite shows with a writer’s eye, paying attention to not just the big structural elements (number of acts, how transitions take place, what dialogue sounds like, etc.), but how stories get told. How is tension rendered? How does conflict get instigated and then resolved? What limitations and affordances does this medium offer you? Working in the medium of animation means your script has to be a tool for producing great animation. Being aware of what’s on the screen can help you reverse engineer those kinds of things on the page.
It’s also important to read as a many scripts as you can. Not all animation is scripted, but those that are offer insights into the vocabulary, structure, and formal tools you have at your disposal. And every writer (or animated series) has their own conventions for how to show something. So much of writing an effective script is about how you articulate it to the artists: being clear, while leaving room for creativity and improvisation.
2: What would you say are the best first steps for someone wanting to get into the animation industry as a writer? How does a writer even find these jobs/opportunities?
The first step is the same, I think, regardless of what creative industry you’re in: get to know your peers. Networking is a huge part of working in animation, but too many people think of networking as getting to know people who are already established in an industry so they can give you a job. Think of networking as building a community. Find ways to connect with similar-stage writers as you. Maybe you have a published novel and you’re curious about how to adapt it. Reach out to an author who’s doing that (or has done that) and get together for a chat. (If you have an agent, then they should be able to put you in touch with a film/tv agency, or recommend one to you!)
If you’re thinking about writing for animation, then you probably follow some animation writers online. (If you don’t, you should!) Send them an email and see if they’d be up for a virtual chat or a coffee, if they’re local. I’ve found that people who work in animation are extremely generous and friendly. And remember, like any community, it’s not just about what someone can do for you, but what you can do for others. Look for community-related events or organizations, even local ones, and show up! One of the first things I did was connect with an animation group and offer to host a workshop on writing for comics. I met a ton of people that way who are still part of my community today.
3: Besides the collaborative process, what do you think would be the most surprising thing for a writer going from traditional publishing to animation?
One of the things that was most challenging was moving from creating the final piece (my words on the page) to creating a tool for the final piece to be produced from. As writers, we’re used to focusing on the art of our words. But if you’re writing for animation, only the production team is going to see your script. That means your script has to work as a tool in order for it to be a good script! In addition to creating compelling characters and telling a great story, you have to emphasize clarity, communication, and comprehension. That can be tough for writers who are used to focusing on their style and voice, and maybe even overly-identifying with those craft elements. Your words are a tool for something to be made, and the best tools aren’t always the prettiest ones, but the ones that get the job done.
Thank you so much Jarod for your expertise! Find about more about Jarod’s work on his website, and make sure you pre-order the next book in his adorable graphic novel series, Super Magic Boy!
What I’m Reading: One of the positives of March is that I actually had quite a good reading month. I’ve had this adult novel idea in mind for years, but haven’t figured out what the format and structure of this thing looks like. Well, I read a book this month that helped me unlock that. Recommending Richard Osman’s Thursday Murder Club series is by no means original…they’re New York Times Bestsellers, after all. But oh man I love them. Totally delightful, and the voice is just so much fun. I read the second in the series this month and liked it even better than the first.
What I’m Watching: Okay…in the vein of middle-aged and older main characters, I’ve also been on a bit of a Kevin Kline kick. I’m usually a comedy/happy and upbeat movie and show kind of person. Heck, I watch kids cartoons most the time. But occasionally…like last month…I need a story about someone whose life is an absolute wreck, who’s a bit of a wreck and not a great person themselves. But, crucially, I want that story to end with growth and hope. Maybe even on a happy note. And I remembered a movie I’d seen years ago that could not fit that bill more perfectly. I watched it again this month, and yep, it was perfect. Kevin Kline’s performance in this movie is one of those performances that, to me, reveal how comedians are so often the best in drama roles too.
OH WELL WHENEVER WAS THERE EVER A CAT SO…: I hardly know what to say about this? Am I a cheesy dork for needing to share this?? I don’t care. I might have a new favorite female vocalist?? And the utter uniqueness of her face??? The vocal articulation????
Watch the whole thing. Trust me.
What I’m Drawing: Maybe I drew this in the week and a half I was holed up able to do basically nothing but watch Monk. Maybe I didn’t. Who’s to say.
“One should use common words to say uncommon things”
― Arthur Schopenhauer
Writing Opportunity: There’s a pretty unique opportunity with the Chicken House Fiction Competition, including potential representation and possible TV contract, it looks like? Definitely looks at least worth looking in to.
Teacher or Librarian? I would love to do a free virtual Q&A with your class or book group! If you’re interested in scheduling a visit you can reach out to me via my website. Let me know how I can support you! I’ve also got free classroom resources to accompany each book. You guys are rock stars!
Thanks for coming along everyone! The Smorgasbord is a hand-kneaded, hand-shucked, reader supported publication. You can support by buying a delicious book or by becoming a paid subscriber. It seriously means the world, you shining star you.
-Sarah
Sounds like we had similar Marches--ugh! That's great news that the picture book people loved your illustrations and best of luck with the rest of the sub or revision process! Happy April!
I also had a really rough March. Hoping that April goes well for you!