After a 15+ year career in marketing, digital media, and experience design, I am transitioning to fulltime storyteller. I am working with partners to create ePic books -- think of it as ebook 2.0, or the digital equivalent of a volume from the library at Hogwarts. I am also writing novels for two different publishing ventures, and writing screenplays. All of which share a common thread. E. Merrill Rootwrote: “We need a renaissance of wonder. We need to renew, in our hearts and in our souls, the deathless dream, the eternal poetry, the perennial sense that life is miracle and magic.” In the era of Google-earth, when we know all too well that there are no more undiscovered dinosaur plateaus in South America and no last enchanted forests waiting, still, to be found, we live in a world bereft of wonder. And perhaps more than ever, we’re hungry for the stories that, like Ariadne‘s thread, show us the way out of life’s dark labyrinths. As a veteran cross-media communications and content strategist, producer, user experience designer, and writer, I’m fascinated with the ways in which artists can use multiple media channels to create a new mythology relevant in the modern age. I’m committed to creating cross-media stories that make myth alive and relevant in the information age. My script, A Planet Called Eden, is a first step. In addition to telling a compelling story with mythic undertones, it establishes a lush environment with unlimited storytelling possibilities, across media channels, quadrants, and genres. It's already won two contests, and the feedback has been glowing: From The Black List: “A Planet Called Eden” is wonderful science-fiction with a mind-blowing setting, fantastic action and a strong cast of characters. The world these explorers come to is unique and fascinating, creatively fusing alien concepts with Earth history and pre-history. It could make for some spectacular visuals, stimulating the senses with special effects as the science and philosophy stimulates the mind. The Neoraptors are a wonderful creation, very entertaining and fun to watch. More than the science-fiction spectacle, the script has rich character development, such as the backstory with Jack and Dominic, and addresses the serious intellectual implications of the discovery. Kim and Dominic’s philosophical discussions about science and religion are deep and insightful. The climactic revelation at the end is interesting and does not underwhelm. From Bluecat (first reader): The visual sense is incredible. It starts off introducing the characters through both voiceover and images; giving us the back-stories of Jack and Dominic, as well as Kim and the other members of the crew. Then, from the moment our crew enters the wormhole, the script grabs us by the throat and doesn’t let go. Every sentence is treated as a shot, and each sequence flows with a very direct sense of urgency. We can see everything just as it would happen onscreen, and the script absolutely succeeds in painting the visual picture for us. Velociraptors—riding T. Rexes. It sounds like an utterly ridiculous idea, but it works because the script doesn’t play up the ridiculousness. The script may be tongue-in-cheek with it’s editorial asides, (I did Google some of those dinosaurs, and they are indeed pretty wicked), but it never condescends, or makes fun of its own premise. Instead, it builds a world where these different species and opposite cultures could come together, and then it seriously commits to it. Because it sells us on the idea of the aliens creating a terrarium and fully commits to the mythology of these aliens populating this world, it functions. I also sincerely appreciated that in this Cracker Jack, mile-a-minute script, it seriously found the time and inclination to engage in deeper discussions. For one thing, I really do believe that Kim’s religious (or perhaps they should be strictly defined as spiritual) inclinations help put us in a contemplative mood, and help us have something to focus on—and not just the dinosaur chases. I really did like that moment where Kim decided that she was going to stay; that she belonged her, exploring the mysteries of these beings that effectively created us. And the rivalry between Dominic and Jack succeeded in developing from the requisite crew conflict, and really became a story about love and pain, and learning how to cope with the void that abandonment leaves. I really was quite moved to see the two brothers finally reconnect—and though we never see much evidence of it in the beginning, their pairing to continue the idiot hijinks during battle really brought the wondrous “boy’s adventure” story aspect of the entire film him. From Bluecat (second reader): This was a swashbuckling and exciting little science-fiction romp. It had a number of charismatic and memorable characters and a plot that was replete with intrigue and suspense. It fulfilled a number of genre expectations and ultimately proved to be a thoroughly entertaining script. It had pangs that were unmistakably reminiscent of JOHN CARTER OF MARS and SUNSHINE. It’s certainly visual. It has visual appeal in spades. It couldn’t look better. It had echoes of H.G. Wells THE LOST WORLD. It had vast potential in terms of production value. The writer has a good eye for visuals. The descriptions were consistently lush and verdant and the audience couldn’t help but to feel completely immersed in this vivid little world. The story is also conveyed in an optimally visual manner. The writer relies on an impressively expansive arsenal of visual storytelling techniques to get the story across. The story hums along in a most palatable fashion. It’s watertight in that regard. These scientists cavorting in this alien and retina-popping environment reminded me slightly of AVATAR. The script came off very researched and authentic. It seemed like the writer had a good understanding of the science and logistics of what was happening. The suspension of disbelief wasn’t too much of a stretch. All the technical jargon sounded all just within the realm of plausibility. And I thought that lent a certain degree of verisimilitude and credence to the narrative. It hits the right notes in terms of genre expectations. Midway through the script it turns into a sort of creature feature in the vein of JURASSIC PARK. The introduction of dinosaurs and lost civilizations was a refreshing left turn from the conventional science-fiction narrative. And the audience should gobble up this fare with much alacrity. The dialogue was also a strong suit. The writer has a finely tuned ear for it. The dialogue aligned appropriately with each character’s respective backgrounds. It all sounded very convincing and believable. And each player was imbued with a clearly defined unique characterization through their dialogue. Their vernacular and parlance, etc. It was quite well crafted. The action sequences were well done. There was no deficit in that department. The writer orchestrates some pretty compelling and kinetic action sequences. We’re completely engrossed by these scenes. And they chimed in at the most appropriate moments in the narrative. The story didn’t miss an action beat. It was pretty clockwork in that regard. From Fresh Voices: A Planet Called Eden is a blend of all different kinds of sci-fi, from the hard science fiction of Michael Crichton to the softer science fiction of HG Wells and Jules Verne. In many ways, this story functions as a fusion of 2001: A Space Odyssey, Journey to the Center of the Earth, and James Cameron’s Avatar. This could be a recipe for disaster, but overall I thought you made it work quite well. I admire how you really balanced the urgency of suspenseful discovery with the sense of adventure. Earlier scenes have the sort of suspenseful intergalactic mystery of 2001, Sunshine, and even Event Horizon, but once the second act kicks in, it feels more like a rollicking adventure that could have been made as a popular B movie in the 1950s. Your transition between the two is seamless. I also must praise your use of teases, foreshadowing, and set-ups/pay-offs. Your opening montage ended with a great mysterious moment that gave the script momentum from the start. Then later when Angela reveals the true nature of the mission, that made me intrigued all over again. The moment when we get our fist small mysterious taste of the dinosaurs of the planet at the bottom of page 32 is chilling. You also do a great job setting up jokes, such as the “space princess” set-up on page 13 being paid off with the wonderful line, “See? Beautiful alien space princess.” on page 69. Great job John! Overall I thought this was a very entertaining story. It’s the kind of space adventure they don’t really make anymore, which might make it a tough sell, but that doesn’t prevent the script from being a thoroughly enjoyable read and a strong writing sample. Good job and good luck!
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