My Day Job

I used to write comics. These days I’m writing a digital sci-fi serial that will someday be finished if I blog less, and edit more. Working on my series pays me ZERO. So how does a GloBL has-been like me pay her bills?

I’m an administrative assistant in the entertainment industry. I perform remote pre-production work for a Director’s Assistant. I type up and prepare shooting scripts. No, I am not a screenwriter, nor am I “writing for a TV show.” Even though I’m on the payroll as an administrative assistant, I’m contractually bound to never reveal the content of the scripts, nor can I talk about the company, or mention the name of the show, or anyone involved with making the show. Everyone participating in the production is bound by confidentiality rules–I know our show makes the caterer sign one. Oy.

What do I do, exactly?

Lots of shit happens to an episodic script between the time it’s written and when it’s given to cast & crew. There are five people on my team–three of them are on site while myself and another are in the production company’s state of incorporation. I deal with the initial changes made after location scouting is complete, and a content review is done. I type and print out that first version and turn it over to the AD. The AD implements any changes when he/she breaks down what I’ve done overall, into a proper shooting script (a scene or grouping of scenes the director wants to shoot on a specific day). If the scheduling is right, the AD will return to me their portioned shooting script, and I will prepare what is called ‘a packet’ of the day’s scenes. Packets are delightful projects involving various colored paper, numbered scenes, and the sort of collating that will have you acting like Jane Fonda in the Xerox Room, from the movie, 9 to 5. I do not deal with revisions made after the packet’s gone to the talent (actors) and crew. That’s someone else’s drama.

My online friend, author Aaron Gallagher, thinks my job sounds cool. I don’t share his opinion because as a writer, it’s masochistic to take a job formatting another writer’s successful ideas; it’s why my flirtation with fanfiction and fan comics, was brief. I’m a talented woman, with great stories to tell, but writing is 90% revision. When the paying job is formatting someone else’s 90%, you want to stick your head in a full toilet bowl and resist reaching for the handle to flush.

Character Building with Visuals

My publishing history began in graphic novels. Writing for comics and games is an intensely visual business; one doesn’t submit a script or idea without some form of art attached to it. Elaborate sketches or rough thumbnails of pages, your writing must be provided with some art if you want a graphic novels publisher to consider your project. Making the transition from comics to novels required me to make a clean break from utilizing art to tell (and sell) my story.

Should it, though?

Comics readers enjoy novels too (in Japan, prose written for manga and anime fans based on manga or anime properties are called light novels). Established visuals are important for me, and that’s why the series bible for Femitokon contains art. I’m not saying that acquiring artwork for your ideas should be part of your creative process. Every writer is different. I need visuals. Instead of art, scour the net for celebrity pics–use an actor in costume, or not. Your characters don’t require original artwork if your creative process doesn’t demand it; mine does.

Femitokon spans ten novels, so yes, I have quite a collection of characters. The Characters portion of my wiki-style Bible contains a master list of every player in the series. I use art to help me visualize my characters, as each page contains vital information about who they are and how they got here. For me, there is no detail too trivial, in creating a believable character.


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Links removed as the Bible is not public at this time.

Fyla Uym (f-eye-lah | yoom) is the Secondary Chair of the Generational Production Department, Prime Administrator of the Ramaxian Surgical Association, and Prime-Chair of the Applied Genetics Department, of the Prime Lab.

After graduating Mynu School of Medicine as a teen prodigy, young Uym entered the Prime Genetics College, and lead the team responsible for creating the kyrsbrains of Femtrux, and the hive. Years later, Uym became the youngest citizen, and the second Bizak, to make counsel-chair in the Generational Production Department and was elevated to Secondary Chair of the GPD*, in 2224. Privately, Uym sits on the board of the Oceanic Archeology Committee and is controlling member of the Bizaki Higher Sciences Association.

Fyla Uym is a scheduled citizen of the Tenth Ramaxian Gen, design Bizak, born 2185. She is the only surviving donation of Committee Member the First, Ryo Uym. Her birther and maker are deceased. Fyla Uym is not bonded and has no known donations to the citizenry.


Statistics

  • Name: Fylauym
  • Birther: Citrixhol
  • Kermatic M: Ryouym
  • Makodonic M: Ryouym
  • Citizenry Affiliation: Line Uym
  • Genetic Designation: Bizak
  • Ramaxi Generation: Tenth
  • Age: 43
  • Height: 6’8”
  • Weight: 194 lbs
  • Hide: Brown/variation
  • Hide: Gray/blue stippling

Training History

[Domestic]

  • Pikalit Bizaki Pod 6 (2195-2198)
  • Mynu Center for Biological Study (2196-2204)
  • Mynu College of Genetics (2205-2208)
    • Mynu Placement Index: #5 (among Hizak) #1 (among Bizak)
  • Orta Biologic Development (2208-2210)
  • Mynu College of Political Science (2210)
  • Sorority of Defense: Divisional Administration (2210-2225)
  • Surface Operational Femitokon Division (2210-Present)
  • Generational Production Department Administration (2215-Present)
  • Secondary Chair of the GPD (2225-Present)

In 2208, Uym became primary administrator of Project Femitokon and remains Prime Physician of the Femitokon Division.

Art by Amelie Belcher.