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The following articles are excerpts from four articles and interviews on our old blog discussing screenplay contests and film festivals. Articles were written by Screenwriting Staffing's Founder, Jacob N. Stuart
CONFESSIONS OF A SCREENPLAY CONTEST JUDGE [you can read the full article here: PLOT IS NOT ENOUGH]
I’m often asked by my Screenwriting Staffing members what it takes to win a Screenplay Contest. Instead of lengthy emails back and forth, I tried finding links to send them regarding the topic. But most of the articles were 1) outdated, or 2) focused only on “plot” points. Many were written by writers sharing their own personal experience.
But the plot of your story is only half of the judging process during the 1st round.
This post is an opinion piece but it does hold some significant merit. Here’s why: I was previously the Screenplay Contest Director for Cincinnati Film Festival in 2015, a Screenplay Judge for Universe Multicultural Film Festival from 2014-present, a Screenplay Judge for San Diego International Kids’ Film Festival from 2015-present, a Film Judge for 48 Hour Film Project in 2015, a Screenplay Reader for BlueCat Screenplay Competition from 2010-2012, and a Pitch It! Screenplay Judge in 2015 for Eichelberger FilmDayton Festival. As a screenwriter myself, I’ve probably submitted my own scripts/films to OVER 40+ festivals (at least), where I have won, placed, and been REJECTED. So I do hope, in some way, that my advice does increase your odds in placing and/or winning in the next contest you submit to.
For starters, Film Freeway is my favorite. Namely for its user-friendly setup. But this post is in no way a promotion for any online submission platform. I just wanted to note that I will be referencing Film Freeway’s setup, but these tricks and tips can be applied when using Withoutabox (or something similar), too.
TITLE PAGE:
I’m not talking about the title page on your script, the one with the title of your script, your name, and contact info. I’m talking about your PROJECT PROFILE. As a festival director and judge, before clicking on your script, I’m taken to your online profile. Often writers leave this blank. All I see is your script’s title in big, BOLD letters, and an attachment (your script) to click on. At this time, I do not know your name, your genre, the premise of your story, your background, or your reasoning for submitting to my festival.
So now, even before opening your script, I’m reluctant.
Film Freeway, among others, gives you the opportunity to “buff” up your script’s (and you as a writer) resume before reading the actual script.
Your script should already have a Logline. List it under OVERVIEW. If, by chance, your script wins/places, a logline will be needed for publicity purposes. Having this saves the contest time. Plus, it already proves you understand how the “industry” works.
Your Bio. Whether you are a produced screenwriter or first-timer, this should never be left blank. Introduce yourself. The contest wants to know more about you. They want to be excited to include you in their festival.
Specifications. This lists your page-length, language, genre, etc.. The reader needs to know, before clicking on your project, that your script meets their requirements.
The Award section should not be left blank, unless your script’s not had any success (but we are going to change that). Like it or not, festivals (and this goes with films, too) want to know that your script has been vetted. Of course, this only applies to a few lucky people, but in the event your script gets accepted, places, and/or wins at another festival, gloat! Trust me.
Project Links. Most writers think this only applies to people submitting films. Wrong. It goes for screenwriters, too! Most likely your script, since it’s a spec, doesn’t have an official website and/or facebook. But I do hope by now, as a writer in the 21st century, that YOU have your own personal Twitter and/or Facebook (especially Twitter!). Link them. If you don’t have a personal domain, put your IMDb, blog, anything that showcases who you are. Why is this important? Well, it’s the MOST important part in your profile! Contests want to know you’re active, you have a following. Because if and when they select your script, they want to know you are going to promote the shi* out of it all over the web. It’s a give-and-take relationship. You tagging a contest is FREE publicity for the contest itself. That’s a win-win situation. How can a festival refuse?
News & Reviews. This doesn’t just pertain to your script. This pertains to you. Whether you were featured in a local paper for saving a dog from a burning building, or your last film won an Oscar, LIST IT. It shows them you’re relevant. If your script received positive coverage and it’s featured on the company’s site, share it. Again, like it or not, this tells the reader up front that they are reading a pro’s script — it puts them at ease.
Writer’s Statement. Why are you writing? What drives you to write everyday? The contest wants to hear your passion, your muse. Excite the reader even before they read your script. It will make the reading process more rewarding for them.
Cover Letter. For the 99% of screenwriters who have day jobs, writing cover letters should be second nature. It’s your introduction before your resume. Your script is your resume. But before reading, they would like to hear why you submitted to their festival. They are hoping it’s not because the price was affordable, or it was the first one that came up on google. They hope it’s because you believe in what the festival embodies. For instance, I made sure to submit my latest film that brought light to the Alzheimer’s epidemic during “Alzheimer’s Awareness Month” (November). I have a grandmother who, unfortunately, has this terrible disease. It’s what inspired me to write and co-produce the movie. So I spoke about that. I also made sure to ONLY submit to festivals that delighted in showing those type of films — so I made sure to compliment them for their initiative to showcase films with a purpose. The film was accepted into 3 festivals just last month. Get the point?
SCRIPT APPEARANCE:
Nothing is more aggravating than opening up a script that, at first glance, is not FORMATTED right. You could have the best “plot” in the world, taking us on the ultimate “hero’s journey”, but who would know? Your script’s already been tossed. It may not be fair, but it’s how the contest world works. If the contest promises coverage, the reader is forced to continue on. But try to think objectively here:
If a contest receives 1,000+ submissions, and an unpaid reader has to turn in 35+ a week, do you think the reader will give much time to a poorly formatted script? Nope.
When a reader opens your script, it shouldn’t just start on FADE IN. Your title and name need to be listed. Contact info is up to you (unless the contest requires it).
There’s a reason why sites like Film Freeway have PROJECT PROFILES. That’s so you can “pitch” your script before anyone reads it. So why do so many writers submitting to contests feel the need to list out the entire cast and synopsis in their script before FADE IN? You wouldn’t submit a script like that to a producer, right? Well, hopefully not. So… save that for your profile page; when a reader opens your script, he/she only wants to read the actual script, not that you think Morgan Freeman would be great for your lead character.
DO NOT submit a script with scene numbers. This is for shooting scripts, not spec. When a reader sees this they immediately SCREAM amateur.
Same with CONT.. Those are for shooting scripts, not specs.
COURIER FONT only. Please, please limit the amount of BOLD, ITALICS, and UNDERLINING, too. These readers are looking for a reason to move to the next script. Do consider that most readers are writers (or hoping to be). Many are in film school or just graduated. So they’ve been lectured (and brainwashed) on all the do’s and don’ts when formatting a script. And like it or not, those are the things most of them look out for. Look, I underline words in my spec scripts. And I keep those in when submitting to producers. But I ALWAYS take those out when submitting to contests.
End the script with THE END. This way the reader knows there aren’t any missing pages at the end. You’d be surprised how many scripts have been cut off with missing pages.
Test your script before sending it. Open and close it. Make sure there are no attachment errors, etc.. I can count on more than 2 hands how many times I opened a script and an “error” message showed, or the file was corrupt. NEXT!
Your file name should list your first and last name and the title. There’s nothing a contest hates more than scripts that are titled “UNTITLED”. Your script will get lost in the pile, rest assure.
All scripts should be in PDF. Do NOT send a word or google file. There’s so much screenwriting software out there (some in which are free) that there really is NO excuse to 1) submit a script that’s not formatted correctly, and 2) a script written in word.
QUESTIONS I’M OFTEN ASKED:
“When’s the best time to submit a script to a contest?” For starters, I always say sooner. Why? Because it’s much cheaper. Contests can get quite expensive. But I also say sooner because after about a month in, the reader is drained. They have read so many bad scripts, especially from writers who didn’t follow instructions, that they have lost hope.
Grab the reader’s attention while they’re still excited about the contest.
“How may people read my script?” Truth be told, usually one during the 1st round (sometimes in the 2nd round, too). Your larger contests typically have 2 readers judge your script during the initial judging process. That way, if you get a reader who’s having a bad day and they just want to vent, you won’t be screwed. Your mid-major ones usually have one during the initial judging process. They can cover anywhere between 2-30 (sometimes more) scripts in a contest. Your tiny ones are often not even read by “readers”, they are read by the people running the contest. So you have 1-2 people who read every single script (or so they say).
“Who’s reading my script?” Typically, readers for contests don’t get paid. There are a few out there that do, but for the most part they are being offered “experience”. Often these readers have limited experience covering scripts, but do hold some sort of degree or basic knowledge in screenwriting. When a contest boast their talented, industry-connected judges, those judges only read your script if it advances.
“Should I submit a first draft?” No. Seriously, don’t. I know a lot of writers submit to contests to see where their script stacks up, and if they need to do more re-writes, but they are just throwing money down the drain. If you want to see how your script is viewed, buy coverage.
Contests are looking for final drafts that they can take to their industry network — not work-in-progress scripts.
“Why does the festival staff ask if I will be attending their festival?” Simple. It’s a festival, a festivity. It’s a place to mingle and network. Watch great films, read great scripts. If no one shows up, it’s no longer a festival. They want people engaged in their product. They want to fill seats in the auditorium, sell merchandise, and garner buzz. I’ve volunteered at festivals that were empty — it’s embarrassing for both the staff and those attending. So it’s imperative that those they select as winners are there to collect the award (plus, they know you will be bringing guests). How would the Oscars look if each time they read off the winner no one came on stage? So if your film or script is a finalist and you get an email or call asking if you will be attending, you better say YES (and find a way to get there). Because the finalist who says “NO”, will mostly likely NOT be the winner. Again — fair? Maybe not. It’s just how the game works. Trust me.
I taught a class on this once at the Hollywood International Film Academy. It lasted 4 hours, and I could have probably gone on for another 4. Writers often wonder why their script is rejected. And sometimes, yes, your story just isn’t there. But a huge role in your script’s initial success is decided by your presentation. It’s like that class you had in high school where 10% of your grade was just showing up. That’s how I view these online platforms that allow you to submit scripts. Contest directors, judges, and readers REVIEW your profile. It plays an imperative role in your script’s success. Especially if your script passes the first round and moves to the second.
Your script already has a 50% chance of advancing if you just follow basic guidelines. Why? Because 50% of the writers who submit don’t follow them — and it irritates the hell out of the readers. Readers are the gatekeepers. Many of them are like you and I. They have good days and bad days. They are underpaid (or not being paid) and doing this for the experience. So give them a rewarding experience. Don’t give them a script that won’t open, or a script that’s missing pages.
Your plot/premise will ultimately decide whether you win or lose. But your presentation (or, lack thereof) will decide if you advance to the next round.
To close, I do want to mention that a writer should only submit to contests that have the muscle to change their career. I get the whole “padding” your script’s resume. So I understand why writers submit to “smaller” festivals that do nothing but post your name and your script on their site. But the truth is, contests aren’t cheap, and if your script makes it, you deserve to have your script in the hands of decision-makers. So be sure to review each contest, FilmFreeway and Withoutabox provides you with the contest’s info. A solid contest connects you with the “right” people. And finally, don’t get discouraged. I know writers who have placed in the Top 5 at one elite festival, and didn’t get through the 1st round in a no-name festival. Why is that? The reader had a bad day? The script never got read? The reader didn’t prefer your genre? Who knows. That’s the nature of the beast. But that’s how Hollywood is, folks. You only need 1 connected person to be a champion for your script!
Be sure to check out MovieBytes. They have a comprehensive directory of contests with their deadlines.
INTERVIEW WITH MICKEY FISHER ON SCREENPLAY CONTESTS [you can read the full interview here: HOW A SCREENPLAY CONTEST LAUNCHED MY CAREER]
So who is Mickey Fisher? Mickey is a native of Ohio, who is the writer and creator of the popular CBS series, EXTANT, staring Hale Berry, and executive produced by Stephen Spielberg. Need I say more? But what makes Mickey’s story even more inspiring? He was discovered (and so was EXTANT) through a screenplay contest (trackingb)!
Screenwriting Staffing: What is your overall thoughts and opinions on screenplay contests?
Mickey Fisher: A contest led me to having my own show on CBS so of course I’m a bit biased, but I think for someone who is outside the industry like I was, they’re a great way to get your material into the right hands. Even the ones I didn’t win paid off in some way. I was a semi-finalist in the Nicholl Fellowship back in 2006 and even though I didn’t win, a student in a graduate producing program tracked me down and asked to use my script for her thesis project, which led to a friendship and professional relationship that exists to this day.
She was one of the first real champions of my writing and I think that’s what contests offer: the opportunity to make fans of your work.
Screenwriting Staffing: What should EVERY screenwriter look for when choosing and submitting to screenplay contests?
Mickey Fisher: You have to do your research and find out which ones are really kicking off careers or opening doors for people. When I entered the TrackingB TV Pilot contest I had been reading about it for a year or two and knew that it was a viable option for getting scripts in the hands of people who could do something with them. Shortly before I was a finalist there I won a contest held by The Writer’s Store and I entered because I knew one of the prizes was a lunch meeting with Susannah Grant. I had read about The Nicholl Fellowship for years before I entered that back in 2006. Now there’s The Blacklist website, which isn’t a contest, but it’s got a real track record for launching writers.
Screenwriting Staffing: Briefly, can you explain to our readers how ONE screenplay contest changed your ENTIRE career?
Mickey Fisher: In early March 2013, I was a guy who was living in Orange County and knew very few people in the industry. I entered my spec tv pilot EXTANT into the TrackingB TV Pilot Contest and a few weeks later I got a call from the contest organizer saying I was a finalist and they were working to get my script to some agents and managers. A few days later I got an excited phone call from Brooklyn Weaver at Energy who said:
“There are no guarantees because that’s how this business is, but I think I can change your life with this script.”
Again, I’d done my research on Brooklyn, I’d seen his name on the Scoggins Report many times, so I knew he really might be able to pull it off. He started sending it around and two weeks later I signed with WME. The very next day, the folks at WME said:
“This show about aliens and robots, we think we should send it to Steven Spielberg.”
I was shellshocked but I managed to say, “That sounds great.” And luckily he and the folks who run his company responded to it so we hired a showrunner named Greg Walker and by the end of July we were pitching it to nine different places before we ultimately sold it straight to series at CBS, on my 40th birthday. It’s been a blur ever since.
Screenwriting Staffing: How important was Gravity’s success, popularity, and profits when making Extant? Would you encourage newer (or even veteran) writers to write what’s CURRENTLY popular in Hollywood?
Mickey Fisher: GRAVITY came out after we had just started the writers room and the hype had all died down by the time we premiered nine months or so later, so I’m not sure how much it helped us. I think more than anything it just let us know that you could get people in the tent for something like this. It was inspiring to me personally as a storyteller because I felt like we had tapped into a similar vein. But I wouldn’t encourage anyone to write what’s currently popular. I think by the time you finish that thing isn’t going to be popular anymore, except for zombies which seem to have no expiration date. I think the best thing you can do is write the thing you really want to watch and trust that if you think it’s cool someone else will too.
Screenwriting Staffing: You mentioned earlier in your career that you “shortchanged” your female characters, which created a negative impact on your stories. When did you finally start incorporating extraordinary FEMALE characters with even more extraordinary conflicts (like Extant) into your screenplays? Can you walk us through some of the hurdles and challenges you faced, seeing that you are a male writer?
Mickey Fisher: I had written a series of scripts where the biggest female character was the nagging wife who was worried about the hero husband, or the ten thousandth manic pixie dream girl, rather than three dimensional characters.
I thought about all the great actresses that I know (my girlfriend being one) and realized how little I was really giving an actress to play.
It had been easier to put myself in my male character’s shoes and imagine myself as the actor playing them, so that’s who got all the good lines and the meaty action. I made it a challenge to write a series of complex, cool, compelling female leads and it’s something I’m still challenging myself to do.
Screenwriting Staffing: Would you say some of the best “stories” today are on TV rather than film? And if so, why?
Mickey Fisher: I would say some of the best drama, period, is on tv, rather than film and even theater. I think the range of movies most studios are able to make right now is fairly narrow. It’s all comic book movies, remakes of stuff that’s already been done or things that have a branded IP like Legos or Transformers. That’s not a knock on that stuff because I love those movies and hope to write some of them myself. But it’s just the economic reality.
Whereas in tv, there are more buyers than ever looking for content, which leads to more opportunities for a wider range of material.
Screenwriting Staffing: On the surface, your story takes places in space, your lead is an astronaut, and incorporates aliens and robots. For most of us – and that includes myself – these aren’t typical topics or experiences we are well-versed in. But after reading an interview from Hale Berry, she credits her immediate interest in your project – and its success – was largely due to how you incorporate human emotions and feelings… for instance: What makes us human? How do we deal with our fears? Are we alone in this universe? What advice can you give to screenwriters when making our “not-so-human” characters….well, human?
Mickey Fisher: I think a lot of people talk about a writer’s “voice.” It’s a hard thing to quantify or even explain but to me, I think you find your voice when you’re writing the thing you would really want to watch and informing it with all of your hopes, fears, dreams, desires and more. I was writing about aliens and robots but I was also questioning my own existence.
Do I believe I’m just a collection of my information and experience or do I believe I have a soul? Is there something after this?
I think that’s the “write what you know” part of it. There’s a line in Self-Reliance, that Emerson essay that says something to the effect of, “Speak what is true to you and trust that it’s true for all men.” I think if you do that in your writing other people will connect to it.
Screenwriting Staffing: Would you say studios (especially in TV) favor sci-fi over other dramas? If so, why?
Mickey Fisher: I’m not sure. I do think there’s a great wave of interesting sci-fi fare these days and I’m just glad we’re a part of it.
Screenwriting Staffing: Lastly, you had mentioned when we spoke back in September that you had to “give up” some creative control. You credited this partially to your “lack of TV credits” and being a “newbie” in some people’s eyes. Yet, many writers can and will NOT give up creative “say”. What advice/suggestion would you give to those “unproduced” writers?
Mickey Fisher: Some people might look at it as “giving up creative control,” but I prefer to think of it as collaboration. TV is a team sport, for the most part. Most shows have a showrunner and a writing staff and then you have producing partners and studio and network partners. Beyond that, you have directors, designers, actors, all of whom are going to have experience and if they give a damn they’re going to have an opinion.
If you’re rigid about having control or have a “my way or the highway” attitude then you’re really not open to the best ideas and that’s harmful to the show.
We have a “best idea wins” policy, and I think that only helps. I’m not the showrunner, I’m just the creator so I don’t have final say on anything yet. But I hope if I’m ever lucky enough to get to that position on some future show, I’ll always be able to articulate a strong vision and then be open to any idea that improves on it, no matter who it comes from. Like Bruce Lee said, “Be like water.”
INTERVIEW WITH FILM FESTIVAL DIRECTOR, KATHERINE STEELE [you can read the full interview here: SUBMITTING TO FILM FESTIVALS]
SCREENWRITING STAFFING: Where do you rate story when judging a film for your festival?
Katharine Steele: Story is crucial to a good film. We look at 3 values: creative/concept (which includes story), technical/production, and marketability, which can also include story if the subject matter has a potential audience outreach. It’s pretty evenly distributed about 40%/40% with technical/production value with marketability being the remaining 20%. We have had films with less than great production value, but because the story is so compelling, we put it into our program, and conversely, we have had beautiful looking films submitted, but we didn’t program them because the story lacked in some way. Maybe the build up too slow, and ending wrapped up too quickly or not at all. Or maybe using crutches and devices that are cliched.
SCREENWRITING STAFFING: Can a film still be successful if the story isn’t compelling?
Katharine Steele: Success is relative in the festival circuit. Sometimes a film can be in dozens of festivals (like shorts) but don’t get any financial end or benefit in sight, and might end up costing a filmmaker more to market to fests. On the other hand, a film with a good story gets passed over and only selected for a few fests, or if the filmmaker isn’t confident in their film, or doesn’t care enough to try to get it in front of audiences, they might not try to get into the fest circuit at all.
SCREENWRITING STAFFING: What’s the #1 reason a film won’t be accepted into a film festival?
Katharine Steele: It’s really a combination of things, but in the end, how the film makes the viewer feel. Admittedly, good acting and the films look do carry weight to the success of the film, because sometimes bad acting and poor production value is so distracting, it disengages the viewer from caring about the story and its characters or subject matter. That being said, some of our films the story feels incomplete, mainly because filmmakers made the film as a demo for a larger feature project. We are a shorts heavy festival, and have many demos we program, but when a filmmaker is able to tell a story in a short film, there is a bit of magic to it. We’ve had amazing films that told the story in just 2 minutes, and feature length films that leave you hanging at the end.
SCREENWRITING STAFFING: Does a screenwriter/filmmaker’s location matter in today’s industry?
Katharine Steele: Fest circuit is different than the industry at large, so there are two answers to this: No, because of the economic divide has lowered with advances in technology and price drops allow up and coming filmmakers with low, micro and no budgets to create films that look good and get grassroots help from their local community. And yes, location also many times brings accessibility to higher quality talent, crew, and most importantly, distribution. Films with bigger budgets can afford to be in done in smaller markets and accessibility to distribution via VOD, theatrical, etc. Many new filmmakers don’t have access to that type of distribution to get any hopes of ROI. Fests are an alternative form of distro, but the only return on investment with many fests is in the exposure and marketing.
INTERVIEW WITH ANTHONY CAWOOD ON SHORT SCRIPTS [you can read the full interview here: SELLING SHORT SCREENPLAYS]
SCREENWRITING STAFFING: Short scripts are the little brother of the feature script, so there are many similarities. But what are some things that make them different (other than page count), and what challenges can they create?
ANTHONY CAWOOD: I think Short scripts are a great way for screenwriters to practice their craft and get used to writing in screenplay format, it’s easier to learn on a 10 page short than a 100 page feature – quicker too. I also think that the central idea or concept has to be really strong for a short as there is less time to develop characters – that’s less, not no time though.
SCREENWRITING STAFFING: Film schools and mentors usually encourage young directors to direct/shoot a short film as a calling card for exposure and future work. Can this be said for writers wanting to write a short too?
ANTHONY CAWOOD: Yes, I definitely think so, and you could be the one supplying those young directors with their scripts and creating relationships that last well beyond that first project, and of course who knows where the next Spielberg will emerge from.
SCREENWRITING STAFFING: There isn’t a ton of money in short scripts. So having an agent or entertainment attorney work out a contract for you may cost you money in the long run. So what advice can you give to writers when negotiating payment, credit, and re-writes regarding short scripts and sales?
ANTHONY CAWOOD: My controversial advice here is… don’t use them unless you already have them. I ‘sell’ approx. half of my short scripts, and when I say ‘sell’ I mean there is some up front payment involved. The other 50% I always ask for a % of any back end profits, just in case the film makes any. In all cases contracts, or informal agreements, have been what I and the producer/director have negotiated and agreed between ourselves… so far this has worked just fine, though I don’t advise this approach for features!
SCREENWRITING STAFFING: If a writer submits their short to a “short script” competition, what should they look for and expect from the contest? Which ones do you recommend?
ANTHONY CAWOOD: I think if you are looking to enter script competitions then you should start by working out what you want to get out of it. The normal reasons are, so you can say ‘I’m an award winning screenwriter’, to win cash or other prizes, or to get industry exposure.The latter is unlikely for shorts but the first two are definitely achievable if you invest the time in researching and entering competitions that fit your script. I use MovieBytes, InkTip, FilmFreeway and Withoutabox to find comps and then the competitions own website to do the research, look out for ones like Reel Writers which give feedback as part of the entry – always good to get feedback.
SCREENWRITING STAFFING: Should a screenwriter ONLY give their script away if there is payment involved? Is having the film produced and receiving credit payment enough?
ANTHONY CAWOOD: It’d be great to be paid for every short I write, but I don’t think that’s realistic given the financial constraints usually involved. Though as I said above, I make sure that there is a financial element on the back end in all my ‘sales’ and no film maker has ever refused this. So no, I think you should look at each case and judge them on the likelihood of your script getting filmed.
SCREENWRITING STAFFING: Do you write shorts for larger budgets or do you try to keep the location, character, and page count to a minimal? And why?
ANTHONY CAWOOD: I tend not to think of budget until I’ve finished as I feel it inhibits the creative juices, I also think that most scripts can be tweaked to accommodate smaller budgets if you think it through and be flexible. Character and page count are a lot more organic for me and they tend to fit the story rather than the other way round. Most of my shorts are relatively low budget, but occasionally that’s not the case. For example my recent short, Graft, takes place in a hospital, has a scene in an operating theatre and would require quite a lot of SFX work… so may never get made as a short, but that’s okay as I have plans to expand it into a feature.
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This article was written by Screenwriting Staffing’s Founder, Jacob N. Stuart. Jacob is an award-winning screenwriter with over 20 scripts either optioned or produced to screen, airing in over 15 different countries. He is a graduate of The Los Angeles Film School with a degree in FILM/ENTERTAINMENT. Outside of judging and spear-heading multiple film festivals across the country, he is a regular contributor for FINAL DRAFT and CREATIVE SCREENWRITING MAGAZINE. You can follow him on TWITTER.
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