Genre: Drama/Supernatural/Children’s
Premise: An adolescent boy with a terminally ill single mother begins having visions of a tree monster, who tells him the truths about life in the form of three stories, helping him to eventually cope with his emotions over his dying mom.
About: This one finished Top 5 on the 2013 Black List. Patrick Ness adapted from his own children’s book. This one has an interesting backstory in that another author, Siobhan Dowd, came up with the idea and was set to write it, but died in 2007. Later, an editor (who worked with both Dowd and Ness) gave the idea to Ness. Just this past month, Liam Neeson signed on to play the big scary tree monster.
Writer: Patrick Ness (based on an idea from Siobhan Dowd)
Details: 105 pages (July 6th, 2012 draft)

monster calls

So I was sitting there thinking, well, I ended up liking that dying teenagers script, The Fault In Our Stars. Maybe this is a sign of things to come. Maybe cancer scripts are my new thing! I mean, the way these things are coming on, they’re going to be rivaling comic book movies soon. Maybe that’s why Edgar Wright really dropped off Ant-Man. He wanted to make a Cancer Trilogy. Cancer… Ninjas?

As always, the trick with these scripts is to avoid the melodrama traps. If you’re set on making people cry, you’re probably not going to make them cry. Real life isn’t people hugging and saying goodbye on death beds unless you’ve earned it. Unless you’ve built up a story with a lot of complex emotions that are many times the exact opposite of death and sadness. This is something A Monster Calls does quite well.

The script is about a 12 year-old kid named Conor whose mother is dying of cancer. Remember folks, when you’re setting something like this up, don’t go for the obvious “mom in bed dying shot” to establish the cancer. Here, Ness wisely shows Conor getting ready for school. He cooks, he cleans. He does all the things a parent is supposed to do. So when you see him doing it, you know something’s off. Therefore, when his mom appears at the top of the stairs, weak and sick, we know exactly what’s going on.

So one night, Patrick’s trying to sleep when this huge thousand year-old scary tree in his backyard comes to life. The tree informs Conor that he’s going to tell him three stories that are going to change his life.

The structure of the script, then, cuts between three places. Either Conor with his family, Conor at school, or the tree telling him a story. In the first story, the tree tells the tale of a prince who kills his future bride in order to save his kingdom. It’s a confusing story because Conor’s not sure who’s right in the scenario. Is it right to kill someone to save others? Or isn’t everyone who kills wrong no matter what? The tree can’t answer that question for him. He has to figure it out himself.

This segues into a second story about a chemist who could’ve saved his neighbors’ lives but chose not to out of spite. And the final story is about an invisible man who wants to be seen. All three stories do not have the traditional “happy clear” ending that fairy tales have, and this frustrates Conor to no end.

(spoiler) As Conor finally comes to the realization that his mom is not going to get better, he realizes that the complex feelings he’s been experiencing (which include wishing his mom would die), aren’t that different from the complex tales the tree has been telling him. The moral here is that there is no black and white in life. We are instead drowning in grey.

Illustration from A Monster Calls

A Monster Calls is quite good, if a little sad.

What stands out most about it is exactly the theme it trumpets – that we live in a morally complex world. As screenwriters, you’ve been told to explore the grey areas of your characters and your story, and A Monster Calls does so on almost every page.

As I stated about the tree’s first tale, the story actually ends with the tree helping the prince who killed his own fiancée! And the tree tells Conor this is perfectly fine! In order to save many, you sometimes have to get rid of one. I give it to Ness for throwing a seriously complex question out there, but how parents are going to explain this to their children, I have no idea.

I also enjoyed how Ness would do the unexpected. For example, this huge monster tree squeezes into Conor’s window in the opening. But he just sits there unimpressed. He’s not scared, not for a second. Can’t remember seeing a kid react like that before. Or the bully who bullies Conor – he doesn’t always attack. Sometimes he just stares at Conor or walks away. Or when Conor throws his best friend under the bus, he suffers no consequences for it. “A Monster Calls” often avoids the easy choice, which I loved.

Where A Monster Calls really excelled, though, was in its relationships. Remember what I’ve told you guys: You want 2 or 3 key relationships in your script that contain some sort of unresolved issue. If you get this right, you should have your reader zipping through the pages to get to the end, because as viewers, we’re not satisfied until we see people’s problems resolved. And the more unresolved problems there are, the more resolving we get to look forward to.

A Monster Calls created SIX unresolved relationships. Here they are…

1) Conor and the Tree – What are all these stories about and what do they have to do with him?
2) Conor and Lily – Conor’s old friend whom he broke up with.
3) Conor and the bully – A bully who keeps picking on Conor at school.
4) Conor and his Grandmother – He’s never liked his Grandmother and now he’s probably going to have to live with her.
5) Conor and his dad – His father has moved on to another family in America and they barely ever see each other.
6) Conor and his mom – His mom is dying, and it’s killing Conor every day.

This is something all of you should be doing. Identify an issue between your main character and each of the other main characters and use the duration of your screenplay to resolve that issue.

Despite this being really solid, there was something missing that I couldn’t put my finger on. I think I was looking for Tree Monster’s stories to connect with the cancer storyline better.  How exactly does the prince killing his fiancée help Conor let his mom go?  I’m still not sure.  It was one of those deals where you go, “Ehhh, yeah, that SORTA works,” but it doesn’t work in that ‘hit you in the gut’ way. And when you’re talking about a subject matter this intense, I think we’re expecting to be hit in the gut, to experience that magical rare story moment where everything you’ve been reading all comes together at once. I’m sad to say that didn’t quite happen here.

One thing’s for sure though. This will be an interesting one to watch. It might be too dark for the average kid. But the emotional component is there in spades, which should draw in the adults. It reminds me a little bit of The Iron Giant in that respect. But this is darker than that. I don’t know. We’ll see. But regardless, A Monster Calls is definitely worth checking out.

[ ] what the hell did I just read?
[ ] wasn’t for me
[x] worth the read
[ ] impressive
[ ] genius

What I learned: I used to think cramming five or more unresolved relationships into a script was too much. That there wasn’t enough time to adequately explore all those relationships in an emotionally satisfying way. But this taught me you can explore more relationships as long as you keep some really short. Like the father in this script comes in for only three scenes (he flies in from another country). But those scenes are still very powerful because Conor and his father have such a huge disconnect.

  • leitskev

    I read about half this script a while back. Enjoyed it. It was a little weird, but I like weird. Definitely felt original. Carson raises some interesting points, some things that could be sticky for a darkish script aimed at a certain audience. But it’s also really cool that scripts like this get attention. It has the feeling off old fashioned story telling, despite the weirdness.

  • Randy Williams

    “…there is no black and white in life, We are instead drowning in grey”

    I have a hard time watching movies with a lot of “grey” matter. Usually exit with half-eaten popcorn and depression. With movies, I get an escape from life and I like things in black and white. Good guy, bad guy, funny guy, straight guy, loves me, loves me not.

    A prince kills his future bride in order to save a Kingdom? Makes me totally frustrated, like why didn’t those soldiers in “Lone Survivor” just save dozens of Americans and waste a couple of freaking Afghan goat herders?!

    • Linkthis83

      Regarding LONE SURVIVOR: I’m not going to dwell on the valid reasons they gave for not killing them. I also have the luxury of not having to have made that decision in the first place. However, this example shows how we can trick ourselves into the old “We have two options.”:

      I read the book and was enthralled. Went to the theater, mostly same feeling. What irks me the most is the “two choices” conundrum. I couldn’t understand why that didn’t focus on the biggest impact of the choice they made. If you let the one go, your biggest issue is TIME. So when you make that choice, make the choices that give you MORE of the thing you need most. Let the oldest person go. And when you decide to let him go, zip tie his arm to his ankle…and then let him go. Make his journey as slow as you can to give yourself a longer head start.

      Again, I have the luxury of not having been in that moment. It’s easy for me to sit in my luxuries and talk about what these soldier should’ve done. It’s just what I wished they would’ve done. I also don’t actually KNOW what the outcome would’ve been had they made that choice. Maybe somehow the way things would’ve played would lead to losing all the men on the mountain that day. One of the biggest lies people believe is that hindsight is 20/20. Far from it.

      • Jarman Alexander

        This is a message I think all parents should be teaching to their kids. There’s too much emphasis on a right choice and wrong choice. I think you are better served to look at life like a scientist and say “I know these two options exist, but what other options can I create out of what’s in front of me”. It translates well to the writing process.

  • Tschwenn

    I read this awhile back when it was announced on the Black List. I put it down halfway through. I felt it a compelling idea, but like Carson, thought there were too many relationships — and little actual development within them. I never felt this was something I “needed” to finish or tell someone about.

  • Bifferspice

    i love the idea of this so much, i stopped reading this article after a couple of paragraphs. i’m going to read the script and report back :)

  • Matthew Garry

    From the angle of getting talent attached, which is an important part of getting produced:

    If you compare potential pitches,

    “You’re a guy with a gun, who chases after THING, but but but, he has a dark secret/past that he has to overcome for him to catch up with THING.”


    “You’re a tree.”

    I can imagine the second one being far more interesting than the umphteenth iteration of the first one, especially for actors who’ve already been there.

    I’m not saying you should feature active trees in your next screenplay, but once you’re busy off the beaten path storywise, it might serve a writer well to run with the alternative reality and make it as interesting as possible for actors (with parts that would not exist inside normal stories that are constrained by a more mainstream reality).

    • Randy Williams

      In first grade, I was “third tree from the right” in our Thanksgiving play.
      Not exactly challenging but I see what you’re saying.

      In the script I’m working on now, I’m trying to create a leading role I can see the actor kidded about on Late Nite with Jimmy Fallon.

    • Linkthis83

      Well…if you’re pitching it, sure it sounds less interesting :)

      However if your pitch is “You’re a tree. A dark tree. Who tells stories to a 12 year old boy whose mother is dying of cancer. Also, Tim Burton is attached to direct. Well…what do you think, Johnny? You in?”

      • fatherdope

        “It’s not Johnny. It’s Liam, ya bastard!” *gunshot to your head*

  • Jarman Alexander

    If your scene is not resolving an issue between characters, it should be creating/exhibiting one. It’s so much easier to write a scene with these motivations in your mind, and you just might get the audience to feel invested as well.

  • Logic Ninja

    Completely OT:
    Does anyone out there, like me, think X-MEN: DAYS OF FUTURE PAST is a bit overrated? Action bits were nice, but a few major plot points felt a bit hollow. For instance (Spoilers. Duh):
    1. The whole movie comes down to Mystique’s FATEFUL CHOICE: will she stay her hand, let Bolivar Trask live, and save the human AND mutant races from certain and eminent destruction? Or will she murder Trask in cold blood, thereby…making herself feel nice? Wait. What exactly would Mystique gain by killing this guy? She knows if she does, she’ll die in agony, along with every single person she’s ever cared about.
    C’mon, movie. If you’re gonna hang your plot on a FATEFUL CHOICE, make sure the choice is actually a difficult one! And you should also spend some time developing the character making that choice–’cause this movie isn’t starring Mystique. It’s starring Wolverine. We hardly know anything about Mystique, other than, she chose to fight the humans to save mutants. And based on that knowledge, she sure as hell isn’t gonna shoot Trask! Not unless she’s also a mental patient (now imagine if THAT were the case. That would be one hell of a climax).
    2. Kitty (I think?), the time-travel-mind-powers-chick, struggles to stay alive during the last twenty minutes of the movie, so she can keep Wolverine’s consciousness in the past….Where he does nothing. He is literally impaled with a dozen pieces of rebar and stuck at the bottom of the river. He does absolutely nothing to influence Mystique’s choice not to kill Trask. Which means they’ve already won! All Kitty has to do is let Wolverine return to the future, and the Sentinels will disappear! Why the *$%!& does she keep struggling for life?!
    Those two teensy issues brought this movie from a 9/10, to about a 5/10. Anyone else agree? Disagree? I dunno. Maybe I’m crazy. Maybe the whole world is crazy! Mystique sure as hell should have been crazy! Imagine if she went completely psycho. What a badass movie that would have been!

    • kenglo

      LOL they couldn’t go psycho over the top cuz. that’s not the American film maker way. If this was directed by Tadashi Miike….well then!!

    • Kirk Diggler

      I thought the “Time in a Bottle” scene with Quicksilver was one of the best scenes in any superhero film I’ve ever watched.

      Regarding Wolverine, he did serve a purpose even if he didn’t directly influence Mystique’s decision. He implanted the idea in Charles’ head that Mystique needed to be stopped. As far as Kitty knows, she has to keep Wolverine in the past for as long as the Sentinels keep attacking.

      Regarding Mystique’s fateful choice, it’s a bit of a plot hole. If anyone could have convinced her that killing Trask would be bad, it should have been Magneto.

      • Logic Ninja

        Yeah, that Quicksilver scene was SICK. Enough concentrated awesome for ten movies–but I wish the end had lived up to that level of awesome. I thought about Kitty’s not knowing Wolverine’s out of commission–but at the beginning of the movie, when she sends Bishop back into the past, she tells the Sentinels, “Already too late.” So she knows Bishop has already succeeded in warning everyone of the coming attack. She gives other indications she can see what’s happening through the eyes of whoever she sends back, so at the very least, she knows Wolverine’s at the bottom of the river. But even if she couldn’t, since we know her efforts to keep Wolverine in the past are completely worthless, the scene loses all its emotion; instead of a heroic last stand, it comes off as a tragic waste.
        I can’t help thinking how sweet it would be to have Jennifer Lawrence play a completely unhinged version of Mystique–a Mystique twisted by blind prejudice against humans, such that even Magneto is hard pressed to remind her of reality. Oh well. Putting “Time in a Bottle” on my Spotify playlist pronto.

  • ASAbrams

    I read A Monster Calls and enjoyed it, for the most part. I liked that Conor had a sense of humor, and I liked his interactions with the tree.

    Yet there was something that kept me disconnected from the whole thing. Maybe because I knew where it was going from the beginning, I wasn’t as engaged in the emotional aspect as I could have been. His mom dies, and he has to let go… Yeah, okay.

    In the present story Conor barely has an active relationship with his mom–the only thing we got is the video on his phone. She feels like a memory before she even dies, just laying in bed or going to the hospital. It would be nice if we saw Conor talk to his mother about the stories the tree told him. That way, they’d have more interactions other than her lying about doing well.

  • Eddie Panta

    The supernatural element here: A monstrous talking tree, is dealt with very directly, . It just is. What starts off as a dreams, turns into a vision, then slowly into a reality. The script succeeds because we never question the legitimacy of the talking tree.

    Conor’s dream life is very vivid, but his home/real life is very mundane and delivered with a matter-of-fact style. He gets up, does chores, gets ready for school, feeds himself, etc.

    The details of Conor’s ordinary life ground the story, so much so that we buy the TREE without question. There isn’t any explaining of it.

    The balance between the fantastic and the ordinary creates believable story, not the exposition surrounding the supernatural element.

    It’s weird to suggest that a scene should be plain and ordinary, full or mundane tasks. But it’s necessary to ground the character, to create a realistic external world.

    Although Conor’s first scenes are daily tasks, the scenes are layered with mystery and underlying conflict. Conor is suppressing something.

    What I learned is that the more you ground your characters, the more you alleviate the need for exposition in regards supernatural element. So I think it’s okay to spend some time a character’s task and detail the ordinary. The conflict in the scene doesn’t need to be obvious or attached to the character’s physical actions.

  • Citizen M

    I zipped through this in double-quick time. I thought it was extremely well written. It had to create scenes we have never seen before, and did it well.

    The first time the tree monster appears was really scary. More scary than most horror movies. Which was perhaps tonally a bit off. Sets the wrong expectations.

    But once the monster says, “I have three stories, and you will tell me the fourth.” we know we are in familiar fairy tale territory and can relax and enjoy the ride. (Well, sort of.)

    Like Carson, I thought the stories were ambiguous. It’s hard to know what moral to draw from them. I don’t think they would help a 12-yr-old boy cope with his mother dying or his feelings.

    As someone who has been in much the same situation, although I was 17 not 12, it makes me quite angry at how unhelpful adults can be. I believe it stems from cowardice. They can’t answer a child’s questions about death and why me? so they prefer to duck the issue by pretending everything’s going to be all right.

    In my case, when it was learned my mother had terminal cancer, my stepfather went around to all the friends and family and told them the news, but instructed them not to tell me or my sister. We were told my mother was sick but would get better. And even though all her hair fell out because of the radiation, and she eventually became a human skeleton as the cancer ate away at her, and half the time was gaga from morphine, we basically had to keep up the pretense that she would get better one day.

    Firstly, there’s the simple practical stuff. If my mother dies, what will happen to me? Who will I live with? Where will I go to school? Often there are several possible alternatives. They should be discussed with the child, and the pros and cons of each one weighed, and the reason for the final decision given. This was addressed in the script, but not adequately.

    Then there’s dealing with emotional matters, which is what the tree monster is doing. Children want to do the right thing. But when confronted with a new situation, like a loved one dying, what is the right thing? With no experience to guide them, children need to be helped. This is how you should behave, this is what you should say, this is how you deal with your feelings, this is how you deal with other people’s feelings. (Like other people looking at you pityingly. A look I got to know well.)

    In my case my mother and I had a very bad relationship, I am sorry to say. She was always criticizing and complaining. Whatever I did, she would find fault with. As a consequence I wasn’t on speaking terms with her. Thank god for boarding school and the army. It made family life bearable. But her impending death was the time to patch up our differences, find closure, resolve our issues, etc etc. Only it never happened. And all because of the pretense.

    Death has become The Thing That May Not Be Named in Western culture. Yet we will all experience it. It’s time that artists gave it some serious attention, without a Hollywood gloss. I believe this film goes some way to providing what society needs.

    • kenglo

      I have three daughters, different ages, 7 years apart, but I preached to them the same things over and over, and I never BS them about life. Maybe it’s because when I grew up, things were as you stated, not spoken about. So I explained to my wife, I’m telling them EVERYTHING, and she should too. Never hold back. Heck in this day and age with the Internet, kids handle a LOT more than we did when we were their age.

      I’m genuinely saddened to hear your tale Citizen M. May God (or whomever you put faith in) bless you.

      As far as the review, Carson, this actually moved me and made me think of the ‘unresolved relationships’ hook. I like that! Good advice!

    • Casper Chris

      Death has become The Thing That May Not Be Named in Western culture. Yet we will all experience it. It’s time that artists gave it some serious attention, without a Hollywood gloss.

      I wonder what you’d think of my latest script. ‘Death’ is its main theme and I believe I give it some serious attention.

  • Matty

    “how parents are going to explain this to their children, I have no idea.”

    In the words of the great Louis CK…. “Why do you care? it’s [their] shitty kid….why is that anyone else’s problem?”

    Anybody have a copy of this script they can shoot my way?

    Thanks a bunch!

    • Linkthis83


      • Matty

        You’re too quick!!

        Thanks, though, man. I didn’t actually get it from you haha (maybe I will in a minute), but I already had it realized. :-)

        • Linkthis83

          No, it is Yahoo that is too slow! I actually sent it before I posted “sent” — I didn’t want to cheat. Lol. I figured you had the 2013 blacklist and were just being a lazy bastard.

          • Matty

            Well, I didn’t read that it was on the blacklist, but then I read the newsletter and Carson mentioned it. I should probably do a search on my computer for these scripts before I ask for them, though. I have so damn many.

            And yeah, being a lazy bastard is what it amounts to ;-)

      • Mike.H

        a PDF copy to yokejc100 AT yahoo dot com, thanks! :)

        • Casper Chris


          • Marija ZombiGirl

            *cough cough*
            Would you, please ? :)
            marija dot nielsen at gmail

          • pmlove


  • ThomasBrownen

    Back when I started reading this, I was all prepared to dismiss it as [x] wasn’t for me. The first act had some well defined characters, but as soon as the tree said, “I’m going to tell you three stories,” I groaned. Ok, I told myself, buckle up for long, pointless stories with little effect on the plot.

    And that’s sort of what happened. I think the first story was about ten pages long, and the story didn’t seem that compelling. I could see how the story was supposed to inform our view of the boy’s life, but it didn’t quite fit. I got bored in Big Fish and Sucker Punch when we had long, pointless side stories that didn’t affect the plot, and that happened here too.

    BUT, as the script continued, I liked it more. I think there were well defined characters, and their relationships were handled nicely. The character’s actions were often unexpected, like the boy being unafraid of the tree monster, the boy turning on the girl who defended him, and the bully deciding to just ignore the boy. The adults’ decisions to just write off the boy’s problems because “what difference would it make at this point,” seemed accurate to real life, and were painful to read.

    So by the ending, the well defined characters and their realistic, but not clichéd, relationships worked the script up to a haunting [x] worth the read.

    And Liam Neeson is a GREAT choice to cast as the tree monster. I imagined the tree monster sounding like an ent from Lord of the Rings, and I can see the tree monster on screen having this rumbling, haunting presence on the screen that doesn’t quite come across on the page.

    • Citizen M

      “Okay Liam, here’s your character.”

      Ancient yew tree — Just outside the west door of the church of St Mary in Eastling, this venerable tree is said to be around 2000 years old.

      • Linkthis83

        LIAM’S REPLY: “Does the tree have a particular set of skills? Has it acquired them over a very long career? Skills that might make it a nightmare for little kids losing their mums?”

      • klmn

        Or they could just cast Ticket Oak.

  • NajlaAnn

    Looks like I’ll be reading this one sooner than later – just for the relationship study if not for anything else.

  • Maggie Clancy

    I keep trying to read this script, but I can never get past the first few pages. Maybe I have an older version? I will give another shot.

    • Casper Chris

      Mine says “Draft – 6 July 2012″ starts with mother and son settling into a theme park ride.

  • Linkthis83

    I completely dig this concept and it’s intent. The script is great, but I’m not sure I’d say effective or impactful. This is where I agree with Carson that something is missing.

    I think it’s that at the end, you want something to hold onto as the “good” feeling. I think that’s what this story is missing. If I’m in the theater and the credits are rolling I’m feeling – unfulfilled by this story. I can think, “Oh, it’s great that Conor experienced this, but that’s it.” I feel like I need even the tiniest ray of sunshine. It’s that selfish feeling of “What do I get out of this experience?” For those who can identify with Conor’s situation, you might get insight into how to process the world of gray. If you have children, it may show you why you should have these conversations with your kids no matter how tough. Their dark is just as scary as yours.

    For the casual movie goer, who doesn’t fall into these categories, I feel this is where being unfulfilled comes in.

    I initially hoped that the tree would turn out to be the mother telling him these stories. Or that she was telling him other stories but these were the manifestations from his resistance to them.

    After it’s all said and done, if I was tasked with finding a thread for possible fulfillment, I would have the tree on the hill dying. Something has gotten into its root system (like his mum’s cancer). Perhaps it was the bullies who did this. When Conor learns that the tree is dying, maybe he thinks “good. maybe the monster will leave me alone.” Once he learns of the trees healing power, it becomes his mission to save the tree. So we build up to the end where his mom passes, but he does save the tree. He DOES something active. In that he has the opportunity to see/learn that there are some things we can’t change no matter what we do, and other things we can. It’s gray, but we have some black and white to identify with. Because life does have those moments as well. There are moments of clarity in the gray.

  • Mike.H

    Could someone please forward me a PDF. Thanks in advance. Yokejc100 AT yahoo dot com.

    • Casper Chris


  • TheMoose

    As a curious side note to this, we had a location scout come round our house last week taking photos etc – they’re considering using us for the Grandmother’s house when they shoot in September. We’ll see …

  • pmlove

    OT: Whatever happened to AF entry Submerged?

    • Malibo Jackk

      Somewhere, some executives from some studios (probably five or more)
      are setting up projects based upon the submerged Malaysian flight 370.

      • Randy Williams

        You mean “alledgedly” submerged?

        I thought it funny, but unsettling in the face of this tragedy ,that story of that director in Cannes pitching his version of what happened with Malaysian Air with a trailer for investors. There’s a hint of sex, a love triangle on board the plane in the trailer, Oh, but that’s not in the script! There’s a tussle, a gun shown on board the plane, but no, that’s not in the script!

        Do investors ever read a script?

    • Poe_Serling

      From late last year…

      Here’s a short interview with the writer:

      • Malibo Jackk

        What’s going to be the first AOW or Amateur SS script
        to break out of the box and appear on theater screens?

        DEEP BURIAL? (2015)

        • Poe_Serling

          To be honest, I had to go back and search for that one in the SS archives.

          Well, I see that the project is in post production and stars Tom Sizemore, who just happens to have about 18 other fims coming out in 2014/15.

          • Malibo Jackk

            Who can forget the 2013 short
            — FAKE DOG SHIT.

  • Bifferspice

    i thought the story was good, but not brilliant. the full final nightmare had me rolling my eyes a little, but i confess to being close to tears in the hospital. it was very well done. what i thought was superb was the writing. that is one of the easiest scripts to read that i’ve ever seen – it flew by! so many “unfilmables”, “we sees” and whatever else – who cares? that was terrific fun to read. i loved the relationships and the dialogue, the characters, the little actions he gave them that made them come alive on the page. and yet, it was missing SOMETHING. what the hell that was i don’t know, i guess the same as carson’s thoughts, that it didn’t all come together like a punch in the gut. but it was damn impressive all the same.

  • TruckDweller

    Anybody ever read the graphic novel “I Kill Giants?”

  • Casper Chris

    I’ll need your e-mail to do that.

  • Casper Chris