Thursday, April 9, 2009

An Interview with Writer\Actor Adam Kenneth Wilson

Adam Kenneth Wilson is a talented Actor and Writer based out of Toronto, Ontario Canada. Adam has had a number of roles over the years, working his way up playing a Pizza boy in a Domino’s commercial, a Microwave Thief in a Subway Ad, but more recently he has been gracing us with his talents in the TV Series "Flashpoint" in the episode “The Fortress”. After bringing the tormented Vampire Samuel Gradius to un-life in the Short Film "Ending the Eternal", his likeness and writing talents have made it to the pages of a Graphic Novel. The Short film is the prequel to the Graphic Novel entitled “The Eternal: Final Dawn” details about the novel and the short can be found here.

More notably, Adam will blow our minds playing the Title Role and bringing the most ruthless and psychotic killer in American history to the screen in "Manson" - Produced in association with The History Channel (US), Canwest Media (Canada), Five (UK) and Canal D (Canada). Airing Soon!

Adam is repped by Mary Swinton at 3SG Talent Management.

TGL - Adam, as both a writer and an actor you have a unique perspective on the life of a script. What is your favourite part of the journey? Which hat do you prefer wearing?

AKW - I love both of these things equally, and for entirely different reasons. While writing affords me a degree of control over some miniature imaginary universe, there’s something really rewarding about the surrender involved in molding yourself to someone else’s vision.
I suppose I’m more confident as an actor, but that makes the challenges of writing somehow more appealing. Each facet serves the other, as long as you remember to tone down whichever operation is uncalled for. That last thought was also a delivered note-to-self.

Wait, no; I have better answers!

While acting, I love late-stage rehearsal, when I can feel the definition of the character really solidifying, but still have room to play with it a little.

While writing, I love creating and polishing dialogue. I’m not an incompetent story editor, I just envy those with a real gift for it, and revel in dialogue, where I’m truly comfortable.

TGL - When developing a character for the page what are the top three things you consider? Are these the same things you use to bring a character to life on the stage?

AKW - When writing a character, I always have a stern chat with myself about how that character must neither sound like me nor too much like the other characters. Then, I focus on what that character’s primary objective and obstacle are. Then I write and decimate all of that character’s dialogue, rewriting it so that they aren’t directly saying what they think or feel, but rather implying it in the tones of conversation or the juxtaposition of action and speech. That’s my process, and I’m only just beginning to get anywhere near good at it.

When performing in a character, there’s oddly more room for him to sound like me. I enjoy experimenting with the surface details of a character, but the more I do this the more I find that the essence of the character can usually be found closer to home.
I could never give up either hat.

TGL - What are your 2 favourite movies? What makes them have more of an impact on you than others?

AKW - I don’t know that I can isolate my two favourite movies, as I love almost all movies, even the terrible ones. What I can do is name my guaranteed laugh and guaranteed cry movies. Those are The Big Lebowski and Wit, respectively. I watch both, often. I’m a huge fan of brilliantly written dialogue. These inspire me to develop my skills to a much higher level than where they now sit.

TGL - If you could work with any actor, director or writer who would it be? And what draws you to their work?

AKW - There are too many brilliant souls out there that I’d kill or at least maim to work with. But this year I’ve gotten to share scenes with Malcolm McDowell and Enrico Colantoni, both of whom are brilliantly talented, and serve as positive role models for any actor who’s trying to establish him- or her-self. Both are generous with their fellow actors, and neither buys into their own reputation. Either could behave entirely differently than they do, and most likely get away with it. Working with people like that makes me want to be exponentially better than I am.

I’ve had great luck with directors as well, working with Steven Surjik, Eric Canuel and a host of other wonderful people. Directors are wonderful for different reasons. Some projects call for tyrrany and others an unusual amount of freedom. Neither of the aforementioned were tyrants, by the way.

I’m also hesitant to name directors I’d like to work with, since that tends to beg the names of known directors, and while I adore almost everyone who has made themselves known in the field, I have to remind myself that many of the best directors are people whose names we don’t yet know.

TGL - The film industry is incredibly difficult to get into, and the Canadian market seems even more impenetrable. What challenges have you faced along the way? And how have you overcome them?

AKW - As an actor, I have two challenges more prominent than the others. One, I’m largely unknown at present, so occasionally my agent has to be persistent in order to be seen for the right parts. Two, I’m not the prettiest fish in the tank, so I have to make up for it (or feel that I do) by committing an intense amount of research and preparation for a role that some of the handsomer specimens might skip.

I also recommend that actors starting out find collaborative and/or do-it-yourself situations in which to participate, as it’s much easier to show people you can do something than ask them to believe it otherwise.

As a writer, my biggest challenge is focus. I have this conversation often with other writers. Too many good ideas, not enough time to develop them all. It’s not uncommon to feel like you might be working on the wrong project. Which leads us to the next question.

TGL - What suggestions for new writers can you offer to make their project more appealing to the industry?

AKW - I think rather than trying to make a passion project fit into the industry, it makes sense to find the holes in the industry first, and create the projects to fill them. I’ve been getting meetings lately on a few television projects, and that seems to have much more to do with the room for each respectively than my personal level of passion or interest. I think the best advice for new writers is this: Ask yourself
which piece people are most interested in, and make that your favourite. If none of your ideas fit into the category of things people will actually want to watch, it’s time for a whole new set of ideas.

TGL - Finding an agent and getting them to read your work is almost impossible. Do you have any advice for novices on getting noticed? And have you found that having an agent has been helpful to you and your career?

AKW - Having an agent has definitely been helpful to me, but a lot of the projects I have on the go right now hinge on relationships established earlier. It would be easy for an impatient person to ignore beginner-level colleagues or collaborators, but some of my working relationships are such that we’ve watched each other growing as artists and people, and have opted to reunite to create something wonderful.

I’ve been involved in a couple of short films as an actor, to which I’ve contributed dialogue (having first gained the trust of the directors responsible)and had those efforts blossom into bigger and freer collaborations recently.

TGL - Something we all struggle with as writers is writers block. What tools have you developed to deal with this showstopper?

AKW - Write crap. Tonnes and tonnes of crap. It serves no one to throw out the bad pages. There’s almost always gold somewhere in the poop. Write all the poop you can, and skim the gold off the top like a panhandler. Save it up. Soon you have a pile of gold. I’m not having a strong analogy day; I hope you’ll forgive me. I mean that writing begets writing, and obsessive perfectionism does not. The whole experience is really just rewriting.

TGL - Writing is such a personal thing, you put pieces of yourself on every page, into every scene and, bit of dialog, the same can be said of acting in that there is a piece of the actor in every character. When you're creating a script or a character how much of you goes into it, and where do you pull the rest of your inspiration?

AKW - For me, inspiration comes from absolutely everywhere. When I think about the word “research” my mental picture is immediately that of a library, or at least a search engine. In reality, a writer’s research, like an actor’s, takes place everywhere and at all times. I never, ever travel anywhere without something to write with and something to write in or on. When playing a fictitious character, you can draw from any crazy idea you have, as long as it’s congruous with the script. Playing an actual person just requires finding everything you can on the subject, and then avoiding every other portrayal of the individual.

As far as writing inspiration, I have more trouble avoiding it than finding it. Or perhaps more accurately, trouble narrowing it down to useful creative notions, that could make it to the ever-crucial third phase of art; reception on the part of a viewer.

TGL - Everyone is always looking for free advice... it's actually the
foundation of's mission... What free advice would you give to someone who is just starting out?

AKW - Make friends. Write crap. Act badly. Often. Keep doing these things until you’re good. Once you’re good, force the friends you made to help you make the climb. If you truly love it, you won’t notice the time passing.

Something else I really found helpful was taking a break from the creative side and exploring the other workings of a set. Once you’ve catered, built sets, wrangled background, locked up a perimeter for sound and made time-code notes, you really get a much better idea of the workings of film and television as a whole. Developing a first-hand respect for varied critical on-set jobs has made me more appreciative of my small part in it, and keenly determined to waste no one else’s time as either an actor or a writer. That might not be for everyone, but it was crucial in my development.

TGL - What can we expect from Adam K. Wilson in the future? What projects are you working on? Where can we see you perform?

AKW - I will be seen in a principle role in an upcoming episode of the CTV/NBC program The Listener, a small part in the soon-to-be-released feature film SUCK by Rob Stefaniuk, and a major role in the History Channel’s forthcoming project MANSON, as the titular notorious madman.

When I have the time available, I perform with the sketch comedy troupe Press, Release Repeat, with MTV’s/Last Comic Standing’s Derek Forgie, and Tessie Burton.

As far as writing goes, I’m currently in great meetings concerning a children’s television series, and a comedy series. I’ve recently been commissioned to write a web-series by Fifth Season Media, and am a collaborator in the comic series The Eternal: Final Dawn, as well as a character likeness therein. I haven’t co-written a produced feature film since 2002, but should have some good news on that front soon as well.

TGL - Thank you again for taking valuable time to speak with us about your success. We look forward to hearing and seeing much more from you in the future!

Wednesday, April 8, 2009

Understanding Script Coverage - Why do I need it?

Ok, so you keep hearing this word being tossed around and you have no idea what it is or why it has everybody losing their minds. Well, to be honest I haven’t quite understood why the industry puts such a heavy weight to Script Coverage because it’s a subjective process to some extent and depending on the weather, how your reader slept the night before or if they had the time to, you may get differing results.

Coverage is a written report, kind of like Cole’s Notes, design to give agents, producers, and execs a feel for your script without having to read the entire manuscript. Most of the honchos don’t have time to sit and read all day. They are busy making things happen (which is where you want them to be). A coverage report breaks your script down for them and presents it in a concise and skilful way that they can, at a glance, decide if they’ll have someone else read it for them... ;)

Seriously, a good coverage is what opens doors and gets everything moving for you.
In a coverage report you’ll have a few basic sections. First they will summary the script particulars, title, genre, # pages, the writer, who is doing the coverage etc. This is fairly standard.

Next, some give a logline for the script. It’s a good one liner that gets the point of the story across and creates some interest. (Writing a good one is a masterful skill that takes time to develop!).

Now Coverage Reports vary from one reader to the next and each company has their own specifics and order they want the info presented in, but at the end of the day they all have the same stuff in ‘em.

You will have a grading section. In this section you will be given a “Pass”, “Consider”, or “Recommend” rating in several categories.

Pass means that the work is not up to par or not desirable now (there are many reasons why this can be so, not all of them related to the quality of the source material). Usually, the work doesn’t receive further attention within the industry.

Consider means that the work as written has merit or shows promise and should be further assessed. A Consider evaluation can lead to the source material itself actually being read by a producer, executive or agent (between incessant parties, galas and exciting film opening events, of course), and/or more of the writer’s work being solicited for review by those in the industry.

Recommend is the highest acclaim, and not often conferred. The script, story, etc. is good enough in its current manifestation to warrant a read, and usually it will be read, often by a producer or someone in an industry decision-maker’s chain of command.

Some categories you may be graded on are, Premise, Plot\Storyline, Structure, Dialogue, Production Value, Project (as a whole) and, You the Writer. They may use a different rating system for these finer point of the analysis and give poor, fair, good and excellent ratings, but you will almost always get a Pass, Consider or Recommend for the Project and you as a Writer.

There is always a synopsis of the script. Some are a page but not usually more than three. This is a good tool for you because it will highlight the areas that caught the readers attention, and if you feel they missed important parts of the script. That likely means you missed too… Re-write them and punch them up and bring the reader’s attention to them!

The next common section is the Reader’s comments and opinions. Here you have 1 -3 pages of notes the reader feels are important. If you are paying someone for Coverage, this section is extremely important to you because this is where they will offer their ideas on missed opportunities and where you can make improvements. This is the section you are actually paying for! If you have a good reader (And I do – Thank god!), they will be to the point. They will not sugar coat their comments and they will offer suggestions and constructive criticism on how you can improve your project and make it Silver Screen worthy. Don’t argue! Fix it! They are right. Think of it like this. You are paying them to review your work. You are paying them for their opinion. So don’t call ‘em out ‘cause you don’t like what they have to say. My reader once told me she was going to spank me because she had to read a 105 page Romantic Comedy that didn’t have a kiss at the end. Even after I argued the “Sleepless in Seattle” point, I was put back into my place. She also told me that she told all her writing friends and they all had a good laugh at my expense. She is the best thing that has ever happened to my writing!

Now, this doesn’t mean you need to blindly obey your Reader's every whim. YOU are the writer! And YOU know your story! Or at least you should!!! So take what you’re given and put your spin on the ideas. Think of the comments as a recipe. It may call for Chocolate chips, but caramel or peanut butter chips might be just as good… So play around with the THEME of the suggestions. AND… RE-WRITE!!!! RE-WRITE, RE-WRITE!

I keep stressing this point, but its true… Writing and story development is an ever evolving process. You will never have a perfect script, and you’ll never be done with it. You WILL however get to the point when you are DONE with a script! That’s the point when you can’t look at it or read it without your jaw tightening and your mouth filling with that tangy pre-vom juice. Set it aside and work on something else… ANYWAY! Back on Topic!

After the summary or somewhere within the report there may be budget suggestions. I have no idea how accurate these estimates are… Usually they are vague enough to fall within your own idea of the Blockbuster production you’ve submitted.


Coverage is a tool! It is a great tool for you to gauge the preparedness of your script for Contest Submission, Queries to Agents, Prod Cos, and Producers. Unless you are getting a consider or recommend, forget it. Each year millions of scripts are sent to Hollywood for the Industry to peruse. Of those Millions, 98% of them end up in shredders and recycle bins. Of the remaining 2% you find such masterful creations as Waterworld, Eight Legged Freaks, and the Hills have Eyes 2. You also find the brilliance of Get Shorty, The Matrix trilogy, and Letters from Iwo Jima. I know, you’ve probably done the same thing I’ve done which is sit down in front of a movie for the night and spent 2 hours saying… How does shit like this get made when I’m not even getting optioned? I’ll let you know when I figure it out.

One of the benefits of having your script read professionally is the spell checking! Don’t give the industry a easy out as far as your script is concerned. Spelling is just as important as the plot. If a Studio Reader finds a typo in the first 10 pages, you’re done. Next, if you’re lucky, your service will send you a copy of your script with the notes the reader was making in the margins as they read. GREAT TOOL! You can see what they thought of scenes, page by page, sequence by sequence. They will frequently write rhetorical questions which is a clue that you need to answer them!

At the end of the day, Coverage is simply a tool in your arsenal that you can use to make your script a polished, presentable product ready to be marketed to Contests, Agents, and Producers alike.

Now get writing!!!

- G

Tuesday, April 7, 2009

1st Annual Script Contest!


So I just announced the 1st Annual Script Contest! Here's the Details! 1st Annual Script Contest.

Winners & their Scripts will be posted on website.

Grand Prize
- Certificate of Achievement
- Cash - 10% of entry pool (calculated by # of entrants and entry fees – Full disclosure of # entrants will be provided)
- ScriptBlaster eQuery Blaster Pack service
Your query letter will be emailed to over 900 Producers, Agents & Managers.
A comprehensive query campaign that combines the Producers Blast and the Agents Blast.
A great way to get connected.
- 6 Months InkTip Executive Index Script Listing
Get exposure and gain access to entertainment pros looking for good scripts. List your scripts in InkTip's searchable index accessed 24/7 by qualified producers, representatives, directors and more.
- Copy of Save the Cat! The Last Book on Screenwriting You’ll Ever Need by Blake Snyder
- Professional Coverage
- Interview with

2nd Prize
- Certificate of Achievement
- Cash - 5% of entry pool (calculated by # of entrants and entry fees – Full disclosure of # entrants will be provided)
- Copy of Save the Cat! The Last Book on Screenwriting You’ll Ever Need by Blake Snyder
- Professional Coverage

Runner Up
- Certificate of Achievement
- Copy of Save the Cat! The Last Book on Screenwriting You’ll Ever Need by Blake Snyder
- Professional Coverage

Top 10 (not including Grand, 2nd or Runner Up – so Top 13)
- Certificate of Achievement
- Feedback from Contest Judges

Rules & Submission Guidelines
· Open to all writers 18 and over.
· Limited to first 500 entries
· Screenplays must not have been previously optioned, produced, or purchased prior to submission.
· Screenplays must be original work of applicant(s).
· Winning screenplay submissions written by 2 or more writers require all awards to be divided equally among the writers.
· Screenplays must be in English.
· Entrants must submit a completed entry form containing a Synopsis and Logline, and the First 10 pages of the screenplay ONLY! In addition to the appropriate fee according to the posted deadlines.
· Multiple submissions are accepted but each submission requires a separate entry form and fee.
· Finalists must then submit the entire screenplay within 7 days of the posted Finals Annoucement\Notification.
· Finalists’ screenplays must be between 85 - 120 pages.
· is not responsible for screenplays lost in cyber space, or stolen. (but if you have paid, and your submission is lost we’ll work it out if you can provide the payment details.)
· Judges decisions are final.
· Electronic submissions only.
· Cash awards will be determined by the final deadline or when submission limit has been reached. Final Cash award amounts will be posted on prior to announcing the winners.
· Prizes may not be substituted unless agreed upon by the writer(s) and
· reserves the right to cancel the contest due to lack of interest. Any fees collected will be refunded promptly to the Writer(s). Notification of contest cancellation will be made on the day following the Final Deadline.

Early Deadline: $35 USD
Regular Deadline: $45 USD
Late Deadline: $60 USD

- G

Monday, April 6, 2009

Writing Contests


So today (now that my rant about skinny jeans is done), I wanted to talk a bit about writing contests.

Some people say that writing contests are just a way for some people to make money. And I guess for some of the sponsors that is true, BUT I think even those contests can offer you a little insight into your writing.

I never enter a contest unless it offers feedback. Feedback is the most important thing you can get your hands on as a writer. If you let your family and friends read what you write, GREAT! but don't expect impartial feedback from them. They will either be overly hard on you, or far too easy on you. Feedback is what will help you develop your story in subsequent re-writes... and there will be many re-writes. I joke on the main webpage that I have re-written my script Losing Faith 150 times. Well, I'm currently working through 151. Why? Well because of some feedback I received and some new ideas to punch up the humour. As you grow as a writer go back to your previous work and take a look at it with fresher more experienced eyes. You'll see holes and rough patches that you hadn't noticed before.

My suggestion is that you find yourself a pro. Before I start shipping my scripts off to contests I like to feel that they are as close to perfect as I can get them at the time. (I know I just said I've re-written them 150 times). Find someone who will work with you, and offer you ways out of problem areas. A good reader will point out the weak parts but show you what you've done well because it can act as an example of how you have been clear in your writing and created some strong scenes. They will help you learn from your own success and their experience. Once the two of you have reached the point of exhaustion with a certain project and you both agree that material you have in your hand is really good... Send it out into the world of contests. See what other people, who aren't intimately involved in the creative process have to say. Chances are they will come back with some useful tips and ideas for improvement.

Writing contests are good tools, but they can be quite costly. AND THE WAITING WILL DRIVE YOU MAD!!!!

A few good ideas to make sure you are working with a reputable contest are:
  1. Submit only to contests that are recommeneded by other people in the industry. I like to use a website called Movie Bytes to find and research contests. But the WGC has posts occasionally for these types of events.
  2. Follow the submission guidelines to the letter. It sucks to have your script disqualified for a minor issue.
  3. Try using a service like Without a Box when possible. They will qualify your project and make sure its not missing anything and track your submission for you to make sure it has been received by the contest officials.
  4. Look for the annoucement in the periodicals they say they will be announcing in or have announced in previously. Some\Most contest say they will annouce the winners in a magazine, or post the results on their website for 6 months etc. Check! See if the previous winners are listed.
  5. Make sure the cost justifies the return. If they are asking for $75 and all you get is email notification that you've made it to the finals... No good. There are plenty of economy contests that offer feedback, software and publicity to their winners.
If everything checks out, the next thing to do is submit... and wait... and wait...

Waiting for the deadlines to arrive is grueling. I always try to make the early submission deadline because there is usually a break in the cost of the entry fee. But it makes waiting for results (sometimes up to 8 months) a living nightmare! Because, if you are like me, you are constantly re-writing your work and making it better so by the time the contest roles around you've found 20 funnier jokes, 3 typos, and taken out 2 scenes that made the script lag in the 2nd act. The way I have overcome my writers anxiety for situations like this is to simply forget about them. I put an entry in my calendar that reminds me that I have a deadline coming up and I check the website or keep a more vigilant eye on my email for about a week before the announcement date. AND you do have to watch! I read a review of a contest by its winner who said he had no idea he had won until he received his prize pack in the mail. The contest people had not otherwise contacted him, but when he went to the homepage there was his name in lights! Sooooo... don't completely forget, but put them out of your mind. You know?

Writing Contests are good tools. Look for contests with feedback, and low entry costs. If you go for the high end contests with big entry fees, make sure the return on your investment is good. Feedback, and interview with a few agents, a live reading of your script... You know... Make sure to do your homework, both in researching the contest, and in evaluating your work. Rarely do contests accept corrected pages so if you send them a script with 100 typos, you'll likely be kicked out in the first round.

Good luck!

- G

Skinny Jeans

Ok... so this is a little off topic... Ok, it's really off topic but I have to say it. Guys... STEP AWAY FROM THE SKINNY JEANS! You look like an idiot! They weren't a good look 20 years ago when I was cramming myself into them, and they certainly aren't now hanging halfway off your ass with a sparkly belt and high top converse. You look like you can't dress yourself! It looks like you picked your girlfriends jeans up off the floor 'cause you pissed yourself at the party the night before and tried to cram your skinny ass into them. Or maybe you raided your little sister laundry hamper... I don't know! BAD! BAD! BAD! Unless you are a founding member of an 80's hair metal band you have no business even looking at a rack full of "skinny" jeans! Enough! Get some pants that fit, and pull them up for Christ Sake, I don't want to see your skid filled drawers hangin' out of your pants. What kind of a tool are you that you can't pull your damn pants up? Really? What is the sense in wearing pants with an ass in them if the ASS IS AT YOUR F'ING KNEES? Why don't you just buy some leg warmers? That's it! Just wear your leg warmers so they won't cover your ass and everyone will be able to see you can afford name brand undies. So that would be the leg warmers, your stank ass "name brand" gitch... match that up with your uniform issue Emo belt with or without studs and you're good to go. This shouldn't be a big fashion issue for you all, leg warmers were cool 20 yrs ago too! AND FYI LADIES! TIGHTS ARE NOT PANTS!!!!!!! (visions of Flashdance - leg warmer nightmare) THEY JUST AREN'T!!!!! AND DON'T EVEN THINK OF PAIRING THEM WITH A PAIR OF UGG BOOTS... (Ugh! is Aussie slang for Ugly... Oh! And when you wear 'em with your over sized track pants tucked in with the waist band rolled down because they're too big... Your ass looks about the size of a small farm house!). Don't even get me started on the new Rubber Boot thing! WTF????

I saw a guy trying to get onto the bus one day and his skinny jeans were so low and tight that he had to flick his one leg up onto the stair like a lame penguin, then pull himself onto the platform using the railing! I felt like I was watching the National Geographic Channel. Like March of the Penguins when the babies kept falling over 'cause they hadn't quite got the idea behind walking... The funny part of the entire scene was the elderly lady with the walker, he stepped in front of, had less trouble mounting the bus than this kid in the pseudo Emo Rocker-chain wallet wearin' outfit. OMFG!

I know, I know, I'm showing my age, and I'm ignoring the fact that it is fashionable to look like an idiot. But come on... Really? THEY DON'T FIT!!! I speak from experience, my daily uniform used to be painted on black jeans (pulled up so my ass was in the ass of the pants), an over sized white dress shirt, my desert boots, and if it was cold, my black p-coat. Let's not forget my shaved head with bangs that went down past my chin! I was ├╝ber familiar with Manic Panic and its many wonderful colours! I F-ing know what a tool I looked like! I had kids throw walnuts at me one day for looking like such an ass... Man... But I sure was cool strutting down the street listening to "Boys Don't Cry" by The Cure on my casset playing Walkman. (cassettes are magnetic tapes they used to record music on before CDs and MP3 players sort of like VHS tapes... ok, nevermind... this could snowball quickly!)

The thing that makes me laugh so hard about this trend in fashion is that I did it to: a) get women and b) to get away from the norm and be my own person. The people wearing this style now don't realise, they all look the same and are conforming to a new fashion standard. Instead of stepping out of the norm, they are reinforcing it and redefining what "normal" is. All the emo bullshit about how they live for anarchy is nothing but the new standard and gives them a new way to fit in.

Hate to break it to you guys... Emo's been done, and done better! It's run its course as an alternative lifestyle and if you wanna dress like your parents did, by all means... But I always found it much more interesting to be my own person, and plot my own course. Be who you need to be, because that's cool shit, but for the love of the Gods! GET YOUR SORRY ASS INTO SOME PANTS THAT FIT! AND PULL THEM UP SO YOU DON'T LOOK LIKE A CHALLENGED PENGUIN!


- G