My Writing Life:

John Michael Duggan started writing in 1992. He was working to make a career for himself as an actor and stage director, making the rounds in Hollywood and Los Angeles, until he was offered the role of father to twin sons. In order to properly support his new family, John put aside his pursuit of a theatre career and went to work as a digital artist for such diverse companies as Disney, Sony, and Sega, among others. To maintain some connection to the world of "showbiz" while rearing his sons, John started writing screenplays and stageplays.

During these years of family life, John studied the works of other writers order to teach himself the craft of writing. He scripted and illustrated the long-running full page monthly comic strip "RED RYDER" in Easyriders magazine following the death of the strip's originator Hal Robinson and eventually created, scripted, and illustrated the original monthly comic strip "WHITE-LINE WILLIE" for Supercycle magazine for several years. As well, John wrote numerous illustrated humor articles for those magazines that were published.

Since then, John has had two "Doodle" books published by Ulysees Press and is working on a third. He continues to hone his writing skills, including a stint doing coverage for Joel Castleberg and Panama Productions. John's one-act play "INTERLUDE" was included in Ten Grand Productions' Cold Cuts Reading Series, was a finalist in the Pittsburgh New Works Festival, and is currently being staged by the Spokane Civic Theatre's Playwrights Forum Festival. His other stage work, "HAMMURABI'S CHAIR" was produced by Gorilla Tango Theatre in Chicago and the screenplay version has been picked up by The Agency Advertising Group for film production development.

He is a member of the Playwrights' Center of San Francisco, the Playwright's Center (Minneapolis, MN), and is an associate member of the Dramatists' Guild. Click here to view his directing resume.

There was a screenwriting maxim learned (from whom, forgotten) that it wasn't until one completed one's eighth script, that only then were you truly beginning to understand how to craft a good story.

I'm way past number eight.