So to see it made and certainly see it made at the level that it was, with people like Denzel Washington, was insane. Eli was a small miracle in that it was a very out of left-field spec script, not all that cheap to produce, with a lot of controversial, potentially non‑commercial subject matter. And there are a lot of reasons, especially with original pieces. But after working in the trenches of Hollywood screenwriting now for 15 years, I think I’ve become quite good at anticipating all the reasons why a studio or a producer might say no to a project. I understand the cadence and the rhythms and the craft to screenwriting better than I do any other form, so when a new idea comes along, I usually look at it as a movie first. Gary: Screenwriting is my first language, that’s what I’m most competent and experienced at doing.

My first question for you is why a novel? Why not a screenplay? Some believe that the true history of this Dark Age was deliberately concealed by its surviving scholars, too incredible to be believed, too terrible to be retold until now.” Consumed by fuel of warfare, you’re pledged into a century’s long era of illiteracy and cultural desolation from which few historical records survive. “After the fall of the Roman Empire, chaos and bloodshed swept across the remains of Western civilization like a plague. Here’s some background on the story setting: Scott: Let’s get to your novel “Abomination,” which you can get right now from Amazon. Today in Part 4, Gary and I discuss “Abomination” and why he chose to write this particular story as a novel and not a screenplay: Having recently seen his first novel “Abomination” published, Gary and I had a wide-ranging conversation touching on a host of subjects which I think readers will find quite interesting. A few months back, I had the opportunity to interview screenwriter Gary Whitta whose movie credits include The Book of Eli (2010), After Earth (2013), and the upcoming Star Wars: Rogue One (2016).

Abomination by gary whitta