ONE OF DENNIS COOPER’S FAVORITE BOOKS OF THE YEAR

“From ‘contactless sex’ in 2050 to a ‘computer uprising’ not quite ‘as spectacular as you might think’ in 3000, the range of possibility slyly stuffed into the radiant miniatures comprising Little Hollywood never ceases to calmly sidestep expectation, to look again where other forms of ‘realistic’ narrative so often balk, and therein, through an all-too-accurate simulation of the many awkward interfaces and sales pitches that comprise our daily life under late capitalism, to break down the horseshit dork ride that our lives as barely breathing 2D dolls has always been and always will be.”

— Blake Butler author of Three Hundred Million & Scorch Atlas

“Little Hollywood forbids passivity. It inspires the reader to embody myriad roles as each slice-of-existence script buttresses against the next. With these seemingly simple tragicomic scenarios, Jinnwoo reveals a complex truth – we are all actors becoming whatever character the situation dictates. We exist as dispersed fragments, and only by grouping these fragments together can we understand who and what we are. Little Hollywood is among the most singular and exciting books I’ve experienced in years.”

— Matthew Revert author of Basal Ganglia and Human Trees

“Little Hollywood is a lot of things, it’s snarky, awkward, unsettling, & inventive, but above all else it’s a hell of a lot of fun. Jinnwoo gives us a cast of disparate characters, the illustrated paper dolls are a riot!, and a strange well of scenes to draw from. You’ll be smirking, cutting, and pasting in no time.”

— A.S. Coomer author of The Fetishists and Memorabilia

“Little Hollywood blows my mind, how perfectly funny and sad, silly and deep it is. I almost can’t believe how special and good of a book it is. I read it twice in a week, and look forward to reading it again.”

— Big Bruiser Dope Boy author of Foghorn Leghorn & Your First Real Boyfriend & Other Poems This book may not be reproduced in whole or in part, except for the inclusion of brief quotations in a review, without permission in writing from the author or publisher. No part of this publication may be reproduced, stored in or introduced into retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, recording, or otherwise), without prior permission of the publisher.

Requests for permission should be directed to 1111@1111press. com, or mailed to 11:11 Press LLC, 4757 15th Ave S., Minneapolis, MN 55407.

Many thanks to Sam Pink who read an early manuscript and assisted in the Little Hollywood editing process.

Portions of this book first appeared inNew York Tyrant Magazine, Gay Death Trance, and Blue Arrangements.

Cover & Interior Art by Jinnwoo

Design by Tyler Crumrine

LCCN: 2019950267 eBook: 978-1-948687-15-7 Paperback: 978-1-948687-14-0

FIRST EDITION 9 8 7 6 5 4 3 2 1 Little Hollywood by Jinnwoo

Copyright © 2019 Benjamin ‘Jinnwoo’ Webb All rights reserved Little Hollywood Instructions:

It’s open audition day at the Little Hollywood talent agency.

Assemble an actor and select a script for them to audition with. Sit back, cross your legs, breathe, be judgemental.

Action, etc. Script #1 | Page 1

Two Porcelain Cats.

INT. CHARITY SHOP. DAY.

WILLIAM enters the charity shop. He approaches the counter where TOD is arranging novelty keyrings in a display. WILLIAM places a plastic bag on the counter. He recently cleared out his teenage bedroom, but only felt emotionally ready to part with his copy of The Communist Manifesto and his ‘Honey to the B’ by Billie Piper CD.

WILLIAM Hello. I would like to donate these, please. I don’t know if anyone will want them.

TOD Thank you.

TOD takes the bag and examines the contents.

TOD Very eclectic. Something for everyone here!

TOD smiles. WILLIAM wants to laugh, or at least smile back, but-

WILLIAM Well, thanks.

WILLIAM crumples away from the counter and pretends to browse a nearby shelf of knick-knacks. He subtly practises the smile he should have done. To make friends with someone like TOD. TOD was vaguely funny, and comforting. TOD would make a good friend for WILLIAM. WILLIAM considers striking up another conversation, but can’t think of what might make a good topic. He suddenly can’t think of anything happening in the news, or anything that happened ever.

He picks up two porcelain cats from the shelf of knick- knacks. They are both blue and white, but they are not a set. He places them on the counter.

WILLIAM Just these, please.

TOD That comes to £2. Shall I wrap them for you? Script #1 | Page 2

WILLIAM Bye. Thank you. No.

TOD Bye.

WILLIAM goes home and puts the porcelain cats on the table by his single bed. Every time he looks at them, he remembers his failure with TOD. A monument. After a month, he turns them to face the wall. After two months, he places them in the top drawer. They are not a set, and never will be.

End Scene. Actor #1 | 5 More Minutes Mandy Actor #2 | Bambi Script #2 | Page 1

A Love Story.

INT. MIRIAM’S ROOM. EVENING.

Lights up.

It’s the year 2050AD, and sex is contactless. MIRIAM is in bed. Enter JAKE – he sits in the bed beside MIRIAM. MIRIAM and JAKE beep once, each. Their transaction is complete. They smoke Vapes. MIRIAM wonders what JAKE tastes like. She imagines he tastes the way her avocado hand soap smells. JAKE thinks about the never changing weather.

Exit JAKE.

MIRIAM will write to JAKE in an open letter on her blog. JAKE won’t read it.

Lights down.

End scene. Actor #3 | Betty with the Bleeding Toes Actor #4 | String Jim Script #3 | Page 1

Somewhere Beyond the Sea.

INT. WAITING ROOM. DAY.

The waiting room is battleship grey. RECEPTIONIST sits at her white desk. She has an angry face. There are a few people in chairs around the waiting room, all aimlessly looking at their phones to minimise the chances of accidental interaction.

On the wall there is a picture of a train made out of wooden bricks – teddy bears and dolls riding the train. They can’t be getting anywhere fast, but they seem fairly happy about it.

There is another picture that shows a woodland type setting. Sun shining through trees.

SFX: Local radio.

JESSSICA walks through the waiting room. She holds her hands inside her sleeves. She is aware that people in the waiting room are looking at her. Aware of how she is walking. She feels like she has forgotten how to walk entirely. And drags her gangly body to the door.

RECEPTIONIST You can’t use that door. It’s a fire door.

JESSICA pushes on the door but it doesn’t open.

JESSICA Bye, thank you.

RECEPTIONIST You can’t use that door. It’s a fire door.

JESSICA Is there a button? For the-

RECEPTIONIST You can’t use that door. It’s a fire door. It’s a fire door. JESSICA Oh, sorry I didn’t hear you. Well I heard you, but it didn’t go in.

RECEPTIONIST It’s a fire door. Script #3 | Page 2

JESSICA How do I get –

RECEPTIONIST You have to go through the revolving door. That’s a fire door.

JESSICA Thank you.

RECEPTIONIST If you use the fire door, we have to reset the alarm. It’s really-really irritating.

JESSICA Sorry, ok, thank you.

JESSICA’s face goes red. She momentarily pictures herself as a dead body in a rowboat. The backstory to the fantasy is this: JESSICA somehow gets a boat from somewhere (it doesn’t matter). She rows the boat out into the sea. Takes a huge overdose of [some unspecified pills]. As the boat drifts into the water Jessica drifts into death – her last view, the blazing- white sun in a powder-blue sky. The smell of salt. Days later, the boat would wash up on the beach, her carcass still aboard. Skin blistered, sunburnt and red, and there would be rips in the skin from where the sea birds had pecked at her. Attending police officers say things like “Well, at least they didn’t peck out her eyes” and then, someone who knew her, probably her older brother, would say “Yes, thank goodness. She had such lovely eyes.”

JESSICA gets off the bus home and eats a bowl of cereal. She spends the afternoon watching hidden camera shows. She has had a song stuck in her head for days now, but she can’t remember what it is.

End scene. Actor #5 | Eric Gets the Bus to Emergencies Actor #6 | Layla “Look Into My” Buxton Script #4 | Page 1

Somewhere Beyond the Sea II: A Sequel.

EXT: THE SEA. Day.

JESSICA lays motionless in a boat in the middle of open water. Her skin is sunburnt and blistered. The sun beats down on JESSICA as if trying to evaporate her into the sky and the heavens. A seagull lands on the side of the boat and looks at her body with a tilted head, as the boat rocks some. The seagull cries/calls out. Hops down into the body of the boat to get a closer look.

SEAGULL That receptionist is going to feel really bad about embarrassing this lady. Look what she’s done. I won’t eat her eyes though, out of respect. She obviously had such lovely eyes.

As the seagull tears at JESSICA’s red skin, the SPIRIT OF JESSICA stands up out of her body. Steps out of the boat and walks across the water into the impossible foreverness of the blue distance. She never feels embarrassed or nervous or sad again.

SFX: ‘Somewhere Beyond the Sea’ by Frank Sinatra plays

End scene.

Actor #7 | Hem Actor #8 | Mark “Found Himself in the Cinema Car Park” Barker Script #5 | Page 1

Avril Lavigne CD.

-Do you want to listen to my Avril Lavigne CD with me?

-No.

End scene. Actor #9 | Small Business Owner Chad Actor #10 | Gentle Paul Script #6 | Page 1

Gordon’s Theme.

EVENING. TELEVISION STUDIO. INT.

The studio floor is filled with swirling cameras that try and capture the atmosphere. The atmosphere is mild at best. A man, probably called KEVIN, is waving a sign at the audience with the word APPLAUSE written on it in black marker pen. KEVIN hasn’t smiled once. He wears a headset, like popstars who need to sing and dance at the same time. He looks like his breath would always smell of coffee. KEVIN looks like the kind of person who probably can’t take a joke. The audience obliges with polite applause, and the LIVE sign on the studio wall lights up indicating transmission has begun.

SFX: GORDON’S THEME begins.

With his entry music, GORDON leaps down the stairs, high-fiving and shaking hands with audience members. GOOSE sits in the guest chair on the stage, nervously awaiting his interview. He isn’t sure whether he is more nervous about meeting GORDON, or about the other special guest, who he heard is SHERYL CROW. SHERYL CROW is promoting her new single ‘Gasoline in My Teeth, Enough for Everyone, Get it While it’s Hot, Good Momma’ which was going to be made available to stream and pre- order from amazon.com directly after the show.

GOOSE hopes that maybe SHERYL CROW will play a classic, maybe ‘If It Makes You Happy’. It’s a cool song, really, thinks GOOSE. He’d liked it ever since he sang along to it loudly and got teary once in his living room.

GORDON finishes introducing the show and sits down in the chair beside GOOSE. It is impossible to tell whether GORDON is homosexual or not.

SFX: GORDON’S THEME fades. Clapping lessens until silent.

GORDON Thank you for joining me GOOSE, wow, it’s great to see you-

GOOSE Well no, thank you for having me, you look great. Script #6 | Page 2

GORDON I’ll pay you later.

SFX: Audience laughter.

GORDON [Cont.] Now, you’re here to talk about your new project, I hear there’s an unusual story behind it.

GOOSE [Laughing.] Yes well, I had a very bad headache and it was making me feel nauseous, and it kind of went from there really.

GORDON Fantastic, and it ended up – well it ended up with you-

GOOSE Going to sleep, yeah, napping-

GORDON Well, we’ve all been asleep, I know I have, I’m sure the audience in the studio and at home have. Tell us GOOSE, what was so special about falling asleep on this occasion?

GOOSE Well GORDON, I got very sweaty in the bed. I’d fallen asleep listening to the film TRUE ROMANCE playing in the DVD player, and when the film finished, the 10 seconds of audio on the start-up menu just kept going round and round, so it was getting into my dreams…

GORDON Fantastic, surreal-

GOOSE I was in a café with my friend LILY – in the dream of course – LILY would never go to a café in real life.

SFX: Audience laughter.

GOOSE [Cont.] and the music from the DVD menu was playing in the café, and LILY said, ‘the music in here is really not very good, let’s leave’. Script #6 | Page 3

SFX: Audience laughter.

GORDON That’s quite a story! So what happened next?

GOOSE Well I woke up and turned the DVD player off and texted LILY to tell her I’d had a dream about her again, and that I’ve been dreaming about her every time I’ve slept this month. But I realised that she wouldn’t text back because of her being dead, and even if she weren’t dead, I’m pretty sure she never had a mobile phone.

SFX: Audience laughter.

GORDON Well that’s quite a pickle – what model of phone do you think she would have had, had she been alive and a mobile phone user?

GOOSE That would have to be a Nokia 3310 GORDON.

SFX: Audience applause.

GORDON It’s a fantastic story.

GOOSE Thank you, GORDON.

GORDON Looking back over your time, you’ve come a long way with this, what advice would you give to yourself as a kid, back when you were 7 or 8 and you could only dream of such success?

GOOSE That’s a tricky one, GORDON. I guess the thing that instantly comes to mind is – don’t fall in love with your rapist.

SFX: Audience laughter.

GORDON [Laughing.] That’s brilliant, you’ve been a pleasure. Script #6 | Page 4

GOOSE Thank you for having me.

GORDON GOOSE everyone!

SFX: Audience Cheer and clap.

GORDON What an inspirational young man. Coming up after the break we have a performance from SHERYL CROW and our phone-in debate continues: Chairs – are they our friends – or aren’t they? See you in 5 folks!

GOOSE sits deadly still, afraid to move whilst the camera moves. He looks left. In the wings, he can see SHERYL CROW drinking a bottle of water and talking to a man GOOSE imagines is her manager. Looking at the two of them, it suddenly dawns on GOOSE – that isn’t SHERYL CROW. That is a robot. Panic spreads over GOOSE’s face. They have come for him.

SFX: GORDON’S THEME.

End scene. Actor #11 | Chef Actor #12 | Minnie Script #7 | Page 1

Imaginary Rooms.

INT. KITCHEN. DAY.

The set is an imaginary kitchen; not based on anywhere in particular, more of a mishmash of various kitchens you’ve known through your life – like your childhood kitchen, or a very close friend’s kitchen. Maybe the wallpaper has a slight 80’s feel. Maybe frying pans and little milk pans hang from a rack on the wall.

Dull light comes in through the rain. TINY sits on a stool by the window. He isn’t thinking anything, but feels incredibly content. The feeling you get when you’re home sick from school and get to hang around aimlessly all day, even though you’re actually well enough to have gone in. Or maybe you’re not sick at all, but just good at pretending.

The TV is on – cooking channels or morning TV – but TINY isn’t really focussing – it’s just sort of an audio mist. The TV show presenters’ voices are gentle and happy.

Another character walks in and out of the imaginary kitchen, busy with something or other. They have a purpose, but don’t seem rushed or stressed, just sort of floating to the fridge, to the cooker, to the work surface, the washing-up bowl – wiping surfaces down sometimes. They’re not really a person, just a blurry presence that’s nice to be around.

TINY thinks about having a fish finger sandwich for lunch, with red sauce and mayo, but he also considers just eating more cereal for lunch. Later he will take a mid-afternoon nap on the newly made bed, and then watch episodes of Friends in no particular order. TINY knows every episode by heart, but they’re still funny. Re- watching episodes, TINY often realises he uses phrases and jokes from the show in his day-to-day life without even realising – leaked into his subconscious, and then re-presented themselves as original thoughts authored by TINY. TINY thinks about this and thinks life is strange.

TINY wishes every day was like this.

End Scene. Script #13 | Billy + Edna Actor #14 | Biscuits and the Gang Script #8 | Page 1

Carsick/Homesick/Sicksick Monologue.

Enter BUTTER FINGERS.

BUTTER FINGERS When I was a kid and we got a new car – I put the old car’s ‘spirit’ in my finger, so I could transport it into our new car. Sometimes I wonder if I still have that power, and that’s why all my friends turn into the same bad friend after a while.

Exit BUTTER FINGERS.

End scene. Actor #15 | Sal Actor #16 | Truck Stop Juliette Script #9 | Page 1

Postcard Monologue.

My best friend ELIZABETH enters the stage. She looks worldly and wise, like Alanis Morissette in the video for Thank U, except Elizabeth is not naked.

ELIZABETH I thought of you as I passed through Lake Tahoe. I was trying to remember your face at different stages of our life together, and how your clothes style and hair has changed or stayed the same. I thought about telling you I had done this, and I imagined you crying your eyes out to your Michelle Branch CDs. I’ll be back in 3 months. Try not to get too down about things. I love you, best friend.

Exit ELIZABETH.

End. Actor #17 | Butter Knee-High Actor #18 | Cruella Nevil Script #10 | Page 1

Check Behind You.

1. INT. RASCALS BAR, SEAFRONT. DAY.

Rascals Bar is a Seafront nightclub. If it were 4:00AM, dancing students would be stumbling out the exit. But now it is 9:00AM. And Rascals Bar is playing host to a team-building day for a local business. The would- be dance floor is lined with tables and chairs holding grey, professional types, their faces lit by the PowerPoint presentation.

RABBIT sits among them, also staring at the presentation. He is dressed smart-casual, but his hair is messy. He probably cuts his own hair. He has a name badge on that reads “Hello my name is RABBIT. Ask me what I do!” RABBIT doesn’t know what he does.

Fake ivy hangs from the walls, and plastic palm trees in pots lean from either side of the dance floor. A glitter ball looks out of place, almost embarrassed, like nobody told it to dress down today. A neon sign ‘DANCE’ is still lit above the toilets, but no one is dancing.

The floors are wooden herringbone, and have damp stains on them. The cleaners can’t have finished mopping long ago. RABBIT thinks about the building playing host to raging clubbers all night long, and then – after a quick rinse down – housing bored office workers all day until the sun goes down again. RABBIT thinks about the wind and rain coming straight off of the sea, bashing the building relentlessly. RABBIT thinks this building must be exhausted.

RABBIT [v/o] This building must be so tired. I am this building. I am a shit nightclub on the seafront with stained herringbone floors. [Beat.] I wonder if this is the kind of place where they sell cocktails served in hollow pineapples. The kind with umbrellas.

The speaker leading the presentation is using the club’s karaoke microphone to amplify her voice. Her voice booms. RABBIT hasn’t been paying much attention, but as he looks around for the bathroom, he accidentally tunes in. Script #10 | Page 2

SPEAKER We can’t keep displaying our process maps as triangles. Triangles are hierarchical. A circle includes everyone. A circle is a hug – an appropriate, workplace hug.

The PowerPoint presentation shows a triangle with a red cross through it, next to a circle with a green tick over it. RABBIT leaves for the bathroom.

2. INT. RASCALS BAR BATHROOM.

RABBIT shuts himself in a cubical. RABBIT imagines someone called JONNY standing in this exact spot, just hours ago, getting a hand job from a stranger before going home to sleep it off.

RABBIT [v/o] Good for you JONNY. Sleep well.

As RABBIT urinates, he reads the graffiti on the walls. ‘We Ride the Hoe Train’, ‘Breeders 4 Life”, but most alarmingly ‘CHECK BEHIND YOU”.

RABBIT [v/o] Don’t worry JONNY, I’m always checking behind me. I think non-stop about what’s behind me. Jobs I used to hate feel so safe now. I feel like I’m nostalgic for everything I used to hate. Is my life getting progressively worse? Am I sliding down the walls of the hierarchical triangle?

RABBIT wants to call his mum and tell her he is unhappy, and that being an adult has disappointed him. RABBIT imagines his mum calling a teacher, and explaining that RABBIT just isn’t well enough to be an adult today, and that he is going to stay home and do some colouring instead.

RABBIT [v/o] When I’m dead, will I feel nostalgic for life?

RABBIT does up his zipper, and returns to the grey people.

Exit RABBIT.

End Scene. Actor #19 | Little POW! Actor #20 | Bunny Script #11 | Page 1

Art School.

INT. ART STUDIO, LONDON. DAY.

The window watches over the whole of London and it’s sort of beautiful. Pictures on the walls, photos. Sitting in the room is TEACHER and STUDENT. TEACHER has a sweaty face. STUDENT is pretending to listen, but seems more interested in throwing himself out of the window and momentarily becoming part of the London skyline. He knows he will inevitably fall to his death on the pavement, bleeding everywhere. He likes this idea and thinks that visually it would be pleasing.

TEACHER Your photos just aren’t very good. Very magazine.

STUDENT Yeah.

TEACHER I think just leave them for now. Obviously, you don’t have many ideas; you’ve only just arrived here.

STUDENT Well I have been looking at Theology. I’ve been researching the voice of God and I was thinking-

TEACHER [Interrupting.] Religious background?

STUDENT Yes, very, so I was thinking-

TEACHER [Interrupting.] And you’re obviously – you know [TEACHER presents a limp wrist.] – and how do your parents feel about that?

STUDENT Oh – well it’s difficult.

TEACHER points to himself and presents a smug, patronising smile.

TEACHER Believe me – I know. [Pause.] I know.

STUDENT doesn’t know how to react to this and feels Script #11 | Page 2 uncomfortable.

STUDENT [Hesitates then continues.] I was thinking about looking at Icelandic folklore. I read somewhere that they believed birds were the voice of God and I find that really interesting.

TEACHER Do they hate you – your parents?

STUDENT Hm?

TEACHER My mother likes me after all these years – she thinks I’m nice.

STUDENT laughs nervously.

TEACHER I’m reading between your lines here. I think what you’re trying to say is, that you want to do a performance piece, or perform a one-man play.

STUDENT Oh-

TEACHER I mean, I write these deep essays, very serious, very meaningful, but because of their sincerity, I end every essay with a line from a Northern nightclub.

STUDENT Oh beautiful, wow.

TEACHER Yeah, and it just sets it off perfectly.

STUDENT Of course, wow.

TEACHER It’s the deep intellectual side of me, the really gripping thoughts, but that can be too much for people, so I mix it with that club-life humour.

STUDENT Really good, impressive. Script #11 | Page 3

TEACHER Yeah it is; it’s something I think.

STUDENT Yeah, it’s something.

TEACHER Also, plaster? Why don’t you start making props for your plays in plaster?

STUDENT Oh well, I thought I might do an audio piece to do with the birds. I don’t think I want to do a play. I don’t know about plays.

TEACHER You could use the plaster lab, college has one, have you seen it?

STUDENT Yeah.

TEACHER Brilliant! Ok, well I have to go and eat a sandwich now.

STUDENT Of course, well it was nice to meet you.

TEACHER Bye! No more photographs!

STUDENT Yes ok, bye!

Exit TEACHER.

STUDENT throws himself out of the window and it is visually pleasing. TEACHER writes a critique stating that although ‘visually pleasing’, fundamentally, the piece didn’t excite him, and failed to comment on society with a contemporary and/or autonomous approach to creative practice. It is graded “C”,and ultimately won’t be enough for STUDENT to pass the year.

SOMEONE IN A NORTHERN NIGHT CLUB Tell Lesleh that Dave’s ate a fuckin urinal cake.

End scene. Actor #21 | Lilac Honey Actor #22 | Kevin Does Couture Script #12 | Page 1

Do You Believe in Love, Post-Myspace?

-I just want to be in your top 5 Myspace friends.

–How do you mean?

–I mean it in every way possible. Actor #23 | Outdoorsy Dave Actor #24 | Pineapple Jack Script #13 | Page 1

The Weather Report for New Year’s Eve.

INT. ASK JON WHAT THE PUB WAS CALLED. NIGHT.

Its New Year’s Eve 2999AD, but everything is essentially the same as it is now. Two men stand on opposite sides of a pool table in a pub. The pub is the one in Coventry where JON walked past once on his way home, and when he looked in the window of the pub, he saw two men having anal sex bent over the pool table. It’s that pub.

The pub is for some reason closed to the public, but there are empty glasses on tables, and the floor is littered with peanuts and crisps. People have been here recently. Music still plays, something generic that everyone can enjoy – ‘Now that’s what I Call Music 100,000,000’.

Drunks walk past the frosted windows, cheering and making unintelligible sounds, but this doesn’t faze the two men who just stare at each other across the pool table, in their own private silence. It is a silence that only they are experiencing.

MAN 1 eventually speaks –

MAN 1 I’m going to stop recommending films and CDs to you. You never listen to them or watch them, even when I say it’s the best film I have ever seen, or ‘this CD really affected me’. You never listen to them, and it hurts my feelings. It’s my New Year’s Resolution. And also to update my Microsoft Word Package, because I still use 1997, and it’s lacking.

MAN 2 Will this be the year you stop having imaginary conversations with me as well?

MAN 1 No, because I don’t need to stop that. It doesn’t really happen.

MAN 2 Ha, Ok then, ha.

MAN 1 It doesn’t – I have imaginary conversations Script #13 | Page 2

#about# you to people in my head, like I’m thinking what I would say to someone about you if you came up in the conversation. But I never have actual imaginary conversations #with# you. It’s different.

MAN 2 And you’ve never thought about sending me a message or anything like that, but just written it in your head instead? A Facebook message, or a text message?

MAN 1 Yeah, I have done that a few times.

MAN 2 That’s essentially the exact same thing.

MAN 1 Ok then.

MAN 2 Ok then.

MAN 1 It’s not the exact same thing, but ok then.

MAN 2 What do your messages say? The ones you write in your head.

MAN 1 Sometimes they say ‘Let’s meet up and talk about everything’, but usually they just say something like ‘Don’t worry – everything is ok, I am ok, I won’t tell anyone about you and me, it just happened, and now it’s passed, like bad weather. We’re completely separate and new people now. What happened is passed, like bad weather.’

MAN 2 Do you think the thing that happened between us is the reason you’re sad all the time?

MAN 1 Everyone is sad all the time. LAURA is the happiest person I know, and sometimes I look at her when she thinks no one is looking, and she doesn’t look happy in those moments, she looks sad. Everyone is sad all the time. My being sad Script #13 | Page 3

has nothing to do with you, or with us, or with what happened.

MAN 2 What if I’m worrying about you? Your message would let me know you were ok.

MAN 1 I suppose.

MAN 2 I do worry about you.

MAN 1 I think you just worry about what you did to me. And you worry that I will talk to people about it. You’re worried about what it says about you as a human.

MAN 2 You’re right. But I worry about you too. I worry about you.

MAN 1 Don’t worry – everything is ok, I am ok, I won’t tell anyone about you and me, it just happened, and now it’s passed, like bad weather. We’re completely separate and new people now. What happened is passed, like bad weather.

End scene. Actor #25 | Elaine and the Game Actor # 26 | Camel Toto Script #14 | Page 1

Lazy, Open-Mouthed Babies.

INT. BUS. MORNING.

SYBIL is a young, pale woman. She sits on the bus by the window. She is looking out of the window, but not really; it’s just where her eyes are resting. She is not thinking of anything. She is dressed smart-casual, and her hair is neat and has a lot of body to it. She uses good, expensive shampoo. The bus engine hums for a few seconds and the bus moves, but then jolts to a stop. SYBIL heaves forward.

Enter MOLLY. MOLLY is out of breath. MOLLY sits down next to SYBIL.

MOLLY I had to run for the bus. Hello.

SYBIL half smiles at MOLLY.

MOLLY I shouted to you to ask the driver to wait, didn’t you hear? It’s these new trainers.

SYBIL Oh, I didn’t hear. I’m sorry.

MOLLY When I was running, I had a sort of daydream that I tripped and broke both my arms, and I had to have 6 weeks off of work, and in the daydream I was so relieved. I don’t know why I was running for the bus really – I don’t even want to catch the bus. Missing the bus would have been amazing.

SYBIL Work’s shit.

MOLLY Yes.

SYBIL looks out of the window again. There is a pause.

MOLLY How was your weekend? Last night I had a dream I was in HMV, just dream-browsing made up CDs and DVDs. Script #14 | Page 2

SYBIL Mm [SYBIL thinks of something to say.] Did you buy anything in the dream? From HMV.

MOLLY I don’t think I had any money. I wasn’t thinking about money.

Beat.

SYBIL Maybe you could have stolen something.

MOLLY You can’t steal from your own dreams. That seems like it would be a negative thing to do. Did you have any dreams last night?

SYBIL No.

MOLLY No? What about the night before?

SYBIL I don’t remember when it was that I last had a dream. Maybe last weekend.

MOLLY Do you know what happened?

SYBIL We were at work I think. And there was a great big birthday cake in the office, but no one knew whose birthday it was. So I ate the whole thing with my hands, and had to type for the rest of the day with cake all over my fingers. Crumbs were getting stuck between the keys. I don’t dream very often, so I don’t know if that’s the sort of thing you’re supposed to dream about, or not.

MOLLY On Friday, I dreamt we were sleeping really peacefully with our mouths open, like lazy, open- mouthed babies. And we knew – at the back of our minds – we knew that we didn’t have to get up for anything ever again.

SYBIL Mm. [SYBIL thinks of something to say, but fails.] Script #14 | Page 3

MOLLY [Cont.] Sort of like how you used to feel on the first night of the summer holidays, when you knew you had 6 weeks away from school ahead of you. Except in this dream, we knew we could just sleep, forever.

SYBIL Who was there – just us?

MOLLY Just us, and I could hear someone downstairs doing things in the kitchen, and the smell of toast.

SYBIL Who was downstairs?

MOLLY I don’t know – your mum, or my mum, or some kind of collective universal mum who didn’t have to get us up for school that day, or ever again.

Beat.

SYBIL I don’t really dream about things like that.

The bus hums on. SYBIL thinks about a CD she might buy today after work. MOLLY misses her mum, and misses being young, and having summer holidays.

End. Actor #27 | Sock Puppet Judy Actor #28 | Icarus the General Waste Fairy Script #15 | Page 1

The Last Problem.

EXT. A CITY CENTRE. DAY.

It’s the year 4000AD, and all of humanity’s problems have been resolved. The news has been replaced with videos of babies doing adorable things. The computer uprising happened briefly in the year 3000, but wasn’t as spectacular as you might think. For the most part, it was a singing competition. There were no winners, only harmonies.

The city streets are clean and modern. Enter CANDIDATE – they stand at a podium, ready to address their public. The audience waits to hear what this politician has to offer them. There is a feeling of suspense and expectation. All the humans are so happy and content and smug that they no longer feel driven to attend political events such as this, or engage in voting at all. Because of this, the audience consists solely of pigeons. The pigeons are listening extremely attentively, and are being tremendously respectful to all the different viewpoints being presented.

One problem remains in the world. They wait. Will CANDIDATE make the golden promise?

CANDIDATE And, today my friends – the day you have waited for – I assure you, if elected, I will guarantee free chiropody for pigeons. Yes. No longer will pigeons limp, or stand on one leg. No longer will they suffer clubbed feet, or rotting toes. Stand with me friends, on your withered legs. Freedom. Equality. Chiropody.

No one claps because pigeons can’t clap, but every orange eye glints with a tear. They would clap if they could – of course they would. There is an understanding communicated through the crowd. This is the leader we have waited for. Earth’s last problem will be resolved. The humans have done it. Heaven awaits, but first, glorious Earth.

SFX: Proud trumpet music.

End Scene. Actor #29 | Trinket Actor #30 | Post-War Eden Script #16 | Page 1

Never Give Up.

-I’m not saying you’re an alcoholic, I’m just saying that sometimes I Google ‘Am I an enabler?’

-Well I’m not saying you’re bad at what you do, I’m just saying that sometimes I Google ‘When should you finally give up on your dream?’

-Ok, so we both Google all sorts of different things. Actor #31 | Sue’s Sister Actor #32 | Dirty Bird Script #17 | Page 1

Daisy’s Friends.

INT. DAISY’S ROOM. MORNING.

SFX: Alarm Clock.

Lights up.

DAISY (early 30’s) is face down on the bed. Her alarm clock is ringing. DAISY is dead.

Across the room from DAISY is a desk with an open laptop on it. The laptop screen reads ‘0 unread emails’. DAISY has a Hello Kitty bedspread that is covered in vomit. The vomit is also in DAISY’s hair.

DAISY’s death has obviously been carefully considered. She knew that cutting her wrists or throat would be more aggressive, but decided on pills. Pills seemed more understated. DAISY wanted her death to be as unremarkable as possible. She wanted to stop her friend RACHEL from saying she had done it for attention, or that it was a ‘Cry for help that had gone wrong.’ RACHEL said things like that all the time. These would have been very “RACHEL things” to say.

DAISY didn’t write a suicide note because she didn’t want to seem too needy. Her loved ones were too busy with their middle management jobs to read correspondence from her anyway. DAISY did, however, Google search ‘suicide methods’ and ‘Why does everyone let me down?’ She imagined an Investigating Officer saying “It’s an open and shut case”.

No one notices DAISY is dead for five days, because no one calls or emails DAISY. People had stopped inviting DAISY to things a couple of years ago. She supposed that her social anxiety made it difficult for her to go anyway.

DAISY’s body is only discovered when a neighbour complains about the noise of the consistently ringing alarm clock. This was a device pre-arranged by DAISY – an answer to the fact that she knew her unremarkable death would go unnoticed. Her whole life commemorated by an annoying ringing.

Despite not having spoken to DAISY for months, DAISY’s friends chip in to buy her “literally the cutest” Cath Kidston coffin. The funeral is modest – they serve a Script #17 | Page 2

Subway sandwich ‘Celebration Platter’ at the wake, because DAISY’s friend, DEBBIE, was sure she could remember DAISY saying she loved Subway sandwiches. RACHEL doesn’t chip in because she is saving for a holiday, and she doesn’t want to seem like a bitch about it, but it was her and KEVIN’s first holiday away together and they really had their heart set on Egypt.

End scene. Actor #33 | Pale Tom Actor # 34 | Pop Script #18 | Page 1

Work Wife.

KAREN and SARAH are both trapped inside their separate computers. Their sweat and breath cover the screens, and their hair sticks to their faces in the damp, humid atmosphere. Karen buys coffee out every morning, and again every lunch time along with an expensive sandwich, and complains that she is poor. Sarah brings her lunch from home in a recycled bread bag, has a favourite toilet cubical she always uses, and says ‘thank you’ to the printer by mistake whenever she collects her printing.

KAREN As expected, after more than a week away from work, I have become nocturnal and strange. I have returned to work with the personality of a rescue cat. I hope you’re surviving. Happy New Year. Karen x

SARAH Same as last year. I continue to worry I am just too sassy for the workplace, and I will inevitably be cast out of society. Maybe even today. I haven’t washed this jumper since November, and I have never washed these jeans. Happy New Year, Stupid. Sarah xx

KAREN No it’s fine – call me a monster, but I just generally refuse to spend more than £2 on a pack of grapes. But as you’ve already got them… Best, Karen

SARAH Was that meant for me? Who are you sharing grapes with? Why can’t I be that person? I would never make you spend more than £2 on a pack of grapes. You know that about me. Yours very seriously Sarah xx

KAREN Sorry – not meant for you. So, I share small fruits with other people. Can I still sit with you to eat our sandwiches? Karen x Script #18 | Page 2

SARAH No Best Sarah P.S xx

KAREN and SARAH stay on stage exchanging emails until they die of old age. KAREN reaches 88. SARAH reaches 90.

End scene. Actor #35 | She Sells Life Insurance by the Seashore Actor #36 | Tip-Your-Waitress-Wendy Script #19 | Page 1

The Protector of Small Things.

1. EXT. BEHIND AN OFFICE BLOCK. DAY.

OWEN LEE JOE KING leads PAT around the back of a tall office block into an area of dumpsters and broken up cardboard boxes. They are away from main roads, not visible to the general public. There are broken bottles and cigarette butts on the floor, and the area smells of urine.

PAT looks nervous. It’s been a bad date so far. Just moments ago OWEN LEE JOE KING had offered to buy PAT a drink at the BROWN BEAR PUB. PAT refused on medical grounds. PAT explained he had had a large mental break down and was currently medicating, and the pills weren’t supposed to be mixed with alcohol. On hearing this, OWEN LEE JOE KING asked to buy some of the pills from PAT, because he thought it would ‘make him go whappy’. PAT knew then that OWEN LEE JOE KING probably wasn’t “the one”.

OWEN LEE JOE KING When the police arrested me and asked for my name – I said “OWEN KING”. They asked if I had middle names, so I said “LEE JOE”. [Beat.] OWEN LEE JOE KING! It was hilarious. They didn’t get it though.

PAT can’t remember OWEN’s actual name, so thinks he will just refer to him as OWEN LEE JOE KING from now on – when he writes about this in his diary, and so on.

OWEN LEE JOE KING Do you like my jacket? I got it especially. Everything I’m wearing now is stolen especially for our date. I have a Bart Simpson tattoo.

PAT Did you steal that as well?

OWEN LEE JOE KING No, I paid for it with my pocket money when I was 14. 20 years have flown by. I turned 34 last week.

OWEN LEE JOE KING shows PAT his Bart Simpson tattoo.

PAT It looks just like him. Script #19 | Page 2

OWEN LEE JOE KING How old are you again?

PAT [Beat.] 18 or 19.

OWEN LEE JOE KING grins. PAT limply smiles back.

OWEN LEE JOE KING stops smiling abruptly and the tone changes. He puts his hand up and strokes PAT’s face. He looks at PAT’s mouth. They kiss for a while whilst PAT thinks about his bus timetable.

OWEN LEE JOE KING I like this sneaking around. It feels wrong, I like it. You’re even better than your picture.

PAT Yeah. Thank you.

They kiss again. PAT puts his hand down OWN LEE JOE KING’s underwear because he thinks he might as well, and it seems like the kind of thing OWEN LEE JOE KING might be expecting to happen. PAT holds OWEN LEE JOE KING’s penis in his hand. It is soft, small and limp like a naked mouse, and as he squeezes it, a drop of urine dribbles out into PAT’s hand.

OWEN LEE JOE KING [Whispers.] You’re trembling – are you cold?

PAT [Whispers.] I’m cold.

PAT isn’t cold.

OWEN LEE JOE KING [Whispers.] Let me warm you up a bit.

PAT and OWEN LEE JOE KING have sex behind the bins.

2. EXT. STREET. DAY

OWEN LEE JOE KING Do you want me to walk you to your bus stop?

PAT No, it’s ok, thank you, though.

Script #19 | Page 3

OWEN LEE JOE KING I can’t believe how lovely you are.

OWEN LEE JOE KING walks PAT to his bus stop anyway. On the way, OWEN LEE JOE KING makes fun of someone in a wheelchair, and PAT thinks ‘fucking hell this is terrible’. To get to the bus stop, they walk over an overpass and OWEN LEE JOE KING forces PAT to stop and look at the traffic below.

OWEN LEE JOE KING Look at the view. It’s all for you. It’s all for you!

PAT doesn’t want it.

PAT catches his bus, and cries all the way home. When he gets home he walks out into the fields so his parents can’t hear him, and calls the sex advice line. He asks them if he could have gotten HIV from what OWEN LEE JOE KING did to him today. They tell him yes.

As PAT walks back to his house, he comes across a snail in the middle of the path. He picks it up and moves it under a bush where it won’t be trodden on. A few steps later he sees a plastic six-pack ring from beer or coke on the ground. He breaks it up into tiny parts and puts it in the bin so turtles won’t get stuck in it like he saw on TV. PAT thinks to himself ‘Maybe I could be the protector of small things, and then everything bad I do will be outweighed by that goodness”.

PAT [v/o] I am the protector of small things. To the rescue.

PAT goes home.

End scene. Actor #37 | Tried-it-at-Home-Tracy Actor #38 | Vegan Sarah Script #20 | Page 1

Circus Party.

1. INT. LARGE EAST LONDON HOUSE. EVENING.

It’s supposed to be a circus themed party – the sort of thing you get invited to in your first week of art school. You’ve already thought about dropping out, so you think you might as well go and at least try and make some friends, make the most of it. The house is big and empty – either no one lives here, or someone very cool and annoying lives here – it is impossible to tell. CLOWN is wearing normal clothes, but with face paint on; this is pretty much what everyone at the circus party is wearing. CLOWN clutches a bottle of wine and nods awkwardly in time to the music and wonders where SKINNIER CLOWN, his friend, has gone. SKINNIER CLOWN went to the toilet 4 minutes ago.

Enter CRYING MAN. He approaches CLOWN. All characters talk loudly over the music.

SFX: A really great band.

CRYING MAN has very wide eyes. He leans uncomfortably close to CLOWN.

CRYING MAN I’m a chef.

CLOWN Hi.

CRYING MAN I’m a chef.

CLOWN Are you a student?

CRYING MAN I’m a chef. I know the guy who owns this house. He’s a friend that I know.

CLOWN I don’t know whose party this is. I thought I was talking to the guy over there, but it was just a boy who wanted to buy my passport. He said we looked alike. But we didn’t.

CRYING MAN Do you want to go into the garden with me? Script #20 | Page 2

CLOWN Oh I don’t know, I’ve got my wine and also I’m seeing someone.

CRYING MAN You have your wine. I have a girlfriend, I just want to go to the garden and I don’t want to go on my own. Will you go to the garden with me, and bring your wine?

CLOWN Oh ok, in a moment we can do that, I just want to hear this song and also wait for my friend. You could ask someone else to go to the garden with you, if you wanted to go there now.

CRYING MAN [Teary eyed.] I like to dress up in women’s clothes.

CLOWN My friend will be coming back, he went to the toilet, but I think he must be doing a poo because he’s been a while. It’s been more than a few minutes.

CRYING MAN I like to dress up in women’s clothes.

CLOWN That’s ok.

CRYING MAN I’m not going to have sex with you. I like to dress up in women’s clothes and masturbate. It’s what I do.

CLOWN Everyone likes different things, I like ‘[TV show]’, have you seen it? It has a good soundtrack and deals with some really good issues.

CRYING MAN My girlfriend doesn’t know. I’ve worn her clothes. Come to the garden with me, I’ll find you a new bottle of wine out there for you to drink. With your lips. Script #20 | Page 3

2. EXT. GARDEN. EVENING.

CRYING MAN and CLOWN sit in the soil in the pitch black surrounded by drunk and vomiting people. CLOWN can see the entire sky. CRYING MAN is crying.

CRYING MAN I just want to wear them all the time.

CLOWN Then you should, that is what you should do, it’s what you need to do.

CRYING MAN I can’t have sex with you, I’m not gay, I can’t.

CLOWN That’s ok, I don’t want to have sex, I’m with someone and also I should go back inside in case my friend has finished his poo. He’ll be worried.

CRYING MAN I want to fuck you in the arse hole.

CLOWN Well I don’t know what to say.

CRYING MAN Ok, I will fuck you in the arse hole if that’s what you want.

CLOWN Oh, no that’s ok.

CRYING MAN Meet me in the bathroom and I will fuck you in the arse hole.

CRYING MAN’s eyes go extra wide and he stumbles inside the house.

Exit CRYING MAN.

CLOWN sits very still and gets into a little ball under an evergreen in the garden and wonders if he could sleep there quietly until the morning. Maybe then he could go home and have a really lovely breakfast – juice with bits in it and buttery toast – on the settee, in his dressing gown. Script #20 | Page 4

Time-lapse.

Enter CRYING MAN.

CRYING MAN You didn’t come. I took my clothes off and I was waiting for you, then someone else came in to use the toilet. The bath was cold on the backs on my legs.

CLOWN Did the bathroom smell like poo? I’m trying to find my friend. He’ll be so worried about me. It’s been a lot longer than a few minutes now.

CRYING MAN Please don’t tell my girlfriend about us.

CLOWN I have to go now, but I’m sure she loves you very much. I’m a long way from home.

CLOWN melodramatically runs from the house into a street he doesn’t recognise and by the grace of God gets home. At home, CLOWN cries because he can’t get his make-up off and wakes up by a bucket. CLOWN drops out of art school.

End scene. Actor #39 | Oh Cowardly Brian Actor #40 | Canary Williams Script #21 | Page 1

.enicideM niarB

INT. THE WELLBEING SURGERY. DAY.

DAVID walks out of a side room into the main reception, followed by THERAPIST.

THERAPIST It was good to see you NIGEL.

DAVID DAVID.

THERAPIST Sorry DAVID [Beat.] it must be Monday! Good to see you DAVID. See you next week. You did really well, you’re doing really well.

THERAPIST goes back into the side room and closes the door behind him. DAVID lingers in the reception, and digs around in his bag for his iPod. DAVID thinks therapy was, and always seems to be, a huge waste of time. He has been through this whole process before. Last time, he found he was exactly the same (if not slightly worse) by the end of it.

DAVID anticipates that next week THERAPIST will present him with a graph that shows how he has improved over the weeks because of their sessions. THERAPIST will say this means he can be declared ‘well’ and return to real life. This graph will be based (very loosely) on the ‘wellbeing survey’ DAVID has to complete every week which asks him to rate his thoughts and feelings between 1 and 5. One of the questions he has to answer is “How likely are you to kill yourself this week on a scale of 1 (very unlikely to kill yourself) to 5 (very likely to kill yourself)?”. It was this question in particular that made DAVID think that his therapist must really care about him.

As DAVID moves towards the exit, he notices SHAUNA. DAVID has never seen SHAUNA at the Wellbeing Drop-in Centre before. SHAUNA is an untidy lady in her 40’s – she is sitting in the waiting area by the plastic dog with a coin slot in its head. The plastic dog is used to collect money for Guide Dogs for the Blind. SHAUNA looks tired. DAVID thinks “No matter how much shit therapy that lady gets, it will never be enough to make her not tired. Life is tiring. Therapy is tiring. Even that plastic dog looks tired”. DAVID has a passing Script #21 | Page 2 daydream that he puts a coin in the plastic dog’s head, and when he does, the dog springs to life, and runs away.

As DAVID leaves, he wishes he could psychically communicate with SHAUNA. If he could, he would say “Let’s never come to therapy again. Let’s go and get a drink and laugh together, and say how rubbish this whole thing is. That would be real brain medicine”. DAVID knows it is probably impossible to communicate with SHAUNA psychically, but he thinks that if it #is# possible, you probably have to say the words in your mind backwards. DAVID doesn’t know why that would be the case, but it just seems like the sort of thing that would be a rule of talking to people psychically. He decides to do it just in case.

DAVID [thinking backwards] ?knirD

SHAUNA [thinking backwards] .neht kO

DAVID and SHAUNA go for a drink and talk, and it is real brain medicine.

End Scene. Actor #41 | High Mikey Actor #42 | Jonny St. Birthdays Script #23 | Page 1

My New Kitchen.

INT. KITCHEN. NIGHT.

YOU and ME are cooking in the kitchen. Eggs. They busy themselves whilst they have the conversation – ME fries, whilst YOU washes dirty plates clean, ready to use for the meal. The faux-focus on these small activities gives them enough reason not to look at each other during their conversation.

ME It’s fine, I just didn’t know you were coming over.

YOU Sorry.

ME I don’t think I’ve ever seen you in my kitchen before. Well, this kitchen.

YOU I’ve been in your old kitchen thousands of times. I can smell something burning.

ME It’s fine.

YOU Do you remember when I fell off my bike, and you cleaned the blood off my hands in your old kitchen? By the sink. I’d taken the skin right off.

ME My hands were little and your hands were big. Yes, I remember.

YOU That was good of you. You didn’t have to do that.

ME No, but I wanted to. I felt useful, and like we were in a relationship. Anyone would have done it.

YOU Maybe not anyone, given the circumstances.

ME Is there cutlery? You might need to clean cutlery. Script #23 | Page 2

YOU Your old house wasn’t this messy.

ME I hadn’t decided who I was then. I’ve since decided I am a messy person who doesn’t readily have clean plates and cutlery.

YOU I liked the old you.

ME Well, he doesn’t exist anymore. He was too small and weak.

YOU His body was clean and hairless. Like a woman’s.

ME Did it leave a scar on your hands? When you fell?

YOU I don’t think so. I don’t really look at my hands.

ME I always liked your hands. [Beat.] I never had a woman’s body.

YOU It was easy to pretend it was a woman’s body.

ME I like to think that you never pretended, and that you liked me being me. I like to think that women you’ve slept with since make you sad, because they have real women’s bodies, and not my body. But I know that’s not how it is.

YOU That’s not how it is. Not even a little bit. You were a-

ME [Interrupting.] Substitute.

YOU No [Beat.] kind of.

ME Something to practice on? Script #23 | Page 3

YOU I suppose. I can smell burning.

ME It’s fine.

SFX: The smoke alarm screams.

ME Shit.

YOU Rip its heart out.

ME stands on a chair, pulls open the smoke alarm casing, and rips out the square battery. He places it on the table and finally stares at YOU. YOU stares back.

ME Done it.

YOU That will keep it quiet.

ME Yes.

ME and YOU stand and look at each other. They are embarrassed by the obvious and clumsy use of metaphors.

End Scene. Script #24 | Page 1

Dream Monologue.

Enter CHICKEN in his pyjamas.

CHICKEN Last night I had a dream that I was in a big hall, talking one at a time to everyone I’ve ever met. I’m exhausted, but it was so good to catch up with so many old friends.

Exit CHICKEN.

CHICKEN dies off stage.

SFX: Applause.

End Scene.

Props Store. | Page 1 Props Store. | Page 2 Props Store. | Page 3 Props Store. | Page 4 Props Store. | Page 5 author photo by ëpha j. roe

ABOUT THE AUTHOR Jinnwoo is a writer, musician and visual artist from Leicester (UK), currently living in Brighton (UK). He released a solo record ‘Strangers Bring Me No Light’ in 2016 on Cargo records, as well as records with British Folk groups Bird in the Belly (GF*M Records), and Green Ribbons (Matiere Memoire Records). His vocals also featured on Kyla La Grange’s second album ‘Cut Your Teeth’ (Sony Records) and Ben Walker’s debut solo record ‘Echo’ (Folk Room Records).

As a visual artist, Jinnwoo has produced work for the likes of Island Records, Warner Records, Thirty Tigers Records, as well as appearing in publications such as The Guardian, Beijing Today, Wonderland Magazine, Oh Comely Magazine and fRoots.

Jinnwoo’s writing has appeared in New York Tyrant Magazine, Gay Death Trance, and Blue Arrangements. Little Hollywood is Jinnwoo’s debut book. 11:11 Press is an American independent literary publisher based in Minneapolis, MN. Founded in 2018, 11:11 publishes innovative literature of all forms and varieties. We believe in the freedom of artistic expression, the realization of creative potential, and the transcendental power of stories.