I spent time with the ladies of GoG! in May at their annual conference and it was incredible. Not only did they give me total red carpet treatment, but they honored and humbled me by showing so much love for my book.
Thanks Go On Girl! I hope you all enjoy reading Live Again as much as I enjoyed writing it.
If anyone out there cares to read along with the ladies of GoG! this month, you can purchase paperback copies of Live Again from Mahogany Books (GoG’s official bookseller), or you can get digital copies for you preferred eReader by following the links on this site.
I passed the huge displays in my local Barnes and Noble. Skipped the ads in magazines. Zoned out when friends raved about this episode or that episode. Ultimately, I shrugged the whole thing off. Game of Thrones was like NASCAR to me. Popular for reasons I just didn’t understand. Plus, I didn’t have HBO anyway.
Due to automobile trouble, I found myself stuck in the house this past weekend. On a lark, I called up my local cable provider and had Home Box Office added to my package (really, just to catch up on Entourage…I still wasn’t sold on GoT).
What a difference 10 hours and OnDemand can make.
I can probably count on one hand the number of times a TV viewing experience has felt transcendent to me. After this weekend, another digit just popped up. I can’t stop thinking about it, and I’m really about to buy each of George R.R. Martin’s novels because I don’t think I can wait until spring to know what happens next.
That’s it. No anaylsis. No clever observations. I just feel like a kid again, back in the days when watching The Twilight Zone and Tales from the Darkside was just as important as getting three meals in. Hell, those shows were the meal.
I think I just added another helping.
First, I’m not going to give you suggestions on the best ways to follow a shot of top-shelf whiskey. For those who feel mislead, I’m sorry to disappoint. Moving on…
The title of this post is actually a reference to the 1997 film Chasing Amy written and directed by Kevin Smith. If you haven’t seen it, it’s a pretty funny indie film currently available through Netflix Instant Streaming. And you might want to view it before I reveal this little tidbit that explains the origin of the title when no one in the film is named Amy.
Towards the end of the movie the Silent Bob character, who is played by the director himself, gives a poignant monologue about how he messed up a good relationship with a woman named Amy over something that, in the scheme of things, was stupid. Now, he spends his days trying to find the same level of fulfillment he experienced with her. He’s constantly “Chasing Amy”.
I can’t relate to Silent Bob’s relationship woes because I’m happily married, but I’m a bit of a book whore. It occurred to me that I spend a lot of time trying to find a book that gives me the same level of fulfillment as certain other titles I’ve read over the years. I’m not the only one, and publishers know this, which is why when a book or series is successful, you immediately see a thousand clones (painfully obvious in YA right now with every other book aiming to be this week’s Hunger Games). Thing is, the clones almost never live up to the original*, so, sadly, the longing is never fulfilled.
That’s neither here nor there. See, for me personally, I think there is ONE book (MAYBE two) that moved me so much that I’m always trying to find a book that gives me the same level of enjoyment and satisfaction while disappointing me because I know it has to end. For me, it’s NIGHTWORLD by F. Paul Wilson (BLOOD BROTHERS by Steven Barnes is a close runner-up).
I read both books when I was 19 years old, and they CHANGED me, influencing my reading and writing habits ever since. Now, I spend everyday chasing Nightworld.
What about you? Any particular book that you can’t seem to get out of your system, no matter how many books you read? Please, let me know in the comments.
*If you know of a book that was an obvious clone of another, but somehow surpassed the original, please share. I’d be interested to check them out.
I happened to stumble across this amazing post from one John Scalzi and decided to link to it here. Perhaps it’s lazy posting on my part (I know I’m behind), but it doesn’t make John’s words any less fantastic. Check him out: Things I don’t have to think about.
I’ll be attending the Go On Girl! Book Club’s Annual Awards Weekend in Washington, D.C. this weekend. The ladies of GoG have selected LIVE AGAIN as there July-December Sci-Fi/Fantasy pick and I couldn’t be happier. I can’t wait to meet them in person.
For those who can’t make it to the capital city, I’ll do my best to make you feel like you’re there by posting pics and tweeting throughout the conference as time permits. In honor of the club’s 20th anniversary, I’ll be using the hashtag: #GoG20
So, follow me on Twitter (@LRGiles) and feel free to join the 140 character conversation.
I’m out. I’ll tell Barack hi for you. 🙂
This will not be a popular post. Neither will the three that follow. I plan to write similar posts on films, books, and finally, proposed solutions to what I see as problems.
Those who read this and choose to negatively criticize (as opposed to constructively criticizing) my statements will do at least two things to make their case. They will attack my motives (he wants more people to come to his blog so he decides to be all controversial), or my logic (he’s stating unproven facts, here’s 5 points refuting his claims).
As a bonus, when I get to my third post on books, because it’s the publishing industry I choose to work in, the points of attack will be my personal bitterness, work ethic, and skill. In other words, my motivation for writing such things has to do with the fact that I’ve yet to get a book deal. The real reason that I don’t have a book deal is because I don’t work hard enough, and even if I did work hard, I just don’t have the skills to turn a profit for a publisher so instead of facing THOSE facts, I’ve fallen back on the old Blame-The-Man crutch.
And it’s fine if you think that. It’s a free country, which is why I can say what I’m about to say…
If there’s been an effort to step up diversity (and for the sake of this post I’m defining diversity as the fair representation and humane depiction of America’s many non-white racial groups) across the landscape of television, films, and books, it is a weak and superficial effort at best. Here’s how I see it…
There are several ways to define diversify, and you can easily look them up for yourself. Here, I’ll focus on one definition that I feel is most appropriate:
(v) to add different types of manufactured products, crops, etc., especially to a business.
I find this fitting for a couple of reasons. One, it refers specifically to a business, and entertainment (tv, films, books, music and even sports) is most certainly that. Two, I like the “manufactured products” part. My interest in those two words is going to be more allegorical than etymological . My argument is the corporate approach to the representation of racial groups across various media has been a Diversify Approach as opposed to a Diversity Approach. As defined here, by me, those approaches are very different, and that’s a problem.
Here’s what I admit flat out: many racial groups ARE represented in a number of televisions show. You can easily turn on your television during Primetime and see a number races/ethnicities present and accounted for. I am not denying that.
At this point, someone with an opposing view might say, “Hey, what’s your problem? If you are admitting that races/ethnicities are accounted for, what more do you want? Isn’t that good enough?”
No. It’s not good enough. If you had a child who brought home a report card full of Fs, but then worked hard and made gradual improvements to pull those Fs up to Cs, you recognize that it’s a start, but Cs still shouldn’t be good enough. Cs mean you’re doing just enough to stay in the middle of the road, not failing, but not excelling either. In 2011 I say with all the conviction that I can muster that it is not good enough, not on the report card and certainly not on our TV screens.
That’s where the problem with the Diversify Approach comes in. It’s not about excelling, it’s about being good enough. It’s about adding a product to a business for no other reason than to hedge bets and cover bases. In the realm of entertainment, criticism of diversity issues have been loud and consistent. So, to quiet critics you can count on most new shows being cast with several characters of different races in the mix. But, based on character arcs when compared with their White counterparts, it’s not unreasonable to see the Diversified Roles as the “manufactured product” mentioned above, something to add to the businesses portfolio, but no necessarily the main line of business or even a very high priority.
As mentioned above, I’m looking at Diversity as the fair representation and humane depiction of America’s many non-white racial groups across the landscape of television, films, and books. To be clear, I understand that this is an abstract aspiration. What is fair? Certainly not life itself, so how can I expect a money machine like the entertainment industry to shoot for such a lofty ideal?
Frankly, I don’t. It would be nice if we could ever define fair in quantifiable terms, then institute fairness into as many areas as possible. I’m not foolish, though. So, I’ll shoot for awareness. I’ll make my points, give my examples, and hope that if I, and others like me, continue to bring this up then more and more industry gatekeepers will become aware (or stop claiming false unawareness) and greenlight more projects that showcase faces, cultures, and lifestyles that represent the many faces of America and not just the faces that have been most dominant.
With that in mind, I present the Diversity Approach. This is the approach that is used when various characters of differing race exist as (rough) EQUALS within a shared fictional universe. Let me restate, this is the fair and humane part of my Diversity Approach definition. The non-white characters don’t exist to provide comic relief, add street cred, advance negative stereotypes, or be stepping stones that help the white characters reach their all important goals. This is not a new idea. Spike Lee was vocal about this when he coined the term “Super Duper Magical Negro” and author Steven Barnes writes often about the de-humanization of black males in films. (For the record, I agree with both of their observations, but I’m choosing to write in terms of general non-white representation because this blog post is too condensed to get into micro-specifics.)
I hope I’ve done an acceptable job in setting up the framework in which my next few posts on this subject will exist. Now, I’ll give some examples of both approaches in practice.
Disclaimer: I have not seen every TV show in the world. Therefore, the shows I mention below should not be considered as any kind of scientific sample. I KNOW they don’t represent the whole of television. However, they are shows that I’m familiar with, therefore I can observe and comment based on first-hand impressions.
Grey’s Anatomy* (ABC)
Obviously, the show’s namesake is the Meredith Gray character, who is a white female. The show is an ensemble (meaning that every character has their own story arc and can be the focus of any given episode), but I would not expect any character to ever become MORE important, or even totally equal to, Meredith. I can’t say I’ve followed the show extensively since the first few seasons (my wife is a fan and I watched with her, she has since released me from that obligation) so maybe that’s an incorrect assumption. Even if it is, that doesn’t change the fact that I’ve always considered this show to be one of the most positive examples of diversity on television. A number of races are represented, and they are written as human beings (meaning they all have real goals, and realistic emotional and sexual relationships) instead of caricatures. Within my framework, this show is a shining example of the Diversity Approach.
*It’s important to note that the show’s creator and executive producer (for us folks in the real world, that means ‘boss’) is Shonda Rimes, an African-American female. I’ll speak more about her when I write my Solutions post.
Married couple Steven and Samantha Bloom run a catering company while assisting the CIA on covert operations. This was super producer JJ Abrams attempt at reversing the formula we’ve grown so accustomed to as Americans (God bless him). Here, two non white characters were the leads while white characters existed in support roles. Strictly speaking, this fell into the Diversify Approach because the White characters were really caricatures (or cliches, really). Grumpy Boss, Goofy Sidekick, and so on…
However, the series should be applauded as an effort to showcase uncharacteristic faces in dramatic roles that we RARELY see in America. It was cancelled after airing only 11 episodes, and rightfully so since it was dull beyond belief.
*Here’s the problem with the cancellation of Undercovers…it is my belief that the assumption will be that the show didn’t catch on because of the Non-White actors as leads. Not that the show had the SAME FATE AS MOST SHOWS. Most television shows DO NOT MAKE IT, even good ones. And, in the case of Undercovers, it just wasn’t good. It wouldn’t have been good if the leads were White. Sadly, losing the show is a blow to Diversity efforts. Because it will be marked in the Non-White Leads Don’t Work column instead of Non-White Actors Can’t Get Cast In The Good Roles column.
When I saw the premier of Glee I couldn’t help but smile. From episode 1 I saw what this show was supposed to be, a showcase for the outcasts. If nothing else, this show would do what so many others fail at, or don’t even try. It would be a true representation of Diversity. Race, Sexuality, Social Status all depicted as varying and acceptable because America is varied, and those variances should be accepted. And, for the most part, I think it’s tried to live up to those expectations.
Except when it comes to African-Americans…
Confession, I’ve probably missed the last 4 to 5 episodes of Glee. So, please correct me if what I’m about to say is wrong, or if the evidence I present has changed.
Exhibit A: The lone African-American Male of the Glee Club (you might remember him as the Other Dancing Guy) is conspicuously absent at the start of season 2. Maybe he left by choice…I don’t know. But I immediately noticed that the Black Guy was gone. I don’t know if they even explained the character’s absence. It was like he never existed.
Exhibit B: At the time of my last viewing, EVERY MEMBER OF THE CLUB had had a significant relationship arc. They’d dated, found love, gotten their heart broken, pined for someone who didn’t notice them, etc. That is, every member except Mercedes (the African-American female with an Aretha Franklin voice). I’ve seen this character have 2 concerns during the life of the show…getting a solo (fair, it is a show about singing and the girl can sing) and having the cafeteria bring back tater tots (WTF?). This translates into caricature, unflattering stereotypes about overweight people, and pretty much a dehumanization of a single character on a show that’s supposed to be about acceptance and self-expression.
So, I have to say that, for the most part, Glee falls under the Diversity approach, but with one glaring Diversify example that I sincerely hope they correct.
The Vampire Diaries (CW)*
I’ve watched this show for a few reasons. The first being that it’s the fledgling network’s most watched show…I like to stay up on trends. The second being I love twisty stories of the supernatural, and when it comes to the writing on this show, they knock it out of the park. The third, it’s set in Virginia (though it’s really shot in Georgia) and it’s kind of neat to see what Hollywood does with my home state (mostly, they get it wrong…but whatever). That being said, I hate myself for liking those aspects of this show because when it comes to Diversity grading, this show deserves an ‘F’…and I mean a huge gasoline soaked ‘F’ drawn in the dirt so large that when you strike a match and set it on fire, it’s visible from space. But, in light of the framework, I’ll just say it subscribes to the Diversify Approach.
Let me explain. First, the protagonist is the lovelorn Elena, stuck between 2 sexy vampires. All three are White (note: someone already pointed out that Nina Dobrev, the lead actress is of Bulgarian descent. True. So let me expound on what I mean by White…she looks White. If that’s not good enough, the US Census defines the White check box as being of European, Middle Eastern, or North African descent. Bulgaria is in Europe, moving on) . This is perfectly fine. I NEVER said any show SHOULD have Non White leads, it would just be cool if more did. Where the show goes heavy into the Diversify Approach is the depiction of All Non White characters. I believe there is only one Non White regular, the Bonnie character played by actress Kat Graham. A couple of things about this character…strictly speaking, Spike Lee might say she falls into the Super Duper Magical Negro category because she’s an all-powerful witch on the series. I’m willing to give her a pass on that part because almost everyone on the show has a supernatural ability. HOWEVER, her motivations (such as a WILLINGNESS TO DIE so the Elena character lives, doesn’t make a lot of sense, which sort of puts her back in the SDMN category). So, I’ll concede and call draw on her. However, EVERY TIME I’ve seen an African-American male with a speaking role or any kind of interaction with the main cast on the show, he’s DIED HORRIBLY. EVERY. TIME. The same can be said about the lone Asian Female I recall from the show’s 2 season run.
Counterpoint: It’s a show about murderous supernatural creatures. A lot of people die.
Counter-Counterpoint: This could be excused if the perpetual victims had representation on the survivorss side of things. As it stands, when you see someone from another race pop up on this show, don’t count on them becoming a new regular.
*As a whole, the CW is terrible when it comes to diversity in their 8-10 EST primetime schedule. If you take away America’s Next Top Model, which we shouldn’t count because it’s not a scripted show, I’m willing to bet that Non-White characters/actors are outnumbered by their White counterparts by margins as high as 5-1 (if not higher). HOW IS THIS POSSIBLE IN 2011? Particularly with a network that is targeted towards the young?
There’s something to start a discussion. Think about what I’ve written, and gauge your own reaction. Have you ever noticed any of this? If you have, did it bother you? Do you think I’m off base? Please respond. I’d love to hear different views on the matter.
When I broach this subject again, I plan to talk about the film industry. There are some very telling things there, too.
Until then, later gang. And Happy Mother’s Day to all who meet the criteria.
Due to the popularity of my eBooks and numerous requests from those who don’t utilize eReader technology, I’ve made two of my books, LIVE AGAIN and THE SHADOWS GALLERY, available as trade paperbacks. As of today, you can click on the links below or on the links available throughout the site to purchase your copy. Be sure to spread the word. Happy Reading.
I’ve got a real treat for you all today. Good friend and stellar author Terence Taylor has stopped in to chat a bit about his Vampire Testament series, his experiences in publishing, and his latest project QUITTING CHRISTMAS.
A little background: Terence is a novelist and a television writer whose work has appeared on PBS, Nickelodeon, and Disney. I met him back in 2004 when we both signed copies of the original DARK DREAMS anthology at Zane’s (yes, that Zane) bookstore in Maryland. Right away Terence was a stand out, the warmest and most energetic guy in the room. He gave accounts of his experiences in TV (as a 24 year old self-professed comic book geek he had me hooked the minute he mentioned writing an episode of the Spider-Man cartoon series) and gave a memorable reading of his short story “Plaything” (my personal favorite from the collection).
His work appeared in the DARK DREAMS sequels and you can currently find the first two novels in his Vampire Testament series (BITE MARKS and BLOOD PRESSURE) where ever books are sold. Folks, I can’t recommend these novels enough. There’s a reason why they’re both enjoying a 5-star average rating over on Amazon. Terence Taylor is the kind of writer readers often wish they’d stumble upon. And he’s the kind of writer I want to be when I grow up.
Without further adieu, the man himself:
LRG: Terence, thanks for taking time out to answer some questions. What are you working on now?
TT: Something wildly atypical, but very personal…it’s a satiric social comedy about a wildly varied group of bohemian friends in Park Slope, called “Quitting Christmas”, about a guy who lost his life partner ten years ago on Christmas and decides he can’t face the holiday with all its relentless cheerfulness again that year. He announces to all his friends by drunken e-mail that he’s quitting Christmas — they have to deal with his absence from their holidays as they realize that the only thing that’s kept them in one piece for the last ten years was holding him together. So as he sets off on a journey of self-discovery and healing, they all have to face feelings they’ve suppressed about his lover’s loss, their friend, as well.
It started out as a highly fictionalized story about the emotions behind losing my partner of six years 17 years ago, but grew into something bigger as I passed the halfway point. He died a day after Christmas, and for most of a decade after that I was a basket case every year from October, when he started fading, through the end of the year. I was working on the third novel of the Vampire Testaments, which is set twenty years in the future, and extremely dark. When the anniversary depression came up this year, instead of sinking into it, I decided I was finally ready to tell my story, even if through a fictional character’s eyes. I started writing everything I was feeling and going through as I worked out my setting, characters and their histories. I plowed through the first two hundred pages in two months.
It slowed down by the time I’d written enough to hit my mid-novel crisis. I see now on my third novel that it’s an inevitable stage when you’ve written enough to realize that what you’ve done so far may not be what you started out to write. I went through an almost paralytic month of organizing my notes and completed pages, fully outlining and re-evaluating the whole thing before I decided it was still the book I started, but that I’d taken on a bit more than I intended to at first. I’m back on track now, but more realistic about what it will take to finish. I had this crazy idea that it was a fast book I could knock out over the holidays — it’s turned out to be a massively therapeutic experience, as I’ve had to put everything I’ve learned about dealing with the loss of a loved one at a major holiday down in a way that makes sense, tells the story, and in the end, reinforces for me all the things I need to remember each year at that time.
It’s been a trip — it’s my first “non-genre” novel, and I feel like I’m working without the safety net of those conventions to save me. In a horror, sci-fi or fantasy novel there are certain marks you know you have to hit, certain plot points you know you have to write if you’re stuck on a chapter that’s more subtle, or needs work. There’s someplace to go. Of course, after I’d been writing it for a few months I read reviews of other books that reminded me I’m still in a genre — it’s just not paranormal. It’s both the “getting over grief” and “Bah humbug, wait I love Christmas after all” genres…so who knows, maybe I’ll wake up in a year to find myself transformed into a black gay Nicolas Sparks…I could do worse. I am looking forward to getting back to book three of the Testaments, though, and finishing that story. So I haven’t abandoned horror.
LRG: The Vampire Testament novels span several decades, from the recent past to the very near future. If you look at a similar time frame, how have you seen your writing evolve, and where do you see it going?
TT: I suppose my last answer says something about that…the biggest difference in my fiction writing in the last decade is that I consider myself a storyteller now, rather than a wordsmith — the language of my work is tighter, leaner, smoother, and says more with less. When I wrote scripts I used to tell the story as cleanly as possible, and describe everything clearly enough to be built, cast, propped and shot from my script, essentially so that anyone reading it could see it in their heads. I kept some of my work habits from then when I moved into fiction, but used to be more concerned with the right words, the proper phrasing. It’s only now as I answer this that I realize that all I’ve done is apply the priorities I applied in scriptwriting to my fiction — tell the story well, make the characters convincing, and give the readers what they need to see it in their heads, with as few words in the way as possible.
As I move forward I want to get better at that — I like writing that involves me, sucks me into a world so deeply that when I’m done I feel I’ve been someplace else. If anything, that’s the direction I see my work going in, getting better at that, and expanding the kind of story I write. I’d like to do more social satire, and there’s an epic fantasy novel I’m planning to write after the third Testament novel. If I‘ve learned anything else in the last two years of seeing my first novels come out, it is that you have to keep moving forward. Once a book is out, it’s done — you have to be on to the next book by then, well into it.
LRG: Many of us writers have big ideas of what our careers should be, but those ideas sometimes clash with what the publishing industry really is. What’s been your biggest reality check during your time in the industry? And, on the flip side, have there been any major positives that were totally unexpected?
TT: Don’t write to get rich, that’s the first thing I always say to any aspiring writer. Love it or drop it. If the actual act of writing isn’t payment enough, move on. There are so many other things I learned since “Bit Marks” came out…the biggest is that there’s only so much you can do to sell your novel, and if you make promotion a full time job, you lose track of the real job — writing. I spent last year freaking out over sales and trying to jump through flaming hoops of PR to the books, and got half the third novel done.
There were lucky accidents that benefited me — like a friend loaning Whoopi Goldberg her copy of the first book, and having her love it enough to mention it in People magazine. But there was also the almost empty reading for the second book at Hue-Man, and other experiences that just wake you up that the road ahead will not be smooth, downhill, or dry of tears. Friends get tired of cheerleading and stop showing up, book readers don’t come out to readings until you have a following, and it gets exhausting trying to cover all the bases of social media. There is only so much I have to say to Facebook or Twitter.
Publishing your first book changes everything and nothing. It’s rare that a first book will sell so many copies that the author can sit back and write on that dime for the rest of their lives. By the same token, you’re not the same writer you were once you’ve gone through the process of completing, selling and publishing your first novel. It’s like dating. Once you get a good one under your belt, you can’t wait to get out there and do it again. It’s addictive, and if you’re a “real writer”, that is, someone compelled to tell stories and keep telling them, that first taste of exposure will only encourage you to continue.
The only way to keep my writing going in the direction I want it to go, which would be one day actually supporting me, is to write my ass off. The more I write, the better it gets, and the better the chance that one day I may write something that sends everyone back to see what I wrote before. The worst thing that happened after the first book came out is that I didn’t write a bestseller that got me rich so I could lay back and relax. Nonetheless, it was still a damn good book that thousands have enjoyed, with a second that maintained the same level of storytelling — if not better, because I learned lessons the first time. The best thing that happened is that I wrote a book that a major publisher printed and got into bookstores and airports across the country, and they paid me to write the second within a year. Doing that proved more to me about what I can and can’t do than anything else on the journey. I said after the first book was done that I wasn’t a novelist yet — I was a guy who had written a novel. Writing the second and working on my third, I now feel that I am a novelist because I can repeat the process and produce new books.
I returned to New York in 2001 to finish the first novel, after decades of picking at it. Coming out of the last ten years with two novels done and published — that feels good. I mean, I came back to Brooklyn with a goal that I exceeded…I can’t complain. I can only hope the future keeps bringing pleasant surprises.
LRG: What’s your take on all the recent buzz surrounding eBooks and independent publishing? Would you ever consider going indie?
TT: It makes me wonder what word on the street was when Gutenberg invented the printing press and started turning out bibles like popcorn… People committed to the past always fear progress. It’s the reason there’s so much conflict in the world today. The old guard is desperately trying to hold on across the board as the world grows beyond them.
Leslie “L.A.” Banks talked to me after the fun “Beyond Blacula” group reading (which I promise to get up online soon) about a YA novels series she was working on and thinking of releasing as an e-book on her own. She asked me what I thought, and I said, you go girl, because she’s a best-selling author with a loyal readership who could totally do well with that, and get all the dang money instead of a 10-15% royalty on sales that are hard to track. Zane used her success to start her own publishing house, for her own books and those of other writers she can promote. Why not go straight to e-readers?
I’ve had a free serial novella up on my site for months, quite a fun one, but have no comments or sign that anyone’s reading it. For me to put a new novel of mine up online and hope for the sales I got for the first book through St. Martin’s is certainly possible, but it takes a lot of work to fan the flames of demand. I think Leslie and other popular authors could so ace online sales or e-books, as Zane could, and am amazed some of them aren’t dropping out of the existing system to do so. I think James Patterson may be releasing a new book only electronically…maybe someone else. The modern age allows almost anyone to find a way into print — what we forget is that all writers are not created equal, and that some shouldn’t be in print yet. The system of agents and publishers did filter that flow, albeit to their own advantage.
All of that said, I have many stories I’d love to do online, in various forms — audio plays, short films animated and live-action — and have a site registered for that. I see this as an age of change in all media — publishing, film and television — and all because of digital media and web access. Anyone can do almost anything today and have it seen, and I’m still amazed that so few seem to be getting that and taking advantage of it — though they may be and we just aren’t hearing about them yet. I think in the next ten years we’re going to see a massive paradigm shift after the dust settles, in all entertainment media except maybe live shows. This is a rare time when people with talent and tech skills can get in there, do what they do and get it out there. So I certainly see releasing a novel independently as an e-book or vook, but I also like the network of distribution and major reviews a major publisher can command, so I wouldn’t cut that option off entirely, either.
I’ll keep writing novels and sending them to my agent, trying to get others to publish them and pay me, but I also intend to explore new media options. I’ve worked in TV for years and can shoot and edit, and while I’ve lost interest in most broadcast media in the age of “reality” bull and complex competition game shows that pit contestants in assorted fields against each other until one’s left standing, I find myself more attracted to the possibilities of digital media and what you can do at home. So as I continue telling stories, I think how I tell them will expand beyond printed fiction, and I’d rather control my own content by airing shorts on a website and soliciting others’ work than try to get a series on TV.
LRG: If you fell asleep Rip Van Winkle style, and woke up in the distant future where no one knew what a book was, what 3 pieces of literature would you want to have in your knapsack to show the people what they’ve been missing?
TT: Sounds very Eloi, a planet of the blond, beautiful and dumb with libraries of crumbling books and spinning talking disks. Hm. George Orwell’s 1984, one of my favorites, because it addresses the reader directly right up front, pulls you in, and encompasses a full range of human emotions, good and bad. The same applies to Ralph Ellison’s Invisible Man, which changed my life when I read it at 26, the age of the protagonist, and got it like a mind bullet from his brain to mine. And a copy of something magical and optimistic — The Wizard of Oz, or Alice in Wonderland…you’d have to balance the Orwell and Ellison.
Terence, wow, what a great interview. Thanks so much for stopping by. And that epic fantasy you plan to write when you’ve finished The Vampire Testament…can’t wait, man. Hell, can I volunteer to be a beta-reader? (Yeah, I put you on the spot in public…LOL!!)
Later, gang. 😉
My wife and I checked out SCREAM 4 (or SCRE4M if you prefer…I don’t, but you might) last Friday, and I can’t seem to get this film off my mind, so I decided to pass on this semi-obsession to you. You’re welcome.
First, just like my post on WOLVERINE: OLD MAN LOGAN, this is NOT a review per se. I liked the movie. I thought it was plenty of fun, and despite what some critics and the box office receipts indicate, I’m going to say it was the best installment since the 1996 original. With the exception of a very effective joke based on the movie-within-the-movie, STAB, I think you could easily view 1 and 4 back-to-back and enjoy a complete viewing experience without missing a beat. But, I digress.
I really want to talk about the experience of the movie itself, and how it wasn’t quite the nostalgic booster I thought it was going to be (and how maybe that’s a good thing).
When the original SCREAM premiered, I had no interest in seeing it. It looked stupid to me. I was 16, so a lot of stuff looked stupid to me in my infinite teenage wisdom. It was by my cousin’s recommendation (or maybe I should say abduction since she just about dragged me to the theater after seeing–and raving about–it the night before) that I made it to a Saturday showing. I won’t go into any big recap about Drew’s shocking death in the opening scene, or the crazy number of red herrings, or the big dual reveal. I’ll just say I was impressed (like the rest of Teen America), and by the time I made it to college and SCREAM 2 premiered, I needed no prodding.
What I remember most about the SCREAM craze of the 90’s was the rush of knockoffs, each one demonstrating the Principle of Diminishing Returns. I KNOW WHAT YOU DID LAST SUMMER was the best riff (mostly due to Father SCREAM Kevin Williamson’s involvement), and URBAN LEGEND was the first–but certainly not the last–weak entry into the scrum. Despite the sense of “I’ve seen all this before” they were all event films. I’m talking fun, crowded theaters. Audience chatter that was enjoyable instead of annoying. Friday Night Premier of the new SCREAM-like film = Mandatory Date Night.
With the SCREAM franchise returning after more than a decade, my wife and I went to the Friday late-show (a practice we abandoned years ago after seeing a group of rowdy teens assault a guy who had the gall to ask them to stop talking) with hopes of the same frenzied excitement from our high school and college days. Well, you know the saying ‘you can’t go home again’…the same pathos felt appropriate when we arrived at the theater and found it less than 3/4 full. The waiting crowd was listless, almost irritated, as if they’d really wanted to see Rio, the current box-office champ, but found all showings sold out and settled for this obscure scary movie instead. In the dim theater, smart phones glowed like plutonium on THE SIMPSONS and I spotted more than a few games of ANGRY BIRDS in play through the previews.
As the film progressed, my wife and I laughed at jokes that few in the theater seemed to get and we silently communicated (because married people are telepathic) our guesses of who the killer was while many of teens in attendance seemed bored by the whodunit. Perhaps they were too enthralled with level 25-3 of ANGRY BIRDS…it is a toughie.
The movie ended to bland audience reaction, and I heard some teenager (probably an infinitely wise 16 year old) pronounce, “That was stupid”. At that moment, the oddness of it all hit me…along with my decision that SCREAM 4 was a fantastic and satisfying film. Because the subtext of the murder mystery bled (pun intended) beyond the confines of the silver screen. This movie was about the very thing me and my wife had just experienced in a disconnected theater of teens who couldn’t stop texting long enough to realize the filmmakers were painting a very unflattering portrait of them.
This movie is NOT for the latest generation of teens and every frame was like a subliminal message out of THEY LIVE flashing that very sentiment. We got the inside joke, the one Wes Craven, Kevin Williamson, and Ehren Kruger threaded throughout the entire film so blatantly, and it was damned funny.
But sad, too.
Every year we age, we slowly slide up and out of the demographic that Hollywood targets, and SCREAM 4 was like an hour and forty minutes of a dying man deciding not to go quietly. In retrospect, the film played like a last hoo-rah for my generation of movie goers disguised as something else. Just like Ghostface it paraded around in the costume until the Final Act Reveal, then unmasked and showed its true identity. I dug that.
So, we didn’t get the nostalgia we were looking for, but I was happy to see that the filmmakers hadn’t forgotten about us. Money talks, and people are calling this movie a financial disappointment. I don’t know, though. I’m hoping word of mouth spreads, and more of those kids I used to bump into at the popcorn line back in the day will find babysitters, gas up the mini van, and get out to a show to let Wes, Ghostface, and company know that we appreciate the shout out. Even if it is the last.
I certainly hope it isn’t. Maybe in another 10 years we’ll get SCREAM 5 and the newest crop of teen starlets will see that no mid-life crisis or prostate exams can keep us down.
After all, there will always be some young hot blonde to slice up in the first reel, but the 90’s will never die.
This is not a review. If you came looking for a review, what you’ve found is a gushing love fest for a story I just read. Sorry. You can avoid the lengthy monologue below if you’re not into comics. If you are into comics, all you really need to know is BUY THIS BOOK TODAY!! You’ve been warned…
My love of storytelling came from comic books. As a kid, I wanted to be a comic book artist. Teensy problem: I couldn’t draw. Seeing that as a huge hurdle on my path to art superstardom, I decided to focus on the other part of the medium, the writing.
But I never lost my affinity for the realm of 4 Colors. I’d spend weeks going hungry at school so I could take my accumulated lunch money to the local comic book store and give it to the social malcontents who ran it (another story for another time). Me and my friends would engage in serious bartering sessions to get rare, prized issues of this title or that title. You would’ve thought we were trading Fortune 500 stocks.
I still have boxes of those very same books that came into my possession during various 5th, 6th, and 7th grade lunchroom sessions. I admit, with no shame at all, that I was a comic book geek.
Sadly, as an adult, I have not been able to engage in the hobby like I used to. Mainly because of inflation (a single issue of any given book is now roughly equal to 1 gallon of gas). Also, what was groundbreaking and heartwrenching to a a kid in the 90’s, is cliche to an adult in 2011. (Captain America is dead?!? Oh, wait, he died in ’07, but he’s going to come back just in time for the release of the Captain America film this summer. Whaaatttt? Didn’t see that coming…)
Occasionally, I’ll peruse the Graphic Novels section of my local B&N, and I might run across a compilation of some particular storyline that I’ll pick up just for kics. Usually, I end up disappointed. It’s all stuff I’ve seen before.
Until I read Wolverine: Old Man Logan by Mark Millar with art by Steve McNiven.
Wow. I can’t give this book enough praise. No spoilers here, but I can honestly say it’s THE most satisfying superhero story I’ve read in the last decade (keep in mind, I haven’t necessarily been paying attention, so if you know of something as good or better than this book, please point me to it so I can spend some hard earned money).
Wolverine, the biggest badass in the Marvel Universe, is an old, pacifist farmer with a wife and two kids 50 years after the supervillains defeated the heroes and took over America. Strapped for cash, her reluctantly goes on a road trip with his old buddy Hawkeye (now blind, but still likes to drive), to get the rent money he owes his landlords, the Incredible Hulk’s Hillbilly (“Green” Neck) grandchildren.
I felt like crying tears of joy after I read the first page. And the 50th page. And the last page. A true masterpiece…
Storytelling like that makes me simultaneously thankful I have eyes and jealous that I may never, ever come up with a concept THAT good.
If you ever picked up a comic book in your life, I highly recommend this book.