The Lazy Man’s Guide To Great Characterization
Posted by Buy essay Blog | Uncategorized | Posted on June 20th, 2009
One subject arising whenever writers gather to discuss their craft is the mining of life itself for story material. While a vital and important technique, it is important to remember that real human beings are impossibly complex, far too complicated to serve as story characters without major modification. The most complex character in all of western fiction (arguably), Hamlet, is still only 1% as complex as a real human being.
One must remember that there is a unity between character and plot: they are, in essence, two sides of a single coin. Plot is what a character does in a given situation. A plot must empty a character out, give us everything we need to know about the lead, or the story situation hasn’t been thought through very well.
In life, it is reasonable to take the position that we are what we do. True, this is not ALL that we are, but what we do is closer to this essence than what we “think” we are, or what others define us as. Everyone knows that we judge each other on our actions, and it is childish to pretend otherwise.
We learn to characterize by formulating a theory of human nature, and then testing it against the people around us–our family and friends. You should be prepared to defend this theory in conversation and literary debate. After all, there are only two basic questions being addressed in all of fiction:
1) What is it to be human?
2) What is the ethical structure of the universe?
Whatever your own theory is, you should understand it from every direction, and be able to apply it to understand your own strengths and weaknesses.
Look at the three major areas of human life: body, mind, and spirit. What does your body say about you? Believe me, it says worlds about your values, discipline, emotional health, habit patterns and more. What does your career say about you? Are you operating at full efficiency there? Do you complain about money troubles, but not do anything about it? Do you dream, but not perform? Or are you working at a job that you would continue to do even if you won the lottery? To me, this is a major sign of an active, healthy intellect–the ability to do for a living that which you would do for free.
What about your relationship with your husband/wife/significant other? To me, this is where you reveal yourself most clearly. You ARE your partner, flipped upside-down and inside out. If you like what you see across the breakfast table from you, great. If not, you have work to do. Remember: whoever you see over there was the best you could do. If you could have gotten someone smarter, handsomer/prettier, emotionally healthier–you would have. So take a hard look. Often, you can learn more from a person’s partner than you can from meeting the person.
Viewed in this way, there is a lifetime of study in understanding the people around us, and in understanding ourselves as well. And a lifetime of potential stories in examining how people’s flaws and gaps keep them from achieving their full potential. It can be painful to look at this stuff, but the only thing even more painful is being terminally untrue to your own spirit. That, my friends, is a true tragedy. Better the pain of awareness than the agony of self-betrayal. By a long shot.
The Three “Questions” Of Science Fiction
Posted by Buy essay Blog | Uncategorized | Posted on June 15th, 2009
There is a great deal of misunderstanding about what that particular branch of literature called “Science Fiction” actually consists of. Is it space-ships and monsters? Time machines? Galactic empires? Well, its all of those things, and often none of them.
Science Fiction, broadly speaking, is story-telling that deals with the impact of organized knowledge on human beings. Usually, this means technology, and the way it changes us&ndashand reveals about us. After all, most technology is an extension of our senses, attributes and desires: computers are brains, cell-phones are voices and ears, cars are legs, planes are the dream of flight.
Many classic S.F. films and books take place in worlds identical to ours, except for the creation of some new device, or the appearance of a new life-form. Others take place in worlds so apparently foreign that only the most dedicated and experienced reader can understand what is going on!
But at the core, there are three questions or musings most often asked or explored in any work with the “Science Fiction” label. Those three are:
1) What if?
2) If Only…
3) If This Goes On…
Although these three “questions” overlap considerably, the first, “What If?”, is the most essential of the three. “What If the Martians attacked?” “What If eternal life was available at a price?” “What If we knew an asteroid would hit Earth in a year?”
The second adds a bit of longing to the equation. “If Only President Kennedy hadn’t been assassinated…” is the kind of question that leads to sociological and historical speculation, or the “Alternate History” branch of S.F. which has become tremendously popular in the last decade. “If Only the gene for generosity (or anger, or bigotry) could be mapped…” “If Only we could selectively prune bad memories…”
There is an emotional quality to the “If Only” questions, and they often speak to a sense of missed opportunity, roads not taken.
The third question, “If This Goes On” is tailor-made for cautionary tales. “If we continue to pollute the environment…” “If one party continues to dominate American politics…” “If more women enter the management class…” “If the space program continues to Privatize” “If human beings become better at modifying their physical characteristics…”
These questions are starting places for speculation. While it is easy to use any of them for trivial or absurd (and entertaining!) questions like “What if a 300-foot radioactive lizard attacked Tokyo?” they can also address profound issues, as in “how would humanity change if we gained incontrovertible proof of intelligent alien life?”
By concentrating on the question, or proposition, at the core of your story, it becomes easier to keep it from becoming a CGI-fest. Ask yourself how YOU would react to a given situation. How your family would react&ndashyou know them well. Then friends. Political adversaries. Other nations, and people of other groups. Dig into the meat of it. Study history, and begin to grasp the way societies change in response to technology, for instance the Automobile, or Printing Press, or Computer.
The more deeply you delve, the more likely you will be to create a unique question with unique answers. Then people your world with breathing, believable characters responding as intelligent, feeling people have since the beginning of time. Your work will blossom and reach new levels…
Even if it IS about a 300-foot radioactive lizard!
The Three “Questions” Of Science Fiction
Posted by Buy essay Blog | Uncategorized | Posted on June 15th, 2009
There is a great deal of misunderstanding about what that particular branch of literature called “Science Fiction” actually consists of. Is it space-ships and monsters? Time machines? Galactic empires? Well, its all of those things, and often none of them.
Science Fiction, broadly speaking, is story-telling that deals with the impact of organized knowledge on human beings. Usually, this means technology, and the way it changes us&ndashand reveals about us. After all, most technology is an extension of our senses, attributes and desires: computers are brains, cell-phones are voices and ears, cars are legs, planes are the dream of flight.
Many classic S.F. films and books take place in worlds identical to ours, except for the creation of some new device, or the appearance of a new life-form. Others take place in worlds so apparently foreign that only the most dedicated and experienced reader can understand what is going on!
But at the core, there are three questions or musings most often asked or explored in any work with the “Science Fiction” label. Those three are:
1) What if?
2) If Only…
3) If This Goes On…
Although these three “questions” overlap considerably, the first, “What If?”, is the most essential of the three. “What If the Martians attacked?” “What If eternal life was available at a price?” “What If we knew an asteroid would hit Earth in a year?”
The second adds a bit of longing to the equation. “If Only President Kennedy hadn’t been assassinated…” is the kind of question that leads to sociological and historical speculation, or the “Alternate History” branch of S.F. which has become tremendously popular in the last decade. “If Only the gene for generosity (or anger, or bigotry) could be mapped…” “If Only we could selectively prune bad memories…”
There is an emotional quality to the “If Only” questions, and they often speak to a sense of missed opportunity, roads not taken.
The third question, “If This Goes On” is tailor-made for cautionary tales. “If we continue to pollute the environment…” “If one party continues to dominate American politics…” “If more women enter the management class…” “If the space program continues to Privatize” “If human beings become better at modifying their physical characteristics…”
These questions are starting places for speculation. While it is easy to use any of them for trivial or absurd (and entertaining!) questions like “What if a 300-foot radioactive lizard attacked Tokyo?” they can also address profound issues, as in “how would humanity change if we gained incontrovertible proof of intelligent alien life?”
By concentrating on the question, or proposition, at the core of your story, it becomes easier to keep it from becoming a CGI-fest. Ask yourself how YOU would react to a given situation. How your family would react&ndashyou know them well. Then friends. Political adversaries. Other nations, and people of other groups. Dig into the meat of it. Study history, and begin to grasp the way societies change in response to technology, for instance the Automobile, or Printing Press, or Computer.
The more deeply you delve, the more likely you will be to create a unique question with unique answers. Then people your world with breathing, believable characters responding as intelligent, feeling people have since the beginning of time. Your work will blossom and reach new levels…
Even if it IS about a 300-foot radioactive lizard!
Top Secret! The One-Year Path To Publication
Posted by Buy essay Blog | Uncategorized | Posted on June 6th, 2009
There is a way to virtually guarantee your publication within a single year. No, it has nothing to do with self-publication. This path is not for dilettantes, and will push you to the limit, but it has worked for dozens of my students, and it will work for you.
It is based on writing principles first proposed by two giants in the publishing field, science-fiction writers Ray Bradbury, and Robert Heinlein, over thirty years ago. And no, you don’t have to be a science fiction writer. No matter what your ULTIMATE goal&ndashnovel, screenplay, playwright, or poet, you can adapt this method. It is designed to address literally every major problem you have or might encounter as a writer.
1) Write a story a week, or a story every other week.
2) Read 10X as much as you write.
3) Put your stories in the mail. Keep them in the mail until they sell.
4) Never re-write except to editorial request.
And there you go. Now let’s look back at the steps for a bit of further explanation.
1) Write a story a week, or a story every other week. These can be as short as you wish. No, it doesn’t matter if you want to write novels, or your ideas tend to emerge from your subconscious in long form. If you’re a newbie runner training for a marathon, you’d start by running around the block, wouldn’t you? You wouldn’t start by running twenty-six miles, that’s for sure! Everything you need to know to write a book is contained in a short story, and writing 100,000 words of short stories will improve your writing far more than that same 100,000 words devoted to a novel. Scriptwriting? Before you can write a script, you need to be certain you understand storytelling. I mean REALLY understand it, subconsciously. Short stories give you a chance to hone your skills. Poetry? Well, in this case, write a poem a week! Non-Fiction? Sure! Write an article a week!
2) Read 10X what you write. There is nothing sadder than a young writer who doesn’t read for fear of “contaminating his style.” This is complete self-delusion. A writer DESPERATELY needs to read everything she can get her hands on…and of the very best quality. Personally, I read one act of Shakespeare aloud each morning, to simultaneously improve my writing and speaking ability.
3) Put your stories in the mail. Every week, or every other week, one of your stories should be submitted to an editor who pays money for publication. Frankly, it doesn’t matter how much. Money is a very cold equation, something different from pats on the back, cheers, contributors copies or even awards. When an editor cuts you a check, there is a lack of warm fuzzy feelings, and a down-to-earth “will my readers like this” that is completely different from the accolades or criticisms of your writing group or class. THIS is the feedback you need: a check that clears the bank. Get your stories out! And web publication is just fine in this regard&ndashas long as there is money. Even a penny a word&ndashor less!–is just fine.
4) Don’t re-write except to editorial request. Once your story is finished and initially re-written, move on. Don’t re-write endlessly, trying to get it “perfect.” You’ll learn more by writing a new story than re-writing an old one endlessly.
If you’ll do this, I promise you your first sales within fifty stories. At the story a week level, that’s one year! Just one year from today, you could be a paid author. And for any real writer, that should be an idea exciting enough to keep them up late, and get them up early, typing away, knowing that that first acceptance check is less than 365 days way.
Top Secret! The One-Year Path To Publication
Posted by Buy essay Blog | Uncategorized | Posted on June 6th, 2009
There is a way to virtually guarantee your publication within a single year. No, it has nothing to do with self-publication. This path is not for dilettantes, and will push you to the limit, but it has worked for dozens of my students, and it will work for you.
It is based on writing principles first proposed by two giants in the publishing field, science-fiction writers Ray Bradbury, and Robert Heinlein, over thirty years ago. And no, you don’t have to be a science fiction writer. No matter what your ULTIMATE goal&ndashnovel, screenplay, playwright, or poet, you can adapt this method. It is designed to address literally every major problem you have or might encounter as a writer.
1) Write a story a week, or a story every other week.
2) Read 10X as much as you write.
3) Put your stories in the mail. Keep them in the mail until they sell.
4) Never re-write except to editorial request.
And there you go. Now let’s look back at the steps for a bit of further explanation.
1) Write a story a week, or a story every other week. These can be as short as you wish. No, it doesn’t matter if you want to write novels, or your ideas tend to emerge from your subconscious in long form. If you’re a newbie runner training for a marathon, you’d start by running around the block, wouldn’t you? You wouldn’t start by running twenty-six miles, that’s for sure! Everything you need to know to write a book is contained in a short story, and writing 100,000 words of short stories will improve your writing far more than that same 100,000 words devoted to a novel. Scriptwriting? Before you can write a script, you need to be certain you understand storytelling. I mean REALLY understand it, subconsciously. Short stories give you a chance to hone your skills. Poetry? Well, in this case, write a poem a week! Non-Fiction? Sure! Write an article a week!
2) Read 10X what you write. There is nothing sadder than a young writer who doesn’t read for fear of “contaminating his style.” This is complete self-delusion. A writer DESPERATELY needs to read everything she can get her hands on…and of the very best quality. Personally, I read one act of Shakespeare aloud each morning, to simultaneously improve my writing and speaking ability.
3) Put your stories in the mail. Every week, or every other week, one of your stories should be submitted to an editor who pays money for publication. Frankly, it doesn’t matter how much. Money is a very cold equation, something different from pats on the back, cheers, contributors copies or even awards. When an editor cuts you a check, there is a lack of warm fuzzy feelings, and a down-to-earth “will my readers like this” that is completely different from the accolades or criticisms of your writing group or class. THIS is the feedback you need: a check that clears the bank. Get your stories out! And web publication is just fine in this regard&ndashas long as there is money. Even a penny a word&ndashor less!–is just fine.
4) Don’t re-write except to editorial request. Once your story is finished and initially re-written, move on. Don’t re-write endlessly, trying to get it “perfect.” You’ll learn more by writing a new story than re-writing an old one endlessly.
If you’ll do this, I promise you your first sales within fifty stories. At the story a week level, that’s one year! Just one year from today, you could be a paid author. And for any real writer, that should be an idea exciting enough to keep them up late, and get them up early, typing away, knowing that that first acceptance check is less than 365 days way.
Turn Writer’s Blocks Into Stepping Stones!
Posted by Buy essay Blog | Uncategorized | Posted on June 3rd, 2009
Years ago at a presentation at the UCLA Extension Writer’s Program, I promised an audience to teach them to conquer this beast once and for all. Later, another instructor approached me and said “why did you say that to those people? It’s not possible.”
Poor woman. All she was saying is that SHE cannot break writer’s block, which told me all I need to know about her career. In all likelihood a promising beginning, perhaps an award-winning poem or book…and then pain.
It is not only possible to end writer’s block forever, but you can actually use it to your advantage!
First, let us define it in some useful way: Writer’s block is the inability to
1) Produce new text.
2) Edit and polish existing text
3) Finish projects on a reasonable schedule
4) Send those projects out for editorial judgment.
5) Continue sending them out until they are sold.
Accepting the above, I’m going to give you a definition of the root cause of Writer’s Block that will actually help you in every arena of your life.
“Writer’s Block is nothing more than a confusion of two different states of mind: the Flow state, where you produce new text, and the Editing state, where you evaluate and polish what you have written.”
WB is such a killer because most of us have done far more reading than we have writing, and spend far more time in critical analysis of finished, polished work of the masters than in experiencing our own early drafts. So when we try to create text, we measure our first draft efforts against the polished work of the world’s great writers. Immediately, that “this is garbage!” voice goes off in your head, and you have a block.
It is said that novice writers must work through a million words of garbage before reaching their true voice. How in the world will you ever get through it if you constantly judge every word? If you will learn to turn that voice off, you will learn a massive and important lesson about the structure of the human psyche.
But what exactly is “Flow”? It is the psychological state where time seems to vanish, where you “fall into the page”, where the rest of the world floats away as you concentrate. This is similar to the “hypnogogic” state experienced just prior to sleep, and the first thing in the morning. It is experienced in distance running, dancing (remember the lyrics to “Flashdance”? “She’s moved into the danger zone, where the dancer becomes the dance”) and, to be perfectly frank, it is experienced during sexual relations in the moments just prior to orgasm. It is the dissolution of the subject-object relationship sought by numerous schools of meditation.
1) Alternate days (or work sessions) between flow and editing. If necessary, wear different hats, or sit in different chairs for each. NEVER DO BOTH IN THE SAME SESSION
2) Set yourself a daily output that will get you to your goal of one million words in less than 5 years. 1000 words a day will do it in three years. That’s roughly comparable to earning an AA degree. Not too shabby!
3) Explore and specifically study “Flow State” as a discipline. Do your internet searches and find a physical or mental activity (running, dancing, meditation, Tai chi, yoga, etc.) that opens a doorway to this inner world.
4) Listen to largo rhythm, sixty-beat per minute string music. Vivaldi is perfect for this, and induces “Alpha” (flow) state rapidly and effectively. Stay away from music with lyrics, but soft jazz is also terrific.
5) Practice making pictures in your mind, and then writing down what you see WITHOUT judging the quality of your descriptions. You want to enhance the connection between your deep consciousness and your typing or writing.
6) If you can’t find a good meditation technique, just sit and “listen” to your own heartbeat for 15-30 minutes a day.
There are many other ideas, but these will get you started. The most valuable thing you will learn is to “turn off” or ignore the negative voices in your head. And an artist who learns to do this on demand is on the way to integration of the deep levels of the unconscious…and greater joy in the act of creation.
Turn Writer’s Blocks Into Stepping Stones!
Posted by Buy essay Blog | Uncategorized | Posted on June 3rd, 2009
Years ago at a presentation at the UCLA Extension Writer’s Program, I promised an audience to teach them to conquer this beast once and for all. Later, another instructor approached me and said “why did you say that to those people? It’s not possible.”
Poor woman. All she was saying is that SHE cannot break writer’s block, which told me all I need to know about her career. In all likelihood a promising beginning, perhaps an award-winning poem or book…and then pain.
It is not only possible to end writer’s block forever, but you can actually use it to your advantage!
First, let us define it in some useful way: Writer’s block is the inability to
1) Produce new text.
2) Edit and polish existing text
3) Finish projects on a reasonable schedule
4) Send those projects out for editorial judgment.
5) Continue sending them out until they are sold.
Accepting the above, I’m going to give you a definition of the root cause of Writer’s Block that will actually help you in every arena of your life.
“Writer’s Block is nothing more than a confusion of two different states of mind: the Flow state, where you produce new text, and the Editing state, where you evaluate and polish what you have written.”
WB is such a killer because most of us have done far more reading than we have writing, and spend far more time in critical analysis of finished, polished work of the masters than in experiencing our own early drafts. So when we try to create text, we measure our first draft efforts against the polished work of the world’s great writers. Immediately, that “this is garbage!” voice goes off in your head, and you have a block.
It is said that novice writers must work through a million words of garbage before reaching their true voice. How in the world will you ever get through it if you constantly judge every word? If you will learn to turn that voice off, you will learn a massive and important lesson about the structure of the human psyche.
But what exactly is “Flow”? It is the psychological state where time seems to vanish, where you “fall into the page”, where the rest of the world floats away as you concentrate. This is similar to the “hypnogogic” state experienced just prior to sleep, and the first thing in the morning. It is experienced in distance running, dancing (remember the lyrics to “Flashdance”? “She’s moved into the danger zone, where the dancer becomes the dance”) and, to be perfectly frank, it is experienced during sexual relations in the moments just prior to orgasm. It is the dissolution of the subject-object relationship sought by numerous schools of meditation.
1) Alternate days (or work sessions) between flow and editing. If necessary, wear different hats, or sit in different chairs for each. NEVER DO BOTH IN THE SAME SESSION
2) Set yourself a daily output that will get you to your goal of one million words in less than 5 years. 1000 words a day will do it in three years. That’s roughly comparable to earning an AA degree. Not too shabby!
3) Explore and specifically study “Flow State” as a discipline. Do your internet searches and find a physical or mental activity (running, dancing, meditation, Tai chi, yoga, etc.) that opens a doorway to this inner world.
4) Listen to largo rhythm, sixty-beat per minute string music. Vivaldi is perfect for this, and induces “Alpha” (flow) state rapidly and effectively. Stay away from music with lyrics, but soft jazz is also terrific.
5) Practice making pictures in your mind, and then writing down what you see WITHOUT judging the quality of your descriptions. You want to enhance the connection between your deep consciousness and your typing or writing.
6) If you can’t find a good meditation technique, just sit and “listen” to your own heartbeat for 15-30 minutes a day.
There are many other ideas, but these will get you started. The most valuable thing you will learn is to “turn off” or ignore the negative voices in your head. And an artist who learns to do this on demand is on the way to integration of the deep levels of the unconscious…and greater joy in the act of creation.
It Was Good Enough For Shakespeare!
Posted by Buy essay Blog | Uncategorized | Posted on March 14th, 2009
One of the core conflicts for creative artists of all kinds is the tug-of-war between art and commerce. Frankly, an artist needs to make money, and it is preferable to make it from his craft.
A writer who must work a full-time job to support himself will struggle to find the time to work, and often eventually gives it up altogether. On the other hand, being able to write on any project at all can polish valuable skills, and teach one the rules of the publishing industry.
On the other hand, I’ve met writers who were clearly working on projects, or toiling away at a career, that was burning out their souls. I remember meeting one such writer. His business card read “freelance hack and literary mechanic.” Sadly, but not entirely unexpectedly, he was dead of alcoholism within a year.
How to avoid such burnout? Well, in my own career, in addition writing the books I cared about the most, I’ve written Batman comic books, a Star Trek novel, and a Star Wars tie-in. In my television career, in addition to writing for “Outer Limits” and “The Twilight Zone,” I also wrote four episodes of “Baywatch”(!)
And never for a moment did I feel that I was selling myself out. Let’s get something straight: Shakespeare wrote for money. One can keep a careful eye on the bank account, and still reach the heights of craft. But again, how?
In my own case, the answer is fairly simple. Envision the thought process like this: I draw two circles. In the first, is everything I would like to write (and there are always dozens of projects in the mental hopper!). In the second is everything someone else is willing to pay me for. Where the two circles overlap, I write. In other words, are there projects I’d love to write, but can’t get paid for? You bet, and I generally don’t write them unless they are quite short. And there are projects that producers or publishers might want me to do, but don’t touch my heart at all. Having learned through experience that there are limits to my creative flexibility, I turn those down.
But from time to time, an opportunity arises that is in the no-man’s-land between the circles. There is money, but the project isn’t exactly something you have ever considered writing. What then?
Then, you ask yourself if the project is something that you could be proud of. If you would read it, or respect someone who did. For instance, when my agent called and said that the producers of “Baywatch” wanted to talk to me, I had the office send over six hours of video on the show. I sat on the living room couch and watched them with my daughter, who was about six at the time. After a few episodes, I asked her what she thought. She liked it. I asked why. She said: “Because it’s about nice people working hard to make the beach safe for us.” I thought about it, and then replied, “you know? There are worse things than that in this world, by a long shot.” And decided to try writing for it.
Every show, every project has its limitations. You must use certain characters, must get them into certain kinds of situations, and must avoid certain topics. That can be restrictive, but you can also decide to take it as a challenge. After all, you could give Fred Astaire a stage of any kind, and props of any kind, and he would find a way to create dance. Should you be committed to a lesser level of skill and vision? No.
You must find ways to amuse yourself while writing, to stretch your skills by trying something you’ve never done before, by empathizing with a younger audience if necessary&ndashnever ever writing “down” to your audience. That is the death of art. But if you can be truly flexible, you’ll find that more doors are open to you, more opportunities arise, that brass ring comes around more often. A writer ready to leap at any opportunity to show his skill, and who finds it easy to fall in love with about a project will often out-perform a brittle “genius” who must have everything exactly his way in order to write.
And if that approach is good enough for the Bard, it’s good enough for me.
It Was Good Enough For Shakespeare!
Posted by Buy essay Blog | Uncategorized | Posted on March 5th, 2009
One of the core conflicts for creative artists of all kinds is the tug-of-war between art and commerce. Frankly, an artist needs to make money, and it is preferable to make it from his craft.
A writer who must work a full-time job to support himself will struggle to find the time to work, and often eventually gives it up altogether. On the other hand, being able to write on any project at all can polish valuable skills, and teach one the rules of the publishing industry.
On the other hand, I’ve met writers who were clearly working on projects, or toiling away at a career, that was burning out their souls. I remember meeting one such writer. His business card read “freelance hack and literary mechanic.” Sadly, but not entirely unexpectedly, he was dead of alcoholism within a year.
How to avoid such burnout? Well, in my own career, in addition writing the books I cared about the most, I’ve written Batman comic books, a Star Trek novel, and a Star Wars tie-in. In my television career, in addition to writing for “Outer Limits” and “The Twilight Zone,” I also wrote four episodes of “Baywatch”(!)
And never for a moment did I feel that I was selling myself out. Let’s get something straight: Shakespeare wrote for money. One can keep a careful eye on the bank account, and still reach the heights of craft. But again, how?
In my own case, the answer is fairly simple. Envision the thought process like this: I draw two circles. In the first, is everything I would like to write (and there are always dozens of projects in the mental hopper!). In the second is everything someone else is willing to pay me for. Where the two circles overlap, I write. In other words, are there projects I’d love to write, but can’t get paid for? You bet, and I generally don’t write them unless they are quite short. And there are projects that producers or publishers might want me to do, but don’t touch my heart at all. Having learned through experience that there are limits to my creative flexibility, I turn those down.
But from time to time, an opportunity arises that is in the no-man’s-land between the circles. There is money, but the project isn’t exactly something you have ever considered writing. What then?
Then, you ask yourself if the project is something that you could be proud of. If you would read it, or respect someone who did. For instance, when my agent called and said that the producers of “Baywatch” wanted to talk to me, I had the office send over six hours of video on the show. I sat on the living room couch and watched them with my daughter, who was about six at the time. After a few episodes, I asked her what she thought. She liked it. I asked why. She said: “Because it’s about nice people working hard to make the beach safe for us.” I thought about it, and then replied, “you know? There are worse things than that in this world, by a long shot.” And decided to try writing for it.
Every show, every project has its limitations. You must use certain characters, must get them into certain kinds of situations, and must avoid certain topics. That can be restrictive, but you can also decide to take it as a challenge. After all, you could give Fred Astaire a stage of any kind, and props of any kind, and he would find a way to create dance. Should you be committed to a lesser level of skill and vision? No.
You must find ways to amuse yourself while writing, to stretch your skills by trying something you’ve never done before, by empathizing with a younger audience if necessary&ndashnever ever writing “down” to your audience. That is the death of art. But if you can be truly flexible, you’ll find that more doors are open to you, more opportunities arise, that brass ring comes around more often. A writer ready to leap at any opportunity to show his skill, and who finds it easy to fall in love with about a project will often out-perform a brittle “genius” who must have everything exactly his way in order to write.
And if that approach is good enough for the Bard, it’s good enough for me.
How To Survive A Good Review
Posted by Buy essay Blog | Uncategorized | Posted on February 27th, 2009
When the first reviews for my most recent novel (Great Sky Woman, Random House 2006) started coming in, my emotions went through the usual roller coaster. The first, from Publisher’s Weekly, was 90% positive, but mentioned that, in their opinion, it was slow in spots. My stomach sank. Slow? In spots? Oh my God&ndashall is lost!
The second review came in two weeks later. This one, from “Booklist,” used words like “magnificent” and “engaging” and “adventure on a grand scale.”
I sighed. Boy, oh boy, did I need to hear that. Why? Because I am an insecure artist. Because I spend, on average, two years researching and one year writing my novels. Because I care so very much about each and every one of my literary children. Because I pour my life into every project I work on, break my head open, remove the protective walls from around my heart. I have to, because that is the only way to access my talent. I CAN’T do less than my very best&ndashthat would immediately devolve to hack work, and that I cannot do.
Some say to ignore reviews, that they are only the opinions of people who, often, are jealous of work they themselves could not create. I choose not to embrace that opinion. To me, reviews are the opinions of informed, professional readers. Such people are not necessarily any better informed than the average reader, but what they have to say is certainly worthy of attention.
To be absolutely frank, there have been times I curled up and cried because a reviewer I respected disliked my work. And other times when handsprings across the living room were the order of the day. Such violent ups and downs can hardly be good for your blood pressure (let alone the household pets) but for an artist who cares, really cares about reaching out to the world, about creating a dialogue with readers present and unborn, there seems little choice.
An artist needs feedback. We must know whether what we do communicates the message intended. That doesn’t mean all glory and complement. Harsh but honest criticism can help an artist understand what the public sees when they read the work, watch the film, view the dance. To the degree that such work is intended to make a statement, to communicate a state of emotion or elusive concept, we MUST know how the public reacts.
But there are times when the good review is more damaging than the bad one. It often seems that a large proportion of artists are people who crave a deeper, more fluid connection with the outside world. Who in early life felt their voice stifled, felt invisible in the middle of a crowd. So they learn to speak their truth in some other form, and a creative performer was born.
Deep within such an artist is a driving, gnawing, ravenous urge to be loved, respected, seen, heard. It is the stifled urge of a child dancing in the living room for the guests, saying “look at me! I’m special!”
Of course, attention isn’t always on the artist herself: sometimes we merely want to draw attention to some cause, or effect, or external reality or philosophy we consider important or of interest. At the heart of all of this, however, is the sense that our perceptions are worthy, our hearts strong, our song as valid as that of any other warbler in the forest.
And when those reviews come in, we can either read them at an emotional arm’s length, or we can take them to heart, suffer the slings and arrows&ndashand rejoice in the victories.
Which are more important? I’m not certain. But when those positive reviews come, I notice that I don’t take them as seriously, as deeply, as the negative ones. I don’t dare. That little boy inside me wants too desperately to believe that he is loved and appreciated, that he has made something worthwhile. When the positive reviews come, it is easy to listen to the accolades, to glow in the applause…
But God help you if you ever need it. Then, with an exquisitely perverse precision, it will be withdrawn. Chasing after the approval makes it dissolve, and we become like a third-rate comic frantically mugging for a once-appreciative audience, begging them to laugh until they are embarrassed for him.
I love the process of writing. I love the books themselves. I love my audience. And I love those reviews, too much, it sometimes seems. And at those times, a little voice whispers in my ear: “The writing isn’t for them. Never for them. It was before they were. And if they turn their backs, you will write still. Don’t be lulled by the fact that today’s reviews are positive. Don’t be frustrated if tomorrow’s reviews are bad. Listen to the voice in your heart, the one that whispers of discipline, and pain, and creative ecstasy. That voice was there at the beginning, and will be there at the end.”
That voice, and no other, can you trust