It's probably a bad habit, but I enjoy reading and listening to interviews with famous writers and filmmakers (yes, I fantasize about being on Fresh Air). Inevitably, one of the celebs will be asked about how they came up with one of their masterpieces, and they'll say, "Oh, you know, I used to tell stories to my kids at bedtime, and they just loved this one, and it sort of took on a life of its own." Or something like that, in their perfectly constructed happy lives.
And they make it sound so easy. On the sappy TV shows, the kids always drift off to sleep as the mom or dad turns the pages, but in our house, it's usually my son shaking awake his semi-narcoleptic father, "Read, dad!" I'll drift off mid-sentence, and mumble half-dreamed endings to the words floating around the page.
Once or twice, I'd make up stories at bedtime, but it's hard work. I guess I'm not that quick on the fly. I'm really good at writing on paper or on my computer, but oral storytelling is entirely different. And worse was that the kids loved them, no matter how lame or stupid the stories were. The problem with this is that then they want another one. And another. Every night. The pressure.
So that never really worked out. I'd just read Hop On Pop yet again, or Stellaluna. But I'd just have to accept that I wasn't one of those cool dads destined for future fame and fortune.
But a few weeks ago, my son got a special FM system at school to help with some auditory processing problems (it's hard for his brain to filter out background noise). He wears a little receiver on his ear, sort of like a hearing aide, and the teacher wears a microphone around her neck. This way the teacher's voice is right in his ear, and it makes class much more productive for him.
But getting a seven-year-old to buy into this isn't necessarily easy. So on the way to school, I told him a story about Super Guy, who happens to have this really cool bionic ear. He hears various crises with his high tech ear, and then rushes to save people from the evil creatures of the world. He thought this was really cool.
Of course, he wanted to hear more of the story. And more. In order to keep from having to tell Super Guy stories all day and all night, I said I would only tell the stories only on the walk to and from school. (But it's a secret as soon as we get to school, since he doesn't want anyone to know that he's a super hero.)
It's been a couple weeks now, and we still do it every day (though we had a brief interlude where I had to tell Baron Von Bombhurst stories in an outrageous Vulgarian accent, from Chitty Chitty Bang Bang, only in our story, he's a nice guy). I'm not going to get rich by writing these all down into a fine children's book. My son likes a quick set up (a giant skunk smelling up the town, a giant centipede eating all the ice cream in Brookline, evil Dr. Gworkus threatening his friend Marty the Martian on Mars), and a fairly quick resolution ("And then I locked him up in a cage, right?"). Sometimes, I try to make the episodes a little more complicated, with some element of suspense and storytelling craft, but he doesn't really seem to like for his stories to have middles, not yet anyway.
Once or twice, I've started to repeat scenarios or villains, by accident, but he catches me right away and will have none of it. So I guess he's paying attention. It's not always easy to come up with new situations twice a day. Maybe he's training me for a future writing for a pressure cooker sitcom, who knows. But I look forward to our walks every day now, and when I'm telling him a story, I never have to remind him to hurry up. We're always at the school before we know it.
I'm sure it won't last, but for now, I like pretending that I'm the dad I really want to be.
Monday, April 9, 2007
Sunday, April 8, 2007
What I'm Reading: Mission to America
I came across Mission to America when it was recommended by a friend, after I told him that I was looking for an American Nick Hornby. I've become a big Nick Hornby fan over the past year or so (and adored his recent books on books, The Polysyllabic Spree and Housekeeping vs. the Dirt), but I figure there have to be a few American novelists out there who have the same sort of wit, insight, and ability to get under the skin of interesting characters, while still being funny, and sometimes serious without having to be tragic. At the moment, he's one of a few writers from whom I just want to read everything he's written, because it's just so much fun, and I hope that if I read enough of it, maybe I'll at least subconsciously figure out how he does it.
I liked Mission to America quite a bit. It was the first book of Walter Kirn's that I'd read, though I've had an interest in reading Thumbsucker, and the film made me want to read the book. The premise of Mission to America seemed interesting: that an obscure and isolated sect in Montana, on the verge of dying out due to generations of inbreeding, sends out two missionaries to essentially bring back some women converts that will help flesh out the gene pool.
Along the way, they interact with the corrupting influences of America, and while trying to stay true to their beliefs, get entangled in a world that's more bizarre than the one they left.
The book does a good job of not being heavy-handed in either direction. The simple life in Bluff, Montana, isn't exactly perfect. And the two missionaries do meet some interesting people out in the world who aren't totally crazy (though not many).
For me, the book started out fast, and then got lost a bit in the middle. At the very end, though, I couldn't put it down, and I probably came across as fairly anti-social this Easter weekend at my in-laws, as I read through to the ending.
Kirn's writing can be wonderfully sharp and sometimes I'd reread passages, just to make sure I didn't skim through it (it's a fast read overall). However, I have to confess that I wish that the two missionaries hadn't ended up bogged down in an Aspen-like town in Colorado, amongst freakishly wealthy families and ski bums. It seems like his social satire would have taken a bigger risk, but maybe had more of an impact, if they fell in amongst a slightly more typical set of Americans. The people in his Aspen stand-in don't feel like me and don't live anything close to the way I live. And their problems and their personalities barely interested me. So the satire's reach ends up feeling limited.
Still, Kirn's clearly a talented, experienced writer, and he writes a complicated story and set of interactions. I look forward to reading more of what he's written. However, I'm still looking for the American Nick Hornby. Suggestions?
I liked Mission to America quite a bit. It was the first book of Walter Kirn's that I'd read, though I've had an interest in reading Thumbsucker, and the film made me want to read the book. The premise of Mission to America seemed interesting: that an obscure and isolated sect in Montana, on the verge of dying out due to generations of inbreeding, sends out two missionaries to essentially bring back some women converts that will help flesh out the gene pool.
Along the way, they interact with the corrupting influences of America, and while trying to stay true to their beliefs, get entangled in a world that's more bizarre than the one they left.
The book does a good job of not being heavy-handed in either direction. The simple life in Bluff, Montana, isn't exactly perfect. And the two missionaries do meet some interesting people out in the world who aren't totally crazy (though not many).
For me, the book started out fast, and then got lost a bit in the middle. At the very end, though, I couldn't put it down, and I probably came across as fairly anti-social this Easter weekend at my in-laws, as I read through to the ending.
Kirn's writing can be wonderfully sharp and sometimes I'd reread passages, just to make sure I didn't skim through it (it's a fast read overall). However, I have to confess that I wish that the two missionaries hadn't ended up bogged down in an Aspen-like town in Colorado, amongst freakishly wealthy families and ski bums. It seems like his social satire would have taken a bigger risk, but maybe had more of an impact, if they fell in amongst a slightly more typical set of Americans. The people in his Aspen stand-in don't feel like me and don't live anything close to the way I live. And their problems and their personalities barely interested me. So the satire's reach ends up feeling limited.
Still, Kirn's clearly a talented, experienced writer, and he writes a complicated story and set of interactions. I look forward to reading more of what he's written. However, I'm still looking for the American Nick Hornby. Suggestions?
Friday, April 6, 2007
Jealousy and new resolve
Had a good meeting with my fiction writers group last night, who had read the first half of my new novel (160pp). They all seemed to like the manuscript so far, and there was general agreement about the weak spots (which were where I thought they were). It's stuff I can fix, though I still have to puzzle my way through. There was a spirited discussion of race and racial identity, which made me feel like I'd gotten at least part way on the right track, if not all the way there yet, in my manuscript.
We're reading the second half of my novel next month, so I have a some touch-up to do next week, and then I need to get it out to them so they have time to read it.
One of my friends told us about the unexpected success of her sibling, who wrote a novel mostly for kicks, and then promptly got picked up by a big agency. Hard for all of us, who have been writing seriously for a long time, not to be jealous as hell. Made me think of this terrific post on Malachy Walsh's blog, Lit Dept.:
http://litdept.blogspot.com/2007/02/jealousy.html
In his post, Malachy writes, "You only get back to healthiness when you get back to work." I like that.
As for me, the meeting last night has given me an increased resolve to pick up the pace of my revisions to this new novel. I really need to make sure that I'm putting in three hours a day, minimum, on these revisions.
I had a writing professor who told me once, "Pat, you're not a first draft writer. It doesn't come out of you fully formed. But if you work at it, your writing can be great." Good advice, to not expect to be finished at the starting line.
We're reading the second half of my novel next month, so I have a some touch-up to do next week, and then I need to get it out to them so they have time to read it.
One of my friends told us about the unexpected success of her sibling, who wrote a novel mostly for kicks, and then promptly got picked up by a big agency. Hard for all of us, who have been writing seriously for a long time, not to be jealous as hell. Made me think of this terrific post on Malachy Walsh's blog, Lit Dept.:
http://litdept.blogspot.com/2007/02/jealousy.html
In his post, Malachy writes, "You only get back to healthiness when you get back to work." I like that.
As for me, the meeting last night has given me an increased resolve to pick up the pace of my revisions to this new novel. I really need to make sure that I'm putting in three hours a day, minimum, on these revisions.
I had a writing professor who told me once, "Pat, you're not a first draft writer. It doesn't come out of you fully formed. But if you work at it, your writing can be great." Good advice, to not expect to be finished at the starting line.
Wednesday, April 4, 2007
What I'm Reading: Deep in the Jungle
My son brought home a really fun picture book from school today, Deep in the Jungle by Dan Yaccarino. It was clearly (to me, and, yeah, maybe unintentionally) an allegory of a playwright (or novelist) seduced by Hollywood. In the story, the mighty lion, king of the jungle, gives up his kingdom to go off with a man who promises to make him a big star.
But in order to do so, the lion has to leave the jungle, travel as baggage on the train, wear a leash when he gets there, live in a cage, and then do tricks in the center ring. When he meekly objects, the main replies, "don't think twice about it. Showbiz, you know."
(spoiler alert) Finally, he objects a bit more strenuously about never getting his big roaring solo, and the man replies, "I'm afraid you must always obey me. Showbiz, you know." At which point, the lion swallows the man whole, goes back to the jungle, and rescues all the other animals, who have since been caged.
Kids'll love it. But you might want to get it for your favorite screenwriter/playwright, too.
But in order to do so, the lion has to leave the jungle, travel as baggage on the train, wear a leash when he gets there, live in a cage, and then do tricks in the center ring. When he meekly objects, the main replies, "don't think twice about it. Showbiz, you know."
(spoiler alert) Finally, he objects a bit more strenuously about never getting his big roaring solo, and the man replies, "I'm afraid you must always obey me. Showbiz, you know." At which point, the lion swallows the man whole, goes back to the jungle, and rescues all the other animals, who have since been caged.
Kids'll love it. But you might want to get it for your favorite screenwriter/playwright, too.
What I'm Writing: getting ready for feedback
Tomorrow night, my fiction writers group meets to talk about the first half of the latest draft of my novel-in-progress. Today and tomorrow morning, I'm trying to get myself ready, partly because I'm nervous about what they'll have to say (though they're always kind and supportive). But I also feel an obligation to them and to myself, to make sure that I'm ready for the critiques that will come my way.
It's a lot to ask of people to read and make detailed comments on 160 pages of a novel (and they'll do the other half soon). Right now I'm rereading all the material, and I've set aside some time to think about my own impressions and concerns. In some ways, a novel's developmental path is more constrained than that of a play. There are certain stages where I can get feedback, but they're a bit more limited. With a play, I might bring bits of it to a playwrights group, and then have a sit-down reading, and then a staged reading, and more readings, and then a workshop production, more readings, a production, and then make even more changes.
With a book, it's not that complicated, or drawn out. Of course, I could choose to work on this one forever, but this is an important time and opportunity. I owe it to myself to make the most of what they have to say, and to try to stamp out any defensiveness that might tend to rumble during the session.
One of the things I find most challenging about working on a novel is trying to return to revisions with fresh eyes. This is tough for plays, too, but I can always put together a reading with actors, which will shine new light on the piece.
In a way, I've had the best of both worlds with my current novel, because I've been bringing ten-page chunks of it to Rhombus, my playwrights group, where we hire actors to read for us every two weeks. I've gotten constant and helpful feedback there from my fellow writers and actors. But while having talented actors read your novel-in-progress is helpful and fun, it also can help hide some flaws in the manuscript. My fiction writers group will dig past some of those.
I just need to be ready.
It's a lot to ask of people to read and make detailed comments on 160 pages of a novel (and they'll do the other half soon). Right now I'm rereading all the material, and I've set aside some time to think about my own impressions and concerns. In some ways, a novel's developmental path is more constrained than that of a play. There are certain stages where I can get feedback, but they're a bit more limited. With a play, I might bring bits of it to a playwrights group, and then have a sit-down reading, and then a staged reading, and more readings, and then a workshop production, more readings, a production, and then make even more changes.
With a book, it's not that complicated, or drawn out. Of course, I could choose to work on this one forever, but this is an important time and opportunity. I owe it to myself to make the most of what they have to say, and to try to stamp out any defensiveness that might tend to rumble during the session.
One of the things I find most challenging about working on a novel is trying to return to revisions with fresh eyes. This is tough for plays, too, but I can always put together a reading with actors, which will shine new light on the piece.
In a way, I've had the best of both worlds with my current novel, because I've been bringing ten-page chunks of it to Rhombus, my playwrights group, where we hire actors to read for us every two weeks. I've gotten constant and helpful feedback there from my fellow writers and actors. But while having talented actors read your novel-in-progress is helpful and fun, it also can help hide some flaws in the manuscript. My fiction writers group will dig past some of those.
I just need to be ready.
Sunday, April 1, 2007
Now I Can't Whine Anymore.
There was a thread over on the Plays and Playwrights group a while ago about whether having kids had helped or hindered writers in their careers. Now me, I'm always ready to use any available excuse for why I'm not rich and famous and racking up the Tonys and Pulitzers. Kids seem to be a pretty handy reason for why stuff doesn't get done, or why I can't go places. They're good for getting you out of attending events you really don't want to (and, as an added bonus, my kids are old enough to actually do chores now.) I have to say that, unfortunately, one big downside of working in theatre is that is that it's not a very parent-friendly career.
Then Jamie Pachino, who is a friend, mother, and terrific writer had to post this:
Sun Mar 11, 2007
After reading that, how can I possibly whine anymore about not having enough time or energy? I'm a slacker! I actually did add it up, once upon a time, and it turned out that I've actually been MORE productive in my writing since I've had kids than before. But it certainly doesn't always feel that way.
I've got a couple role model friends, and Jamie's definitely one of them. (Except, sadly, I need more than five hours of sleep a night.)
Then Jamie Pachino, who is a friend, mother, and terrific writer had to post this:
Sun Mar 11, 2007
I've been reading this thread with great interest, as I do
believe that (1) having children, being a wife, a caretaker
and an artist at the same time is VERY HARD and (2) I
still manage to pull it off.
In 2006, I gave birth to a new baby, had the world premiere
of a new play at a LORT theatre (which was subsequently
produced at another LORT, and the SPF Festival in NYC and
won an award for science plays), parented my 4 year old,
wrote 2 scripts for Lifetime (one of which was produced
and aired, the other of which will air this May), wrote an
animated feature for Disney, handed in a feature to Dreamworks
which won't go anywhere-- and all while my husband traveled
218 days out of the year (no seriously, we had to add it up
for tax purposes last week), and did I mention, I broke my
ankle while i was 7 months pregnant? Yeah. That too.
Now. This was an EXCEPTIONAL year for me, both in the
amount of work that was produced and created, as well
as the actual bodily creation that was going on. It also,
obviously, afforded me a chunk of money to pay for some
help to watch my children while my husband was off working,
and I was paying the bills and being an artist. But that was
only 1/2 days, because I didn't want to just give birth to
them, I want to actually hang around with them too.
Understand, though, that this is the product of having spent
about 6 years pre-children promoting the crap out of my work,
traveling to both coasts on a regular basis, taking meetings,
networking, being part of an amazing Chicago theatre
community where I had spent several years as a working
actor (I'm now in LA), and working my ass off to create one
play after another, as well as several film samples of my work.
I busted my ass, and I rarely slept. (Now I rarely sleep too,
but that's a whole other matter).
Are there days when I feel like I'm cheating both my children
and my art? You bet. Are there days when I wish I could go
do a writer's retreat for a month, the way I had the luxury
to do when I was w/o kids? Absolutely. Is it harder to carve
out time to write? Hallelujah, amen. It's HARD. But I do it.
Because my goal was always to have a big life. To be the
artist I could be, to not back down from the themes, the
ideas and the craft I wanted to pursue, and to also build
a marriage and a family in the same way. I wanted a big life.
Do I work my ass off way more now than ever? Holy Christ,
you betcha. Does it pay off? Many days, yes. Some days
I wanna crawl under the covers.
Frankly, I don't know how people who can't afford help, or
start working and trying to climb the ladder when they
have their young children do it. My hat is sincerely, 100%
off to them. And I'm very jealous of my husband, who does
travel so much, who works regularly as an award winning
sound designer and composer off-Bway and at every major
regional in the country. He's living the life of the artist
I wish I could some days. On the other hand, he misses so
much back here, and it's a trade off. But as I'm paying the
bills, doing the laundry, cooking the meals, cleaning the
meals, giving baths, going to the playground, sneaking on
my computer, writing to plays and playwrights, finishing
a new script for Lifetime, trying to catch a shower and
more than 5 hours of sleep a night... I find the wherewithall
to write this note, because it's worth it to show that it
can be done, but not without effort.
Your mileage may vary.
Jamie
Jamie Pachino
http://www.netspace
After reading that, how can I possibly whine anymore about not having enough time or energy? I'm a slacker! I actually did add it up, once upon a time, and it turned out that I've actually been MORE productive in my writing since I've had kids than before. But it certainly doesn't always feel that way.
I've got a couple role model friends, and Jamie's definitely one of them. (Except, sadly, I need more than five hours of sleep a night.)
What I'm Watching: The Departed
Last night I finally had a chance to watch The Departed, on DVD. I definitely didn't fall asleep during this one. In fact, it was so intense, that I had a tough time falling asleep afterwards and dreamt uneasy dreams all night. I was a big Scorcese fan, back when I was a youngster. Taxi Driver and Raging Bull were important films to me. And I think The King of Comedy is astounding (could Rupert Pupkin be one the most interesting roles De Niro every played?). I wasn't a big fan of Goodfellas, and I thought that Bringing out the Dead and Gangs of New York were low points.
The Departed definitely had my pulse racing the entire time. It's a tightly crafted piece, and the performances are strong across the board (though Jack Nicholson ends up hamming it up too much for my taste). And it was fun to watch a movie set in Boston and actually filmed in Boston (since I live here). I appreciate the storytelling, and I enjoyed the complexity of the narrative, though sometimes I just wanted to get to know the two main characters better. Especially DiCaprio's character (he gets that furrowed brow look and holds it forever in this one). If you look back at my favorite Scorcese films, they've got plot, but also some real deep character explorations. The kind of depth I've also wanted to pull off but am still attempting. Still, I think The Departed is one of his better pieces, and it wasn't undeserving of the awards it won.
The Departed definitely had my pulse racing the entire time. It's a tightly crafted piece, and the performances are strong across the board (though Jack Nicholson ends up hamming it up too much for my taste). And it was fun to watch a movie set in Boston and actually filmed in Boston (since I live here). I appreciate the storytelling, and I enjoyed the complexity of the narrative, though sometimes I just wanted to get to know the two main characters better. Especially DiCaprio's character (he gets that furrowed brow look and holds it forever in this one). If you look back at my favorite Scorcese films, they've got plot, but also some real deep character explorations. The kind of depth I've also wanted to pull off but am still attempting. Still, I think The Departed is one of his better pieces, and it wasn't undeserving of the awards it won.
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