The Writing Wire for 10/24

Here's the haps for Friday, Oct. 24:

• The Guardian asks which character has the worst name in fiction?

• Should mystery writers have rules? The Sun-Sentinel's Off The Page book blog says nay.

• PoeWar explains how to map out your novel's characters.

• Sarah Weinman on the David Foster Wallace memorial.

• Ken Levine shows what happens when a table reading goes nuts.

• Words I'd never thought I'd see together: outsourcing and copy editing. USA Today has the scoop.

• Could the Smiths be close to reuniting?

• Paul Westerberg talks to The Guardian about The Replacement's legacy.

• Zombie will like this: Topless Robot lists the top zombie movies of all time.

What are you reading? Week 5: Back on the crime fiction beat

Last week, we bid adieu to our friends Nick and Norah and took a tentative step back into crime fiction with the "comedic crime" of Carl Hiaasen. Specifically, his newspaper caper book, Basket Case.

I have to admit, while Basket Case was enjoyable, it lost a little steam toward the end. As I noted last time, the plot of the book appealed to me because the book was set in South Florida and also because the lead character was a journalist. Hiaasen did a great job of painting a newspaper scene, and I really learned a lot from reading the book in that regard. Unfortunately, while his scene-setting when it came to SoFla was decent, it didn't really make me feel like I was back home (I'm from FL, FYI), and a lot of the names used seemed fake and/or forced, which is exactly the opposite of what I'm trying to do with my book. Overall, the plot resolved itself too easily and neatly. I won't spoil the final plot twist, but it left me wanting. Additionally, the "unexpected" romance between protagonist Jack Tagger and his editor Emma came off as unnatural and predictable. Emma's initially painted as a nervous, antsy and neurotic shrew -- so why is the rebellious and cantankerous Jack suddenly drawn to her? Why does she kiss him randomly? It didn't feel right. Understandably, building a functional romantic dynamic is hard, especially when the characters start off as opposing forces. But there didn't seem to be enough time spent on the "Moonlighting"-style moments, where the two opposing characters are at each other's throats but still flirting somewhat. Overall, the book is what it set out to be: a breezy read for someone looking for something entertaining and slight between serious books.

Once I finished Basket Case, though, I was a little desperate. My to-read pile had dwindled to a stack of Ellroy books (more on that later) and Ross MacDonald's The Way Some People Die. The latter was given to me by a friend that works in publishing, but I'd read very little about MacDonald or any of his work. Well, I was pleasantly surprised.



I've gone on and on about my favorite contemporary crime authors -- Pelecanos, Lehane, Connelly, etc. But I've said little about my favorite old school, first generation crime writers. Obviously, Raymond Chandler is atop that list. For a long time after reading his entire output (gold stars next to Farewell, My Lovely, The Big Sleep and The Long Goodbye), I was left wondering if there was a true and proper heir to the colorful, stylized and just plain cool detective novels Chandler created, starring the archetypal gumshoe, Philip Marlowe. For a time, I thought Michael Connelly was the guy, but after a few Bosch books (great as they were), I realized that Connelly was more about a tight, forceful plot and less about the atmospheric and literary strengths that Chandler reveals in his work. Well, Ross MacDonald is it.

Like Chandler, MacDonald chronicles the adventures of a sharp, do-right PI. In MacDonald's case, the guy's name is Lew Archer. Like Marlowe, Archer is a strong believer in right and wrong and finds himself in sticky situations that involve subterfuge, mistaken identities and murder. In The Way Some People Die, Archer is for all intents and purposes a Marlowe clone. But that's fine. And based on what little I've read about the series, I know he eventually evolves into something else. But for someone who was craving more Chandler, MacDonald provides the perfect fix.

While Chandler's work is more about painting a scene and colorful language, MacDonald is also equally about plot. So -- in crude terms -- not only does it read like something cool and interesting is going on, but you also can follow the story and understand who the characters are, a flaw I found in most of Chandler's work, but one I was willing to overlook because the ride was so much fun.

The Way Some People Die starts simply enough -- an aging mother begs detective Lew Archer to find her lovely twentysomething daughter Galatea (otherwise known as Galley), who hasn't been in touch for over two months. What follows is a tale of drug-smuggling, prostitution, murder and multiple double-crosses. It reads like a great, old movie, with the requisite femme fatale, gangster villains and surprising turncoats. If you like mysteries, this is a keeper.

Additionally, like most of Chandler's work, The Way Some People Die is a relatively quick read, clocking in at a little over 270 pages (coincidentally, right around where I'd like SILENT CITY to land, when I finish it. I managed to talk my friend to toss a few more MacDonald books my way, so I wouldn't be surprised to see me writing about him a lot more in this here space. Well, unless I go on an Ellroy tear.



Which is highly likely.

I've had an interesting relationship with the works of James Ellroy. I've always been a fan. My Dark Places (nonfiction) and Ellroy's Lloyd Hopkins trilogy of detective novels are books I think of often and remember really enjoying when I read them. But for whatever reason, I could never bring myself to dive into his more lauded work, namely the "L.A. Quartet" of books, which consist of The Black Dahlia, The Big Nowhere, L.A. Confidential and White Jazz. I tried reading Dahlia a few years back and stalled about 20 pages in. I'm a big believer that if you can't get past the first 20-30 pages of a book, if you're not driven to keep reading it, you're better off just putting it down for a while and moving on to something else. The spark might just not be there. Recently, having finished The Way Some People Die and without another MacDonald book, I picked up Dahlia again. Why Dahlia, specifically? Well, I needed the material to be redeemed in some way. The Brian De Palma-directed movie based on the book was horrible, and I needed to wash that taste out of my mouth. Additionally, Dahlia kicks off the previously mentioned Quartet, so it seemed like as good a place as any to dive into Ellroy.

Great decision. Ellroy is in top form with Dahlia, shrugging off the slight awkwardness and stiff pacing of his earlier novels to create a book that is true neo-noir. As most should know, the book is a fictionalized account of the real Black Dahlia murder. I'm barely 100 pages in, but I've already reached that point where you can't put the book down and all you want to do is curl up and read until you're done. And then, ideally, have another book at the ready. I'll have more concrete thoughts on the book in the next installment, I'm sure, but suffice to say, Dahlia is a pleasure to read. I almost want to kick myself for not plowing through it years ago. It also made me want to "fix" the movie, so expect a post later this week which features me re-casting the entire thing. If I find the time, of course.

Enough about me, though. What are you reading?

What, When, Where this Weekend - Syecdoche, New York, The Changeling, Let the Right One In, Pride and Glory

What, When, Where is a weekly guide to select screenings, discussions and events in the NYC-area of interest to screenwriters.

- STRANDED screenings followed by filmmaker Q&A at Film Forum.

- SLEEP DEALER screening with writer/director Q&A sponsored by the Moving Image Museum.

Opening this weekend...

SYNECDOCHE, NEW YORK, written and directed by Charlie Kaufman



Premise: A theater director struggles with his work and the women in his life as he attempts to create a life-size replica of New York inside a warehouse as part of his new play.

Playing at: Lincoln Plaza Cinemas, Landmark Sunshine

Every now and then a movie comes along that I have to see immediately; this is one that won't make it through this weekend unseen. I've seen reviews ranging from "nonsense" to "incomprehensible" and despite all I've seen and read, I'm still not sure what to expect going in, but I'm real eager to dive into this one.

There's a great interview with Charlie Kaufman here.

You can watch the trailer here.


THE CHANGELING, written by J. Michael Straczynski, dir. by Clint Eastwood


Premise: A mother's prayer for her kidnapped son to return home is answered, though it doesn't take long for her to suspect the boy who comes back is not hers.

Playing: All over.

The Babylon 5/Spider-Man/The Real Ghostbusters J. Michael Straczynski scribe has been entertaining my generation for our entire lifespan, so I'll tend to give him the benefit of the doubt. Plus, Clint Eastwood? And a good cast? I'm in.

LET THE RIGHT ONE IN, written by John Ajvide Lindqvist, dir. by Tomas Alfredson


Premise: Oskar, a bullied 12-year old, dreams of revenge. He falls in love with Eli, a peculiar girl. She can't stand the sun or food and to come into a room she needs to be invited. Eli gives Oskar the strength to hit back but when he realizes that Eli needs to drink other peoples blood to live he's faced with a choice. How much can love forgive? Let The Right One In is a story both violent and highly romantic, set in the Stockholm suburb of Blackeberg in 1982.

Playing at: Angelika

I've heard a lot of good buzz around this one - the premise alone had me sold, and I've really been jonesing for another good vampire flick. (Speaking of which - anyone watching True Blood? I've heard people both raving about it and ripping it apart.)

PRIDE AND GLORY, written by Gavin and Gregory O'Connor, dir. by Gavin O'Connor



Premise: A saga centered on a multi-generational family of New York City Police officers. The family's moral codes are tested when Ray Tierney, investigates a case that reveals an incendiary police corruption scandal involving his own brother-in-law. For Ray, the truth is revelatory, a Pandora's Box that threatens to upend not only the Tierney legacy but the entire NYPD.

Playing: All over.

Good cast, but looks kinda boring. See you on Netflix in six months.

What are you doing/seeing this weekend?

The Writing Wire for 10/23

The latest happenings in the world of books and related topics:

• The L.A. Times Jacket Copy book blog dredges up some more bad writing tips.

• Murderati has a great post discussing the realities of using real people and places in your novel, and just how it works. Worth a look.

• The New York Times is reporting the death of famed literary agent Pat Kavanagh. They also review Eminem's new memoir.

• The L.A. Times (again, via Largehearted Boy) on Mia Kirshner's new book.

• The Onion AV Club on Michael Connelly's latest.

• New York Magazine's VULTURE blog on the confusing publicity for Synecdoche, New York. Also, Javier Bardem is working again.

Independent Film Structure

On Monday, I went to another of the Screenwriters Meetups here in the Big Apple. As it had been with the last meeting Zombie and I attended, I had to read a script and come ready to critique it. The script, very much an indie flick, generated almost as much discussion on the structure of indie films as it did on itself. The overwhelming consensus among the other attendees of the Meetup, which I disagree with wholeheartedly, is that indie films do not need structure.

I was sitting there shaking my head as some of the other people – I won’t begin to speculate as to anyone’s experience (or lack thereof) with screenwriting – defended the script’s passive protagonist and lack of tension by saying that indie movies do not need traditional cinematic devices (such as a climax). The script essentially flat lined at the end of act one. It was supposed to be a romantic drama about two people struggling to get their lives together. Yet there was never any sense that the characters were really fighting for anything. If they got separated, they didn’t seem to mind. If they were homeless, they were just as happy as if they had a roof over their heads. The script, if anything, ebbed and flowed, but it did not build. The stakes were never raised. The characters never fought for anything, and at the final FADE OUT, they were no different than when we were first introduced to them.

I say all that about the script not to criticize it – there was a lot I liked about it – but to give you the necessary background for why I was so frustrated with other peoples’ notion that all of those flaws were OK, since this is an indie spec. I was amazed by how willing people were to love a script that didn’t build, simply because it would most likely play in art-house theaters if made. No producer, at least none I can think of, is going to buy a script with flat characters and story because it’s indie. Indie films, contrary to what people were saying, often do follow traditional structure, but are so well crafted that the act breaks are not immediately noticeable. The characters are so engaging you’re alternating between looking away from the screen because you don’t want to see them hurt and clinging to the edge of your seat, because you can’t wait to see what’s next.

It’s a dangerous trap to fall into to let yourself believe that independent movies are free to completely discard format and structure. While indie movies are more frequently about “normal people” than most blockbusters are, normal people do not go see movies about normal people not learning lessons or doing anything interesting. It’s not a form of escape. And producers are well aware of the fact that independent movies, which run on limited screens in limited cities, cost just as much if not more per ticket as do blockbusters playing on 3,000 screens across the country. Independent films might be much closer to home thematically than say, Max Payne or The Dark Knight, but they’re still movies. They still require structure.

Charlie Kaufman interviewed about writing, directing your script, and Synecdoche, New York

Scott Tobias recently posted a great interview with the ever-enlightening Charlie Kaufman over at the AVClub. I always love hearing this guy talk about his writing and the writing process, if only to hear something beyond the traditional character arc and three-act structure dialogue that most writers will get into when prodded about what makes them intriguing writers. That stuff is all important, but it's nice to hear things that weren't part of every screenwriting class or book that you've already managed to devour.

Kaufman talks about his writing, his new movie, and interesting (considering all of our recent discussion on here about giving up our babies) directing your screenplay for the first time. As a frustratingly slow writer, here's one of my favorite, most reassuring bits of the interview:

AVC: You don't seem like the sort of writer who has a set of note cards and knows what's going to happen in every scene, but your movies are very intricately constructed. How do you pull that off?

CK: I take a very long time to write them. By doing that, I can allow myself to be expansive. As ideas come in, I can include them and then go back and figure out how to introduce them. So it's an ongoing process of back and forth and back and forth until I have a script. In this case, that took two years. So by the end, I'm pretty clear on it. I don't need cards to know where things are, and I start to understand relationships not only between people, but between parts of the movie, in new ways, and that's exciting for me. It keeps me excited about the process, and it allows for a certain amount of complexity in the construction. You know, it's weird: If you set up something early on as a structure or a goal, then that's what you write toward, and there's no opportunity to allow other stuff in. So you end up saying, "I can't do this, because this movie goes here." That doesn't interest me, and it doesn't feel exciting to work that way. So I don't.

You can read the full interview here.

And if you've got some time on your hands, WIRED has a five-part, two plus hour audio interview with Charlie Kaufman up on their blog. (Parts three and four focus most on his writing and career.)

Taking a stab at a SILENT CITY cover

So, while tinkering with PhotoShop yesterday, I decided to take a stab at working up a cover for SILENT CITY. Above is what I came up with. Thoughts? Am I being pretentious by even posting this?

Obviously, the images need to be a bit more hi-res and the smudging may work better as a dark red (Blood! Get it?), but overall I was pretty happy with the end result.

I also blacked out my name (which would be under the "A NOVEL" line) for obvious reasons.

Anyway, just thought I'd share.