London Time

Debut Author Shares Her Journey to Publication

2012-02-28T09:03:00.005-08:00

Meet Shelly Sanders, Toronto-based writer whose first novel, published by Second Story Press, comes out this spring!

Your debut novel, Rachel’s Secret, is coming out this spring! What is this story about?

Rachel’s Secret is a historical fiction novel about a Russian pogrom in 1903 that led to the exodus of Jews to the United States and Canada. In fact, my grandmother escaped such a pogrom a few years later, and lived in Shanghai before coming to Canada. Rachel’s Secret looks at a fairly unknown place and period, yet many of us have ancestors who can be traced back to the hundreds of pogroms that took place in Russia.

What was your writing process like with your first full-length novel?

It took about a year to research the Russian culture, and this particular pogrom. Then I wrote it the first time in first person, which didn’t work at all. I began again, in third person, and ended up writing about eight drafts, getting valuable criticism in between, before sending it to an agent. The agent gave me more changes, which took me almost a year to do. Then, she read it again and accepted it.

What were your biggest challenges when writing this story, and how did you overcome them?

Getting the characters to be real and authentic was definitely the biggest challenge. I had to get inside their heads, and think like they’d think in 1903 Russia. I think the turning point was after I read books written during that time period for girls that age. The language, mannerisms, hopes, and challenges all became clear after this.

Writing is re-writing—we all know that. So, how did you revise your manuscript to ensure it was polished and ready to submit?

I sought input from all kids of people—my kids, my aunt, friends, and other writers, and had both a minister and a rabbi read it for accuracy. As a journalist, I know the importance of getting it right so that editors don’t have to spend time fixing mistakes. That was my goal and in the end, after it was picked up by my publisher, the revisions were not that extensive.

Can you describe what the journey was like from querying to eventually getting a publishing deal?

Querying is a test of patience, but again, I’m used to the process as a magazine and newspaper writer. As an unpublished author, it was like starting all over again. My years of published articles in major national publications meant nothing to book agents and publishers. However, I had mastered quite a good query letter which managed to capture the attention of a few agents and publishers. I approached publishers at the same time as agents, as most publishers will take on a few unrepresented writers from time to time. In fact, I actually sold my manuscript to the publisher. They contacted me the day after I was accepted by my agent, who handled the contractual details.

Any helpful tips you wish you knew before getting published?

The whole process takes much longer than you could ever expect! I wish I’d known this as there were many low times when I felt like giving up. I think that perseverance is as important as talent when it comes to getting published.

What’s next for you, Shelly?

I’ve received a grant from the Ontario Arts Council for the sequel to Rachel’s Secret, which I’m working on now. It takes place during the Russo-Japanese War, and Bloody Sunday. I also have one adult fiction novel being considered by a few publishers in New York.

You can read the synopsis of Rachel’s Secret on Shelly’s website to get a better idea of the story, which looks at tolerance, the impact of media, and the consequences of discrimination.

Creating Believable Characters

2012-02-03T09:07:00.000-08:00

Let’s face it. It’s been a while since we’ve been in middle school, so how can we ensure that we are creating authentic characters in our middle grade novels? In this interview, author Winnie Mack shares some insight!

Do you often start with the character or the story?

It depends on what I’m working on. I used to write “chick lit” for adults, as Wendy French, and most of those novels began with the story. I currently write Middle Grade fiction for boys as W.C. Mack (www.wcmack.com), and because both my Canadian and American publishers like books involving sports, I tend to start with story there as well. But when it comes to writing for Middle Grade girls, I always start with the character.

How do you “get to know” your main characters?

I kind of let them drift in and out of my head for a bit before I start writing. I think about who their family members are, what kind of friends they have and what they enjoy inside and outside of school. I think about what drives them crazy or makes them happy and I come up with plot points that could create some highs and lows for them within the story. Sometimes I’ll attach a certain actor or actress’s appearance to the character, so I have a mental picture when describing them.

In your novel, After All, You’re Callie Boone, how did you create a realistic and interesting character that tween readers could relate to? What kinds of social markers or language do you find to be prevalent in their lives?

I relied on personal experience, to a degree. I thought about some of the most hurtful things I’d witnessed or felt at that age and decided that the loss of a best friend was near the top of the list. That gave me an opportunity for Callie to feel confused, angry and alone so she could then work her way through all of those emotions. I also relied on my own experience in that Callie has a grandmother at home and my grandparents moved in with us when I was ten years old . Like Callie, I sometimes felt caught between enjoying the fact that they were there and wishing my family was more conventional or “normal”.

As far as language goes, I probably went over the top with Callie’s “Oh, fishsticks” tag line, but I do think kids tend to favour a small handful of phrases and words. I spent the afternoon with an eleven year old boy and couldn’t believe how often he said “awesome”. It had to be at least ten times per hour!

What should writers keep in mind when creating antagonists in their MG or YA novels?

I think it’s important that the character have good intentions. When I was writing about Callie, I knew she needed to have flaws and issues, or there wouldn’t be a story. But I also needed readers to identify with and root for her. She’s a kid who tries to do the right things, but doesn’t always succeed. I think we’re all a bit like that.

How do you know if you’re pushing the boundaries when it comes to drugs, sex, or violence in MG or YA novels?

I haven’t written any YA, but have a couple of novel ideas simmering at the moment. Part of what holds me back is that I’m leery of having to address any of those topics, as it feels like a lot of responsibility.

The appeal of Middle Grade is that there is a clearer line not to cross. The language is clean (I had to remove a “Crap!” from one of my books) and drugs/alcohol/sex/violence aren’t likely to be addressed. When I originally started writing for this age group, I asked my agent about the boundaries and she said an editor had once told her that mentioning a bra strap is too much. I’ve read Middle Grade that goes well beyond that, but I prefer to keep things as clean as possible. For example, Callie is only eleven and so in need of a true friend that it never crossed my mind that Hoot could be a romantic interest for her. I’ve had a number of parents and librarians write to thank me for making him “just a friend”, as they feel girls in that 9-12 age group are being sexualized too soon.

Any “quick tips” you’d like to share with MG writers in terms of creating characters?

Try to give characters something to feel passionate about, whether it’s a sport, a school subject or a dream they’re reaching for. That interest will naturally add dimension to the character and to the story.

An editor pointed out to me that a perk of writing about kids is that they don’t have control over a lot of things. They are limited by rules, schedules and by their age and physical size/abilities. Sometimes figuring out how a character works within or around these limitations helps to develop their personalities, strengths and weaknesses.

Most of all, have fun with the character and make sure it’s someone you care about. You’ll be spending a lot of time together!

Revision Makes The Book

2011-10-25T12:32:00.000-07:00

Jen K. Blom’s debut novel, Possum Summer, came out last spring…but it wasn’t easy getting to publication. And to get to publication, Jen had to have a solid manuscript…which is obviously never the first draft.

For some writers (myself included), the revision process is less enjoyable than writing the first draft. I’m excited to share some of Jen’s insight when it comes to editing your manuscript. Take it away, Jen!

Hey guys.

I'm here today visiting with Lorna about revising. That's right: the R word. And you're here to suffer through it with us! Well done!

I've written a lot of manuscripts over the years. But when I finally took "getting published" seriously, I had to re-examine my revising process. Before I'd taken it seriously, my revision process looked like this:

1. Finish first draft.

2. Sleep a night.

3. QUERY!

And that obviously didn't work. Because no matter how much I had read and read, and how much I'd learned in university (I studied creative writing and journalism) I couldn't send out a first draft and get anywhere.

That first draft method changed when I decided to work on POSSUM SUMMER (Holiday House, June 2011). I started a blog. I found other writers and we created a critique group. I then wrote the first draft in a month (in my defense, I travelled two hours on a train each morning and night, and so it was the perfect opportunity to do it. It's not like I'm some crazy awesome writer or anything).

Then? I set it aside. Although that killed me.

That's right. Set aside for over two months as I wrote yet ANOTHER attempt at fantasy (total fail!) and then came back to it. I learned how to revise with this book. Three different times, reading through and catching errors, lapses in logic, etc. I didn't exactly know what I was doing but the story seemed easier to me to look at now, now that I wanted to make it perfect. So I queried, and got an agent!

And we went out to ... silence ... until an awesome editor was interested! But the editor wanted things changed - things that made sense when she said them, but how could I miss those things, myself? She'd read the MS once and I'd created the darn thing, not to mention changed and revised it three times already! But I went back to the writing block and revised it according to what she'd said, making it so much better. Then? Another round of revisions. Then? One last one! Then?

OFFER! On a book that was already so much better and more meaningful, all from a couple revision changes. This little story of a first book getting published has a couple things in it for you, should you care to read further:

1. Not every book gets snapped up right away. (and that is a good thing)

2. Never, ever give up.

and lastly?

3. REVISION MAKES THE BOOK.

Here's what I've learned about revising, now:

- keep a notebook or an open file nearby while you're writing. When you're in the thick of your muse, you do not need to go back and flesh out something you realize you wrote wrong. Keep a list and go back.

- always, always give yourself some time in between writing the first draft and revising. You do not want to revise right away. Time will open your eyes, and time will show you where the problems are in your MS.

- Pay attention to the Five Senses: your characters don't just go through the pages. Pay attention to how they use all their senses: hearing, touch. Tasting, smell. This is important!

- does each character you introduce in your book as a secondary have an arc? The best books are well-rounded books, and the best well-rounded books are those where the satisfying thing is that everyone has a change.

- have critters for your revision process. I've found that other people are awesome readers, depending on the time I use them. I have two crit buds for the initial crap draft process, one for after the 2nd revision, and 3 for "the finished version".

Each one brings valuable insight and experience to the table - insight and experience that only they are capable of at that point in my process. I highly recommend this!

Don't despair when you finish book number 2, then book 3, and find that each is an entirely different revising beast. I'm here to tell you it's okay, and I'm here to say that it is normal. Keep a list and keep on plugging!

Just remember that a published writer is the one that didn't give up. And I would say, the one that kept revising.

Go you!

Visit Jen’s awesome blog and follow her on Twitter!

Road To Publication

2011-09-20T09:37:00.000-07:00

After reading a Tweet from writer, Kaylie Newell, announcing that she sold her first book, I contacted her to discover what her journey to publication was like. In this interview, Newell discusses her writing and revision process to inevitable rejection, and finally, to publication.

LL: Hi Kaylie, thanks so much for taking the time to be interviewed!

KN: Thanks for having me, Lorna. It’s an honour.

LL: Congrats on selling your first book! What’s it about and when can readers grab a copy?

KN: My book is called A Death That Lingers. It’s a romantic suspense novel with a supernatural twist. My heroine, Josie is being haunted by her dead husband. And it’s not a Patrick Swayze, Demi Moore kind of haunting, either. He was a real jerk when he was alive. Being dead makes him even grumpier. And when Josie finds herself drawn to the sexy young police chief in her small Midwestern town, things get really interesting!

I don’t have a release date yet, but I’m guessing it’ll be late October or early November. Just in time to read during the spooky fall weather. It will be for sale in electronic format from the publisher’s website, as well as Amazon, etc.

LL: When did you first start writing this book? Did you have a writing routine?

KN: I started writing my book on Valentine’s Day of 2010 (I thought that would be appropriate for a romance novel!) I’d wanted to write a book ever since I was a little girl. Even though I had made up my mind to do it, the thought was still very intimidating. I decided I’d have a daily writing goal.

I bought a little dry erase board and put it in the kitchen. Every night before I went to bed, I’d write down my word count goal for the next day. I think seeing that goal the next morning every time I walked in and out of the kitchen, made it harder for me to fudge. Most days I’d write no less than 300 words. Not very much, but it added up little by little. On the weekends I wrote significantly more when I had the time (my husband and I have two little ones, so some weekends were easier than others). All in all, it took me a little under six months to write a 300 page novel. If I can do it, anyone can!

LL: What was your first thought when you read through the first draft?

KN: Relief! I was pretty worried the whole story would stink. That it wouldn’t flow, or make sense. It’s hard to get an overall picture of your book when you’re writing in little increments, so when I read through it the first time, I was happy all the puzzles pieces fit.

LL: Can you share your revision process?

KN: The revisions are actually my favourite part. It’s when the book really starts to shine and that’s a great feeling. I think I probably revise backwards, though. I’ve heard that it’s best to read through the first time and look at big things, like plot, character development, etc. Then work your way towards more specific things with each consecutive read through. Chopping adverbs, unnecessary dialogue tags, etc.

But it’s hard for me to see the big picture when I’m obsessing about awkward sentence structure. So I let my little mental editor do her thing, then when the writing is more polished, I can concentrate on the story. I went through A Death That Lingers six full times, and felt like I could have gone through several more. But for me, I had to choose a stopping point or I was going to drive myself bananas trying to make it perfect.

That’s one thing I’ve learned. What’s “perfect” for me one day, won’t look perfect the next. Eventually, you just have to have faith in the manuscript and send it out.

LL: What was the journey to publication like? How did you handle rejection?

KN: Wow. I’m having a surreal moment here. The journey to publication… Sometimes I have to remind myself that I actually sold my book! I’m still pinching myself. It was a long, hard road. I guess that’s the best way to describe it. Writing is something I’ve always loved and felt passionate about. Writing a book was a natural extension of that.

But that doesn’t mean every day was easy or enjoyable. Some nights I would cry myself to sleep (something my very loving and supportive family can attest to). Some days were exhilarating, others were exhausting. It was an emotional roller coaster.

Rejection is hard for everyone. I’m a naturally sensitive person, so in the beginning those rejection slips would devastate me. Put me into an emotional tailspin for days at a time.

Over time though, you realize that what they say is true. Writing is a subjective business. Not everyone is going to love your work. But that doesn’t mean your work isn’t good. It just means you have to try that much harder to get it in front of someone who does like it. Rejection isn’t fun, but it’s a part of writing. Look at it this way, the more rejection slips, the thicker the skin, the tougher the writer! And a tough writer can do anything.

LL: What did you learn about publication after getting that “yes” from Beachwalk Press?

KN: That’s a great question! The answer is I’m still in the process of learning all the magical ins and outs of this business. I feel like a babe in the woods. Luckily for me, I have a wonderful editor who I know will be a great teacher as well. I’m still learning about contracts, royalties, marketing, edits. The list is endless. But I read a lot about the business and that helps. I’m also a member of Romance Writers of America and its on-line chapter, RWAOL. I’ve met fantastic contacts there, some of whom have turned into great friends and critique partners. What I learn from them is indescribable.

LL: What are you working on now?

KN: I just finished my second book, a romantic suspense, about six weeks ago. I’m in the process of polishing it up. I’m also launching a romance blog with my critique partners on October 17^th. That should be a lot of fun.

LL: Any advice you’d like to share with aspiring writers, who are close to or in the process of shopping their first novels around?

KN: Don’t give up! The day I sold my book was one of the happiest of my life. But it didn’t happen quickly. Work through those rejection slips and keep sending your book out. Send it out to multiple publishers and or agents. And while you’re waiting, start your next novel. Join a writing group, make friends of other writers. They’ll understand first hand what it’s like to be sending your book out. They’ll be able to teach you so much and provide a shoulder to cry on when you need it. And they’ll joyfully help you celebrate when you get “the call”!

8 Questions For YA Author, Amanda Ashby

2011-08-19T10:38:00.000-07:00

Young Adult author, Amanda Ashby, is yet another example of a writer who did not give up. It took six years for Amanda to get published, her first book being You Had Me at Halo. Here’s a closer look at Amanda’s journey from inspiration to publication.

Hi Amanda! Thank you so much taking the time to do this interview.

You’re welcome. Interviews are always a lovely distraction from work and as you will discover, I’m a girl who likes distractions!

We can all be guilty of getting distracted! As a writer who pushed through six years before getting her debut novel, You Had Me At Halo published, what kept you motivated and focused?

Honestly, the main thing that kept me motivated was the feeling deep in my gut that one day it would happen to me. I can’t explain where it came from (certainly not from my early drafts, which were hideous!) but it was there right from the beginning. Then over the years I used to take great hope in every small break through I had, like winning a competition or moving from form rejections to personal rejections or from getting partial requests, through to full requests.

What is your writing routine like?

It’s pretty shoddy! Like most writers, I’m easily distracted by the Internet (not to mention snack food, glittery objects, and the sudden need to clean the house). However, because I know what I’m like, when I’m working on a book I always set myself a word count to hit—normally about 2k—and then if I choose to spend the entire day being naughty, I’m forced to sit at the computer all night until I hit the words. Which, by the way makes me delightful to be around the following day!

Are you an outliner? How do you prepare before writing a novel?

I’m a pantser who longs to be a plotter so I spend a lot of time making notes and outlines that I’m doomed to never follow. I find the whole thing quite frustrating and get very jealous of writers who can do lovely outlines. However, I’ve sorted of accepted that my process is messy and so I just try and write my way through it.

What’s your latest book, Fairy Bad Day about? What was it like writing it?

Argh. For a light-hearted comedy, Fairy Bad Day was ridiculously hard to write. I wrote about two or three drafts for my agent and then it had about three rounds of revisions from my editor. In fact, the only easy part was the title!

What are you currently working on?

I’m revising the second book in my upcoming Middle Grade series, Sophie’s Mixed-Up Magic, about a girl who gets turned into a genie the day before she starts sixth grade.

What inspires you the most?

Books! I was a reader long before I was ever a writer and it’s still the same. I really love reading great books and every time I do, as well as getting wildly jealous that I didn’t write them, I’m also inspired to do a better job with my own books.

If you could have dinner with any writer, dead or alive, who would it be and why?

Jane Austen or Georgette Heyer, because I love humor in books and they were both the masters of it! Plus, they both seem like they would be very well mannered, which means they probably wouldn’t complain if I had a second helping of pudding.

Considering your journey from your first novel to getting published for the first time, can you share some advice with aspiring novelists?

Take time to find your voice! Voice is one of those strange things that we often ignore when really it is what will help make your books stand out in a crowded market. So don’t be afraid to write the story the way you ‘really’ want to write it as opposed to how you think you should write it.

I say this because for six years I kept coming up with all these weird paranormal romance ideas, but because I was trying to write regular romance novels at the time, I would carefully cut the paranormal elements out of each book (I really wish I was kidding about this but I’m not). However, when I finally had the idea of a dead girl who gets kicked out of heaven and sent back to earth in a guy’s body, I realized that there was no way I could cut it all out, so instead I finally embraced the voice that I had been trying to stifle for so long and I wrote the book in all of its glorious weirdness.

Oh, and it goes without saying but eat lots of chocolate. It might not make you write a better book, but I’m sure it will make you feel better!

To learn more about Amanda and her books, visit her website!

6 Ways To Deal With Rejection

2011-08-09T14:21:00.000-07:00

A few weeks ago, I read a Writer’s Digest article called, “How To Turn Rejection Letters Into A Positive” written by children’s author, Sue Fliess. It was such an uplifting piece that I decided to contact Sue and ask her to share some motivational tips for anyone in the midst of pitching their manuscripts.

Here are some of Sue’s great tips to use rejection as a way to improve as a writer:

1. Save your rejection letters! Not only is it a great way to show the IRS you've been working (if you should ever have the misfortune of an audit), but it provides you with an 'editors-at-a-glance' reference to which editors sent you what. You should go through your letters of decline to see which editors sent you form letters, which showed interest or paid compliments, and which asked to see more from you. It's also a great way to open up in your next submission letter: "I know XYZ story wasn't a fit for you, but you had mentioned I could send you more of my work..." Persistence is effective.

2. How else are you going to improve your craft, but to know what you are doing wrong? Even if you think you cannot possibly improve on your impeccable manuscript, ask yourself these questions: Did I try everything I could to make it the best manuscript it could be? Did I try the suggestion from that one editor who, at the time, I didn't think knew what she was talking about? Revisit your critique group's comments. Maybe there is something in there of value that will change your manuscript for the better.

3. Rejection or redirection? Rejection is so subjective, that I prefer to hear the word rejection as redirection. Redirection letters sound less harsh. My story was not right for that editor, so she has redirected me. Now I will try another editor for whom I think it will be a good fit. I can't think of anything worse than selling your manuscript to an editor who is only half in love with it (though that doesn't happen often).

4. Rejection is tough. It's hard not to take it personally. But it is just business. It doesn't mean the editor doesn't like YOU, or even that she/he didn't like your story (unless you pitched it to her in the bathroom). Publishers reject for so many reasons and they simply don't have time to go into detail about why (some do, though). As long as you are confident you are putting your best work forward, just be patient until you find the right editor for your work. I once received advice from an author when I told her, "It just seems no one likes my story." She rebutted with: "No, you just haven't found the right editor yet."

5. Submit and write. Then submit some more and write some more. It's a game of odds. If you have one manuscript out there and you are biting your nails waiting for that “yes”, you're going to be disappointed. If you have six manuscripts floating, and are writing at the same time, you: 1) don't obsess with the one that's out there and the rejection letters that are coming in, and 2) you better your chances of someone saying yes.

6. I've found that living through the rejection part of my writing career has helped me in my regular life. I used to never be able to take no for an answer. I'm a marketer and a former publicist, so I was always of the mindset that I could convince anyone of anything. I remember convincing (though, looking back, it was more like badgering) a co-worker to go out to lunch with me. She was very busy, but we ate at this little dive in midtown Manhattan every Monday. She was too busy for lunch. But I needed my routine. I needed her to say yes. Finally, she stood up and said, “No. I'm not going. People don't say no to you very often do they?" And she was right. I was used to getting my way.

So receiving rejections without the chance to persuade or defend seemed so one-sided, so unfair. I thought I should get the chance to say, "But really, you just need to read it again and then you'll get it" or, "How can you say no when my character is so likable? Surely you need to rethink and pass it around your editorial table once more." But we don't get that chance, and we have to trust that the editor is not taking it for a valid reason, which is pretty much always the case. But rejection leaves us with a feeling of helplessness. We want to know WHY it didn't make the cut and if not, HOW can we get it right next time. And that's what your critique group is for.

Rejection is just part of the writing process. Accept it as such. Stop fearing it and use it to your advantage. I've come to realize that "no" doesn't mean I'm no good or I'll never sell anything ever again. It just means "not right now." And another way of hearing that is: "maybe later."

Sue Fliess is the author of children’s book, Shoes for Me!, with Marshall Cavendish Children's Books. A Dress for Me! and Tons of Trucks are both in development and due out next spring. Visit Sue’s website or follow her @SueFliess.

Kids Are A Tough Crowd

2011-07-12T14:27:00.000-07:00

I wanted to write an animated children’s script for a while, so I brainstormed a concept for a new show. That progressed to a beat sheet for a pilot and eventually a first draft. It wasn’t seamless though. This was one of the most challenging things I’ve ever written.

For inspiration, I observed my four-year-old twin nephews whenever they watched their favorite programming: Dora the Explorer, Caillou, and Max and Ruby. They responded to color, voice, direct inclusion of the viewer, and sound more than anything else. The brighter the colors, the longer they paid attention. The greater the variety in pitch and voice, the more they turned their head to face the screen. They also widened their eyes whenever they heard sudden sounds. And, they really enjoyed it whenever the character (like Dora) directly addressed them. Example: Where do you think we should go next? The bridge, the apple tree, or the castle?

I knew I had to add certain elements to the script, but the writing was a different story. Every line I wrote made me panic. Is this too advanced for kids? Am I patronizing them? Is this entertaining enough? Will I sustain their interest? After I wrote the first draft, I decided it was not good enough for kids. I had to make it POP. After I sent my script to two readers and received helpful feedback, I realized three major things were missing that other children’s shows had.

Tons of Action

Writing for children requires a lot of action description. Every show my nephews watched and loved had tons of action. In my revisions, I included descriptions of action sequences, facial expressions, sight gags, etc.

Sound Effects

In animated scripts, you have more freedom to describe dramatic visuals with sound effects like a phone literally ringing off a hook. You could even have the RINGING phone BONKING the person on the head to get their attention.

Camera Direction

In live action writing, you typically don’t include camera angles. But in animated writing, showing camera direction means more interesting action to hold children’s attention. Using a SLOW ZOOM or a SMASH CUT in the telephone ringing sequence as the phone JOLTS the receiver off the hook breaks things up visually. Another element is capitalization. When I read animated scripts before my revision process, I noticed that the sound effects, music cues, and camera directions were capitalized to heighten excitement.

After I included these components in my second draft, I sent it to another writer who is naturally funny and a bit kooky (and I mean this in a good way). Her personality helped shape my script into something with just the right amount of silliness without being condescending. Writing an animated script for kids was a tough experience that I want to do again because as hard as it was, it helped me strengthen my visual storytelling skills.

8 Writing Prompts

2011-06-29T13:39:00.001-07:00

If you’re feeling particularly stuck lately, try some writing prompts to help jog your brain over to Storyville.

Here are a few prompts that I’ve used as a warm-up before a writing session:

Write a 15-word sentence about the most vivid dream you’ve had lately.

You’ve struggled financially for most of your life. Your wealthy aunt has passed away and left you with six figures. In order to get the money, you must fulfill an obligation in your aunt’s will. What is it and will you do it?

Think of your favorite song and write the lyrics that usually stick to your head. Write a short story (about two paragraphs) using most of the words in the song and its main theme.

Write your favorite childhood memory, describing the setting, characters, and emotions in the memory.

You wake up in a wooded area with garden gnomes and animals standing over you, each planning a different way to kill you. Write this scene.

Write a letter apologizing to someone you bullied in your past. Include specific names you called that person and the most humiliating moment you put them through.

In the middle of the night, you receive a mysterious phone call telling you that something awful has happened to one of your friends. What is it and what are you going to do?

Choose a fictional character and pretend you have to “walk a day in this person’s shoes.” Write about it.

What To Look For In A Critique Partner

2011-06-23T10:06:00.001-07:00

You’ve finished the first draft of your screenplay, novel, television script, or picture book. You know that it’s not “done”. Ernest Hemingway’s quote, “the first draft of anything is shit” keeps rolling around in your head. You know you need a fresh pair of eyes to go over your writing and give you feedback that will improve the first draft. I have a couple people I usually turn to when I need help with my revisions.

There were some readers in the past who didn’t quite offer much insight, but there are a couple (that I still go to) who always take their time and send me excellent notes. If you’re considering sending your manuscript to a reader, here are some questions you should ask yourself:

1. Is this person an avid reader? Those who read voraciously will have a better sense of story and structure, which will enable them to give you more substantial notes.

2. Is this person reliable? Sure, you might have a blast hanging out with them, but will they deliver what they promised? Does this person have a history of flaking out? If so, find someone else.

3. Is this person constructive and respectful? Even though this is your first draft, it’s still your baby. You spent a lot of time with this project and your characters, developing their world, and deepening your connection to it. I have found that those who understand and appreciate this connection are able to give more constructive feedback, remaining respectful of you as the writer.

4. Is this person insightful? It would be ideal to find a reader who understands narrative structure, and is also a naturally creative thinker. There have been several times when my readers would open up a new way of approaching a scene or character that got me out of a funk or helped me liven up something that felt too flat.

It may take a while to find a critique partner that suits your personality and professional needs, but hopefully, these questions will get you started on finding your story soulmate. And remember, you don’t have to take all their notes into account…it’s still your story after all.

It All Starts With One Word

2011-06-16T06:19:00.000-07:00

Sometimes, ending a novel or story is the easy part, while the hard part is starting. You essentially have an opportunity to grab the reader’s attention and make her want to continue reading with the first sentence. That’s a lot of pressure.

I read all kinds of books—memoirs, thrillers, fantasy, middle grade, young adult, graphic novels, non-fiction, etc. I love almost every genre and truly believe that opening yourself to different kinds of storytelling will help you as a writer. In reading various genres, I have come to appreciate the way the writers hook you in with their opening line. The first sentence sets the mood, giving you an organizational cue as to what genre you’re reading.

A great beginning may not guarantee a bestseller, but it increases the chances of a reader purchasing your book. How do we hook our readers? We are not just writers—we are readers too! Think about the kinds of beginnings that draw you in.

Here are three ways that other books spark my interest:

Invoking Mystery

Some writers begin with a pronoun (“He heard a woman’s scream”) or placing the character in a bizarre setting (“Alice woke up in a white, windowless room”). Immediately, you have an uneasy feeling when you read both opening lines. Who is this man that heard a woman’s scream? Did anyone else hear it? Is he a killer? Has he been captured? You know nothing about this man, other than the fact that he heard something dreadful…what is it and will we learn more?

The second opening line makes you wonder who Alice is, where she is, and how she got there. Will she ever get out of this room? Who put her there and why?

Some examples of opening lines that invoked a sense of mystery for me:

“It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair.” - Charles Dickens, A Tale of Two Cities

“I am an invisible man.” - Ralph Ellison, Invisible Man

“It was a woman’s bedroom, actually a boudoir, and no man belonged in it except by invitation.” - Kathleen Winsor, Star Money

“We have been lost to each other for so long.” – Anita Diamant, The Red Tent

Springing Into Action

An effective way to start a story is to begin in the middle of the action. That way, you cut out too much of the “introduction” and get to the good stuff. In fact, I’ve had a few editors tell me that after writing your first draft, it would spice up your story to actually cut out the first chapter and start with your second. Another way to start with action is to begin with dialogue so that your reader is thrown right into the middle of a conversation.

Here are a couple opening lines that grabbed my attention because of the beginning action or dialogue:

“They threw me off the hay truck about noon.” James M. Cain, The Postman Always Rings Twice

“When your mama was the geek, my dreamlets,” Papa would say, “she made the nipping off of noggins such a crystal mystery that the hens themselves yearned towards her, waltzing around her, hypnotized with longing.” Katherine Dunn, Geek Love

Looking Back

I’ve been drawn to stories that begin with a teasing hook that tell me an amazing story is about to be revealed. These are generally written as a memory, something in the past that still plagues the character enough to unfold their story.

I really like how Stephen King does this in It:

“The terror, which would not end for another 28 years—if it ever did end—began, so far as I can tell, with a boat made from a sheet of newspaper floating down a gutter swollen with rain.”

Writing With A Partner

2011-06-07T09:30:00.001-07:00

Writing is almost always challenging, especially if you’re writing something a bit foreign to you…whether it’s a feature drama, a children’s picture book, or a short film. That’s why writing with a partner attracted me to write two things I had never done before: a feature comedy screenplay and an animated web series.

I’m not a strong joke writer and I knew I needed someone who had punchier lines to help me with a feature comedy. When I approached Jessica a good friend of mine who’s naturally funny with an idea for a feature, I was a bit nervous. Would this affect our friendship? I had never written with anyone before, but I really felt like we could do this together, and that we could do it well.

Jess said yes and seemed very excited about it. We met up at a local coffee shop to talk about our characters and write descriptions for them. The next few sessions were devoted to our outline and eventually, our beat sheet. We met up once or twice a week to start writing the screenplay. I typed it out while we literally talked through each scene. There were several times when I wasn’t sure if an idea or a joke was funny, so just running it by my partner and getting feedback was good progress.

Although we finished writing the screenplay months ago, I wanted to get Jess’s opinion on what it was like working with a partner. Whenever the subject of writing with someone else comes up, I share my experiences so I thought I’d get some insight from the two talented people I worked with.

Here’s what Jessica had to say:

“For the most part, I am someone who prefers to work alone. So when I decided to write a screenplay with a close friend of mine, I was uneasy about how the process would work. How would we be productive? What if we didn't agree on things? What if we hated each other's ideas? I really didn't know how it would work, but we had an idea worth writing, so I decided to give it a try.

“I was amazed at how well we worked together. We spent a few sessions just going over characters and a general outline. Then we came back and broke that down into a beat sheet. Before we knew it, we had a full screenplay sitting in front of us, just waiting to be written.

“It really was a flawless system. Sometimes we would get stuck on a joke and then would bounce ideas back and forth, drawing on each other's creativity, until eventually our mediocre joke transformed into something really funny.

“After writing an entire screenplay with a partner, I would happily do it again. I do think that the types of personalities are important though, and perhaps with someone else I may not have meshed as well. So, if you can find the right hard-working, dedicated, open-minded individual to write with, I say go with it! “

I also wanted to get some feedback from Molly, who is someone I often develop lots of film and television concepts with but we had never actually written something together. Since learning more about transmedia and seeing how popular web series had gotten, we decided to write an animated web series for women. We figured six webisodes would be a good start for the first season. Starting off with character profiles and springboards, we later split the writing in half: I would write three webisodes and Molly would write the other three. This process was a lot different than writing everything single thing together like I did with Jess.

After we had written everything, we sent each other our work for story editing. At first, we had different visions for a couple of the characters, but after a few meetings, we found ourselves on the same page again…

Once we shared the same vision, we met up and went through each webisode together, tightening dialogue, punching up the jokes, and making sure every scene flowed well and all the characters were true to form.

Here’s what Molly thought about writing our animated web series with me!

“Writing with a partner is a great way to meet deadlines and stay motivated. For me, this has always been a problem. However, since working with Lorna, I get things done when I say I will (most of the time!). Finding the right partner is really important. Try to find someone who complements your weaknesses and has a similar style of writing.

“For me, procrastination and motivation can be a problem. I talk myself out of problems instead of working through them. Lorna doesn't let me give up when we hit a roadblock. On the flip side, I find that one of my strengths is writing dialogue, so once we have the beat sheet (which I don't enjoy doing!) we are ready to go!

“Be honest, but objective. If you don't like something, figure out why. If you just try to be "nice" to each other all the time, you really aren't doing each other any favors. Before you start writing, make sure you have the same vision in mind. Use references to other shows, movies, plays, etc. to make sure you are headed the same direction stylistically.

“Also, sometimes you have to let the little things go. Unless you are adamant about a particular element in the script that perhaps your partner hasn't captured or gotten exactly the way you imagine, let it go. As in life, when writing with a partner, you must choose your battles wisely.”

And, for the record, I would absolutely write with both Jess and Molly again. Both experiences were fantastic…I learned a lot about what my strengths and weaknesses are and was encouraged to think about things in different ways. Writing with a partner can really open you up to other possibilities, which only enriches your own writing.

What A Character

2011-05-31T07:27:00.000-07:00

Everything I write is very character-driven. The more I know my characters, the more attached I get to them. The more attached I get to them, the more I want to write their story. There are times, though, when I’m working on a story and I find that I’m just not in love with my main character yet. That’s when I know that this character I’ve created is just not that fully formed.

If you’re facing this challenge, consider these questions and try to answer them so you can get better acquainted with your character and fall so deeply in love with them, that you just need to write about them.

What is your character’s gender?

Ethnicity?

Hairstyle?

Eye color?

Complexion?

Weight/body shape?

Emotional level?

Occupation?

Income?

Location?

Marital status?

Best childhood memory? Worst childhood memory?

Family life?

Biggest goal/desire?

Biggest obstacle that challenges character from attaining goal?

Best friend?

Worst enemy?

Favorite comfort food?

Vices?

How would your character act on a romantic date?

What is your character like in a romantic relationship?

What kind of friend is your character?

What does your character hate about themselves? What does your character love about themselves?

It also helps me to think about my favorite characters and jot down why I like them so much. Here are four of the most memorable characters I’ve read about.

Flavia de Luce from Alan Bradley’s The Flavia de Luce Series
In this detective fiction series, eleven-year-old Flavia is courageous, sharp, hilarious, and an aspiring chemist. I laughed out loud several times reading The Sweetness at the Bottom of the Pie. She outsmarts everyone—from her older sisters to her kidnapper, Flavia takes intelligence to a whole new level.

Jane Eyre from Charlotte Bronte’s Jane Eyre

Jane Eyre is one of my favorite novels. What I love and admire most about Jane is that regardless of her difficult past and her suffering, she is never portrayed as a damsel in distress.

Alice from Lewis Carroll’s Alice’s Adventures in Wonderland

Although Alice displays a superior attitude considering her wealthy upbringing and social class in the Victoria era, her curiosity highly appeals to me. Her logic often clashes with the madness she finds in Wonderland, so the identity journey she goes through is also one that a reader can easily connect to, regardless of the novel’s fantastical setting.

The Little Prince from Antoine de Saint-Exupery’s The Little Prince

The little prince is an extremely noble character of high caliber. What I love most about him is his child-like character that can clearly see the flaws and weaknesses of adults.

Say Goodbye Already

2011-05-24T07:40:00.000-07:00

Like anything else in life, your novel has to end sometime. Some of my writer friends know exactly how they plan on ending their novel before they even begin writing it. Their outlines will actually have the final line written. My other writer friends never know how they will finish their novels. While I don’t necessarily know the exact final line, I generally do know how my story will end, so that I know what I’m working towards.

Typically, there are five kinds of endings:

1. The lead gains their objective

2. The lead loses their objective

3. The lead gains their objective but loses something more valuable

4. An ambiguous ending

5. The lead sacrifices their objective for a greater cause

Sometimes, if I’m really stumped as to how to end a short story, novel, or screenplay, I look to writers I admire and flip through their works to their endings. Here are some of my all-time favorite last lines:

“You must go on, I can’t go on, I’ll go on.” (Samuel Beckett, The Unnamable)

“Yes,” I said. “Isn’t it pretty to think so?” (Ernest Hemingway, The Sun Also Rises)

“It is a far, far better thing that I do, than I have ever done; it is a far, far better rest that I go to than I have ever known.” (Charles Dickens, A Tale of Two Cities)

“Are there any questions?” (Margaret Atwood, The Handmaid’s Tale)

“He was soon borne away by the waves and lost in darkness and distance.” (Mary Shelley, Frankenstein)

“Don’t ever tell anybody anything. If you do, you start missing everybody.” (J.D. Salinger, The Catcher in the Rye)

“Lastly, she pictured to herself how this same little sister of hers would, in the after-time, be herself a grown woman; and how she would keep, through all her riper years, the simple and loving heart of her childhood; and how she would gather about her other little children, and make their eyes bright and eager with many a strange tale, perhaps even with the dream of Wonderland of long ago; and how she would feel with all their simple sorrows, and find a pleasure in all their simple joys, remembering her own child-life, and the happy summer days.” (Lewis Carroll, Alice’s Adventures in Wonderland)

Research Sites For Writers

2011-05-17T10:41:00.000-07:00

A big part of being a writer is having excellent research skills. Depending on what I’m working on, I usually gather information from interview sources, research journals, and yes, the Internet. The Internet constantly proves to be an easy source, because of its accessibility, but simultaneously a challenging one considering the prevalence of content mills.

I have looked into search engines that filter out content mills to enable a more credible research process. Here’s a list of my top three:

Blekko is a simple search engine that filters out low-quality content.

Quora is designed as a Q and A resource that many respected experts participate in. If someone on the site has not answered your question, you can just add it.

Wolfram Alpha is a computational knowledge engine with a goal to build on scientific achievements and knowledge to generate clear results. This engine is geared towards more objective research and factual data.

I hope these sites help increase your productivity! In the meantime, feel free to share some of your favorite research sites.

Food For Thought (And Other Writerly Needs)

2011-05-10T11:03:00.000-07:00

If you have a long day (or night) of writing ahead of you, you may discover that eventually, focusing on your work becomes pretty challenging. Just when you need to sustain your energy to continue creative thought, you may experience some fatigue. Although I’m a coffee fan, I do try to fuel my body with energy-sustaining foods for those long writing and brainstorming sessions.

While working, your brain uses lots of power as it relies on memory, creativity, and energy. To enhance my work, I generally consume complex carbohydrates such as whole grain rice cakes (fuel for the brain), omega 3 fatty acids such as nuts (to enhance the building blocks—building highways within your brain to carry information), and anti-oxidants such as vitamin C and E (to preserve the brain from free radicals).

These are some snacks that I reach for to sustain my energy without making me crash:
- almonds
- avocado with a squirt of Dijon mustard
- bananas
- pumpkin seeds
- apple with all-natural almond or sesame seed butter
- oatmeal
- celery and carrot sticks with hummus

And, here’s a treat for you! It’s a delicious recipe from Teri Gentes, who’s a good friend and a gourmet holistic chef/nutritionist. Enjoy this dish to keep you fueled and focused for a solid writing session.

SunButter Pita Breakfast Pizza

1. Begin with a 4-inch Pita Break Breakfast Pita such as Muesli or Morning Grain (All natural and preservative free www.pitabreak.com)

2. Spread evenly with 1½ tsp of SunButter (Crunchy, Original and Organic) (This peanut-free, real food seed butter is rich in Vitamin E, thiamine and iron) www.sunbutter.com (Product of the USA)

3. Drizzle with 1/2 tsp of all natural local honey (Unrefined, un-pasteurized honey contains trace minerals and enzymes beneficial for your health)

4. Sprinkle with 1 tbsp Ruth's Chai Goodness Cereal (More Omega 3-rich than flax, more calcium than milk and a fabulous source of protein and fibre. www.ruthsfoods.com )

5. Top with a generous sprinkle of cinnamon. (Helps reduce blood sugar levels, lowers triglycerides/HDL, a digestive aid, anti-inflammatory, anti-fungal, anti-bacterial)

7 Famous Rejected Writers

2011-05-04T06:54:00.000-07:00

There is a lot of rejection in a writer’s life. It’s easy for rejections and form letters to discourage you to the point of giving up. Here are some of the most iconic writers who were rejected repeatedly—but kept writing and became best-selling authors.

J.K. Rowling submitted Harry Potter to more than ten publishing houses who all said no. Bloomsbury, a small London publisher, accepted it after the CEO’s eight-year-old daughter begged her father to print the book.

Stephen King’s novel, Carrie, received more than a dozen of rejections. Once published, it was this very novel that enabled him to quit his day job and write full-time.

Louisa May Alcott was told by editors to stick to teaching.

Meg Cabot, best-selling author of The Princess Diaries, keeps a bag of rejection letters.

Beatrix Potter had to publish The Tale of Peter Rabbit herself.

John Grisham’s first novel, A Time to Kill, was rejected by a dozen publishers and several agents before Wynwood Press finally published it. After The Firm, The Pelican Brief, and The Client became bestsellers, A Time to Kill was republished by Doubleday in hardcover and then by Dell Publishing in paperback, making it a bestseller.

Judy Blume received rejections for two years. According to Ms. Blume, she would go to sleep at night feeling that she’d never be published, but she’d wake up in the morning convinced she would be. “Each time I sent a story or book off to a publisher, I would sit down and begin something new,” she said.

And that’s only a tiny few of well-known writers who constantly faced rejection. It’s comforting to know that the road isn’t always smooth…even for the best.

On Writing Comedy

2011-04-26T14:36:00.000-07:00

Have you ever tried to soften bad news with a joke? The person is waiting for you to say something, pressure mounts, and you’re searching through your brain’s archives for something that would lighten dramatic information with some comedy. Making people laugh is hard. Writing comedy is challenging, even for the most talented writers. Award-winning writer and humorist, Gordon Kirkland, says the humorist’s first commandment is “Know thy audience”.

“Humor is both a genre in its own right, and an important ingredient in many other genres,” Kirkland says. “William Shakespeare wrote comedies, tragedies and romances. Even in the most tragic of tales, he knew the importance of inserting a humorous scene every so often to bring the audience some comic relief, from all the death, deceit, and unrequited love in the rest of the play.”

Here are Kirkland’s three elements to humor writing, which can be used together or on their own.

· The Unexpected or Surprise Twist;

· Creating a Sense of Superiority; and,

· Playing on Incongruities.

The Unexpected or Surprise Twist

Humor is often built on surprise. Creating an image in the reader’s mind, and then completely destroying it with a sudden change in direction is an excellent way to evoke laughter. For example, the following passage is from a piece I wrote about something I had to give up after breaking my spine:

“I miss the feel of hot, sweaty flesh, pounding rhythmically beneath me, and the sounds of heavy breathing and snorting as I go up and down – at times barely able to avoid falling off. I miss the rush it gave me as it forces adrenaline through my system. It wasn’t that I experienced it all that often, and frankly, I wasn’t very good at it, but every time I did I had a really good time. Had I known that I’d have to stop doing it, I would have done it a lot more when I could. That’s why I find it hard to believe that there are people out there who have no desire to even try it. I’m sure some of you just take doing it for granted. I did, and of course now I wish I hadn’t.

Yes, I sure do miss the joys of riding a horse.”

The first paragraph is ambiguous enough to create the impression that I am talking about another, enjoyable activity. By going into a lot of detail, I strung the reader along, even further down the wrong path. The short, kicker paragraph provides the surprise by quickly letting them know that what they are thinking is way off base. Had I introduced the idea of horseback riding in the opening, the reader would have created an entirely different image in their minds about the ‘hot sweaty flesh pounding rhythmically beneath me”, and the surprise would have been eliminated.

Creating a Sense of Superiority

Much so-called humor writing is based on creating a sense of superiority, in the reader, the author, or both. Ethnic, racial, and sexist jokes all play on creating a sense of superiority. While political correctness might keep us away from writing that sort of material, it is still possible to use a sense of superiority without offending people. Slapstick comedy, practical jokes, and embarrassing the key subject all rely on using the reader or viewer’s sense of superiority over the person at the butt of the joke.

When I speak to writers groups about writing humor, I start them off by asking them to think of their most embarrassing moment. Odds are at the time, they might have said, “Someday I might laugh at this situation.” Sharing those stories entertain the reader, partially by giving them permission to feel a little bit superior to you, the writer. For example:

“I opened the refrigerator, and what to my wondering eyes should appear, but a snack item that my sons had obviously overlooked. There, on a side plate, wrapped with cellophane, was some leftover meat pate. I spread a generous helping on a cracker, and quickly discovered why no one had eaten the rest of this culinary delight. It tasted terrible. I re-wrapped it, and returned it to the refrigerator, because I know that there is one person in this household who can eat disgusting things like broccoli without gagging, so I assumed the pate belonged to her.

When I mentioned my unappetizing experience to my dear, kind, loving wife, she gave me one of those deer-in-the-headlights looks and said, ‘You didn’t…’

She tried to tell me I had eaten cat food, but I pointed out that the cat food was clearly visible on another shelf.

‘Dear, she said, already starting to laugh, ‘I put cat food on that plate, and mixed in the anti-flea medicine to make it easier to give it to her.’”

In this case, the reader’s sense of superiority is played in two ways. First they can laugh, at the thought of someone eating cat food, and secondly by enjoying the other person’s misfortune. In case you’re wondering, I had no trouble with fleas that whole season.

Playing on Incongruities

Humor is often developed by joining two or more subjects that don’t seem to belong together. This might be achieved by creating a seemingly improbable action such as childlike behavior in an adult. It can also be developed by having the subject display an emotion that is the opposite to what might be expected in the location or setting. Incongruity is a device that opens the door for another comic devise – exaggeration.

“After our second child was born, my wife and I discussed the two options of permanent birth control… I lost. (Although I still say my wife cheated on the tie breaking arm wrestle.) In a visit to my doctor, who, until that moment, I had considered a friend, we were shown pictures of what the procedure involved. My wife seemed to enjoy them. I, on the other hand, sat in the fetal position, in a corner, with my hands over my ears, singing, ‘La! La! La! I can’t hear you…’”

Some readers, mostly those who haven’t seen the pictures described in the above passage, might find it incongruous, that a fully-grown adult would behave the way I did. Obviously, the images invoked fear, even though I was in the relative safety of a doctor’s office, especially when you consider that I thought he was my friend. I also have to admit that I exaggerated a little when I wrote that passage. My wife actually won the tie breaking arm wrestle fair and square.

The Most Important Rule

In conclusion, I will let you in on a little secret about what makes written humor or stand-up comedy successful. You must give your readers and audiences permission to laugh at you.

Gordon Kirkland is the award-winning author of six books, based on stories that first saw publication in his syndicated newspaper column, which ran in American and Canadian newspapers from 1994 – 2007. Kirkland took his innate sense of humor and combined it with a love for a good mystery to create his latest book, Crossbow, which was released earlier this month.

To learn more about Gordon, his writing, and Crossbow, visit his website.

4 Tips To Fill Your Blank Pages

2011-04-19T14:06:00.000-07:00

Stephen King says it best, “if you want to be a writer, you must do two things above all others: read a lot and write a lot."

There really is no other way around it. All serious writers have to structure their day accordingly in order to get anything done. Whether you’re a full-time writer, a writer with a day job, or a writer with a day job and kids, you have to create a schedule that enables you to keep writing. While I personally do not believe in writer’s block, I do use these strategies to ensure I get my work done, whether it’s developing a first draft of my manuscript, outlining a novel, or brainstorming story ideas.

1. Set a realistic quota. Depending on your workload and home life, decide on an attainable number of pages or words you will write every day. For Stephen King, this means writing 2,000 words a day…no matter what. In John Grisham’s early career, he woke up at 5am every day and made it part of his schedule to write one page before starting his job as a lawyer. Grisham said that this kind of discipline was one of several “little rituals that were silly and brutal, but very important.”

2. Outline. Plan what you will write. I like to build a character list including personality and physical attributes. I also include certain gestures or words my characters tend to use. When I’m working on a novel, I outline each chapter, scene by scene. When I actually begin writing my novel, I’m much more prepared, which means less blank pages. The more I outline, the more I get attached to the world I create, and once I begin to write the story, it feels more real.

3. Read. Reading opens new worlds for us, inspires our creativity, and teaches us more about structure and story. There are characters and stories that will resonate with you more than others. These inspirations should be brought to your writing life. Reading will help us refine our writing skills.

4. Learn to say “no”. When you actually create a writing schedule, whatever it may be, you will soon discover the many distractions from…people in your life. This means you will find yourself dropping what you’re doing (writing) to help someone out that doesn’t necessarily need your help. Tell your friends and family that this is your writing time and you can get to their needs later. If this sounds selfish, it is. But if you want to be a writer and you have a day job, you have to be selfish with whatever time you have left. If you don’t guard your time, no one will.

WGC Screenwriting Awards

2011-04-12T10:34:00.000-07:00

Last night marked the 15^th annual WGC Screenwriting Awards. Hosted by three-time winner of Best Female Stand Up, Laurie Elliott, the event celebrated the words of Canadian screenwriters.

And the winners are…

In Animation

Karen Moonah
The Cat In The Hat Knows A Lot About That, “The Cat In The Hat Knows A Lot About Maps”

In Children & Youth

Barbara Haynes
The Latest Buzz, “The Extreme Shakespeare Issue”

In Documentary

Christine Nielsen
The Pig Farm

In TV Comedy

Chris Sheasgreen
Less Than Kind, “Coming Home”

In TV Drama

Mark Ellis & Stephanie Morgenstern
Flashpoint, “Jumping at Shadows”

In Movies & Miniseries

Michael Konyves
Barney’s Version

In Shorts & Web Series

Lisa Hunter
You Are So Undead

The WGC Showrunner Award – Tassie Cameron
The WGC Writers Block Award – Peter Grant
The Jim Burt Screenwriting Prize – Denise Blinn

5 Secrets From Hollywood's "Pitchman"

2011-04-05T07:36:00.000-07:00

Stumbling over your screenplay’s logline? Wondering where to take your material? Steve Kaire, Screenwriter/Pitchman, who's considered to be "the best high concept idea man in Hollywood" shares some of his wisdom for aspiring screenwriters.

What are the ingredients to a perfect logline?
The logline is the premise or setup of your story. It is not a summary of Acts 1-3. A perfect logline includes a strong title, stating the correct genre of your material, and is one to five sentences long. It should be intriguing and compelling enough to hook the listener to request your material.

What makes an idea "high concept"?
"High Concept" is a fresh, original, unique story idea that has mass audience appeal and can be pitched in a few sentences that everyone will understand without having to elaborate on.

How can screenwriters ensure they have the "yes" factor when pitching to agents and producers? You're being judged on three things: your material, your pitch or presentation, and your knowledge of the business. Master those and you'll maximize your chances of selling.

What are some of the biggest myths and misconceptions writers have about screenwriting?
The biggest myth holding back writing careers is waiting for an agent to rep you before you market your material. Agents are extremely difficult to acquire these days. You should send out your own material to production companies as well as to agents. Don't wait for something that may never happen. I sold all eight projects of mine without representation and all were High Concept.

How can aspiring screenwriters earn some recognition from leading literary agents?

Make a short film and get exposure for it. Finish in top place in significant screenwriting contests. Participate in pitch festivals and hope your material gets noticed. Be professional, persistent, and approach as many people as you can.

Steve Kaire is a Screenwriter/Pitchman who’s sold eight projects to the major studios without representation. His top rated CD, “High Concept—How to Create, Pitch & Sell to Hollywood” is available on his website, along with original articles and national screenwriting contests.
Visit Steve’s website at highconceptscreenwriting.com.

How To Write A One-Person Show

2011-03-29T09:14:00.000-07:00

Are you a writer who has always wanted to write, produce, and star in your own show? Do you dream of performing your one-person show all over the country? A couple years ago, I watched Tracey Erin Smith’s one-woman show, The Burning Bush. It entertained, shocked, and inspired me. Throughout the entire show, I kept thinking, “wow, she went there.” A couple weeks ago, a friend of mine, who’s a talented actress and writer, expressed interest in creating her own one-person show, so I caught up with Tracey Erin Smith herself for some secrets that she was happy to share.

What does every writer need to know about creating a one-person show?

If you really want to do it, you can. Pick a topic you’re passionate about because you’re going to be spending a lot of time with it. And if creating a solo show sounds fun, exciting, and a bit scary/thrilling…do it!

How can writers promote their one-person show in an effort to increase ticket sales?

It’s a good idea to look at the content of your show and theme and see who would be the group most likely to be interested in your show. That is not to say they will be the only group interested, but start with the easiest sell. For example, my one-woman show The Burning Bush! had Jewish content and spiritual themes, so I reached out to the Jewish community and spiritual seekers. It’s also a comedy so I included people who love to laugh.

For Trey Anthony’s one-woman show Da Kink in My Hair, which took place in a beauty salon, she walked around town to beauty salons and invited everyone who worked there to come to the show. This was brilliant because they came to see the show because they were fascinated to see a play that was set in a beauty salon, and if they liked the show, which they did, they told all their clients about it! That’s smart promotion.

Reach out and make meaningful connections. Speak to groups that could be interested in your show and reach out to local and community papers. Have a show flyer with you at all times and give one to everyone you come in contact with. Your passion about the show will make them interested. And people love to meet someone who’s starring in something and because it’s a one-person show, YOU are the STAR!

What are some mistakes writers often make when working on a one-person show? How can they avoid these mistakes?

To avoid the common mistakes and the things that may stop you from even starting, it helps to know this:

- You have an interesting story and the audience wants to hear it.

- Everyone has learned a little secret about life, and we need to hear the secret you have earned and learned.

- Go deep when you write. Write your first draft without censoring. Tell the truth. Talk about the stuff that makes you mad, sad and that you’re really passionate about. Anything else will fall flat on stage. We want the real you. We want to think; “I can’t believe she said that. I wish I had the guts to say that. Wait a minute, maybe I do have the guts!” This is your opportunity to inspire people to be brave and to fully be themselves, by you getting up there and doing it.

- When writing a character, other than yourself, really put yourself in their shoes. Figure out why they believe what they believe and why they do and say what they do and say. If you can get inside their heart and head, then we will feel we are watching a real human being, not a two dimensional caricature. This will also give you more empathy for people and that’s a very good thing as a person and as a writer.

What’s a typical workshop class like that you facilitate for writers who want to create their own show?

Currently, I teach my soulOtheatre workshops in two formats: A weekend intensive that runs Friday night and all day Saturday and Sunday (Next one is in NYC April 15-17) and a ten-week course where participants write, rehearse, and perform a 10-minute solo show on the final night for invited guests of family and friends.

Next, I am developing a one-week intensive for retreat centres where we can write and improvise together for one week, full time, and share what we’ve created on the final day.

In the workshop, we do writing exercises, improvisation, character development, plot and theme work, brainstorming, and mind mapping. I have over ten years training as an actor and I draw on my years of training and my 15 years of teaching to bring in whatever a particular student needs at that moment to take him/herself to the next level and have a breakthrough with their writing. This is my passion and life’s work.

In all versions of the course, you leave with a feeling of having accomplished something amazing and wondering, what else can I do?!

What are some performing strategies that writers should know?

DO:

- Give yourself permission to be outrageous!

- Be honest with yourself about why you want to write and perform a one-person show. Then go for it.

- Experiment. Try things out. If you’re afraid of something, do it and do it big. You will find there is a lot of comedy in exposing your fears and neurosis. And if it feels too personal to say certain things in the first person, put the words and stories in the mouth of a character instead.

- Find a group that you can create in and share your material and get support and feedback. This could be a solo show course/workshop or could involve getting some like-minded people together for a weekly writing/sharing group.

- Write dialogue for the scenes you want to put in your show. You can act both characters yourself. This is fun for the audience to watch.

- Find your story. Find the beginning, middle, and end. And know that you want the audience always wondering: “What’s going to happen next?!”

- Brainstorm titles for your show. It’s fun and will help you when writing to remember what the show is about.

- Exaggerate who you are to find the lead character’s (who is you!) main traits and learn about how they go after what they want. Ask people who know you how they see you and what they see as your main characteristics, what kind of character you would be if you were in a movie as yourself?

Tracey Erin Smith is Canada's leading instructor of Solo Show Creation. She is an award-winning writer, performer and instructor. Her hit one-woman shows; 'The Burning Bush!' and 'Two in the Bush' are two-time Winners of 'Best of the Fringe in Toronto', the 'Audience Choice Award' in New York's Frigid Festival and Critic's Pick in BackStage Magazine, NYC. Tracey is a popular instructor of Solo Show creation at Ryerson University and the author of; ‘soulOtheatre: Creating Your One-Person Show’.

For more information about Tracey and her shows, visit www.theburningbush.ca

UPCOMING COURSES:

New York City

April 15-17, 2011

Create Your Own Solo Show!

Weekend Intensive at The Theaterlab

Toronto – The Second City

10 Week Course – Create a 10 minute Solo show

Weekend Workshops

DATES: TBA (spring/summer 2011)

Register: tracey@soulo.ca More Information: www.soulo.ca

Nancy Belgue’s 7 Tips for YA Success

2011-03-14T13:19:00.000-07:00

I have recently completed the manuscript for my middle grade novel, so I found myself quite absorbed in the young adult world, even days after finishing my draft. Today’s interview is with young adult novelist and good friend, Nancy Belgue, who shares her seven secrets for YA success.

1. Cultivate your voice. Voice is really key with YA readers. I find writing in first person helpful. However you do it, try to find a unique voice. Quirky, humourous, alienated, thoughtful, rebellious - the voice will carry the story.

2. Channel your inner teen. For those of you close to your teenage years, this will be easy. For those who are a little further down the road, it will be a challenge to get back into the head of your younger self. But despite changing times, teen themes do remain familiar. Social pressures, parental authority, alienation, family/sibling drama...

3. Consider your conflict. Conflict makes everything work. Your character must strive for something so it's compelling to make the stakes huge (see The Hunger Games). Of course you don't have to write dystopian fiction, fantasy or sci fi (although teens really respond to genres like these) to create great conflict. It can be done on a smaller scale (see Speak, by Laurie Halse Anderson).

4. Think about contests. There are a number of contests - including one in the US for a first YA novel sponsored by Delacorte Press. If you win you get published! If you even come close – i.e. a finalist, you'll have something fantastic to put in your query letter. Check out the Canadian Writers' Market for contest info.

5. Read widely in the genre. The library is your best friend. Go and check out some of the most popular YA fiction as well as recent award winners. Get to know your local librarian. They can tell you what gets checked out over and over again and why.

6. Read Quill and Quire. Keep up to date on the industry news. I found my agent by reading an article about Susan Juby in Q&Q. She mentioned her agent, and when my first YA placed in the quarter finals in the Delacorte contest, I queried that very agent - got representation, and sold the ms in a bidding war to HarperCollins.

7. Join writer organizations. CANSCAIP for the Toronto area writers is excellent for workshops, networking, mentoring etc.

Just a few more basics: write every day, keep a clippings file for ideas that are relevant, find a writer's group, write in heat, edit coldly, let your story steep (i.e. finish it, then let it sit for six weeks before reading it over).

Nancy Belgue is the author of young adult novels, Soames On The Range (HarperCollins Canada 2007), Casey Little: Yo-Yo Queen (Orca 2005), Summer On The Run (Orca 2005) and The Scream of the Hawk (Orca 2003). Her newest novel, Colette and the Silver Samovar, has already been receiving great reviews. CM Magazine calls it “an interesting novel which addresses complex issues.”

Mind-Mapping Made Easy

2011-03-03T08:02:00.001-08:00

I'm a big fan of brainstorming. There's nothing as free-flowing as writing the main idea in the middle of the page and branching out into sub-headings to help you connect better with your concept.

A couple times this week, I had vivid, scenic, emotional dreams that inspired me to start two new writing projects once I finish my current manuscript.

As soon as I woke up, I jotted down everything I could remember about my dreams in the notebook I keep beside my bed. Then I transcribed my notes into Word. I have a whiteboard in my office, and thought it would help me organize my thoughts a lot more if I had the same kind of thing as a computer software application.

So I did some research and came across Mindomo, a mind-mapping online application that lets you create mind maps on your computer. You can even publicize some of your work if you're collaborating with a writing partner.

While the premium plan costs six dollars a month, the basic version is free and pretty much does the only thing I want it to: draft simple mind-maps that will help me think of all angles, potential characters and storylines, and themes that correlate with the original idea written in the middle of the mind map.

Check out the application here and keep your brainstorming notes organized.

Transmedia Making Splashes

2011-02-23T07:28:00.000-08:00

Imagination has enabled humans to communicate abstract concepts and ideas through stories. Storytelling has evolved from etching drawings on walls, libraries lined with literature, and several beloved television series. Now, there’s a new form of storytelling—transmedia.

Transmedia is a technique of telling stories through multi-platforms. Still a new concept, some writers and producers have adopted this form of storytelling and developed new series taking advantage of social media. By using Facebook, Twitter, YouTube, and blogs, writers and producers are able to engage their audience with each kind of medium.

I chatted with Scott Albert, the co-creator of the web series Tights and Fights who developed a year-long transmedia storytelling strategy by using social networks, 180 webisodes, live performances on Twitter, blogs, and Capester.com (Facebook for DIY Super Heroes). Launched in October 2010, Tights and Fights is already generating quite a dedicated following through multi-media platforms.

“Transmedia adds context to a story,” Scott says. “In the past, the time, effort and money required to produce a movie and a book meant it was a massive undertaking that didn't make sense except as a way of repurposing content. But the web makes it easy— upload to YouTube and write a blog post - boom you're doing it. And social networking platforms add whole new ways of telling stories.”

I also caught up with Jill Golick, a writer/producer and new media creator who launched Ruby Skye P.I., a comedy web series for tweens in late 2010. She reminds us that transmedia is still a new concept.

“There are a lot of battles waging about what transmedia even means,” she says. “To me, transmedia means telling your story across media. It is a different way of thinking about your story from the beginning. I spent most of my writing career dreaming up stories that would make great TV series. Today, I look at a concept or story idea and ask, what part of this story can I tell on TV, what would work well on the web? Is there a novel in this? A comic book? Live events? A ballet?

“That really opens up the creative process. Instead of focusing on and shaping for a single medium, I build a universe filled with characters, places, events across a long time line. Then I apply the focus of a single medium to it, asking what part of this story would best be told with the attributes of a specific platform.”

What does all this mean for writers? Will it affect any kind of writer? (i.e. screenwriter, journalist, blogger, novelist, etc.)

“I don’t think so,” Scott says. “Transmedia isn’t a way of replacing any type of writing. Transmedia simply means you try to make sure the experiences of each platform compliment each other.

“I think of the transmedia writer’s job as similar to that of a TV show runner, except instead of overseeing the collective creative voice of only TV writers, the transmedia writer either executes or supervises the collective creative voice over many media or platforms.”

Jill believes we can still be the masters of our chosen storytelling medium.

“You can apply the transmedia model to any kind of writing or you can continue to be a specialist in say, journalism, blogging or screenwriting,” she says. “Because any story universe that is expressed across media will also necessarily have to be expressed on specific platforms. So there will always be a need for writers who are prose stylists or screenwriting mavens.”

As storytelling evolves, I wondered what kind of role transmedia would play in the future of television.

“I think television and transmedia storytelling are natural fits, as both work best as ongoing stories,” Scott says. “As television series continue to move online, transmedia storytelling will serve both as a means of promotion, secondary “added context” stories, and as additional revenue streams. For example, for the TV show Castle, you can buy novels “written” by the main character.”

Jill predicts that there will be more interactive storytelling emerging as more interactive capabilities are added to your television screen.

“People will have options,” she says. “There will be stories you can “play” and interact with and stories that will tell themselves to you without you having to do anything.

“TV story worlds will extend onto the web. You’ll be able to watch your favourite show in the same way you always have, but then go on the web and explore, play in and experiment with the world. There will be characters you can talk to and influence. There’s a lot of this already, but more and more, it will be baked in from the concept stage. There will be richer, deeper, more engaging experiences for avid fans.”

Creating and launching a series using transmedia may also have business benefits. In Jill’s Ruby Skye P.I. video, she discusses the concept of building a franchise. Is this something all writers should be doing when pitching a new series or shopping a manuscript around for publication? In today’s tech-rich world, for example, should young adult novelists have an interactive web component that complements the novel?

“The only thing I recommend to other writers is to try out the new tools and see if they inspire you,” Jill says. “If a tool or platform gets your creative juices flowing, if it gives you a way to reach a new audience or get closer to your traditional one, then use it. If not, stick with what you love.

“We’re reaching the end of the one-size-fits-all era. There is no set of rules that everyone should follow. This is a time when there are a lot of choices. No one knows yet what the ending will be. So I’m spending my time experimenting and playing. And I’m having a ton of fun doing it.”

To learn more about transmedia, become Facebook fans of Tights and Fights and Ruby Skye, P.I. and start watching their series on:

www.tightsandfights.com

www.rubyskyepi.com

Canadian Writers Speak Out

2011-02-15T08:07:00.000-08:00

In a YouTube video that launched today, one of my favourite Canadian authors, Nino Ricci, along with other esteemed writers speak out on copyright. With the proposition of Bill C-32, many writers fear that there are too many holes in the copyright legislation to protect their intellectual property.

Alan Cumyn, Chair of The Writers' Union of Canada, is also featured in the YouTube video. "The new legislation, which is supposed to protect our work, has so many holes in it we'll be in court for years trying to figure out what it all means."

In an effort to spread awareness over c-32, the Canadian authors in the video are sending the message to the general public. "Anybody who cares about the culture and history of this country ought to be concerned that professional writing and publishing are under such serious threat."

And for writers, C-32 poses yet another challenge in fair treatment of their property...including proper payment.

"Strong copyright protections are fundamental to a writer's ability to make a living," Nino Ricci says.

To watch the "Canadian Writers Speak Out On Copyright" video, click here.

The Language of Love

2011-02-07T13:29:00.000-08:00

Words can be very powerful. They can influence votes, change opinions, and terminate friendships. They can also be indicators of how connected you are with your partner. An online application that allows you to copy and paste texts, emails, and other forms of communications is claiming to show your compatibility based on your writing styles.

Check it out here--and use at your own risk!

Debut Author Gets Two-Book Publishing Deal

2011-01-24T06:58:00.000-08:00

Toronto writer, Matthew J. Trafford, gets a two-book publishing deal with Douglas & McIntyre, with The Divinity Gene coming out next month. Find out what this collection of stories is about, how Matthew got published, and how he likes his coffee.

What is your debut collection of short stories, The Divinity Gene, all about?

There are ten stories in the collection and they're pretty different when it comes to style, voice, and subject matter. A couple of the stories deal with issues around science and technology, like cloning. Some deal with religious and mythological figures like mermaids or the devil. But at their core, all of the stories are really about emotional relationships, the frailty of the heart.

What inspired you to write these stories under a particular theme?

My stories tend towards the magical and the fantastical, but are grounded in the reality of contemporary daily life and human emotion. I’m often inspired by the strange situation or magical possibility first, and then the emotional theme seeps into the writing as the story develops.

The stories aren’t linked; each one can stand alone. But when you look at them as a collection, certain themes do tend to emerge. I would say that identity politics, the relationship between parents and their children, loss and grieving, and the search for love are the main themes of the book.

Describe a typical writing day for you, while you worked on this book.

Even though my book is being published, I still feel like a hack because I never successfully maintained a daily writing practice. Even when I did manage to write every day, no two were the same.

At first I was working on the stories as part of my MFA, which I was completing while juggling a few jobs, so my writing tended to be deadline-driven and done in fits and starts, sometimes pulling all-nighters. The whole time I was working on the book I lived in a house with three (sometimes four) other people, with their own erratic comings-and-goings and no guaranteed 'quiet time.' But somehow this worked for me, grabbing an hour here or there whenever I could.

I am a big fan of house sitting and I did that often – those were generally long days when I would write for hours at a time. But even the physical act of writing is all over the place with me: sometimes I work longhand in a journal, sometimes on my computer, sometimes at home, sometimes in a library. I do have a version of a “perfect workday” in my head, but it never quite happens in reality, and ultimately I’m OK with that.

What was the pitching process like when you were contacting publishing houses? Any advice for new writers who are looking to shop their manuscripts around?

The best advice I can offer is to concentrate on producing the very best work you can. It sounds simple, but it really is key: good writing will get people excited, get people talking, and get people to take a look (or second look). Then, even if they have to pass because a manuscript isn’t right for them, they will remember your name and quite possibly suggest other places to send the manuscript or other people who might be interested.

My manuscript was rejected twice in the first few months following my graduation from UBC’s Optional-Residency MFA program. After that I felt very stuck, and unsure of how to proceed. Then two things happened that I think were key: I was accepted to the Banff Writing Studio and undertook massive revisions while I was there, cutting two stories that weren’t working and really improving many of the others. Second, I had a story accepted into the anthology Darwin’s Bastards: Astounding Tales from Tomorrow.

It was the title story of my book, and on its merits the anthology’s publisher, Douglas & McIntyre, asked to have a look at my entire (and newly improved) manuscript. After another few months of anxious waiting, they made me an offer.

Where can people snag a copy of The Divinity Gene?

As of February 12^th, the book will be in stores. I always encourage people to support local independent bookstores (if there are any left!), but of course the book will be in the big-chain box-stores too. Another option is to order online. For people with e-readers, an e-book version will be available as well.

How do you like your coffee?

Most days it’s black. But I like to mix it up – sometimes I take cream and sugar as a treat, sometimes just cream or just sugar.

writing for children - a new writer shares her lessons

2011-01-03T10:23:00.000-08:00

pdo!nk is a brand new publishing company with a mission to invent great stories that inspire learning and enjoyment for positive change and self-development. They strive to be optimistic, playful, original, and to create timeless stories for families.

Jessica Lowe has been hired as pdo!nk's writer-in-residence and has been working on their first series called 'Yogurt the Ogre'. I caught up with Jessica to find out more about her new full-time writing life after working in film and television.

Can you describe your first project with them?

My first project with pdo!nk was interesting because I was finishing a contract on a TV pilot while trying to help out with the writing of our first Yogurt the Ogre story. During this period I was providing editorial notes and brainstorming with my bosses about how we wanted the look and feel of this series to be. It took several drafts and some market testing before we felt the series was where we wanted it to be.

Have you ever written for children before?

During university I had done some children's theatre where I wrote plays for children and then also performed in them for elementary schools. But most of my life I have written material more geared towards adults.

What was your experience like writing the first story? Did you imagine it would be this way writing for children?

I was definitely nervous writing my first story. Nervous because this was the first time that someone was actually paying me for my creativity, and I was convinced they weren't going to like what I came up with. But after I sent my first draft and got lots of positive reinforcement from my bosses I learned to trust myself more and to worry less. I learned that the writing process can be a lot of fun. Unlike adult content, you can get really silly and creative writing for children. Usually the sillier the mood I get in, the better the story in the end!

What is a typical writing day like for you?

Every day varies. Some days I am able to write almost an entire first draft (approximately 1400 words) in just a few hours. Other days I might only get out a couple solid paragraphs. It all depends on the day. I find that I don't write as well in the morning, so generally I try to go to the gym in the morning. That gives me something to wake up for early and to get my energy. I work from home, so it can be really easy to get distracted. So it's important to treat my job as a 9 to 5 as much as possible.

What have you learned? What advice do you have for aspiring children’s authors?

I've definitely learned to write until you hit writer's block (which you will inevitably face) and then to walk away. Sitting and getting angry at your computer screen or notepad won't help. Walking away, getting a tea, going for a jog, etc. and then returning will help clear your head and give you a fresh outlook. Sometimes if I am writing a poem, however, (for our 8pm stories) I will get stuck on a stanza where the rhyming scheme just will not work. I often put something in (even if it sounds terrible) and I am able to continue with the rest of the poem easily. Then later I can go back and fix that one problem area. That helps me keep my momentum instead of just fixating on the one part.

I think it's important for every writer to find a system that works best for him/herself. I like to write on my couch, legs out, with my computer resting on my lap. Others may prefer a desk. I would suggest playing around with different places and different times of day to find what works best for you.

And my last piece of advice for aspiring children's authors is to WRITE! It sounds silly, but for me getting this job I had to show a sample of various things I had written to my bosses. None of it was children's stories. But with a screenplay, a sketch comedy, a spec script for TV, and a few other things, I was able to prove to them that I was a writer and I was ready to write!

What’s next for pdo!nk?

pdo!nk has just printed our first story and we are selling it on Amazon before it hits the shelves of bookstores next year. I am touching up the next two stories for Yogurt the Ogre so they can all be launched this year. We have another children's series that we will begin to develop throughout the year as well as an adult series. It is only the beginning, so it is a world of opportunities!

missing the walking dead already

2010-12-14T13:58:00.000-08:00

Every Sunday evening, I got my fill of tea and zombies. AMC's The Walking Dead was something I looked forward to at the end of my weekend, as it visually had such feature film production quality, a believable cast, and good writing.

I found myself drawn to their pain, their constant need to move and protect themselves, their perpetual search for safety.

If you haven't seen it, or you're missing it, stream the first season (six episodes) here and be prepared to be horrified by its gruesome nature and impressed with its general awesomeness.

The Walking Dead is returning for a second season of 13 episodes...I can hardly wait for the chase!

Google launches google ebooks

2010-12-06T10:40:00.000-08:00

Google does it again with the launch of Google ebooks, featuring three million book titles for online purchasing and reading. Google ebooks began selling books today, in an effort to compete with Apple and Amazon's e-commerce business.

Authors have the opportunity to upload their books and earn some extra bucks with Google ebook's Partner Program while publishers can also enter that program and get some added exposure for book titles.

Currently, Google ebooks is only available for US residents, but the company is looking to make the new marketplace internationally available in early 2011.

"Google's mission is to organize the world's information and make it universally accessible and useful. Today, together with the authors, publishers, and libraries, we have been able to make a great leap in this endeavor," said Sergey Brin, co-founder & president of technology at Google. "While this agreement is a real win-win for all of us, the real victors are all the readers. The tremendous wealth of knowledge that lies within the books of the world will now be at their fingertips."

Marsha Greene on showrunning

2010-11-22T18:05:00.000-08:00

Looking for a career in television? Itching to get into the writers room?

We all have to pay our dues, as Marsha Greene so clearly demonstrates. Find out what this aspiring showrunner has learned from her experience as a showrunner's assistant.

The Basics-

Show: Wingin' It (Season 2)

Network: Family Channel

Production Company: Temple Street Productions

Episodes: 28 (it started as 13, then got an order for 15 more)

Showrunner: Frank van Keeken

What were your expectations before you started working as a showrunner's assistant?

During my interview with Frank, he told me there would be a fair amount of so-called menial tasks like getting him coffee and running errands, so I was prepared to check my ego on those counts. But we had also agreed in the interview that I would be able to spend time on set and in the writers room when I had down time. So in general, I went into the experience thinking it would be a great education on how a television show gets made from a creative and production standpoint. I also had the thought that it was really important for me to impress Frank and get him to see me as a potential writer.

Did the outcome match your expectations?

In some ways, the experience exceeded my expectations. Shortly after I started, Frank told me that I was welcome to pitch story ideas in the room, which I eventually did. Near the end of production, the writer’s assistant and I co-wrote one of the webisodes for the show. I was blown away to get those opportunities, as I had anticipated just being a fly in the room. By the end of the show, I really felt like I belonged in the writers room and became very close with the writers, which was far beyond what I expected. At the same time, Frank was very busy and not in the room as much as I thought he would be, so he never really saw my potential as a writer, which was disappointing.

I did not anticipate the long hours I was going to work. As Frank’s assistant, I was expected to be wherever he was, for however long. There were days when there was less than an 8-hour turnaround from when I left work to when I had to be back. There were weeks that we worked late every day. There were days I literally felt like a zombie. It’s exhausting, and it also pretty much isolates you from having a life outside of work. So I did not see that coming. Also, I had a lot of down time, which was hard, because there’s nothing worse than being exhausted and having nothing to do. Time moves very slowly on set – there’s a lot of stopping, resetting, wardrobe changing, etc. So if you’re just an observer, it is not always fast-paced and exciting. Even in the room, there were times when the writers were working independently, so there really wasn’t any way for me to participate.

Also, while I was prepared to check my ego at the door, I was not prepared for how hard that would be sometimes! There were times that I got yelled at or blamed for things that I didn’t feel were my fault, but I also felt like I had to take it and keep my mouth shut. So I really had to have a thick skin and not take it personally, which I had anticipated to a certain extent, but it does take its toll.

What is a typical day like for a showrunner's assistant?

I arrived at work at 7:30 am, unless call time was later. I brought Frank breakfast or coffee. I went to our office (Frank and I shared an office) and checked the inbox to see if there was anything that needed to be filed (deal memos, clearance forms, updated cast/crew lists, etc). I checked the Prep Schedule to see if Frank had any meetings at lunch. I checked my email. Sometimes Frank would have emailed me the day before with a list of things to do, which could be anything from calling Bell to find out about his charges, to doing research on chickens. I also checked the writers room email, which was not a requirement, but something that I liked to do because it gave me a chance to see the notes that had come in from Frank, the studio or the networks.

At 9:15 am, I left to pick up some of the writers at the subway station to have them back at work by 10 am (which was their start time). The rest of the day varied a little. I checked on Frank every few hours to see if he needed anything (he spent the entire day on set). I was in charge of petty cash for Frank and the writers, so I would sometimes have to submit expenses. Other than that, I would spend time in the writers room, sometimes just observing, sometimes pitching if they were doing a pass on a script on-screen. I would also hang out on set, talk to people, observe the different directors to see how they worked and how they interacted with Frank. Every day I ate lunch in the writers room and we watched dailies. We also watched audition tapes for guest roles on the show and I would follow up with the casting agent to confirm who Frank wanted for the role or if he wanted to organize another casting session. If Frank and the writers were working late, I would arrange for/pick up dinner for Frank.

I should explain “working late”: Because Frank spent all day on set, but he also had to read and approve each script, we had to wait for shooting to be wrapped before Frank would come into the writers room to go over the scripts. Frank, all of the writers, the writer’s assistant and I would sit in the room and “do a pass” on a script – the pass could be to make sure the stories tracked or to punch-up the jokes. So if shooting wrapped at 8 pm, the room might be going over a script until midnight, 1 am, 2 am, once it was 4 am (that was my birthday, actually!). The writers would sometimes come in later the next day, or still be expected to come at 10, whereas Frank and I would return for call time the next day.

How can a showrunner's assistant impress the writers?

I asked one of the writers this question and he said: pitch. I think it’s important to pitch and participate, but at the same time not be too aggressive. Sometimes it’s better to just observe and offer suggestions when needed, rather than just imposing your ideas on the script. Other times, it’s important to show them that you do have ambition. Ask for their help or advice, not just because they will likely help you, but also because it will show them that you are serious about writing.

I think one thing that really impressed the writers in regard to me was my attitude. I was always upbeat, happy to be there, smiling, and that can be important when everyone is tired and cranky.

What are you aspiring to be? Has your ultimate goal of becoming showrunner changed after working this gig?

I want to be a showrunner and that goal has not changed, but it has been clarified. This experience really showed me everything you need to know and do to be a good showrunner, so while I still have that as an end goal in my mind, I am prepared to take my time and learn as much as possible before I get there. Right now, I am setting my sights on being in the writers room.

What have you learned from your position?

Re: Being a showrunner

There is so much you need to know and understand to be a showrunner on set, because if you have the power to make the final decision, you need to know what you’re talking about. You need to understand how much things cost, in terms of money and in terms of time. You can’t always just think from a creative point of view – ideally, you can marry the creative to the practical and get the effect you want.

A showrunner has to be decisive and yet flexible. You have to be willing to take the reigns, lead the troops, make the tough decisions. At the same time, you can’t let that go to your head to the point that you won’t let anyone else make a decision, you only trust your own judgment, and you are closed off to other people’s ideas or opinions.

A showrunner needs to motivate his writers and his crew. When everyone is working long, hard hours, the showrunner has to keep everyone striving for the very best product by doing their best work. It’s not an easy task.

Re: Being a writer

You need to know yourself as a writer. Some people are really good at pitching or making jokes. Others are great at structure. Some understand emotionality. Knowing what your strength is will help you find a place in the room and contribute to the best of your ability. It’s important to know/do all of those things, but it’s only natural that you will be better at some than others.

What are some tips you can provide for other aspiring showrunners/writers who land their first gig as a showrunner's assistant?

I think it’s most important to know that the experience I had is not necessarily the bible on being a showrunner’s assistant. Different showrunners have different expectations, different schedules, different ways of working. There was a writer on the show who was astonished at the hours we worked – on her previous show, they usually finished at 6, and a late night was 8. Also, some showrunners might give their assistant more responsibility. In most ways, I was Frank’s personal assistant, in charge of doing things he wasn’t able to because of his demanding schedule. So it’s important that the person ask in the interview what the job will entail, because I am certain it will vary depending on the show and the showrunner.

Other tips

Don’t take it personally. This job is not for the faint of heart. If you’re an assistant, you’re probably going to get shit on sometimes. There is definitely a hierarchy in television and status means a lot. So don’t complain and don’t cry. If you do either of those things, people will probably remember and may not ask you to come back. Take the hits and keep on smiling, because some people will notice that and commend you on your strength. Don’t let other people define you – you may be an assistant today, but next year you could be a coordinator, or a junior writer, or have created your own show.

Make as many contacts as you can. Unlike the writers, who are holed up in a room for most of the time, I had the freedom to move around and get to know people. So a lot of the crew knew who I was and I developed relationships with people like the production coordinator, the trainee A.D., even the locations manager. You never know when that will come in handy. I also have great relationships with the writers, and I know that will be useful in the future as well.

It’s up to you to get what you want out of the job. Though I said that Frank was much busier than I thought, I still think there were opportunities to connect with him that I missed. The job was so much more exhausting than I thought, so I often chose sleep over ambition. But I could have come to work earlier to spend one-on-one time with him, I could have been more aggressive with him to read my writing, I could have spent more of my down time at work writing.

Finally, if you want to be a writer, this is probably one of the best jobs you can get outside of… well, being a writer. As I saw it, only the writer’s assistant and I had unlimited access to the room. Though other people on set might approach Frank or one of the writers with “a great idea for a show,” the writer’s assistant and I were really the only “outsiders” whose ideas were welcome. For me, that outweighed the not-so-great aspects of the job. And really, I left the job with a writing credit for the webisode, so any person wanting to be a writer should be happy to take the job if only for that possibility.

the future of print

2010-09-30T12:06:00.001-07:00

Social media and networking have transformed the way we read, write, and share information. Because of the new way we see information, professionals that work in print have voiced their concerns over these changes.

"Is print dead?"

"What can I do to keep up with the times?"

Almost every print newspaper and magazine Tweets, posting links to articles to generate more traffic to their sites. And if they have followers on Twitter, you can bet that people "like" them on Facebook.

It seems as though the print publications that have embraced social media marketing are the ones that are doing well, transmitting information across all kinds of platforms and mediums.

An editor recently forwarded me this link, discussing the power of print magazines, with several magazine and readership facts. One that I found particularly interesting is, "Since Facebook was founded, magazines gained more than one million young adult readers" and that the readership in the 18-34 age range continues to grow. (Source MRI)

saying goodbye to jackie burroughs

2010-09-23T10:36:00.000-07:00

Although she played a rigid character as Hetty King on Road to Avonlea and Amelia Evans in Anne of Green Gables, people that knew her say she was anything but that. Shirley Douglas described her as "a volcano to work with".

After a struggle with stomach cancer, Burroughs died in her Toronto home yesterday.

The British-Canadian actress had a successful career on screen and stage, with several Genies and Geminis to her credit, and won the Governor General's Award for performing arts in 2005. She also earned the Earle Grey Lifetime Achievement Award from the Academy of Canadian Cinema and Television.

Thank you, Jackie Burroughs, for your time and talent.

Photo/Northernstars.ca

Two thumbs up for White Irish Drinkers

2010-09-20T08:39:00.000-07:00

With: Nick Thurston, Geoff Wigdor, Karen Allen, Stephen Lang, Peter Riegert, Leslie Murphy, Zachary Booth, Ken Jennings.

I can't think of a better way to end TIFF 2010 than to watch a film that had the entire audience in tears.

Writer/director John Gray's moving film, White Irish Drinkers, is a story about two brothers living in a working class Brooklyn home, with an abusive father and a well-meaning mother. Danny (Geoff Wigdor) plays a violent young man who makes a living stealing. He's the target of abuse in the household, as his younger brother, Brian (Nick Thurston) is an artist. Yes, a gifted artist living amongst anguish, violence, and a neighbourhood that evokes feelings of hopelessness. And because he is so different from people around him, he just may have a chance to get out and live a better life.

White Irish Drinkers has a stellar cast, as Stephen Lang delivers a compelling performance as a deeply troubled alcoholic who has a hard time connecting with his family...and resorts to insulting and beating his eldest son. Karen Allen is the classic mother who tries to keep the peace in the household but fails every time.

Nick Thurston is mesmerizing. His eyes are quite haunting and hard to turn away from. He plays his part beautifully, a delicate balance between a strong artistic spirit and a vulnerable heart.

At the end of the screening, John Gray held an intimate Q and A, where I learned that the film was shot in 17 days, and like most brilliant films, had a low budget. While he and his team mostly worked in television, they wanted to do something "just for them" which turned out to be a film that most people in the audience echoed "this really brought back memories of my childhood."

White Irish Drinkers has yet to secure a distribution deal, which I don't think they will have much trouble getting. A riveting story with powerful performances.

2010 Emmy Recap

2010-08-30T07:18:00.000-07:00

I LOVED the Emmys this year. One of the best parts were the segments that proposed questions to writers, creators, producers, and directors of the series such as "What's the worst note you ever received from a network"? No drainage of material there.

As a huge fan of Modern Family, I was ecstatic that they won top comedy and best writing. My spec script is worth so much more now...or is it?

Here's a category I will never understand: Outstanding Reality Program. You can almost hear the writers mutter under their breaths when THAT award is announced. As if it isn't difficult enough to create/sell/get staffed on a scripted series...

Other memorable moments/discoveries:
- Pretty sure Julie Osmond is insane
- Lauren Graham and Matthew Perry should never present an award together again
- Eric Stonestreet is just as lovely as "Cameron"
- Lea Michele's cupcake candle
- You can never get enough of Betty White
- Jimmy Fallon as Billy Joel

My vote for next year's host: the Glee-ful Jane Lynch.

Also, WHERE was Christopher Lloyd?!

less than kind news

2010-07-28T07:00:00.001-07:00

Yesterday was a sad, sad day as our office learned that Canada lost a talented writer and comedian, Maury Chaykin. One of my favourite shows on TV now is Less Than Kind, where Chaykin plays the father in an ordinary Winnipeg family.

Eye Weekly has a nice little tribute to some of the work Chaykin's done.

Cineflix is Going Scripted!

2010-07-21T10:08:00.000-07:00

I was pleased to hear that Cineflix is moving into scripted programming a couple days ago. Christina Wayne will be leading the Cinelix Studios as its president.

Because of the rise of reality shows and lifestyle programming, many writers have been disheartened by the industry. Even though most reality shows have some scripting (some more than others), half-hour and one-hour writers have been yearning for more scripted programming, with strong narratives, memorable and well-rounded characters, and interesting story lines.

For more information on Cineflix's news, click here.

2010 Emmy Nominees Announced!

2010-07-08T13:46:00.000-07:00

I'm actually pretty happy with the Emmy nominee list this year. I have my favourites, like everyone else, and am personally rooting for the following:

Best Comedy: Modern Family Best Drama: The Good Wife
Best Actress, Drama: Julianna Margulies, The Good Wife
Best Actor, Drama: Michael C. Hall, Dexter
Best Actor, Comedy: Larry David, Curb Your Enthusiasm (even though I've got a hunch Parsons will win)
Best Actress, Comedy: Amy Poehler, Parks and Recreation

Best Supporting Actor, Drama: Michael Emerson
Best Supporting Actress, Drama: Archie Panjabi, The Good Wife
Best Supporting Actor, Comedy: Eric Stonestreet
Best Supporting Actress, Comedy: Sofia Vergara (but I think Jane Lynch might win this one)

This year, the Emmys will be on Sunday, August 29.

Hello Act 4...

2010-06-09T14:40:00.000-07:00

...thought you'd be gone 'til November.

I'm writing the pilot of an original one-hour. It's only the first draft I keep telling myself. Just get it on the screen and worry about the little things later. Easier said. I've hit several blocks along the way, particularly in Act 3. I keep worrying that my characters are too flat and the dialogue too drawn out.

And then I hear voices (not the usual ones), whisper "focus on the story," "the story is key". Yes, very true. Every time I worry about anything other than the story, I get frustrated, leave my work station, and decide I need another coffee. Or I walk up and down the stairs, wondering why I didn't pay more attention in math class--I could've been an accountant!

Then I return to my desk, poke around old notes, quotes, and sayings I collect to keep me motivated, and read a few that relate to writing.

One of my personal favourites: "Just get it down on paper, and then we'll see what to do about it." I scribbled the quote on my whiteboard, facing my desk. Anytime I feel like I've hit a wall, I just look up and read it.

Get the story out, tell the damn story. Then go back for the little things.

Need a cartoon on the go?

2009-09-21T20:22:00.000-07:00

I'm sitting here, wondering how to go about animating something if you're not particularly a great illustrator but can actively visualize how you'd want an animation to look. Turns out, there are some pretty fun programs out there that allow you to create your own short animations.

Of course, I tried one out at Dfilm. It's the classic guy/girl conflict--universal and oh so, timeless. Enjoy!

Ooooh la la

2009-08-11T16:22:00.000-07:00

If you can't afford to travel to Paris, Quebec City is a pretty fair trade. If you do get the chance to go to Paris, though--GO TO PARIS.

Anyway, I spent the August long weekend in Quebec City, walking about five hours a day, eating lots of cheese, drinking more wine, taking insane amounts of pictures (because it's just THAT beautiful), and even going on a ghost tour to check out some of the execution, murder, and haunting sites. Pretty cool stuff. Here are some of my fave pics from my trip.

Being a frugalista

2009-07-27T14:40:00.001-07:00

That "ista" suffix is really cute. It transforms just about any word into an adorable noun and a group that you want to be part of.

One of the latest "istas" around is a frugalista, a thrifty yet trendy shopper. Probably the kind of shopper that devours articles entitled "For babes on a budget" or "How to snag killer finds for less."

I'm guilty of it. Whenever I strut into a store, rummage through racks, discover a totally rad top, skirt, dress, or pair of jeans that's significantly lower than I thought it would be, I internally celebrate and skip into the dressing room. Then, if at least one item fits like it was seriously made for my body alone, my lips stretch into a crazy happy grin.

One of the best things about being a frugalista is knowing how to be resourceful. This includes buying items that double as something else. For example, over the weekend I attended the first ever Frugal Fashion Week event in downtown Toronto. Held at The Drake Hotel, several vendors displayed gorgeous pieces of costume jewelry, clothing, shoes, handbags, and cosmetics. I snagged a chunky silver chain that can be worn as a necklace or belt. Then I saw dresses that can be worn in six different ways. Talk about being purposeful! Those frugalistas are brainalistas too!

All MIFFed out...in a good way

2009-07-13T09:25:00.000-07:00

Well, last night was the finale of the Mississauga Independent Film Fest, featuring four hours of shorts, a workshop on working with the RED camera, the closing night feature (Left Side of Night), and of course, the Award Ceremony held at West 50.

Here are the official MIFF 2009 winners:

BEST SHORT FILM:
“Deadspiel” by Jay Molloy

BEST ANIMATION:
“Skylight” by David Baas

BEST MUSIC VIDEO:
Simple Plan’s “Save You” by RT!

BEST FEATURE FILM:
“Gangster Exchange” by Dean Bajramovic

For more in-depth coverage and statements by Matthew and Jeff Campagna, MIFF founders, visit the latest posting on my Entertainment News page.

Opening night film shows real talent

2009-07-10T13:35:00.000-07:00

Last night boasted an incredible feature film. Directed by Randall Cole, Real Time is a true Canadian indie flick. Shot entirely in Hamilton, Ontario during winter, it relied on rich dialogue, as most of the action took place in a car.

Randy Quaid and Jay Baruchel delivered outstanding performances, had great on-screen chemistry, and both showed intense vulnerability.

Click here for the Real Time trailer!

Tonight: screening of Hooked on Speedman, followed by an after-party.

MIFF-ing at the AGM

2009-07-09T12:02:00.000-07:00

Oh yeah, it's the second Mississauga Independent Film Festival, a festival that celebrates homegrown films and a true indie spirit. Founders and filmmakers (and brothers!) Matthew and Jeff Campagna had lots of inspirational things to say last night at the VIP Industry Gala held at the Art Gallery of Mississauga. Writers, directors, producers, actors, and press gathered in an intimate room, mingled, laughed, and supported each others' films.

In such a competitive industry, there was a refreshing feeling of community amongst all the filmmakers...people weren't really interested in being in the spotlight. They genuinely had a deep interest and passion for creating film and sharing their films with others. Damn, that's indie.

Tonight: the opening film is Real Time, followed by an after-party.

Trannysaurus Rex

2009-07-03T22:13:00.000-07:00

Ever wondered what an interpretive dance to Jurassic Park would be like? Okay, maybe not. But tonight at the Bloor Cinema, I witnessed a clever shadowcasting of Jurassic Park--that's right. The actors performed the movie on stage, while the actual movie was playing in the background.

A truly resourceful performance, where DNA was shown by an actor wearing a white jacket with the letters "DNA" emblazoned across the back. Dinosaurs galore! Two of them wore furry dinosaur masks and claws. They were pretty sexy. No, I mean it. They were burlesque-dancing dinosaurs.

Creative, of course--but also practical. Let's say someone forgets their cue; they could nonchalantly glimpse at the screen and remember what their blocking should look like. It's almost like having a virtual director in real time!

Tonight was the opening screening of Jurassic Park, Shadowcasting at the Bloor Cinema. It'll play again on Tuesday, July 7 and Saturday, July 11. Other shadowcasting performances include Buffy the Vampire Slayer, REPO! The Genetic Opera, and The Rocky Horror Picture Show.

If you're looking for a super original night out, check out one of these shows! www.bloorcinema.com.

because we blank out too

2009-04-04T16:40:00.000-07:00

Every writer has experienced this: you have an idea, characters swimming around in your head, plots thickening in your blood, and conflicts flowing through your veins. You become completely inspired by every moment you've ever experienced, every person you've ever met, every story you've ever written or read.

And so, you plop yourself in your office chair, turn on your computer, open a new document, and take that first, delicious sip of coffee. You stare at the blinking screen and you type a letter. Any letter. It doesn't matter what letter. Why? Because you have no clue what the next letter will be. So, how are you going to write an entire story? What happened to all those characters? Where did the plot go? And the underlying plots? Those symbols you carefully chose to illustrate an immensely deep message?

"Maybe I should take a break," you say to yourself.

So you take another sip of coffee. And then you get up to stretch. You return to your desk and drink some more coffee. And more. And more. And more. It's done. The coffee is done, your screen saver is in full mode and your ideas are somewhere.

How do you combat this block? Is it simply because you're not supposed to write right now? Maybe, but probably not. These are some exercises I do to rejuvenate my thinking:

Fill in the blanks:

What I mean to say is ______
X character's conflict is _____ and their insecurity is _____which inhibits their goal of _____

I then list some really good verbs, verbs that carry the bulk of the sentence's meaning.

Solidify, multiply, unfold, recede, slink, permeate, generate, correlate, etc.

I then organize the characters I want to write about and under each name, I answer the following questions:
Where did this person come from?
What's the one memory that has a profound impact on them today?
What's their biggest insecurity?
What are their strengths?

That almost always gets me going, oils my brain, and fosters smooth movement. Characters, plots, symbols, and conflicts re-emerge, stronger and with more meaning.

what would the world be like without writers?

2009-02-25T16:35:00.000-08:00

When someone walks out of a movie theatre, they will most likely applaud the actor's performance, an innovative digital technique, or a beautiful set. These are, undoubtedly, wonderful aspects of a film that empower its message and purpose. Rarely, however, do you hear someone comment on the actual screenplay. When was the last time you said to your friend, "wow, that is a solid screenplay. So well-written. The words were loaded with so much meaning, I'll have to watch it again."

The actual writing of the film is one of the most under-rated aspects of cinematic art. What do people get most excited about when they watch the Oscars? Three things: best actor in a leading role, best actress in a leading role, and best picture.

There are definitely those that study the script when they watch films. Those are probably the same people that get goosebumps when the best screenplay winner is announced. Those people are probably writers, or people that have a deep interest in the literary field.

Let's stop and think for a moment here. What would the world be like without writers? No advertisements, no television, no films, no news, no books, no magazines, no instruction manuals, no menus...

Words are everywhere. On your cereal boxes, your aspirin bottles, your morning paper, your greeting cards. Someone had to get those words on there. The world needs writers for several reasons--to educate, inspire, and entertain.

So, this is my little tribute to all writers. Whether you're an advertising copywriter, a reporter, a magazine editor, a screenwriter, an SEO copywriter, or a novelist, you have an opportunity to communicate important ideas and messages to your audiences. The world needs you and your words. Happy writing!

funny words

2009-02-06T11:03:00.000-08:00

Last night I went to The Great Canadian Laugh-Off where a good friend of mine was competing for a chance to win semi-finalist status, and then compete for the grand prize of $25,000. There were six comics in total and each had eight minutes to deliver a performance good enough to get them into semi-finals.

Each comic succeeded in eliciting laughter from the audience. All were different, projected different voices, and revealed different styles for one result: make 'em laugh. I sat near the back, sipping a gin and tonic, thinking about how solid comic writing can change someone's emotion, transform a shitty day into a great one, and temporarily allow someone to forget about their troubles. Laughing is powerful, but not as influential as its cause: those words that a comic pens and delivers on stage.

Where do hilarious stand-up comics get their inspiration from? Where do they find those ideas that are turned into situations and characters so funny, that people are able to forget their "bad day" and enjoy the present?

I did some research and found that most comedians find their inspiration in people. Many of them carry a notepad and pen or BlackBerry that they use to record funny or awkward situations and conversations fueled by family, friends, or strangers. A lot of behaviour observation occurs in the comic's life, as they are sensitive to details, interaction, and socialization, deepening their understanding of the human core. This makes me think that those with a natural talent of making others laugh are actually quite the introverts, watching all of us intently.

Here are some quotes from a few of my favourite comics that are (funnily enough) about people and human relations:

"Behind every great man is a woman rolling her eyes."
- Jim Carrey

"Inside every cynical person, there is a disappointed idealist."
- George Carlin

"Sometimes you can't see yourself clearly until you see yourself through the eyes of others."
- Ellen DeGeneres

"There's very little advice in men's magazines, because men don't think there's a lot they don't know. Women do. Women want to learn. Men think, "I know what I'm doing, just show me somebody naked."
- Jerry Seinfeld

A movie review, the best I can do amidst pre-holiday craziness

2008-12-29T12:52:00.000-08:00

It's been about a month. Wow.

Holiday planning, visiting, shopping, wrapping, visiting, visting, and visiting consumed my life more than I anticipated.

I had so many to-do lists that got buried at the bottom of other lists (ahem, bills). Those to-do lists always had "writing" at the top, usually written in a larger size than the other items.
Anyway, I did watch a great film I was asked to review for another site that I'd like to discuss. It's called Racing Daylight and it's fantastic. The switch in narrative structure and voice was rich, and I fell in love with all the characters, especially Sadie, who has one of the best opening lines in a movie. Ever.

"I always knew I would end up insane." Short and profound statement. Intrigued me from the beginning. I knew this would be a good movie.

This is pure storytelling, and what's interesting about the movie is that the story is told from three different perspectives, each perspective taking on varying camera angles, so that each angle signifies that character's unique voice.

The DVD was just released last week--it's definitely worth checking out.

Here's the F---ing blog

2008-06-16T13:46:00.001-07:00

Over the weekend, I attended a screening of Young People F---ing, followed by a panel discussion including the film's director, Martin Gero, screenwriter and actor, Aaron Abrams, and Dan Lyon from Telefilm Canada.

Before the discussion started, I nestled in my seat and got ready to watch one of the most controversial films that helped ignite the Bill C-10 fiasco. By the middle of the movie, I realized I had forgotten to search for the controversy in the film. Sure, it was raw and liberal, but controversial? One, big, fat, "no".

The film was extremely well-written, well-casted, and as one audience member stated, "did not have that cliched "Canadian feel" to it. I think she was trying to say it shot well.

Anyway, I was genuinely impressed by the film--not because the Conservative Party made such a huge deal over its "controversy" but because I enjoyed all the characters and their respective situations. While some people may not relate to every one of those situations, the material in this film is highly-relatable, from the friends who are obviously in love with each other to the endless mind-games women and men tend to play with each other.

The panel discussion mostly focused on the edgy title and Bill C-10, some funny Conservative Party insults (presented in a very professional manner, of course), and a little chat about the Canadian film industry. The major concern with the Canadian film industry and Bill C-10, obviously, is that the Bill will only discourage many Canadian filmmakers from making those awesome, "edgy", Canadian movies in order to receive government funding. The result? A loss in what Canadians do best--embrace art, diversity, and originality, and therefore, a loss in films that emphasize those artistic values.

Who knows exactly what will happen to the Canadian film industry and aspiring Canadian filmmakers, but I'm banking on the crazy-passionate ones that say, "F--k you, Conservatives. I'll find a way to shoot the sequel to "Young People F---ing. I don't need any stinkin' government funding for "McVety Likes it F---ing Rough".

We're all stars now, in the real show

2008-04-25T19:56:00.000-07:00

Being on reality TV makes you at least one of two things: more self-conscious and/or wonder how on earth you ever ended up on reality TV. Last September, I competed on BookTV's The Next Literary Superstar, a national contest I entered through encouragement from a good friend. I travelled to Edmonton, Alberta and lived inside a Chapters with 11 other final contestants where we were each faced with a feat: to write an entire novel in just three days.
The 12 of us constantly endured interruptions for interviews, challenges, penalties and prizes, and store shoppers. Which really ends up being a two-day affair when you think about it.
Anyway, lots of time has passed and this weekend (tomorrow), I'm heading back to tape the season finale. I've had a rough week dealing with work, stress, play rehearsals, and mentally preparing for this reunion.
It will be absolutely lovely to see the other writers again. We actually kept in touch in the last months, some of us even getting together for dinner.
This weekend is something we've all been looking forward to for a while.
Part of mentally preparing for this ordeal just reminded me of how it feels to be in front of a camera and acting like--yourself. I've performed quite a bit, but always "in character". Doing it as yourself is completely different. Probably because the cliched saying is true, "we are our own worst critics." So, when the opportunity allows us to "act like ourselves", we tense up even more than usual, in hopes of masking whatever it is we're embarrassed to show the world.
Off to bed-- tonight, dreamland. Tomorrow, "real world".

We are family...I got all my writers with me

2008-03-07T09:19:00.001-08:00

Yesterday I received an e-mail from a former writing colleague of mine. She had mass e-mailed most former students from the Professional Writing program at the University of Toronto. I learned that another one of our former classmates had just suffered the loss of her home caused by a fire and that her mother and brother were in the hospital.

People responded to that e-mail with such warm words in an effort to show our friend support. That e-mail restored my love for that program and its students. From the first day of my first professional writing class, I felt a strong connection with everyone. Yes, everyone. My favourite professor assured us all that long after graduation, we would always be there for one another. "The writing world is one of community," he would always say. Gone are the days of the "hermit" writer. On the contrary, powerful writers know and value the need for human connection. After all, it is this connection with humanity--all its beauty and flaws--that shines in our writing.

Even after graduation, we care. We care about the milestones in our former classmates' lives: promotions, weddings, babies. And misfortunes. We can all relate to that drastic change--the one that swoops into our comfortable lives and replaces it with temporary turmoil.

And even in the midst of chaos and misfortune, I smile when I think of the writers--that special group of people in my university days that can always offer sincerity and support.

Their words count. A lot.

Heritage Minister is a "no show"

2008-03-04T11:00:00.000-08:00

The Canadian federal government has decided to deny tax credits to film and television productions that are deemed "too edgy," containing graphic sex, violence, and homosexuality. Thanks to Charles McVety, president of the Canada Family Action Coalition, his part in discusssions with Public Safety Minister, Stockwell Day and Justice Minister, Rob Nicholson in the Prime Minister's Office, contributed to the Conservative changes.

Conservative MP, Dave Batters persuaded the new president of Telefilm Canada, Michel Roy, to prohibit federal funding for edgy films. He used the film Young People Fucking as an example.

Director David Cronenberg warns that low-budget, edgy Canadian films are at risk. Cronenberg says the changes proposed by the federal government are an "assault" on the Charter of Rights and Freedoms. "The irony is that it is the Canadian films that have given us an international reputation that would be most at risk because they are edgy, low-budget films made by people like me and others that will be targeted by this panel."

Martin Gero, director of Young People Fucking (opening in theatres in Canada this April) could also be scrutinized by the panel. Gero shot his feature film with support from Telefilm. "It seems ill-conceived from beginning to end, and is less about censorship than destroying the economic foundation of our entire industry," Gero says. "It's old people fucking with the Canadian film industry." At the Genie Awards last week, the Heritage Minister, Josee Verner was a “no show,” but her office claimed it had nothing to do with the government’s plans to deny tax credits.

Sandra Oh, Grey’s Anatomy star and the show’s host, stated “censorship has had a little work done and is trying to make a comeback. I don’t know about you, but that doesn’t sound very Canadian to me.”

Film critics and producers warn that changes to the Income Tax Act would cripple the Canadian film industry, as they suggested Ms. Verner’s absence from the Genie Awards was because she may face fury from the crowd. However, Verner states she was out of the country last week, claiming the “changes have nothing to do with censorship and everything to do with the integrity of the tax system.”

Many art groups are speaking out, claiming these changes deviate from the promises of the Charter of Rights and Freedoms. Susan Swan, chair of the Writers' Union of Canada has protested, "we're not going to sit back and accept this. We don't like being told what kind of art we can make by the federal government."