If you like psychological thrillers and have yet to see The Fall, grab the popcorn and prepare to be glued to your sofa. After broadcasting its third season in the United Kingdom, this tantalizing BBC produced crime show is now available to Netflix streaming customers.
Created by entertainment guru Allan Cubitt, The Fall takes the viewer on a bumpy ride for seventeen episodes as Gillian Anderson (starring as a senior police investigator) tries to capture a killer (played brilliantly by Jamie Dornan) and then, once caught, make sure he is punished with a long jail term. In between the chase and the search for justice, the audience struggles with the villain’s double life as an adult. He appears to function as a productive member of society and is shown as a loving father of two young children. When told of his horrible abuse as a boy in Season Three, fans wrote they felt almost sorry for him, despite the vast damage he inflicted on his many victims. Tragically, no one who crosses the path of the so-called Belfast Strangler comes away unscathed.
Though I initially powered up Season One to pass the time while recovering from surgery last year, I became thoroughly engrossed with Mr. Cubitt’s storytelling ability, his clever use of metaphors and his gift in conveying so much about the characters with few words. Others no doubt felt similarly as The Hollywood Reporter called the show “the highest-rated drama series launch on the channel since Rome in 2005.”
I plan to watch again, this time with pencil in hand so I can take notes about style and technique. In an interview about his process, Allan Cubitt talks about starting with research and “extensive reading” that quickly segues into a “beat-by-beat outline.” In answering a question about the role of themes, he calls out “best dramas” as those which “create variations on a series of themes.” In his latest work, the duality of hate and love takes center stage.
Be forewarned. The finale of The Fall is violent. I had to turn away from the screen several times. If the goal was to haunt the audience by depicting the goblins of a very dark soul, the writer succeeded.
In the last few months, I’ve been getting a crash course in independent publishing from idea generation to distribution. Candidly, the process is considerably more work than I anticipated but I am excited about the feedback from beta testers and the continued validation about potential readership appeal. I will report much more about what I’ve learned as my first of several books gets closer to a launch in early 2017.
For now, I offer three observations:
- Writing for profit is a serious business. One should have a good idea, investigate competitors and figure out how the final book should be priced, marketed and sold. For each of the two books I’ve been working on in 2016, I expended considerable time on market research, conducting field interviews and talking to publishing professionals about format, fulfillment models and budgeting. I ended up writing a 100 page proposal for each book. I subsequently wrote the drafts, edited several times and asked individuals to give me feedback before finalizing each manuscript.
- Read what industry pundits have to say about writing techniques, publishing trends and lessons learned from commercially successful authors. Authors, agents and publishers are often generous with their insights. Luckily, I’ve found some wonderfully experienced persons to help me navigate the sometimes choppy literary waters.
- Stay focused and optimistic. Even a well-prepared person can falter at the cash register but my view is that your chances are vastly improved if you are informed and organized.
I’ve been longing to attend a “Save the Cat” screenwriting workshop for many months. I’d heard great things about this disciplined approach to storytelling. I was not disappointed.
The content was developed by the late Blake Snyder, billed as “one of Hollywood’s most successful spec screenwriters” and author of several popular “how to” books. My instructor was Ben Frahm, likewise a screenwriter with an impressive track record in the entertainment business.
I have more to learn about creating a “beat sheet” that translates a three act piece into fifteen key events to ensure drama, pacing and appeal. I am still reading books and articles about this approach. It is comforting to know that tools exist that can help versus hinder a novice fiction author. Staring at a blank page is not for the faint of heart.
One message that particularly resonated with me is that a writer is unlikely to be commercially successful if the end user is ignored. Know the target market. As an entrepreneur and someone who has developed several products from scratch, this makes perfect sense. One can only sell what someone will be willing to buy.
As Ben so eloquently said, the artist’s job is to create something that hopefully keeps moviegoers in their seats, waiting with bated breath for the next “can’t miss” moment. These are wise words, especially today with keen competition from other artists and fickle consumers who have plenty of ways to pass their time.
As many writers, musicians and artists attest, getting started is the key to giving voice to your desire to inspire others. If you don’t begin somewhere, you’ll never move forward. As I discovered this evening during dinner with a good friend, a fellow yoga student is walking this walk in a big way.
Meet Dr. Mark J. Schiff – painter, credentialed restorative dentist and a true role model when it comes to the “just do it” philosophy. As Mark explains in an interview, his encounter with artists while traveling in California in the early 2000’s was the jump start for a blossoming career as an artist. Since he decided to go for it, he has won awards and had his work showcased by the Agora Gallery in New York City. A local showing in Connecticut begins on September 9. Click here to view his many “Paintings from the Heart.”
According to a recent video, Mark “finds inspiration in love” and seeks to display “the beauty in the world.” He encourages others to embrace the child within who wants to create and does so freely, without worrying about being judged.
Besides the lovely colors and designs he shares with us on canvas, Mark shows us all that a willingness to try is an essential first step.
Running errands this weekend, I happily discovered Elvis Radio, a Sirius XM channel devoted to the music and life of the iconic Mr. Presley. Eager for a continued walk down memory lane, I spent part of the afternoon (post chores) listening to him croon Fever, Can’t Help Falling in Love, If I Can Dream and much more. His catalogue of hits is so big that it’s hard to single out one or two as favorites. Click here for iTune‘s tally.
Elvis Presley had fans around the world, including other famous entertainers. Singer-songwriter Mac Davis said “Every performer who ever performed in rock and roll or even close to it is lying if they tell you that they weren’t influenced in some way or another by Elvis Presley. He turned the world around.” Celine Dion called him the “greatest entertainer of all time.” Rolling Stone Magazine refers to Presley’s artistic accomplishments as “unparalleled.”
The numbers reflect his continuing popularity. According to the Graceland website devoted to all things Elvis, he has sold over one billion records and boasts “no less than 149 songs to appear on Billboard’s Hot 100 Pop Chart in America,” with 114 in the top forty, 40 in the top ten and 18 number one hits. Even after his untimely death on August 16, 1977 at age 42, the legacy of this mover and shaker (literally and figuratively) lives on, tugging at our heartstrings as we ponder where we were when we first heard Jailhouse Rock, Kentucky Rain and countless other foot-tapping melodies.
There’s a lot to be said for creating a body of work that remains timeless and enjoyed by generations, old and young. In this real way, Elvis Presley and those whose work keeps giving serve as great role models for artists who want to make a difference with their creations.
If you are in midtown Manhattan, try to make your way to 41st Street, between Fifth Avenue and Park Avenue, for a glimpse of delightful expressions about books, writing and life. Known as Library Way, this series of bronze placards calls out notable words from famed authors that include Thomas Jefferson, Ernest Hemingway and Langston Hughes. Click here to read the full catalog of quotes. Once you have finished (if you are moving east to west), you will be rewarded with a view of the impressive main library building and the pair of lions, Patience and Fortitude, that guard the door. Time permitting, go inside for a tour of the public reading rooms or to visit the gift store.
On my recent trip to New York City, I took snapshots of as many of the plaques as I could. Unfortunately, it’s hard to stop and ponder during the day with so many individuals busily walking to a final destination. Selecting a favorite is likewise a challenge. One I especially like is by Emily Dickinson and reads “A word is dead when it is said some say. I say it just begins to live that day.”
I finally made the time to watch Love Between the Covers, a “feature-length documentary film about the little-known, surprisingly powerful community of women who read and write romance novels.” In a fast-paced eighty-five minutes, director and producer Laurie Kahn gives the audience a fascinating peek inside the publishing world devoted to figurative affairs of the heart.
The romance book market is huge. According to the Romance Writers of America website, 2013 sales in this genre surpassed $1 billion with thirty-nine percent of sales in the form of e-books and mass-market paperbacks accounting for thirty-two percent. Quartz reporter Thu-Huong Ha, author of “Maverick women writers are upending the book industry and selling millions in the process,” describes word-hungry consumers who might buy a handful of romance books each week compared to a typical reader who buys a dozen books in a year. In 2014, 30.89 million romance books from traditional publishers were sold, putting love stories right behind general fiction with 33.52 million books sold.
In 2015, the Nielsen Company profiled romance book fans as avid readers with steady buying habits and hailing in large numbers from the South and Mid-West regions. Elsewhere in “Literary Liaisons: Who’s Reading Romance Books?“, the point was made that mostly female readers between the ages of thirty to fifty-four or slightly younger used word of mouth recommendations to guide their acquisitions. The takeaway is that smart authors will engage fans via social media since Amazon ratings and insights from book bloggers influence sales.
It’s no surprise that the potential for big profits is like literary catnip for authors with a good imagination, willingness to produce and a recognition that this market segment is growing at a fast clip with no end in sight. In “The Lure of Romance Writing (and Earnings) for the Literary Set,” one of my favorite publishing experts Jane Friedman chronicles the developments of this genre and ways to get ahead.
From what I can tell, it’s not just the pursuit of money that sustains romance novelists. In Love Between the Covers, interviewees seem genuinely keen to create strong protagonists as role models for their readers and extend a helping hand to other romantics. I’ll know more about this warm and fuzzy zeitgeist after I attend my first romance writing conference in September. I registered at the strong suggestion of an author friend who couldn’t say enough about the generous spirit of men and women she met at Romance Writers of America events.
Until then, “Viva l’amore…”
Anyone who attends workshops or reads articles about becoming a better writer has no doubt heard the message that word goals and schedules are important. You need to write before you have something you can sell.
How you get the magic to appear on paper is another issue altogether with variations aplenty. Some outline. Others see where the first words lead them. Night owls say goodnight as the larks commence their morning workout at the typewriter. Some folks write here and there. Others throw themselves into a project for months at a time. Some are calm. Some are frenetic. The important thing is to discover what makes sense for you, acknowledging that your preferences might change over time or zigzag during a project.
Regardless of one’s path to fame and fortune, it’s worthwhile heeding the wisdom of Professor Mihaly Csikszentmihalyi. During his 2004 Ted Talk, the author of Flow: The Psychology of Optimal Experience and founder of the Quality of Life Research Center said “There’s this focus that, once it becomes intense, leads to a sense of ecstasy, a sense of clarity: you know exactly what you want to do from one moment to the other; you get immediate feedback.”
I haven’t quite decided on THE optimal approach for me, in part because I write both fiction and nonfiction. Outlining is a big plus when I’m penning a technical article that reflects research and specific questions I want to answer for my audience. Fiction is harder in my view because the author is making something up from scratch instead of analyzing what is. I want to let my imagination soar when I am crafting a novel.
I need to stick to a schedule but I likewise recognize the need to relax and let the ideas come by trying to avoid distractions. I love yoga, especially a class that challenges me physically. In the last few months, I’ve had some of my best “eureka” moments in between poses. Nature is another treat which is why my daily outing to Starbuck’s includes a ride past a neighbor’s farm. Watching the cows happily swooshing their tails on a sunny day gives me great pleasure and inspires me to make a difference with what I write.
However you find your flow, may the zone be with you as you create.
When I first taught university-level business courses, I regularly asked students to analyze a company’s financial health and write a cogent research report. After a few semesters of putting my red marking pens to work, I grew frustrated with poor grammar, inconsistent logic and otherwise sloppy work from dozens of individuals. Whenever I received an assignment that read too well, my first task was to run blocks of text through a plagiarism checker. With great disappointment, few literate papers passed the test. Many students cheated by having someone else do their work entirely or extracting full pages of words from published professionals. Eventually I insisted on better vetting before I would accept something to grade. A year or two later, I gave up on written homework altogether and had students tackle mathematical problems instead.
Earlier this week, I was reminded about the ethics of original writing when a colleague emailed me with a question about how I credit others whenever I excerpt their work. My answer was to err on the side of caution and attribute direct quotes whenever possible.
Alas, experts say that cheating is not always easy to recognize, especially the kind that can lead to legal challenges. According to “Stop Thief! Writers and Plagiarism” by Corina Koch MacLeod and Carla Douglas (The Book Designer, March 4, 2015), “Plagiarism is often confused with copyright infringement and piracy, and even with simple lying and fabrication. All of these practices strike at an author’s integrity, but they’re not plagiarism.” They reference a book called The Little Book of Plagiarism by Judge Richard A. Posner, cite famous wrongdoers and offer hints about how to avoid problems. Given the complexity of the topic, I’m heading out to the bookstore to purchase my copy.
I took away lots of lessons from ThrillerFest 2016, including the need to spice up dialogue and emphasize active over passive. More than a few faculty members, bestselling authors all, went so far as to encourage attendees to learn about screenwriting techniques.
Ever eager to learn, especially now at this early stage of my mystery writing endeavors, I signed up for the next Save the Cat workshop in New York City. For those who don’t know, this famed approach to screenwriting was created by Blake Snyder and described in a series of books he wrote prior to his untimely death in 2009.
In a Writer’s Digest article, Michael Ferris describes seven differences between writing a screenplay versus a novel to include a focus on the visual, economy of text, story simplification and knowing one’s audience. Some might counter that these reminders apply to books and not just film scripts. Interestingly, more than a few successful thriller book authors such as Lee Child started in television.
Ahead of my screenwriting class, I’m doing homework by watching mostly British police procedurals such as Prime Suspect, The Fall, Broadchurch, Luther and Happy Valley. I then review the episode scripts (when they are available for downloading) and of course spend time banging out my own magic. Like anything else, there’s a lot to know.