This is George Pelecanos’s first collection of short stories and once again demonstrates his consummate class, not just as a crime writer, but a writer. The title piece is the longest of the collection but Pelecanos saves it for last. The preceding stories are a blend of what makes Pelecanos great. Stories about the street, […]
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Blog: Perpetually Adolescent (Login to Add to MyJacketFlap)
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Blog: Here in the Bonny Glen (Login to Add to MyJacketFlap)
JacketFlap tags: Books, Television, Writing, Art, Lost, craft, The Wire, Arrested Development, Julian Fellowes, Downton Abbey, Add a tag
Downton Abbey (which I’m discussing elsewhere so as not to put spoilers in Jane’s path) got me thinking about the man behind the curtain (or the woman, as the case may be)—the writer. My frustrations with that show have to do mostly with the way the writing is sometimes so very visible. Much of the conversation I’ve seen around the web today, including in my own post, questions decisions made by Julian Fellowes. In a way, he’s as much a character in the series as anyone on camera. We’re always aware of his fingers on the keys—this well-turned quip, that infuriating plot twist, this theme stated baldly and repeatedly by numerous characters until we feel bludgeoned by it.
It’s unusual, and therefore interesting, to see a show of this calibre (clearly there is something above-the-pack about Downton that keeps us all panting for the next episode, and has so many of us talking talking talking week after week) fail on a suspension-of-disbelief level with such regularity. We’re constantly thinking about the writing, and therefore the writer. This is seldom the case with other fine shows I’ve been hooked on. Mad Men, for example—I hardly ever think about the writing while I’m watching it. Afterward, yes, generally with admiration, always with fascination.
The Wire: I don’t believe I ever once considered the people behind the curtain during the entire run of that show. I was pulled so thoroughly into the world that it became absolutely real. Sometimes I’ll see one of the actors in another role and get a jolt: but I thought you were still walking a beat in Baltimore!
LOST is an example of an excellent show which nevertheless featured The Writing as a supporting character. Indeed, there were entire seasons when I was pretty sure the writers had no idea where certain strands were going, and sometimes The Writing seemed to wander off into the jungle and be eaten by a polar bear. (I mean, that whole thing with ghostly Walt popping up now and then, after he’d been returned to the mainland—did they ever explain that? I have the feeling the young actor grew up too much over a hiatus and they had to just let the plotline fizzle away—which would be an event outside the story affecting the storyline.)
And yet I loved LOST (and still miss it), just as I have loved Downton, despite the enormous footprints The Writing leaves all over the house. (The poor housemaids, always having to clean up after it—and then it repays them by giving them the sack, or throwing their husbands in jail.)
The Downton incident that so many of us are bemoaning today is a particularly egregious case of The Writing leaping in front of the camera and announcing it’s ready for its close-up, Mr. DeMille. An off-camera, real-world decision by an actor seems to have annoyed The Writing, possibly outraged it, and it rummaged through the cupboard until it found a rusty old overused implement and flung it through the fourth wall.
As a writer myself, I like to ponder the people behind the curtain—after the fact. When the show’s over and I’ve emerged from its world, that’s when I like to imagine the discussions in the writers’ room or trace the artful seed-planting that bears delicious fruit somewhere down the line. Arrested Development is one of the best examples ever of a show whose writers are so perfectly invisible that I never think of them at all during an episode—and then afterwards, or four episodes later, or on the seventh viewing, I’ll find myself marveling at their skill, their cleverness, their patience (allowing a joke to bide its time and blossom half a season later). That’s a show in which the writers are never onstage, but upon recollection I’ll wish I could have been a fly on the wall when they came up with some of their bits. What I wouldn’t give for a YouTube clip of the day they came up with Bob Loblaw! Who thought up that name? (If you don’t know what I’m talking about, click the link; you have to hear it spoken aloud.) Did the rest of the team all fall out of their chairs laughing when one of them uttered it for the first time? Were they able to get any work done for the rest of the day or was it overthrown by helpless giggles?
The internet, of course, puts us all in closer contact with the creators of our books, television shows, films, and music. Many of you probably know me better than you know my books. And if you’ve read my blog for a while, it may be hard to approach my books without thinking of me, the writer, on the other side of the page. At least, that’s how it is for me when I open books written by people I know, either in person or online.
Sometimes this familiarity works in the writer’s favor, and sometimes it hinders full enjoyment of the work. Returning to LOST, for example: much as I loved that show, much as I hung on every next episode, I had an uneasiness in the back of my mind the whole time, because early on I’d seen a TED talk by J.J. Abrams, in which he told a story about buying a mystery box at a magic store as a kid—a box marked only with a question mark, so that you didn’t know what was inside until you took it home and opened it. He never opened his. He displayed it right there during his talk, still sealed up decades later. It held more meaning for him as a possibility, a mystery; he’d kept it as a talisman all those years, a symbol of the joy of the unknown. I listened to him describe this—it was early in Season 2, I think—and I thought, Ohhhh NO, he likes unanswered riddles. LOST had us up to our ears in unanswered riddles, and by golly I wanted answers; but knowing what I knew about one of the most powerful people behind that particular curtain, I no longer had confidence answers would be provided.
(And yet I dove eagerly into that quicksand pit of riddles week after week.)
With novels, it seems generally easier to tuck the writer back behind the curtain and forget about him or her. Not always, but usually, if the story is well told. This is probably because there are fewer variables; your novel’s characters can’t quit on you, or send unfortunate tweets, or be arrested for drunk driving. It’s only when a book has plot holes or something clunks that I’m back to thinking about the person behind the page. Sometimes it’ll even be the editor who draws my focus; I’m thinking: Why didn’t you catch that? This story didn’t start until chapter three, and it’s your job to break that news to the writer.
(Perhaps I think this because I’ve had the good fortune of working with truly excellent editors who perceive all things visible and invisible.)
It’s a strange age we live in. What I want as a writer is to be invisible on the page; I don’t want the reader thinking about me at all. I believe that if I’m doing my job right, you’ll have forgotten about me within a few paragraphs—or perhaps a few pages, if you know me with some degree of familiarity. And yet, as an author (i.e. writer of published books), I’m aware that my publishers expect, and my books’ survival may in part depend on, various kinds of visibility. And then I’m also a blogger, eight years in love with the form—a medium which is all about person-to-person sharing, and which sometimes brings me more direct satisfaction than my books.
(Am I allowed to admit that? It’s true, though. Most writers I know go on being critical of their own work long after it’s been published. Not to mention the blunt reality of things sometimes going out of print.)
So our various selves are all intertwined, these days: the reader, the writer, the viewer, the performer. I’m reading your novel on one screen and chatting about your hellish commute on another. I’m watching your movie and thinking about that perplexing remark you made in a blog post. I’m head over heels in love with your television show—and desperately wishing you’d written yourself out of this particular script.
Which I suppose is where my point is. I don’t mind the intertwined identities; in fact, I rather enjoy them, as long as they don’t affect the work. The more I respect your talent and skill, the less I want to think about you while I’m enjoying your art. I’ll eagerly go and hear you speak about it later—that’s a joy, hearing creative people discuss their work. But I don’t want to be in a writing workshop with every single creator I encounter. I don’t want to think about your writerly choices, and what drives them, not in the moment, not while I’m immersed in your work. Give me invisible craft. Let me believe, just for this hour, that there are no puppet strings, no hands pulling them. Let me believe there’s no one there behind that curtain—let me forget the curtain exists at all.
Add a CommentBlog: Maud Newton (Login to Add to MyJacketFlap)
JacketFlap tags: the wire, Reviewed/Discussed Elsewhere, raymond chandler, narrative television, TV, Film, hollywood, Add a tag
My contribution to the “Why’s This So Good?” series — a collaboration between Longreads, Alexis Madrigal, and Nieman Storyboard’s Andrea Pitzer designed to explore “what makes classic narrative nonfiction stories worth reading” — is about Raymond Chandler’s 1945 “Writers in Hollywood,” a scathing attack on the motion picture industry.
Candler “brought to bear on his subject all the fury and surprising insights of the novelist who wrote ‘The Big Sleep,’ the gimlet-eyed practicality of the storyteller whose first publications were for pulp magazines, and the staggering self-absorption of the depressive alcoholic.” And the critique isn’t just a dusty object of curiosity from the vaults; it’s relevant now.
In the heyday of the Hollywood novelist-screenwriter, a slew of literary talents – Chandler, F. Scott Fitzgerald, William Faulkner, Dorothy Parker and Aldous Huxley, to name just a few – did time writing film scripts because they were easy money. Now, in the new narrative TV landscape, it’s cable companies that are signing novelists and memoirists in droves. Jonathan Ames, Jennifer Egan, Sam Lipsyte, Sloane Crosley, Salman Rushdie, Michael Chabon and Ayelet Waldman are just a few recent hires. Given that fiction writers like Richard Price and George Pelacanos helped shape “The Wire,” arguably the most interesting story of our time, the focus on novelists makes a certain amount of sense. But how much creative control will they have? And will cable TV, too, eventually become too rigid to allow innovation?
You can read the rest, along with prior installments from Alexis Madrigal, Radhika Jones, Carl Zimmer, and Chris Jones, over at the Nieman Storyboard site.
Previously Ten novels and short stories that would make good movies (at IFC) and notes following The Wire season 5 premiere.
Add a CommentBlog: Ypulse (Login to Add to MyJacketFlap)
JacketFlap tags: altoids, bob iger, dick cook, google apps, harpercollins, Marvel, Disney, facebook, the wire, Ypulse Essentials, jennifer's body, Abercrombie & Fitch, The amanda project, the cleveland show, Add a tag
Sea changes at Disney (In with Marvel, out with studio head Dick Cook. Major shift is afoot at Disney. The Daily Beast rounds up Hollywood's on-record dismay at the "unceremonious termination." Variety looks back at other storms Bob Iger has... Read the rest of this post
Add a CommentBlog: Justine Larbalestier (Login to Add to MyJacketFlap)
JacketFlap tags: Writing & Publishing, lying, Next novel, The Wire, robots, Research, lying, Writing & Publishing, The Wire, Next novel, Add a tag
Enough of you have been emailing to ask why I wants to know about lying and DNA testing and race that I feel I should offer some kind of explanation, or several even:
- I am hard at work building a lie-and-DNA-detecting robot.
- I was bored.
- Maureen Johnson made me ask you cause she’s too lazy to do her own research.
- It’s for my new novel.
- It’s procrastination to avoid work on my new novel on account of Scott took my IM capability away.
- I am distracting myself from certain sad events on The Wire.
- None of the above.
I hope that’s cleared everything up to your satisfaction.
Blog: OUPblog (Login to Add to MyJacketFlap)
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I am pleased to introduce Corey Podolsky (bio at the bottom) who will, in the upcoming months, help us decipher some of the issues surrounding digital publishing and marketing. Corey is an Oxford insider but his opinions differ from Evan Schnittman’s. I think it is helpful to know that while we all work together at Oxford, we also all have different visions for the future. Check back tomorrow for Evan’s response.
What do Amway, MySpace and Oxford University Press have in common?
Amway is famous for its viral business model, recruiting thousands (perhaps tens of thousands?) of people globally to sell its products, each joining as independent contractors tasked with selling products and expanding the sales force by receiving commissions from subsequent recruit’s sales. (more…)
Ah . . . The Wire.
Thanks for the mention of Paul Elkman in your last post. I found an article about him from 2002 that is really interesting, and I also put in a request for one of his books at the library. I’m hoping it will help my writing because I have a hard time showing and not telling emotion.
But it makes me wonder . . . how do you read someone’s face in after they’ve had their Botox treatment?
Poke Scott in the tummy and tell him that he should give you back your IM.
Tell him it’s research.
I don’t know, maybe try out some of your new lying techniques to see if you can come up with a good enough story to convince Scott to do that one thing for you…
I’m not sure, you think of something. You’re the one who tells stories for a living.
oh yes. that clears everything up!
The Wire…ah, perfection…but too often, too sad. I still miss some we lost seasons ago…
And I think they should have Omar do Honey Nut Cheerio commercials…
Emily
personally, i’m blaming maureen.
Yeah, I’m more inclined to believe that Maureen is too lazy to do her own research, but, then again, I don’t think you would do research for her so enthusiastically. So I’m just hoping it’s for a new sekrit book that no one know about just yet.
What? What? This has nothing to do with me! Though I am enjoying the vote of no-confidence I am getting from all sides.
I vote for the robot. But I think it should also know CPR so it can save lives.
Now, Justine, you can be honest. We all know you’re researching ways to use high-schoolers’ DNA to make zombies, and trying to learn how to lie convincingly so as not to let the zombie out of the bag too soon.
~Mary
Aw Justine, you can tell us about the zombies, we promise we won’t tell anyone, loyal fans and all that. And you should definitely poke Scott in the tummy, with a cookie, repeatedly, until he gives you back IM.
I know some people who could get you IM’ing without Scott being able to block it. It’ll cost ya, but you know, when you need it, you need it.
1. Justine…your post on Imitation of Life has caused me to scurry to the video store where I’ve purchased both. I owe you a response and have not forgotten. But, as you know, WORK must come first.
2. The Wire. I am unhappy. Very unhappy. [redacted for spoilerage-ness]
3. Glad Scott took away IM. I have weaned myself off of it, as well. IM is a time and brain suck that does very little towards making the work go faster.
4. [redacted for spoilerage-ness]
5. Since you’re so VERY good at it, can you talk for a minute about what makes for a good public reading of one’s work? How you decide which sections to read from…whether you feel its appropriate to make editorial revisions on the text you’ve chosen to read, etc. ?
Certainly, it must get easier over time, right?
Right?
Doselle: Let us not speak of The Wire right now.
5. Flattery will get you everywhere! I guess I could post about that. I am in hate for reading aloud. It sucketh. But general rule: keep it short. Ideally ten minutes or less. I prefer self-contained pieces. Though it can be fun to leave every on a giant cliff-hanger. Hehehehehe.
Why do you think reading aloud sucks so hard then, eh?
I mean, like, what could possibly suck about a performance anxiety-inducing exercise in public speaking before a crowd of stranger OR WORSE respected friends and acquaintances?
I mean, it doesn’t sound THAT bad, does it?
And no–let’s NOT speak of The Wire for the moment! The scene where Bunk puts on a corset and performs a scene from Pride and Prejudice seemed entirely out of context to me, but whatever!
Yowtch!
When I first started doing readings I was afraid no one or very few would show up, but now I look forward to that cause it means I don’t have to read and we can just chat casually (if there’s very few) or I can go home.
But mostly I don’t read at my appearances anymore. I tend to tell some anecdotes and then switch to Q & A. Is much more fun for me and the audience.
I really liked that scene with Bunk! I love anything Bunk does.
The best part about Bunk was his unexpected reaction to Detective Griggs as ‘Mister Darcy.
Who knew any human could make that kind of sound with a piece of black licorice and a tea cozy.
That was a tea cozy?
Yes! Yes! I know it looked very much like a miniature anteater, but it was almost certainly a tea cozy. I take my tea cozy collection quite seriously, so I would obviously be in a position to know about such things.
How Bunk was able to to fit it over Kima’s head with the teapot still inside it is another question entirely. Guess its really not just television.
Its HBO.