Wednesday, July 11, 2012

WHAT A NOVEL CAN DO THAT FILM AND TV CAN’T


This guest column is from award-winning author Joe Meno (Office Girl).
Over the last decade or so, I’ve begun to think hard about the differences between the novel as a narrative form and other story contemporary mediums. Through my various novels, I’ve begun exploring what a novel can do that other narrative forms—film, television, stages plays, video games—can’t or don’t necessarily seemed suited for.
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Joe Meno is a fiction writer and playwright who lives in Chicago. He is a winner of the Nelson Algren Literary Award, a Pushcart Prize, the Great Lakes Book Award, and was a finalist for the Story Prize. He is the author of five novels and two short story collections including Hairstyles of the Damned, The Boy Detective Fails, and Demons in the Spring. His latest novel, Office Girl, is in stores now. His short fiction has been published in One Story, McSweeney’s and broadcast on NPR. He is an associate professor in the Fiction Writing Department at Columbia College Chicago.

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The first obvious difference is language—the ability to explore the dramatic possibilities of single words and words used in succession, the exquisite, the vulgar rhythm and sounds of human speech as presented on the page in small black marks. For centuries now, prose writers have exploited this important difference, though to be fair, the stage play and even a few films and TV shows have a highly developed sense of language. HBO’s The Wireor Deadwood are pretty amazing examples of scriptwriters borrowing from the poetry of prose.
There’s also a large difference between the novel and these other narrative forms when it comes to form and inter-textuality. Most novels are built from various prose forms—scenes, letters, script forms, notes, how-to’s—which don’t quite translate to film, television, or the stage play. Hearing a character read a letter out loud is not quite the same as reading the letter yourself as the prose reader. There’s also something incredibly appealing to me about the juxtaposition of all these forms physically—the look of a letter on the page, the look of a scientific abstract—that is almost impossible to capture in these other mediums.
Then there’s the issue of scale; I think a novel has a different sense of scale than film or TV or even stage plays, because all of these forms rely on a somewhat similar kind of dramatic intensity. In films, we typically see large-scale dramatic events—epic human struggles that have to be resolved within one hundred and twenty minutes. Dramatic TV shows and stage plays are also similar in that the kinds of conflicts they tackle are usually pretty intense, while at the same time limited by the length an episode or stage play can run.
Novels seem to work in an entirely different way. They are not limited by length of time, which means the dramatic events in novels can be more complex, more detailed, more sustained. It seems a number of esteemed contemporary literary novels make use of that specific breadth and scale, traversing multiple eras and introducing multiple characters. If anything, it seems like the novels of the 21st century has more in common with the novels 18th or 19th centuries, the only difference being that contemporary novels seem to reflect our current polyglot culture, weaving in tangential scientific, historical, economical information: a book as encyclopedia or book as internet browser.
But this predisposition towards bigger, more complex novels, novels filled with more and more information, ignores another interesting dramatic possibility in terms of scale. Unlike film, unlike television, unlike the dramatic play, a novel can focus on the narrow confines of a particular relationship, it can create an intimacy between reader and characters in a way almost no other narrative medium can. Maybe it’s because a novel is not actually finished until the reader the words and actively imagines their meanings, where as films, television, even stage plays don’t actually need an audience. They can still function and exist whether or not anyone is watching. But a book needs a reader to be completed, and this dependency builds a unique sense of understanding between the reader and the characters. Also, unlike these other narrative forms, which are often more communal, novels demand to be read alone.
So it seems the novels is perfectly suited not just to telling the most complicated, the most expansive stories, but also the most focused, the most quiet, the most intimate as well. Yet there are very few contemporary examples of authors exploring this particular possibility. Everyone seems to be excited about the vastness, the elaborate, the largess of the novel, both in page length and scale.
After thinking about these ideas for the a few years, I decided to try to build a novel, employing these various novelistic ideas—the heightened use of language, the possibility of multiple forms, and a narrative focus devoted solely to two characters and their singular relationship. The resulting book, Office Girl, follows two young people in their twenties during a few weeks in the winter of 1999 who decide to start their own short-lived art movement. It also contains text, drawings, photographs, a zine, and other artworks that the two young people, Odile and Jack, create during the course of their relationship.  I tried to use these various visual elements to capture Odile and Jack’s developing connection. Whether the book succeeds or not, I feel like the attempt—the intention of trying to take advantage of what a contemporary novel can do that other narrative forms can’t—is one of the ways in which the novel will continue to grow, develop, and sustain itself in this latest period of narrative uncertainty. Instead of building novels to be more like other narrative forms, I think using the novel to do what it only truly can do may actually help the form to endure.
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Go forward and win!



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Critiques also provide suggestions for improvements and enhancement. 

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Other services are at regular price.

Query Letters: $25.00 Flat Fee  

Editing: $45.00 Flat Fee
  •  Evaluating formatting to industry standards
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Thursday, July 5, 2012

REMEMBERING NORA EPHRON: BEFORE ALL THE HOLLYWOOD SUCCESS



Nora Ephron died at 71.
In her career, she worked as a journalist before reinventing the modern romantic comedy (Sleepless in SeattleWhen Harry Met Sally) while writing everything from novels and essays to stage plays.
WD is saddened by her passing, and our thoughts go out to her sister Hallie (who we have worked with over the years) and the rest of the Ephron family.
Here, in Nora’s honor, are some of her words from an interview we did way back in 1974—when she was 32 and a successful freelancer, before all the Hollywood success that was to come.
Here’s how writer Rex Reed described her work back then: “Great, chunky spoonfuls served in tasty style by a fresh, inventive observer who stalks the phonies and cherubs alike, sniffing them out like a hungry tiger, clamping her pretty teeth down in all spots where it hurts the most, then leaving all of her victims better off than they were before they met Nora Ephron.”
 *
“Well, it’s just that my point of view happens to be faintly cynical or humorous—and just the way I see things and that’s how it comes out when I write it.
“You better make them care about what you think. It had better be quirky or perverse or thoughtful enough so that you hit some chord in them. Otherwise it doesn’t work. I mean we’ve all read pieces where we thought, Oh, who gives a damn.”
When asked about writer’s block, and what happens when she’s completely cold and stuck on a piece—
“I am never completely cold. I don’t have writer’s block really. I do have times when I can’t get the lead and that is the only part of the story which I have serious trouble with. I don’t write a word of the article until I have the lead. It just sets the whole tone—the whole point of view. I know exactly where I am going as soon as I have the lead. … But as for being cold—as a newspaper reporter you learn that no one tolerates you if you are cold. It’s one thing you are not allowed to be. It’s not professional. You have to turn the story in. There is no room for the artist.”
“I think that readers believe that a writer becomes friends with the people he interviews and writes about—and I think there are some writers who do that—but that hasn’t happened to me. I do think it’s dangerous because then you write the article to please them, which is a terrible error.”
When asked about her writing routine—
“I don’t have much of a routine. I go through periods where I work a great deal at all hours of the day whenever I am around a typewriter, and then I go through spells where I don’t do anything. I just sort of have lunch—all day. I never have been able to stick to a schedule. I work when there is something due or when I am really excited about a piece.”
When asked what her main distraction was—
“Life. I mean the main thing that distracts me is the pressure to go on with one’s life. That you have to stop to have lunch with someone or you have to take the cat to the vet …”
Her advice to young writers—
“First of all, whatever you do, work in a field that has something to do with writing or publishing. So you will be exposed to what people are writing about and how they are writing, and as important, so you will be exposed to people in the business who will get to know you and will call on you if they are looking for someone for a job.
“Secondly, you have to write. And if you don’t have a job doing it, then you have to sit at home doing it.”
*Special thanks to Dylan McCartney for his help on this post.
Zachary Petit is an award-winning journalist, the managing editor of Writer’s Digest magazine, and the co-author of A Year of Writing Prompts: 366 Story Ideas for Honing Your Craft and Eliminating Writer’s Block.







Go forward and win!


Logline Service
I have been getting a lot of request for loglines. I give different prices . Since I have so many requests for this service, I decided to set a single fix price.

Logline: $5.00 Flat Fee

A synopsis or summery is required. It well be used to form the logline. The logline is just one line.




Screenplays

Critique: $50.00 Flat Fee, Discount fee $42.50
 Includes evaluating the basis elements of a script

  •  Introduction
  •  Development
  •  Climax
  •  Conclusion
  • Character development 
  •  Mid point development
Critiques also provide suggestions for improvements and enhancement. 

Payments are made by Paypal or cashier check by mail.


Other services are at regular price.

Query Letters: $25.00 Flat Fee  

Editing: $45.00 Flat Fee
  •  Evaluating formatting to industry standards
  •  Spelling, grammar, punctuation, sentence structure, etc.
Turnaround time:
Editing: 2 weeks
Critique: 2 weeks
Query Letters: 2 weeks

Feel free to contact me at ahicks4298@q.com or ahicks4298@msn.com.
Feel to call me at (360) 696-4298. Ask for Frances.


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THE 13 TRICKIEST GRAMMAR HANG-UPS


I like this picture. It's so carefree.

I trust that you all know the difference between who and whom, and I trust that typos are the only reason you use the wrong it’s. It happens to the best of us. For most writers, if you can just maintain your focus (perhaps with caffeine and frequent breaks), you’ll get the basics right. The following problems, however, may have you scrambling for a refresher.

1. Half can be both singular and plural.

Typically, subjects and verbs agree: If the subject is singular, the verb is singular. If the subject is plural, the verb is plural. Easy peasy. However, sentences that start with half don’t follow this rule.
Half alone is singular: My half of the pizza is pepperoni. Yet although half is the subject in a sentence such asHalf of the pizzas are missing, we use a plural verb because of something called notional agreement. It simply means that although half is singular, half of the pizzas has a notion of being plural, so you use a plural verb. Follow this rule when half is the subject of a sentence: If half is followed by a singular noun, use a singular verb. Ifhalf is followed by a plural noun, use a plural verb. Half of the pepperoni is ruined, but half of the tomatoes are missing.
Compound words that start with half are quirky too. They can be open, closed or hyphenated (e.g., half note,halfheartedhalf-baked). There’s no rule that applies across the board, so you’ll have to check a dictionary.

2. Companies are not exactly people.

Companies are entities, but they are run by men and women, so you could make an argument for referring to a company as who, particularly since U.S. courts have ruled that companies are people in most legal senses. Nevertheless, the standard style is to refer to a company as an entity and use the pronouns it and thatWe want to buy stock in a company that makes hot air balloons.
If you want to highlight that people in the company are behind some action or decision, name them and use who:Floating Baskets was driven to bankruptcy by its senior directors, who took too many expensive Alaskan joyrides.

3. American is a flawed term.

American is the only single word we have to refer to citizens of the United States of America (U.S.-icans?), but technically, an American is anyone who lives in North America, Central America or South America.
In the U.S. we, the people, have been calling ourselves Americans since before our country was even founded (as have our detractors). Although all people of the American continents are actually Americans, most readers in the U.S. and Europe assume that an American is a U.S. citizen, since that is how the word is most commonly used.
Despite its failings, use American to refer to a citizen of the United States of America. No better term exists. Feel free to feel guilty.
Howl is the type of guy plain girls fall for.

4. The word dilemma can be, well, a dilemma.

The di- prefix in dilemma means “two” or “double,” which lends support to the idea that dilemma should be used only to describe a choice between two alternatives. The Associated Press Stylebook and Garner’s Modern American Usage not only support that limitation, but go further, saying that dilemma should be used only for a choice between two unpleasant options.
Nevertheless, Garner also notes that other uses are “ubiquitous.” Merriam-Webster’s Dictionary of English Usageand The Columbia Guide to Standard American English say it’s fine to use dilemma to describe any serious predicament, and The American Heritage Guide to Contemporary Usage and Style takes an intermediate position. What’s a writer to do? (Is it a dilemma?)
Unless you’re writing for a publication that requires you to follow a style guide that limits dilemma to a choice between two bad options, it’s not absolutely wrong to use dilemma to describe a difficult problem, even when alternatives aren’t involved, or to use dilemma to describe a difficult choice between pleasant options. Still, you’ll seem most clever when you use dilemma to describe a choice between two bad options. In other instances, before using dilemma, ask yourself if another word, such as problem, would work better.
Also, a cursory search of the Internet reveals that lots of people are confounded by the spelling of dilemma. Many were taught to spell it wrong. In fact, I was taught to spell it dilemna in school, and when I got older and checked a dictionary, I was shocked to find that the word is spelled dilemma. Further, the only correct spelling is dilemma. It’s not as if dilemna is a substandard variant or regional spelling. Dictionaries often note alternative spellings and sometimes even nonstandard spellings, but dilemna doesn’t even show up that wayAs far as I can tell, nobody knows why so many teachers got it wrong. Perhaps a textbook typo is to blame.

5. Earth isn’t treated like the names of other planets.

In English, the general rule is that we capitalize the formal names of things and places (e.g., Golden Gate Bridge,San Francisco), so we capitalize the names of other planets: JupiterMars and so on. For some unknown reason, however, we treat earth differently. Sometimes it’s capitalized and sometimes it’s lowercase, and there doesn’t seem to be a hard-and-fast rule.
Typically, when earth is proceeded by the, it’s lowercase, and when earth is listed with the names of the other planets, it’s capitalized—but you can find exceptions to even these patterns. (Of course, when we’re just usingearth as another word for dirt, it’s always lowercase.)
If you’re a writer, check your publication’s style guide to see what it recommends. If you’re writing for yourself, the most important thing is to be consistent—so just pick a capitalization style and stay with it.

6. Gone missing might be annoying, but it isn’t wrong.

Gone missing is a Briticism that has made its way to the U.S., where reporters use it mostly to describe missing persons. Although journalists and newscasters seem to love gone missing, it’s easy to find vocal readers and viewers who hate it.
Haters argue that a person must go to a location, and missing isn’t a place, and that an inanimate object can’t go missing because it can’t take action alone—but English has never been so literal. In a tight labor market, jobs can go begging (be unfilled), for example, even though begging is not a location and jobs can’t take action. Other peevers suggest that gone missing necessitates an action on the part of the person or item that has vanished. Again, we have parallels that undermine the argument: Milk goes bad, for example, without taking any action on its own.
Gone missing is not wrong. The Oxford English Dictionary places it in the same category as the phrase go native, as in, We had high hopes for our new senator, but after he was in Washington a few months, he went native (i.e., adopted the same habits and attitudes as people who’ve been there a long time).
Even if you hate gone missing, you can’t legitimately criticize it as grammatically incorrect. But on the flip side, if you’re a fan of the phrase, be aware that it annoys enough readers that you should think twice before using it in your writing.
7. Kinds is always plural.
You have one kind of peanut butter but three kinds of jelly. Use the singular (kind) when you have one of something, and the plural (kinds) when you have more. Since these and those indicate multiple things, you have to use a plural: kindsThese kinds of situations always perplex me. (These kind is wrong.)
Watch out for the problem. Even though it seems straightforward, good writers often get it wrong.

8. Until is ambiguous.

If you have until March 4 to submit an entry in the National Grammar Day video contest, does that mean you can still turn it in on March 4, or is March 3 the last acceptable day? Unfortunately, the word until doesn’t make the meaning clear. People can interpret it different ways.
One of the most stress-inducing deadlines is the annual tax filing cutoff for the Internal Revenue Service, which makes a point to specify that the April 15 filing deadline includes April 15. It also refers to April 15 as a due date, not a deadline.
If you’re following instructions, don’t assume until means through. Turn in your item a day early or get clarification. And if you’re writing instructions, make them clear by using a word such as through or stating a specific day and time. The IRS doesn’t rely on an ambiguous word such as until, and neither should you.
Some people are gun crazy. So don't criticize their writing.

9. Next is also ambiguous.

Just like untilnext is ambiguous: Some people think next Wednesday means the next Wednesday that will occur, and other people think next Wednesday means the Wednesday in the next week, regardless of what day it is now. The sitcom Seinfeld even did a scene in which Jerry and Sid argued about the meaning of next Wednesday versus this Wednesday.
There is no definitive meaning for next Wednesday, so you should avoid using next to modify a day of the week. Be more specific in your writing.

10. The plurals of abbreviations aren’t always logical.

Acronyms are abbreviations that are pronounced as words (NASA), and initialisms are abbreviations for which you say each letter (FBI).
Even though it doesn’t make perfect sense, you make initialisms and acronyms plural by adding an s to the end no matter what part would be plural if you wrote out the whole thing. Therefore, even though you would write runs batted in, the plural is RBIs.
In the past, some publications used apostrophes to make acronyms and initialisms plural, so until a few years ago, it was common to see something like RBI’s or CD’s in The New York Times. But these days, the major style guides recommend omitting the apostrophe.

11. They and their may soon be acceptable singular pronouns.

English has a big, gaping hole: There’s no pronoun to describe a person when we don’t know the sex. (I’ve tried itwith babies, and it hasn’t gone over well!) In days gone by, he was acceptable as a generic pronoun, but today it’s not. All major style guides recommend against it.
To fill the gap, many people consciously or subconsciously use they, as in, Tell the next caller they win a car. Doing so is allowed by some current style guides and actually has a longer history than most people realize. Even Jane Austen did it. For example, here’s a quotation from Mansfield Park in which Austen pairs a plural pronoun (their) with a singular antecedent (each):
Everybody around her was gay and busy, prosperous and important; each had their object of interest, their part, their dress, their favourite scene, their friends and confederates: All were finding employment in consultations and comparisons, or diversion in the playful conceits they suggested.
Although many people consider using they as a singular pronoun wrong, I suspect many of those same people use it that way in casual conversation without even realizing it, and that the singular they will become fully acceptable within the next 50 years.
Today, using they as a singular pronoun borders on acceptable. You can choose to do it if you aren’t bound to follow a style guide that opposes it, but be prepared to defend yourself. The safer route (when you can’t           just rewrite the sentence to make the subject plural) is to use he or she, or to switch between he and she (which you may have noticed is the style followed by this very magazine).
When switching between he and she, however, make sure you separate the examples enough so that you don’t confuse your readers. (Weren’t we just talking about a woman?) Also, I’ve recently started getting complaints from men who’ve noticed that writers switching between he and she tend to use he for the bad guys and she for the heroes. If you’re going to switch back and forth, give us some vixen ax murderers and hunky human-rights activists every once in a while.

12. Possessives of possessives can get messy.

When you have to make a possessive name possessive, you’re technically supposed to add another possessive marker to the end:
Kohl’s’s earnings were up last quarter. (The Chicago Manual of Style possessive style)
Kohl’s’ earnings were up last quarter. (The Associated Press Stylebook possessive style)
Avoid these kinds of sentences, though. They may be technically correct, but they look horrible. You can usually rewrite the sentence to make it better:
Kohl’s reported higher earnings last quarter.

13. Apostrophes can occasionally signify plurals.

We all cringe when we see a greengrocer’s apostrophe (banana’s $0.99), but did you know that in a few uncommon instances, we do use apostrophes to make things plural? In most cases, the apostrophe helps avoid confusion; single letters are one example. The first apostrophe in Dot your i’s and cross your t’s helps readers distinguish between multiple copies of the letter i and the word is. A less logical example is the phrase do’s and don’ts. Different style guides recommend different spellings (dos and don’tsdo’s and don’ts, and do’s and don’t’s). When writers use an apostrophe to make do plural but not to make don’t plural, the only reason for the apostrophe is to provide visual balance. Yet, it’s allowed.


Go forward and win!




Logline Service
I have been getting a lot of request for loglines. I give different prices . Since I have so many requests for this service, I decided to set a single fix price.

Logline: $5.00 Flat Fee

A synopsis or summery is required. It well be used to form the logline. The logline is just one line.



Screenplays

Critique: $50.00 Flat Fee, Discount fee $42.50
 Includes evaluating the basis elements of a script

  •  Introduction
  •  Development
  •  Climax
  •  Conclusion
  • Character development 
  •  Mid point development
Critiques also provide suggestions for improvements and enhancement. 

Payments are made by Paypal or cashier check by mail.


Other services are at regular price.

Query Letters: $25.00 Flat Fee  

Editing: $45.00 Flat Fee
  •  Evaluating formatting to industry standards
  •  Spelling, grammar, punctuation, sentence structure, etc.
Turnaround time:
Editing: 2 weeks
Critique: 2 weeks
Query Letters: 2 weeks

Feel free to contact me at ahicks4298@q.com or ahicks4298@msn.com.
Feel to call me at (360) 696-4298. Ask for Frances.


************************************************************************************
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