Winter Love Story: Movies about Writing

Since I actually, kind of enjoyed Mistletoe Inn, I decided to try one more Hallmark movie about a writer. I regret my decision. Although, full disclosure I missed bits of the beginning.

Cassie (Jen Lilley) is the daughter of a celebrated novelist and Princeton professor. She has just published her own first book following her divorce, a romance memoir full of humor and real-life inspired feelings. Her publisher asks bestselling fantasy author Elliot (Kevin McGarry) to help Cassie with being comfortable doing book readings and signings. He agrees and the pair go on tour together along with Elliot’s adorable dog, Bungee. Blah blah blah, they fall in love, they have a misunderstanding, they end up together. Oops, did I spoil it?

First of all, in the scenes where Elliot’s books are being read out loud, they still sound like the style of a romance novel, just with a dragon written in. Then again, his audience did seem to be a lot of twenty-something women who wanted to jump his bones. At least the film was realistic in its decision to show that even published authors who aren’t bestsellers need to supplement their income by showing Cassie as a barista. However, she works in a small coffee shop owned by her roommate. Mom’s a famous author who gave her advice. She lives with her boss. Cassie’s life is a lot of near-nepotism. At least Cassie admits this and chooses not to use her mom’s last name on her own book.

The concept of the book tour itself is a tad cringe. Two almost strangers taking a road trip together while their “point people” make sure they have places to stay in each city felt a little too fancy for a publishing company to pay for. If they hadn’t constantly pointed out that Elliot was making the company LOTS of money, I would have been making psh sounds through the whole movie. Also, they appear on a morning show together. I would understand interviewing Elliot about his popular series, but what kind of strings did they have to pull to let Cassie talk about her book too? (She chokes by the way and Elliot tries to teach her about “public speaking”).

What I did like was that Elliot immediately read her book as a way to get to know her and have a better working relationship. Meanwhile, Cassie is just a snob about his work calling him the “dragon-writer” and sneering as she refers to his work as “nerd novels”. Then she keep apologizing right afterwards like a passive-aggressive “no offense” comment. She learns her lesson, but seriously rude!!!! Cassie is not a particularly likable character, complaining when her room at the bed and breakfast is tiny and acting all superior. Elliot is the best promoter, giving her opportunities that a publishing company would never give unless her books were selling like his. He even confesses to her that he has writer’s block and she says nothing helpful! You’re both writers! Be a writer and try to help the man!

By the last twenty minutes Cassie almost won me over. She finally started to give back professionally to Elliot and was excited to be trying new reading and writing topics. She takes initiative in her own career while appreciating the careers of other authors. AND YET SHE COULD NOT GET OVER THAT ELLIOT HAD A GOOD RELATIONSHIP WITH HIS EX-WIFE. Holy crap! He’s a better person than you. Deal with it.

Also, the dog needed more scenes.

Knives Out: Movies about Writing (Copy)

This one is a going to have spoilers - so you’ve been warned.

I love this movie so this will be written with bias. Knives Out is what happens when a bestselling mystery writer kills himself and leave everything to his kind nurse instead of the spoiled members of his family. I can’t do this film justice in a blog, so I won’t go into intense detail, but here’s the background. Christopher Plummer plays Harlan Thrombey, a self-made millionaire with his own publishing company and house of fabulous oddities based on his many novels. His family is made up of a whose who of great actors (including Jamie Lee Curtis, Toni Collette, Michael Shannon, and Chris Evans) in a traditional Agatha Christie style.

This comes with their own quirky private detective Blanc (Daniel Craig takes this role and runs with it in a fantastic way) working with the exhausted police investigators (one of whom is notably played by LaKeith Stanfield). At the center of all of this is Marta, the quiet, young caregiver played by Ana de Armas. Also, Frank Oz has a cameo as the lawyer at the will reading. Side note: I just imagine this moment on the set of Star Wars the Last Jedi where Rian Johnson fanboyed over Frank Oz and slyly asked if he wasted to play the snarky attorney. If this is not how the casting occurred, I don’t want to know. Let me have my geek dream.

This movie is Rian Johnson’s love letter to Poirot, Colombo, Jessica Fletcher, and the film Clue. So, he includes so many of the tropes needed, while mixing in it a unique story of socioeconomic status.

Let’s look at the author/victim of the mystery first. Harlan Thrombey fills his house with a mix of oddities and objects from his novels. He raised his family in this attempt to make his own life more interesting as his daughter talks about his love of games and how he regrets giving them all too many handouts that they don’t seem to appreciate. For example, when he finds out that his son-in-law is having an affair, instead of coming out directly with the information, he writes in a secret message to his daughter that he promises to deliver if the husband does not come clean.

Therefore, when Marta thinks she’s accidentally poisoned Harlan with morphine, he is determined to save her in a way that is full of all the complications of a mystery novel, after he considers how this form of murder would work well in a novel. He refuses to allow her to call the police as her mother is undocumented. Instead, he tells her to leave the house so everyone sees her, sneak back in, pretend to be Harlan so everyone thinks he was still alive after she left, and then sneak back out. All of this while he has slit his own throat to make his death appear as a suicide. This, by the way, is not the actual twist of the film. All of that is revealed in the first 30 minutes.

Going back to the idea of a successful mystery writer being the center of a murder mystery. I’ve mentioned the house and property full of wonderful eccentric relics. This is meant to mirror his personality and the themes of his novels. The reason why I point this out is because it is the beloved goal of every writer or artist to be able to afford a house big enough to fill with all of the weird items of our dream lives. Mine would have a secret bookcase door, a cast iron spiral staircase, and a giant mural of either a Gustav Dore’ picture or a N.Y. Wyeth illustration.

None of this has to do with the plot of the movie (well, it does, but you need to watch the movie to find out how). I’m just saying - I want Harlan Thrombey’s house.

Gothic: Movies about Writing (Copy)

And now for something completely batsh*t.

Long before I ever actually read Frankenstein, I was weirdly knowledgeable about its creator, Mary Shelley. And therefore, when I was flipping though late night television long ago and probably watching channels I wasn’t supposed to be, I discovered a young Natasha Richardson running panicked down a hallway while Julian Sands made out with Gabriel Byrne. They addressed each other as Byron, Shelly, and Mary, so naturally I kept watching. What I had stumbled upon was 1986’s Gothic directed by Ken Russell, a man who had to have been high most of the time (and if he wasn’t, the inside of his brain must’ve been a scary, brightly colored place).

This is meant to be a horror movie, but the monsters are pretty obviously the result of a bad trip.

There are several films that attempt to capture the idea of Mary Shelley winning the famous “let’s tell ghost stories” night against Byron, Shelley, and John Polidori (more about them later), but this is the only one that really focuses on the amount of opium likely ingested that night. This is NOT A CHILDREN’S FILM. Hell, I don’t this film is probably appropriate for most adults.

The madness open with Percy Shelley rowing Mary and her step-sister, Claire, to the shore of Byron’s villa. The moment he exists the boat, ye olde fangirls chase Percy up the lawn i hopes of tearing his clothes as a souvenir. You know, that whole poets being the rockstars of their day comparison. I don’t care how popular, I don’t think anyone every squeed at a poet. Sorry poets.

The characters/historical figures are established by extremes in the first 8 minutes. Byron is a lustful rogue who instantly makes Mary uncomfortable. Percy is a ridiculous child who just wants the attention of those around him. Claire is a wild thing determined to keep up in her recent and abusive affair with Byron. John Polidari, Byron’s person doctor, is just weird and uncomfortable with a sense of being both as lustful as Byron yet sexually harrassed by him (everyone man in this is established as bi from the get-go). And finally Mary, the quietest and most sensible of the group.

They decide to play a game in the giant house where the director fills the set with obvious sexual allegories, clockwork figures (that are very obviously people in costumes) and annoyed servants. The game is ended abruptly with Percy crawling out on the roof in the midst of a lightning storm and reminding Mary of her father’s favorite theories about electricity.

Drunk, high, and in hopes of an orgy, the group starts to read aloud from a book of ghost stories (while Percy makes out with Mary and feels up Claire at the same time…yep, you read that right). The stories instantly show Parallels to Mary’s future such as doom for Percy near water and the loss of a child. It feels like most movie versions about this night like to do this, Make it seem like Mary cursed them all for tragedy by writing Frankenstein. Nevermind that this whole group suffered from mental illness that was added to with booze and opium.

Byron decides they should “conjure” a ghost which Mary is unnerved by due to her own desires to bring her recently stillborn baby back to life. Even though they declare that they will make up their own ghost stories you never really see this - just more orgies, Claire having a seizure, Byron ordering a half-naked maid to pretend to be his half-sister, and Mary realizing that Percy is infatuated with Byron.

Here, I finally make a writing observation besides the poet thing. Percy Shelley is portrayed in Gothic as both being fascinated and attracted by Byron, but also as if he wants to be Byron. Sometimes writers think that by mimicking the behavior of their literary idols it will improve their craft. You know those people who only use a typerwriter and drink rum because Hemmingway did the same. Or only use a quill pen and hide oneself in a room because Emily Dickinson was a shut-in. Or pine after a girl named Laura because that’s what Petrarch did.

From that point, the movie 45 minutes of nightmare fuel involving more sex, miscarriages, boob eyes, near suicide, mud baths, philosophical conversations about death and homosexuality and religion, and Frankenstein’s creature following Mary around the house until she sees an image of her son William dead (which really did happen). The characters argue whether this is all the result of their minds or a creature of the night.

The end of all of this crazy is the idea great literature and horror comes from nights of great f*&%ed-up events. A part at the end involving modern tourists informs the audience that from Polodoiri’s obsession with blood and Byron came the novella the Vampyre and Mary’s insistence to bring back the dead came Frankenstein.

Once again, a movie about writers relies on the idea of their biography being directly linked to their works. Only in this case, it involves a lot of Julian Sands being naked and, at least for me, that does not inspire much in the way of literary genius.

By the way, despite my sounding so critical of this bizarre film, I do own it.

I’m too lazy to check who owns this. Just don’t sue me, please.

Muppet Christmas Carol: Movies about Writing

“Storytellers are omniscient, I know everything.” So sayeth Gonzo the Great - I mean, Charles Dickens. The blue furry Charles Dickens who hangs out with a rat.

Now, I really do know A Christmas Carol like the back of my hand. I memorized the opening passage about door nails and coffin nails when I was a kid because it made me laugh - you know, like most eleven year olds. And this is pretty much my favorite version (in close running with the 1938 version and the 1951 versions) and is actually pretty close to the original novella (they cut out Bob’s oldest daughter, Martha and Scrooge’s sister Fan, but pretty close nonetheless). This is one of the only times the writer of the screenplay actually bothered to read the name of Scrooge’s former love, Belle. Most screenwriters skip that part and leave her nameless or give her a generic British name like Alice or Mary.

This film, for those who’ve never seen it (WHAT IS WRONG WITH YOU??), if full of jokes about Gonzo/Dickens being able to time each event as he narrates the story. His narrations come straight from the original text which is someone better sounding from Dave Goelz (the voice of Gonzo) then from the pompous Brit in the ‘51 version. However, Gonzo also has to constantly prove that he really is the author to Rizzo the Rat who finds this form of Dickens too unbelievable. “Hoity toity, Mr. God-like-smartypants.”

Still, I like the idea that even though Gonzo is Dickens, even he doesn’t know everything that’s going to happen. Characters can surprise their creators, even when the creator is being played by a blue furry, hook-nosed whatever.

I really don’t have much more to say here as I am very distracted right now. I mean, Michael Caine is signing with Robin the Frog. Where else could you possibly see that?

New Girl (Tuesday Meeting & Lillypads): Movies about Writing

This brings us to the end of the “New Girl” blogs by looking at two episodes from the final season. The season takes place three years later with Nick and Jess returning from a European book tour, Cece and Schmidt raising a precocious girl named Ruth Bader Parikh-Schmidt, and Aly and Winston are pregnant (which makes Aly very grumpy).

In the episode Tuesday Meeting, Nick is in the middle of a writer’s block. His latest book is not meeting with the high standards expected by his publishing company, but he’s trying to cover that up with new social media shots and using a great deal of fake confidence. All of this bravado is replaced by Nick burning his manuscript after his editor tells him to start a new series.

Nick and Winston run into Schmidt whose daughter hasn’t slept in days, meaning Schmidt and Cece haven’t slept in days. Nick is in search of new ideas outside of the Pepperwood Chronicles. The friends try to rebuild his inspiration by telling Nick that he wrote good quotes in his idea notebooks when really they stole the first thing they found from the Communist Manifesto.

In a Three Men and a Baby moment, they all work for hours trying to get Ruth to fall asleep. Meanwhile, Jess and Cece are going to a lunch where CeCe keeps falling asleep and Jess is considering leaving her new job because it’s nothing but busy work. Nick tries to tell Ruth a story at her request and he starts giving colorful versions of childhood memories. He decides that this will be his new book.

In Lillypads, the main plot is a delightful romp of attempting to get Ruth into a prestigious preschool. Seriously, this whole thing is a brilliantly written example of how amusing yet terrifying children can be.

Nick’s plot line involves him going to the bar that he used to own in order to write. In order to meet his deadline, he hired a man to punch him in the face if he doesn’t have 20 pages by a certain time. Of course, he found this gentleman on Craigslist and Winston points out that he would have punched him for free.

Winston comes to Nick for help with being on the stand as a police detective then realizes that he’s given Nick a way to procrastinate. Winston makes a nice speech here.

“Nick, you procrastinate when something is important to you, because deep down, you don’t think you’re good enough to get it done . . . So, of course when you get the opportunity to write something about your own life, the first thing you do is choke. You know how I know? Well, because for some reason, I’m your oldest friend. So I hope you get punched in the the face today. I really do. And then maybe you’ll finally see that you are good enough to be everything you want to be.”

I’m just gonna leave that nice thought there.

New Girl (Fives Stars for Beezuz): Movies about Writing

When we left the on-going saga of the “New Girl” characters Nick and Jess, Jess had runaway from Nick and Nick was finding new success being a writer. Spoilers ahead. And here we go.

This episode involves Jess about to tell Nick she wants to give their relationship another chance, but at a reading of his book he tells fans that the two main characters based upon him and her will never get together. His audience of teen readers are instantly crushed as he goes into an explanation about how adult relationships are complicated and he can’t force second chances between characters based on real people.

Heartbroken by his explanation, Jess pretends she is not back in L.A. and hides out at the house of Schmidt and Cece. She makes plans to move away and be away from the complicated adult relationship. She also get involves in the Winston and Aly B story about contacting Winton’s dad. “You can move with me to Portland!” Jess tells them and Winston responds with a resounding no. “Portland hella white”. All of this goes on through the chaos of discovering that Cece is pregnant and everyone accidentally found out before Cece.

Meanwhile, Schmidt goes with Nick to meets an editor and publisher interested in the Pepperwood Chronicles. The editor is more willing to make the deal if Nick kills off Jess’s character in the next book, a moment that makes Nick run to find the real-life Jess.

The episode does have a happy ending for what no one was sure would be the show finale (they get one more season). But I’m more focused on the interactions between Nick and the publisher that signs him. Their first encounter is very unprofessional and Nick downright rude.

Then when they have the meeting in the man’s office, Nick tells him in no uncertain terms that all of the publisher’s ideas are bad and asks if he’s ever done this before?
Yet, in the final season they are in business together. Pepperwood as a series became so popular that Nick’s publisher and his husband accompany Nick and Jess on European book tour! How? How would that possibly be a thing? How would any agent, publisher, or editor ever once allow a writer to speak to them like that and in up in business together for three years? I thought this show was supposed to take place in the real world, not cuckoo-bananas writers do whatever they want world.

Image property of Fox

Lucifer (High School Poppycock)

For those unfamiliar with the supernatural crime television show “Lucifer”, it’s loosely based on the Neil Gaiman DC comic character featured in the Sandman. But here, Lucifer (played by the swoon-worthy Tom Ellis) is a consultant to an L.A. detective named Chloe Decker (Lauren German) in a murder of week formula.

In the episode entitled “High School Poppycock”, a famous YA author has been murdered and the manuscript of her final novel of her popular series is missing. As this is a murder mystery I will warn that there are SPOILERS AHEAD!

Lucifer and Decker discover that novels were based on people and experiences the author witnessed in high school set in a dystopian future. This is very clear in that the woman did not even change the names of her former peers in the books. They decide to attend her high school reunion and see who could have been bitter at being used as mass produced drama or who knew that the author was overcoming at block at the time of completing the final book in the series, an ending her publisher stated was going to be full of battles and epic action.

A humorous moment comes in Detective Decker reading the series for insight and being hooked. Her character is former child actress who never had her own high school experience and she is sucked in by the angst of love triangles and petty feuds. She can’t help but allow her love of the characters to effect how she views their real-life counterparts at the reunion. That’s right. Chloe discovers fandom. The episodes does a good job with this concept, stating how the inspiration for the characters feel about their place in the books and how the people who were left out felt. There is even a major plot point involving fan fiction. Oh fan fiction. How I miss thee. Wait, what? Who said that? Not me.

Meanwhile, Lucifer is obsessed with finding out how the deceased author overcame her writer’s block, believing that her technique will help him his issue of helping kill the Biblical Cain (long story). He’s told that the afterword of the manuscript included the tale of the author’s return to productivity and inspiration. Therefore, he has a little more interest in finding the missing series finale than finding the actual killer.

After witnessing the real life drama of the people the book was based upon at the high school reunion, Chloe decides that maybe she didn’t miss much in her adolescence. She and Lucifer also come to the realization that the people included in the novel found therapeutic outlets by seeing themselves through the author’s eyes and the eyes of the fandom. As it turns out, the agent from the publishing company had murdered the author when he discovered that her ending was not the action-packed Michael Bay finale he wanted. Instead, she wrote something heartfelt and character based. Therefore after he killed her, he destroyed the only copy of the manuscript with intentions of replacing it with something a fanfiction author created, then kill that author as well.

Beside the murder - HE DESTROYED THE BOOK! Lucifer is ready to kick his ass angry by the loss of what he thought would help him, but also angry that something this woman worked so hard on was burned up.

In retrospect, the episode discussing the passions of fans and the inspiration behind popular work can be seen as. . .

You know what. Nope. He destroyed the ONLY COPY OF HER BOOK. I’m done.

image belonging to Fox and Netflix

Brooklyn Nine-Nine (Skyfire Cycle & Return to Skyfire)

NINE - NINE! For this blog, I’m combining two episodes from my favorite show (since they are really one long plot line) “Brooklyn Nine-Nine”, for those who have never seen this show, it’s the quirky comedy of a group of Brooklyn detectives.

Within the first of these episodes, Sergeant Terry Jeffords (played by the greatest fictional president of all time, Terry Crews) is excited that their latest case involves his lifelong favorite epic fantasy author, D.C. Parlov (guest star Fred Melamd). Parlov, author of the Game of Throne-esque SkyFire Cycle, has received death threats, but Terry is more excited finally tell the man how much he has meant to him since childhood. Terry tells Jake Peralta (the immature showrunner detective played by Andy Samberg) that as a young man he sent a letter to Parlov and received a kind and inspiring response that he based much of his confidence on.

Parlov is the publishing version of an aging rock star, attracting much debate at the same time as still attracting hot, young women. “He pulls, Jake!” Terry insists. The author is more interested in the publicity the whole situation is creating for his new books than the actual thought of his own life being taken by a disgruntled fan. The death threats sent to the author co-inside with an announcement that a formally thought male dragon character is in-fact female, stirring up bro anger.

SPOILER ALERT:

It turns out the death threats are coming from Parlov’s former assistant whose handwriting matches the inspirational note that shaped Terry’s life. At first Terry is devastated that his connection to Parlov was fake, but Jake convinces him that the source of the words don’t matter, just that Terry is an amazing human being.

The second episode featuring Parlov takes place in the following season and is called “Return to Skyfire” in which Terry, Jake, and Detective Rosa Diaz (Stephanie Beatriz) have to attend a fantasy fan convention and find out who leaked Parlov’s latest novel onto the internet. Jake has joined Terry in his love of the novels having read them in previous episodes, however Rosa is less than stoked when she discovers that her signature look is basically the cover of every steampunk novel.

Despite the betrayal and general jerk behavior of the author in the previous episode, Terry and Parlov stayed in touch over the last year. This has inspired Terry to try writing a fantasy novel himself, which Jake sends to Parlov. He then reads it himself, discovering that Terry’s first literary attempt stinks.

Parlov’s rival, author Landon Lawson played by Rob Huebel, also has his latest work leaked and the two men become more insistent that the Brooklyn PD find the mole involved. However, Parlov also tells a star eyed Terry that his first draft is being sent to his publisher, Jake realizes that the authors are lying and leaked their own novels.

There are 3 themes that come up in these episodes. First - Fandom can be hard. Everyone is surprised when the muscular Terry turns out to be a huge fantasy nerd, but they do quickly embrace this fact. Rose even ends up buying a steampunk novel under Terry’s influence. Even though there is that brief suspension of belief among his co-workers, they accept that Terry likes what he likes.

Second - kill the author. Even though Parlov turns out to be a mega-douche, Terry and Jake still love the books. Sometimes, it’s difficult to separate a writer’s work from their personality or real world opinions (cough cough Rowling cough). Yet Terry is unwilling to give up a series that meant to much to him, instead compartmentalizing the author and the series within his own mind.

Lastly - first time writers. Terry’s first draft of his first novel is described as awful. But Jake points out that Terry can get better. And that’s always a good thing to keep in mind.

Mank: Movies about Writing

David Fincher’s fictionalized tale of Herman Mankiewincz writing the script for Citizen Kane. This is not the first movie I’ve seen about this process (I sat through RKO 281 some time in high school and didn’t like how they depicted Marion Davies) nor am I the best person to tell you whether this movie is hard follow because I watch way too much TCM (that includes their documentary serious about movie moguls). What I can tell you is what it’s like to watch Mank as a writer.

The film focuses a lot on Mank’s (played by Gary Oldman) personality and alcoholism in the Hollywood world purchased by William Randolph Hearst (Charles Dance). By the way, this movie present Hearst’s long-time girlfriend Marion Davies in a way that showed her the way I like to imagine her - a little screwed up, a little suppressed, but overall a kind and fun-loving person. Amanda Seyfried nailed it in my opinion.

Image Property of Netflix

Okay, back to Mank himself. The struggling screenwriter, once a golden boy in Hollywood, has been given the opportunity to write the first draft of a magnum opus by rising start Orson Welles (Tom Burke). The catch is he won’t get credit and has been isolated in a desert cabin with sixty days to finish the epic film. Some people will say the Welles and Mank wrote it together, but I can’t help believing this version more (even though I know it’s not historically accurate). The idea is that because Mank has been blackballed by his own studio for his controversial drunken rants and not siding with the studio’s political views, no one will object to him being fully paid if he has no credit (make it look like he’s not working). On top of all this, Mank has recently been in a car accident, leaving him bedridden with a secretary (Lily Collins) to help him write.

Why, you may ask, has been sent into exile for this writing endeavor? For the deadline, naturally. Have you ever tried to get a writer who isn’t a journalist to meet a deadline? Do it. I dare you. Go up to a friend whose a writer, give them an idea, and say, “Could you give me a short chapter within the next seven days?” I almost always guarantee that it will become eight day at least. Artists - am I right?

Welles takes no chances and has deprived Mank of his family, his friends, proper alcohol (he has booze, but it’s drugged so he falls asleep after 1 bottle), and, thanks to the accident injuries, the ability to go outside easily. The movie delves into how Hollywood worked at that time, really focusing on how media can influence politics and how studios controlled their people. Mank is a sarcastic voice of reason and truth, making jokes to Irving Thalberg while criticizing him in the same breath. Hell. Hollywood still probably works like that (minus Thalberg). All of this honesty and drunken verbal vomit/literal vomit has left Mank without much work, his bosses being more concerned about punishing him than if he is still a good writer.

Welles credits himself for Mank writing one of the best things he’s ever written, not realizing that with the help of his secretary, Herman found ways to get back into his normal albeit destructive process. This is also important watching it as writer. Everyone has their own process and if you take that way, you can’t expect their best work. However, as I said, Mank was extremely self-destructive allowing both alcohol and guilty memories to destroy his brain. I don’t recommend his old school idea of a writing - men at typewriters with too much whiskey and not enough respect for the opinions of their intelligent wives. Which is my final thought. Fincher doesn’t glorify this behavior like some toxic-masculinity ridden Hemingway biography. He shows regret, pain, the effects on people around Mank, and how destructive is still destructive no matter what kind of art it produces.

Image Property of Netflix

American Dad (Manhattan Magical Murder Mystery Tour) - Movies about Writing

First, for those who’ve never seen this adult cartoon, “American Dad” is another show from the brain of Seth MacFarlene (see “Family Guy” and “The Orville” - Yes! “The Orville”! I like that show okay! I know it’s isn’t Star Trek, but it fills a Star Trek shaped hole left by CBS All Access). It’s about a family whose patriarch is a conservative CIA agent, their goldfish is actually a German man whose brain was swapped, and a drunk alien lives in their attic.

In this episode, Francine, the ditzy wife, writes a noir romance novel entitled The Cobra in the Bag: A Tony Hurt Mystery under the name F.R. Ancine. It’s nominated for “Best Lonely Housewife Detective Novella: Softcore” by the Federation of American Mystery Writers (not a real group, but it leaves me wondering why more official genre groups aren’t called “federations”) and the whole family goes to the Manhattan for the awards ceremony.

While there, husband Stan and daughter Haley are taken on a strange tour of New York by Robert Wuhl (look him up) and son Steve with Alien Roger want to play at their favorite detective personas - Wheels and Legman - thinking it will boost their family. Roger gets this idea when they see that bestselling author, James Patterson is also attending the event with his cardboard cut-out in tow. Then, Francine goes missing after not realizing she’s been insulted by Patterson and excitedly realizing she’s in a literary feud with another housewife writer. By the way, Francine can’t think of a literary feud which shows she’s new to this. Literary feuds are like the cornerstone of the scandalous news stories in online writer magazines. Feuds and lawsuits. Oh. The lawsuits.

Francine is noticed missing when she wins the awards, but isn’t there to accept the award, Wheels and the Legman (a.k.a. Steve and Roger) start their own case to find Francine playing out like a terrible detective television show or, dare I say, terrible novella.

I’ve never been to a mystery writers award show. Therefore, why you may ask, did I choose this episode for this particular blog. Because of he whose name in the bookselling world is often used as a curse, shouted as a fist is raised at the sky.

PATTERSON!

These images are the property of Seth McFarlane and 20th Century Fox. . . or Disney . . . or someone

Theodora Goes Wild: Moves about Writing

A 1936 screwball comedy about censorship and public image vs. reality of authors. Despite being a comedy, it really does focus quite a bit on writing and authorship.

Irene Dunne plays Theodora Lynn, the maiden niece of the town matriarchs who teaches Sunday school and helps them to keep scandalous material out of the hands of the innocent. The prime example of the protest is a bestselling, yet salacious novel being serialized in the Lynnfield newspaper. All the gossipy, biddy stereotypes come together in declaration against author Caroline Adams! Of course, what they don’t know is that Theodora IS Caroline Adams, a secret only her publisher knows.

When her identity is accidentally revealed to her cover artist, Michael Grant (Melvyn Douglas) while on a trip to New York City, he dares her to let her hair down and have some fun. Michael is in complete disbelief that such a shy, high-buttoned woman as Theodora could write about the world they way she does. Most people never seem to realize that authors are usually introverted and get their “experiences” vicariously through a mix of research and imagination. After seeing her get drunk and they almost make-up, Theodora sobers up quickly and runs back home to Lynnfield. Michael shows up a few days later, threatening to expose her to all of the town if she doesn’t let him stick around and teach her how to be herself despite what the people around her will say.

Naturally, they fall in love, as it is a comedy from the 1930s, and Theodora feels confident to stand up to her aunts. However, complications occurs when it turns out that Michael secretly lives in his own cage controlled by his politically minded, overbearing father. Complications that mean Michael would either have to stand up to his father the same way he encouraged Theodora or the pair have to wait another two years before their relationship can progress.

This is where the idea of public image comes back into the plot. Theodora is determined to force Michael to confront his father just as he did to her by being as obnoxious as possible. She buys a ridiculous new wardrobe (so. many. feathers.), starts dressing her mutt in giant bows to take him on fashionable walks, and moves herself into Michael’s apartment which forces him out. But most importantly, she reveals herself to be Caroline Adams and laps up all of the media attention in hopes that Michael will step up to prevent a scandal. On the one hand, these scenes are funny because she acts the way a character in her books would act and meet all expectations of a shocked yet very engaged fan base. On the other hand, she semi-tortures her publisher who stood by her secret for so long and causes misunderstandings that really aren’t kind so some of the side characters of the movie. There is also the issue of taking censorship to a personal level, where the people of town switch from banning Theodora’s books to wanting to ban Theodora (also hypocrisy, but I don’t want to spoil that joke in the film).

This was a movie I enjoyed watching in my tween and teen years because it included so many great "rom-com” tropes and phrases like “brazen hussy”. I’m sorry, modern language, but we need to bring that phrase back. It’s far too fabulous to keep in the past. However, this is also a nice story about balance. Balance between morals and reality. Balance when it comes to public life versus private life. And even balance when we love someone and need to learn to accept them for who they are (in this case I’m talking about Theodora’s aunts who had to face ridicule, yet still worried about and stood by her). Still, this was a story primarily about fame and how it can be used. Despite her losing her secret and then over-using her new image, Theodora finds a way to balance the scandal and the care of others by helping her friends towards the end of the story. And having a good laugh about it at the same time.

Deciding to use a pen name is a very personal decision for a writer. Unless you’re Lemony Snicket who will not be appearing at his own book signing because he was eaten by wild animals*. Luckily, Daniel Handler will sign your books instead.

*not sure about this joke. Look it up. It’s great.

To Walk Invisible: Movies about Writing

PBS TIME!!!

To Walk Invisible is another biopic about the four Bronte siblings (a likely more accurate portrayal than the previous movie I watched). This one presents the four in a both codependent yet tumultuous relationship which all seems to go on completely under their well-meaning father’s nose (played by Jonathan Pryce). Quotes from letters to and from the sisters add to the realism of the movie.

Flashbacks reveal how the four were once so close and imaginative, yet the signs of their adult personalities are still there. The main plot starts with Branwell (Adam Nagaitis) and Anne (Charlie Murphy - no, not the Charlie Murphy who once played basketball against Prince) coming back home from positions after Branwell had an alleged affair with the wife of their employer. At the same time, a depressed Charlotte (Finn Atkins) and a fed-up Emily (Chloe Pirrie) are also back home after attending a school with practical questions of what will become of them when their father dies. Branwell is as he always is, a drunk who cannot commit to a path in life and is constantly bailed out by their father. Meanwhile, his three sisters both pity him and fear what their lives will be like when he will be in control of the family finances.

This brings the writing and publishing into play. That’s right! This film is actually about the women as writers -not made-up love triangles or scenes of pining out windows. Charlotte, having been inspired by a drunken rant by Banwell, decides that the three women should publish poetry under male names in an attempt to earn some income.

At first, Emily is appalled by this idea as her poems are private and she flies into a rage when Charlotte reads them without her consent. Anne is the peacemaker between her sisters and is happy just be writing. Still, Anne hate the idea of being credited as men and wishes they could just write anonymously. Charlotte and Emily insist that if anyone suspects that they are women, their writing will never be judged fa

The movie isn’t without it’s drama. The awkward love between Charlotte and her father’s curate, Arthur Bell Nicholls is somehow even sadder without the grand love triangle knowing their lives together would be so short. Branwell’s depression, love life, and abuse towards his family aren’t shown as everyone constantly catering to him. Instead, Emily chases him from the house with anger while Charlotte continues to plan ways for them to secure their own income. Emily is shy and secretive, yet the closest to Branwell. She is the one who does not wish to ever reveal herself, is the most critical of their brother, and the one who cleans up many messes. Anne is still left as the constant “third sister”, the one just on the outskirts who keeps everyone else taken care of. She’s even the one who suffers the most publishing wise. She is also the one who feels the most guilt and emotion over Branwell as he reaches new lows. *By the way, I finally read The Tenant of Wildfell Hall and it’s fantastic. I actually like it better than Jane Eyre or Wuthering Heights.

The publishing process of the mid-1800s shows how for a first book, the women had to pay to have it published, but still received the proof in the mail (just like now). I imagine contracts, terms of profits, and marketing were quite different, but some of the initial steps really haven’t changed. It also shows the hurt of publication rejection with that added realization that if the three sisters can’t be published they might not be able to survive after their father dies. They also cover topics of publishing fraud, unreliable editors, and subtle fame.

The movie imagines the issues that come with writing under pen names and trying to keep it secret in a small town when Charlotte’s The Professor is rejected but the agents agrees to print Agnes Grey and Wuthering Heights. It also includes the idea of the Charlotte finally telling their father about Jane Eyre’s success in hopes that it will alleviate their father’s worries. He is proud of them and I have no idea if that would be how such a scene played out. This scene is also revealed that their pseudonyms are an attempt to protect Branwell’s feelings who never managed to write his own novel, even as Branwell falls into further debt and ill health. There's a difference to be shown here between professionals and family ties.

Overall, this is a much better version of the tale of the three writers although it end abruptly with post-scripts of their lives and little insight into their short lived lives after Branwell’s death.

Owned by BBC. Emily (Chloe Pirrie), Anne (Charlie Murphy), and Charlotte (Finn Atkins)

Goodbye Again: Movies about Writing

I came across this 1933 comedy by accident on TCM about a bestselling author whose entire life is kept in check by his secretary. Then a former girlfriend, who is now married, shows up in the midst of his book signing tour.

Kenneth Bixby (played Warren William) writes novels about women tragically in love and full of all the melodrama that would make him a bestseller. He’s come to Ohio with practical and funny Anne (Joan Blondell) as a promotion for his latest title Miriam. They don’t say much about the book other than it’s about a woman who cannot have children and his flame from nearly a decade believes the cynical tale is about her. This ex-girlfriend, Julie (Genevieve Tobin) convinces Bixby to spend the evening with her instead of attending his lecture, radio appearance, and book signing. Meanwhile, Julie’s husband Harvey (Hugh Herbert), Julie’s sister Elizabeth (Helen Chandler from the Tod Browning Dracula), and Elizabeth’s friend (Wallace Ford) are all attempting to track down both Bixby and Julie in hopes of avoiding scandal. This also comes about at the end of the film when Anne tells Julie that the character of Miriam was based upon a different ex-flame. Julie dramatically exits declaring, “You’ve killed the other me!”

First, about this movie in general. Blondell is has good comedic timing as the “straight man” Anne. My generation would probably recognize her better as waitress Viv in Grease, but she was once a darling of romantic comedies and later played the aunts or best friends in movies like A Tree Grows in Brooklyn and Desk Set. The character of Anne is both love lorn, but delightfully manipulative. There is a good exchange between her and a bellhop about attempting to find rye in prohibition Cleveland. Warren William is also amusing as the charming rouge Bixby. Bixby gives an air of dignity, intelligence, and poise as a public image when in truth his is a philandering mess. His persona is all a fabrication of Anne’s hard work.

This brings me to the main point of this blog. This is the comedy of errors that is the result of a public image versus reality. Bixby’s fans think of his him as this sophisticated man who understands women and the human condition. In truth he’s a large child who puts all of his emotion into his books. His imagination and people watching skills keep a popular author and everyone assumes he is like the characters in his books. People want the creators of their heroes to reflect the heroes. At one point he makes the joke, “Julie has to marry me to save my honor. Ha.” The reader suffers a broken heart over the truth of a flawed person, even when the reader is also an author. And then there comes the debate, can one separate the author from the work?

Twilight Zone (A World of His Own): Movies about Writing

Oh “Twilight Zone”! How do I love thee! Let me write a blog of one of my favorite episodes instead of counting the ways (because math is bad). Let me present “A World of His Own” about Mr. Gregory West, a playwright who gets very into his work and uses a dictation machine for recording his character development. In order to talk about how this episode relates to the personality of writers I am going to have to give BIG SPOILERS.

NO SERIOUSLY - SPOILERS AHEAD! I WARNED YOU!

Rod Serling fading away from reality (CBS owned image)

First off, this is a Richard Matheson episode so that might be partially why it is one of my favorites. It also features an adorable Asian elephant, but that’s not really important to this blog. Gregory West (Keenan Wynn) is having a comfortable and loving time with the sweet Mary (Mary . Then his wife, the stylish Victoria (Phyllis Kirk) see him and Mary cuddling on the couch only to storm into an office where only her husband exists. No Mary and no exit she could have sneaked out of.

What continues is a conversation about how writers dream up characters that are real to them; a conversation that turns out not to be practical not philosophical. “They [characters] become so strong, that sometimes they take over the whole story,” Gregory explains to his wife and adds that one of his earliest successful characters walked into the room one night when he was working. It turns out that when he describes a new person into his tape recorder, the fictional character comes to life in his office and gives him inspiration for his plays. Then, all he has to do to send them back into his imagination is cut the tape and burn it.

This is the origin story of Mary (and others in the episode as well), but he has difficultly getting his wife to believe this as she plans his commitment. And in the case of Mary, he has created a woman who fulfills his sentimental needs that his high fashioned wife neglects. Still, she has a mind of her own and questions her role in Gregory’s life as he keeps creating and destroying her.

Overall, this episode all about the imagination of a writer and how tempting imagination is over reality. More than that, it is an idea of using the power of imagination responsibly. Where Gregory could rewrite his life with every character he could ever want, he only uses it as a way to keep from being lonely. And yet, instead of finding a woman in the world he creates his partner to fit ideals he has learned through out his life. Most writers start this way. They start as children daydreaming about different lives surrounded by different people. And yet Matheson presents this idea in the form of a full grown man and established playwright. This adds a little humor to the scenario. It begs the questions of how many of us would spend time with our characters as flesh and blood instead of just the voices in our heads.

Old Acquaintance: Movie about Writing

OH. MY. SWEET. BABY. SLEIPNIR. This movie was. . . hard to get through. Before I get accusations about being a rube who doesn’t appreciate art, I want to point out that I usually love old movies. I thought, “A 1943 film I’ve never heard of staring Miriam Hopkins and Bette Davis based on a play by the same guy who wrote ‘Bell, Book, and Candle’. You son of a bitch. I’m in.” Then I started it. Then I turned it back off. Then I tried watching more the following day. Another ten minutes and I stopped. I think it took me a week to watch this film in it’s entirety.

It’s a melodrama so of course there are silly rivalries, a couple of love triangles, and other ridiculous fodder. The movie is about two childhood friends who both grow up to be well-known authors. Practical and good-humored Kit (Bette Davis) is a novelist and playwright who really only churns out products every few years. They don’t make her a lot of money, but acquire her a lot of fame since she chooses subject matters of society and feminism. Her work seems to be mostly popular with academics like college students. Meanwhile type-A personality Millie (Miriam Hopkins) mass produces best selling romance novels that make her a wealthy woman in only a few years. Although Millie is constantly jealous of Kit and feels they need to be in some kind of competition, Kit only wishes Millie success and makes many excuses for when Millie acts selfish or flies off the handle. A part of this comes from the backstory of Millie having brought Kit home from school one day so she wouldn’t have to go to her own awful life and from then on she became like a foster child to Millie’s family. Kit feels a constant gratefulness for this because she credits any parts of her happy childhood to Millie.

Millie also the wife of some kind of successful gentleman with a thin 40s mustache (played by John Loder) who not-so-secretly pines for Kit. Together they have a daughter, Deirdre, (played by Dolores Moran as a teenager) who is named after the main character in Millie’s books and also seems to love Kit more than her emotional mother. Then, when Deirdre is a young woman, she and Kit fall in love with the same man (Gig Young) and Kit stands aside for her would-be niece. See. Drama. So. Much. Drama.

The pair of women have several literary conversations throughout the film that always start off interesting and realistic. They range in topics from editing and peer review to confidence in writing and when you have to let of of a project (just publish already) *note: I feel personally attacked every time this comes up in a film about writing. I will finish when I’m ready. Stop judging me, TV people! And even the ideas of marketing and publicity. Then the conversations turn into a thinly veiled fight with Millie constantly insulting Kit without realizing it. Still, Kit keeps trying to save Millie’s relationships with her husband and child, despite all of Millie’s tantrums.

I feel like if this was just a drama that only focused on the two authors and their friendship versus the differences in their careers, I probably could’ve gotten behind this film. Even if it was about how Kit was constantly trying to save Millie’s personal life in the midst of success and a character study of how Millie is so oblivious, I’d probably have felt this was a smart film about interesting writers. Instead, I found myself zoning out as there were long speeches involving words like “I can’t! I simply can’t” and discussing the moral implications of all the messes of their lives. Music swelled, people started to talk in passionate tones, and I would go get a snack. When I’d come back they’d still be talking about love affairs and suicide attempts. And I got really sick of this martyr routine they gave to Bette Davis. And it goes on for years! The movie takes place over nearly two decades and, although she does have success as a public figure, is never a bestselling author and of all the things she wants in life the only thing she gets to have in the end is her toxic friendship with Millie.

Image property of Warner Bros.

New Girl (Socalyalcon vi): Movies about Writing

Nick is preparing for the Southern California Young Adult Literature Conference and Jess is helping him. I wanted to do this episode as a blog especially because conferences, library appearances, and conventions are the indie-published author’s bread and butter.

Nick spends too much time deciding what he’s going to wear for an outdoor, tented event. I’ve never done that. Never ever. Ever. Okay, I have, but I live in a state will unbearable weather. You need to pick a top that will breath, but not show the sweat of the 110 degree weather.

The look of this made-up convention is legit. Rows of booths with single tables and different color schemes with people milling about, some in costume. As is it 2021 and there has not been one of these events in almost a year for me, I got weirdly nostalgic looking this over-crowded TV mimicry of what is essentially a chunk of my life.

What the TV show does not reveal is the strain of selling in an environment with people who are all in the same boat as you. There’s the conversations, the elevators talks, the short pitches, and the awkwardness. The wonderful, business awkwardness.

Image owned by Fox

New Girl (Young Adult): Movies about Writing

Let’s power through some more of these Nick as an author episodes of “New Girl” for the month of January. This episode has a lot going on (Schmidtt is hiring an assistant based on pretentious qualifications, Cece is starting the moving process, and Winston finds out his cat has been cheating on him with another family), but A-plot involves Jess trying to get her students to treat her the same way they did as a teacher now that’s she’s their principal. She finds in when she overhears several junior high girls discussing their love of Pepperwood after reading the copies Jess left in the school library. Quick note - again, how are these books surviving a single reading as we know they were just printer pages glued into cardboard?

Nick is going through writers block, yet is not welcoming the idea of catering to teenage girls. Then, when the young ladies express why they love his book, he gets excited about writing once again. However, Jess has to come to terms that her students want to discuss some heavy and adult subjects around her because of the book’s content. Wait. Why did she put copies in her school’s library? Are there angry parent phone calls? I feel like there would angry parent phone calls.

As a writer watching this episode, I get how the excitement of these young fans breaks Nick’s block. However, I don’t really agree with him bouncing ideas for future books off of them. That could get into some legal gray areas like fan fiction does.

As for Jess’s experience through this, she becomes “too cool” because she’s not the member of school staff who is roommate’s with the kids’ favorite author. Of course, she loses all authority and has to punish Nick and his tween girl fanbase. Nick then convinces the students to apologize for their behavior. This isn’t so much about writing, but I feel this is good lesson about dealing with teenagers.

Image belongs to Fox

New Girl (Glue): Movies about Writing

In the next episode in the saga of Nick Miller, writer, we find Nick in the attempts of self-printing. I am going to keep this one very short because otherwise my rants about the sheer ridiculousness of it will go on until doomsday.

Nick receives a publisher rejection and falls into despair. Reagan suggests self-publishing and printing the book himself after she finds a bookstore to sell them. Not in a normal, send to a professional printer and order a set number of copies way. Nope. That’s just too easy for a sitcom. Jess and Nick decide to MAKE THE BOOKS THEMSELVES! This involves a lot of glue that they get high off of the fumes from and then silliness is abound and sitcom shenanigans continue in their scripted sitcom ways.

I’m not focused on the shenanigans. I’m focused on the reality of this entire freakin’ scenario! Let us begin with the idea of a local bookstore agreeing to sell a book through a phone conversation and then requesting thirty copies! No bookstore would request THIRTY COPIES of a first-time author’s work unless it was part of a publishing/agency deal and no publisher or agent would take that risk with a first time author. No consignment allows for thirty copies. Especially from a small, local operation. They can’t afford to lose that much shelf space. As the owner of the bookstore saying in the episode, “Please, buy things. We’re dying.”

Let me explain the reality of the consignment process for those writers who have not delved into this yet. It usually starts with a contract that includes a long list of rules and conditions. These conditions generally includes a length of time they are willing to carry the title, information about what they will do with your unsold copies (do they get sent back to you, do they clearance them out, is there an expense for you to come get them, etc.), and how much they make off of the sale’s price of each copy sold. This document will then ask you to give all of the book’s information like the title, summary, author’s name, publication date, and ISBN. I don’t want to be condescending, but my point about the ISBN is going to come up again later, so I’m aware that most writers know what that is yet I’m going to explain it. Also that was a really long sentence that I’m not planning on fixing. The ISBN is like the social security number of a book. Only your title has that specific number and it is number you purchase or your publisher purchases for you as a part of your book. No book is legitimately published without out and technically does not exist in the sales world if it doesn’t have one.

This imaginary consignment of Nick’s book is also including a reading of the book the same night as the deal was made. What bookstore is going to ask for a reading from a new author that they have never met AND request that reading be the same day as the consignment? In the words of the tenth Doctor Who, “WHAT?!” You need time to advertise that crap! To build an interest and get people to come to the reading. Plus, most small bookstores don’t ask a new author to do a local reading until they’ve seen the book. Maybe we’re suppose to assume there was a cancellation becuase realistically no one should be coming to Nick’s unplanned, unadvertised, unknown book reading.

Now for the actual assembly of the book, a process as I stated previously Jess and Nick do themselves using printer paper and glue. HO-LY SHIT IS THIS UNREALISTIC!!!! The first time I saw this episode, I needed a drink. Upon re-watching, I need a sedative.

First, they literally just printed thirty paper copies of what looks like a 800 page book! That would cost more than just sending it to the printers. Plus, did the check their margins? Widows and orphans! DID THEY TURN OFF THE WIDOWS AND ORPHANS! I NEED TO KNOW THIS FOR MY OWN SANITY (see Sidney Reetz’s formatting guide if you are uncertain of what I speak). How are the pages staying together? They didn’t do them in folded chunks like a real book. It just looks like a stack of paper. Did they glue every sheet of paper together at the edge? Or did they just straighten the stack and glue the whole thing to the (what looks like) card stock cover?

Oh and let us discuss that cover. They have a drawing of a lobster in either crayon or colored pencil (it’s actually a good drawing, but it makes the book look more little kiddy or like one of those business books that are trying to trick people with common sense disguised as jargon). Then they have pasted on the title, the spine, and Nick’s name. The back cover is blank. No blurb (how will anyone know what the book is about?), publisher, and NO ISBN! How will the book be sold without an ISBN? No bookstore would take this! Nick would barely be able to sell that book out of the back of a creepy van without an ISBN! I mean, he could try, but most readers aren’t into creepy van purchases.

I said I’d keep this short so I’ll stop ranting now. Nick sells his first book to a 12 year old (then remembers that he wrote a graphic sex scene), Jess looks at pop-up books while high, happy ending, blah blah blah. Plot line to be continued.

New Girl (The Cubicle): Movies about Writing

Time to continue the tale of NIck Miller of the sitcom “New Girl” and his attempts at becoming a published author.

When last we left our slacker hero, he’d returned from New Orleans with his first completed manuscript about detective Julius Pepperwood. The episode entitle “The Cubicle” involves Nick trying to convince his girlfriend, Reagan, to actually read this finished product. There are of course other things happening in the episode. Jess is feeling guilty that her current boyfriend has to pay for hospital bills for an accident that was technically her fault. Cece is running her modeling agency from the loft living room (yes, she and Schmidt bought a house but they spend most of season 6 renovating it). And Winston accidentally recruits Cece’s only client for the police academy.

The episode starts with Nick suggesting he use Cece’s new client to be on the cover of his book and everyone agrees that the male model would make a great Gator. Reagan then asks why no use a real gator. The table gets very gaspy as they realize that she hasn’t read the book or she’d know that Gator is Pepperwood’s best friend… and a man, not a reptile. Winston declares that she must clear the next 24 hours. Nick says it’s no big deal, but the rest of the roommates peer pressure Reagan into take a hard copy of the novel and start reading.

Nick tells her, “Don’t feel any pressure to like it, even though I spent 7,000 hours writing it.” I tried calculate this into days which would mean he spent several years on it. This would he mean he was probably working on it off and on since season 2 (which is a common practice for me and several writers I know). Or the number was an exaggeration and I did math for nothing.

Anyway, he’s clearly nervous about her reading it and she’s clearly not very keen on reading it. They look for ways to put off her quiet time with the giant novel by helping Jess with the medical bill issue. Eventually, she goes back to reading and Nick starts by staring at her the whole time. Realizing he shouldn’t be doing this, he exits the room, then instantly comes back in when he realizes Jess is fighting with her boyfriend in the living room. When comes back to the bedroom where Reagan is reading she’s fast asleep with very few pages of the book turned. He then goes to hide in Cece’s cubicle and is joined by Jess.

“I’m taking the gin with me, though. Alcohol is kind of a cubicle for the insides.”

“Nick, you’re like a drunk Maya Angelou.”

“Not the first time I heard that.”

Nick and Reagan finally discuss her falling asleep on his book and she confesses that she’s never like fiction. But she also tells him that she wants to keep trying to read it. Nick agrees to read some of it out loud to her and she smiles, saying she’d like that. It’s a nice compromise where she still shows interest and he is hopefully able to do some editing (this isn’t a judgement I’m just always looking for ways to multitask).

This whole episode was about caring about the opinions of significant others and coming to terms with the artistic aspects of sharing. For me, it’s easier to have a stranger read my work then someone I love. Of course, I still want that person to buy my work. Let’s not be crazy here.

Image belongs to Fox… or Disney… or someone

New Girl (House Hunt): Movies about Writing

Continuing the journey of Nick Miller from New Girl (for the start of this plot line go back to the blog New Girl: Eggs).
This episode is all about changes of setting in adult life and a minor plot of it involves how those changes can lead to a successful writing endeavor. So yeah… This will be a short one.

While Jess watches her friends move on with their lives being serious long distance relationships and buying houses (hence the title), she struggles with the realization that (spoiler alert) she is not over roommate Nick. Nick has been away in New Orleans with his girlfriend Reagan (played by Megan Fox and I was weirdly impressed). When he shows up at home a month early, he’s excited to tell Jess something. Feeling far too awkward for excited attitude she flees. This is then followed by the usual sitcom shenanigans.

By the end of the episode, Jess decides she can avoid Nick forever when he reveals that he was writing 200 pages a day “by hand” in New Orleans (then the wind blew the pages away so he started over on a computer). And so Nick finally finished his first legitimate book in season 6 of the show.

The point I want to make in this episode and why I’m including it in this blog can be broken into 2 ideas. First that Nick was inspired by the change in scenery to finally finish something he started several seasons earlier. This is sometimes true for a specific book or even some writers. The other is - his pages blew away and HE STARTED OVER. That’s always the woooooorrrrrrrrsssssssstttttttt. It makes you feel like giving up and wanting to blow something up at the same time. Something big. That would would make a loud bang. But the show pointed out how he started again and learned that maybe he should back up files on a computer (but I don’t trust computers so I generally also back them up on a usb drive and send them in an email to friends…but that’s just me).