I got a rejection this week… and I’m in good company…

I loved this Tweet from VE Schwab asking authors if they had received rejections of their work recently…

She was deluged with replies, some from some very big names, and one from me. Only last week, I had a book pitch rejected by a publisher. The response I got was, “We pissed ourselves laughing, we loved it, we just don’t know how to sell it.” And that’s fine. I appreciate the honesty and know that there would be nothing worse than slogging away on a novel for however many months only for the publisher to give a shrug on publication.

I more positive news I was inspired by blog posts from a couple of writers friends. Julian Barr talks about what he strives for here, and Laurence Doherty talks about working up from rejections to the NI New Writers Focus Scheme here.

And the big treat for the week is the Bestseller Experiment live show with Orion editor Emad Akhtar (pictured above). He answered all sorts of listener questions on writing, editing, storytelling and WWE wrestling… Yes really. You can listen here.

Till next time, happy writing!

Advertisements

Pixar’s Brave… or playing it safe?

Just returned from enjoying Pixar’s Brave. An entertaining movie, if – oddly for Pixar – an entirely predictable one. The story lacked suspense or surprise, and got by on the charm of its characters and the stunning locations.

This movie was to represent many firsts for Pixar: first period piece, first female protagonist and first female director. But then about a year prior to release it was quietly announced that director Brenda Chapman was no longer working on the project (though she still retains a co-director credit). This is not an unusual move for Pixar. Ratatouille suffered a similar setback with the original director Jan Pinkava being replaced by Brad Bird, but it is perhaps more notable that in this case a woman was replaced by a man.

In a recent piece in the New York Times, Chapman speaks for the first time of the heartbreak of being removed from Brave, and wonders how women can gain more positions of power in Hollywood. Pixar, for all its genius over the years, is starting to come across as a bit of a boys’ club, with no women whatsoever on the famed brain trust and one too many movies about Cars. Surely there must be a some women in the organisation who can add a few x chromosome into the brain trust mix?

I doubt the truth of what really happened will come out anytime soon, and it’s a fact of life that directors and writers are often fired from movie projects, particularly in the perilous world of animation where Directors’ Guild and WGA rules don’t seem to apply. But I wonder if Brenda Chapman’s more personal version of Brave might not have felt so pat, might not have been so obvious? Might it not, for all its flaws, have been more interesting?

“Thag no like change.” From cave paintings to 3D

Thoroughly enjoyed The Artist the other night. A really charming film that’s basically Singin’ in the rain without the – er – Singin’. In other words it’s that old story about one form replacing another. Change creating upheaval in an artist’s life.

There’s a lot of that about at the moment. Music download sales finally overtook physical recently, and in my day job everyone’s fretting about the decline of physical book sales as eBooks rapidly become the predominant form. And just the other day I shared a cab with a screenwriter and director; the former romanticising celluloid’s organic qualities, while the director preferred the flexibility offered by high-quality digital.

Tonight I watched Werner Herzog’s Cave of forgotten dreams, the latest of his excellent documentaries. This one featured prehistoric paintings from the Chauvet caves in the south of France. Some of the paintings are over 35,000 years old and represent humanity’s first artistic endeavours. Herzog looks at one likeness of a bison, painted with eight legs blurred in a depiction of what he calls ‘proto-cinema’, and imagines how it must have looked with a fire burning and the flames throwing shadows on the cave walls. It’s an almost hallucinogenic moment in a really engaging film.

And this is is where the storytelling urge began. Our ancestors seeing something that moved them and wanting to capture it and share it with their contemporaries (except Neanderthals, they apparently showed no artistic flair whatsoever… which is why they’re now all PE teachers). And that urge is still with us now, whatever the form.

When The Artist was first released, I read many reviews wryly suggesting that Hollywood would no doubt be lining up a whole slew of copycat silent movies, cashing in on the phenomenon. But, as far as I can tell, that hasn’t happened. Maybe they figured out that moviegoers went to see The Artist because of the great story and the engaging characters, or maybe it’s because Hollywood is still so mesmerised by 3D it can’t be arsed to go back to silent movies.

But it’s never the form that endures. Oh sure, 3D, Kindle, HD and iTunes will excite people for a while, but the reason they keep coming back are the stories; that little flutter in the heart when we’re moved by something. Vinyl, celluloid and hardbacks will probably always be with us, even if they become sidelined and niché, and when the apocalypse comes we can go full circle back to cave paintings. Only this time it’ll be mushroom clouds or hordes of zombies we’ll be painting. That’ll give Herzog’s descendants something to talke about 35,000 years from now.