TIFFANY LIMOS - LOVING MY LIFE !!!
"You can't be what everybody else wants you to be. Do what makes you happy." - Tiffany Limos 3/31/09
"Acting is easy, writing is hard!" - Marlon Brando
"I am filled with love and affection." - Tiffany Limos 3/22/10
"Forgiveness is the fragrance that the violet sheds on the heel that has crushed it." - Mark Twain
- ► 2014 (15)
- ► September (12)
- ► December (22)
- ► June (9)
- ► May (8)
- ► April (15)
- ► March (11)
- ► February (18)
- ▼ Jan 21 (3)
Wednesday, January 21, 2009
I. The First Introduction
THAT'S RIGHT. I know it sounds like an ad for some sleazy writers' school, but I really am going to tell you everything you need to pursue a successful and financially rewarding career writing fiction, and I really am going to do it in ten minutes, which is exactly how long it took me to learn. It will actually take you twenty minutes or so to read this essay, however, because I have to tell you a story, and then I have to write a second introduction. But these, I argue, should not count in the ten minutes.
II. The Story, or, How Stephen King Learned to Write
When I was a sophomore in high school, I did a sophomoric thing which got me in a pot of fairly hot water, as sophomoric didoes often do. I wrote and published a small satiric newspaper called The Village Vomit. In this little paper I lampooned a number of teachers at Lisbon (Maine) High School, where I was under instruction. These were not very gentle lampoons; they ranged from the scatological to the downright cruel.
Eventually, a copy of this little newspaper found its way into the hands of a faculty member, and since I had been unwise enough to put my name on it (a fault, some critics argue, of which I have still not been entirely cured), I was brought into the office. The sophisticated satirist had by that time reverted to what he really was: a fourteen-year-old kid who was shaking in his boots and wondering if he was going to get a suspension ... what we called "a three-day vacation" in those dim days of 1964.
I wasn't suspended. I was forced to make a number of apologies - they were warranted, but they still tasted like dog-dirt in my mouth - and spent a week in detention hall. And the guidance counselor arranged what he no doubt thought of as a more constructive channel for my talents. This was a job - contingent upon the editor's approval - writing sports for the Lisbon Enterprise, a twelve-page weekly of the sort with which any small-town resident will be familiar. This editor was the man who taught me everything I know about writing in ten minutes. His name was John Gould - not the famed New England humorist or the novelist who wrote The Greenleaf Fires, but a relative of both, I believe.
He told me he needed a sports writer and we could "try each other out" if I wanted.
I told him I knew more about advanced algebra than I did sports.
Gould nodded and said, "You'll learn."
I said I would at least try to learn. Gould gave me a huge roll of yellow paper and promised me a wage of 1/2¢ per word. The first two pieces I wrote had to do with a high school basketball game in which a member of my school team broke the Lisbon High scoring record. One of these pieces was straight reportage. The second was a feature article.
I brought them to Gould the day after the game, so he'd have them for the paper, which came out Fridays. He read the straight piece, made two minor corrections, and spiked it. Then he started in on the feature piece with a large black pen and taught me all I ever needed to know about my craft. I wish I still had the piece - it deserves to be framed, editorial corrections and all - but I can remember pretty well how it looked when he had finished with it. Here's an example:
(note: this is before the edit marks indicated on King's original copy)
Last night, in the well-loved gymnasium of Lisbon High School, partisans and Jay Hills fans alike were stunned by an athletic performance unequaled in school history: Bob Ransom, known as "Bullet" Bob for both his size and accuracy, scored thirty-seven points. He did it with grace and speed ... and he did it with an odd courtesy as well, committing only two personal fouls in his knight-like quest for a record which has eluded Lisbon thinclads since 1953....
(after edit marks)
Last night, in the Lisbon High School gymnasium, partisans and Jay Hills fans alike were stunned by an athletic performance unequaled in school history: Bob Ransom scored thirty-seven points. He did it with grace and speed ... and he did it with an odd courtesy as well, committing only two personal fouls in his quest for a record which has eluded Lisbon's basketball team since 1953....
When Gould finished marking up my copy in the manner I have indicated above, he looked up and must have seen something on my face. I think he must have thought it was horror, but it was not: it was revelation.
"I only took out the bad parts, you know," he said. "Most of it's pretty good."
"I know," I said, meaning both things: yes, most of it was good, and yes, he had only taken out the bad parts. "I won't do it again."
"If that's true," he said, "you'll never have to work again. You can do this for a living." Then he threw back his head and laughed.
And he was right; I am doing this for a living, and as long as I can keep on, I don't expect ever to have to work again.
III. The Second Introduction
All of what follows has been said before. If you are interested enough in writing to be a purchaser of this magazine, you will have either heard or read all (or almost all) of it before. Thousands of writing courses are taught across the United States each year; seminars are convened; guest lecturers talk, then answer questions, then drink as many gin and tonics as their expense-fees will allow, and it all boils down to what follows.
I am going to tell you these things again because often people will only listen - really listen - to someone who makes a lot of money doing the thing he's talking about. This is sad but true. And I told you the story above not to make myself sound like a character out of a Horatio Alger novel but to make a point: I saw, I listened, and I learned. Until that day in John Gould's little office, I had been writing first drafts of stories which might run 2,500 words. The second drafts were apt to run 3,300 words. Following that day, my 2,500-word first drafts became 2,200-word second drafts. And two years after that, I sold the first one.
So here it is, with all the bark stripped off. It'll take ten minutes to read, and you can apply it right away ... if you listen.
IV. Everything You Need to Know About Writing Successfully
1. Be talented
This, of course, is the killer. What is talent? I can hear someone shouting, and here we are, ready to get into a discussion right up there with "what is the meaning of life?" for weighty pronouncements and total uselessness. For the purposes of the beginning writer, talent may as well be defined as eventual success - publication and money. If you wrote something for which someone sent you a check, if you cashed the check and it didn't bounce, and if you then paid the light bill with the money, I consider you talented.
Now some of you are really hollering. Some of you are calling me one crass money-fixated creep. And some of you are calling me bad names. Are you calling Harold Robbins talented? someone in one of the Great English Departments of America is screeching. V.C. Andrews? Theodore Dreiser? Or what about you, you dyslexic moron?
Nonsense. Worse than nonsense, off the subject. We're not talking about good or bad here. I'm interested in telling you how to get your stuff published, not in critical judgments of who's good or bad. As a rule the critical judgments come after the check's been spent, anyway. I have my own opinions, but most times I keep them to myself. People who are published steadily and are paid for what they are writing may be either saints or trollops, but they are clearly reaching a great many someones who want what they have. Ergo, they are communicating. Ergo, they are talented. The biggest part of writing successfully is being talented, and in the context of marketing, the only bad writer is one who doesn't get paid. If you're not talented, you won't succeed. And if you're not succeeding, you should know when to quit.
When is that? I don't know. It's different for each writer. Not after six rejection slips, certainly, nor after sixty. But after six hundred? Maybe. After six thousand? My friend, after six thousand pinks, it's time you tried painting or computer programming.
Further, almost every aspiring writer knows when he is getting warmer - you start getting little jotted notes on your rejection slips, or personal letters . . . maybe a commiserating phone call. It's lonely out there in the cold, but there are encouraging voices ... unless there is nothing in your words which warrants encouragement. I think you owe it to yourself to skip as much of the self-illusion as possible. If your eyes are open, you'll know which way to go ... or when to turn back.
2. Be neat
Type. Double-space. Use a nice heavy white paper, never that erasable onion-skin stuff. If you've marked up your manuscript a lot, do another draft.
3. Be self-critical
If you haven't marked up your manuscript a lot, you did a lazy job. Only God gets things right the first time. Don't be a slob.
4. Remove every extraneous word
You want to get up on a soapbox and preach? Fine. Get one and try your local park. You want to write for money? Get to the point. And if you remove all the excess garbage and discover you can't find the point, tear up what you wrote and start all over again . . . or try something new.
5. Never look at a reference book while doing a first draft
You want to write a story? Fine. Put away your dictionary, your encyclopedias, your World Almanac, and your thesaurus. Better yet, throw your thesaurus into the wastebasket. The only things creepier than a thesaurus are those little paperbacks college students too lazy to read the assigned novels buy around exam time. Any word you have to hunt for in a thesaurus is the wrong word. There are no exceptions to this rule. You think you might have misspelled a word? O.K., so here is your choice: either look it up in the dictionary, thereby making sure you have it right - and breaking your train of thought and the writer's trance in the bargain - or just spell it phonetically and correct it later. Why not? Did you think it was going to go somewhere? And if you need to know the largest city in Brazil and you find you don't have it in your head, why not write in Miami, or Cleveland? You can check it ... but later. When you sit down to write, write. Don't do anything else except go to the bathroom, and only do that if it absolutely cannot be put off.
6. Know the markets
Only a dimwit would send a story about giant vampire bats surrounding a high school to McCall's. Only a dimwit would send a tender story about a mother and daughter making up their differences on Christmas Eve to Playboy ... but people do it all the time. I'm not exaggerating; I have seen such stories in the slush piles of the actual magazines. If you write a good story, why send it out in an ignorant fashion? Would you send your kid out in a snowstorm dressed in Bermuda shorts and a tank top? If you like science fiction, read the magazines. If you want to write confession stories, read the magazines. And so on. It isn't just a matter of knowing what's right for the present story; you can begin to catch on, after awhile, to overall rhythms, editorial likes and dislikes, a magazine's entire slant. Sometimes your reading can influence the next story, and create a sale.
7. Write to entertain
Does this mean you can't write "serious fiction"? It does not. Somewhere along the line pernicious critics have invested the American reading and writing public with the idea that entertaining fiction and serious ideas do not overlap. This would have surprised Charles Dickens, not to mention Jane Austen, John Steinbeck, William Faulkner, Bernard Malamud, and hundreds of others. But your serious ideas must always serve your story, not the other way around. I repeat: if you want to preach, get a soapbox.
8. Ask yourself frequently, "Am I having fun?"
The answer needn't always be yes. But if it's always no, it's time for a new project or a new career.
9. How to evaluate criticism
Show your piece to a number of people - ten, let us say. Listen carefully to what they tell you. Smile and nod a lot. Then review what was said very carefully. If your critics are all telling you the same thing about some facet of your story - a plot twist that doesn't work, a character who rings false, stilted narrative, or half a dozen other possibles - change that facet. It doesn't matter if you really liked that twist of that character; if a lot of people are telling you something is wrong with you piece, it is. If seven or eight of them are hitting on that same thing, I'd still suggest changing it. But if everyone - or even most everyone - is criticizing something different, you can safely disregard what all of them say.
10. Observe all rules for proper submission
Return postage, self-addressed envelope, all of that.
11. An agent? Forget it. For now
Agents get 10% of monies earned by their clients. 10% of nothing is nothing. Agents also have to pay the rent. Beginning writers do not contribute to that or any other necessity of life. Flog your stories around yourself. If you've done a novel, send around query letters to publishers, one by one, and follow up with sample chapters and/or the manuscript complete. And remember Stephen King's First Rule of Writers and Agents, learned by bitter personal experience: You don't need one until you're making enough for someone to steal ... and if you're making that much, you'll be able to take your pick of good agents.
12. If it's bad, kill it
When it comes to people, mercy killing is against the law. When it comes to fiction, it is the law.
That's everything you need to know. And if you listened, you can write everything and anything you want. Now I believe I will wish you a pleasant day and sign off.
My ten minutes are up.
If there's a modern day 'talisman' for anybody who dreams of breaking into Hollywood as a screenwriter, that would have to be Diablo Cody who's gone from stripper-phone sex operator-blogger to Academy Award winning screenwriter in a head-spinning whirl, all because of a spec script she wrote, a little thing called Juno (2007). She has parlayed her success into several projects including the movie Jennifer's Body, which is to be released in 2009, and a TV series for Showtime called The United States of Tara, a comedy about a woman struggling "to find a balance between her dissociative identity disorder and raising a dysfunctional family."
Culled from several interviews, here are some of Diablo's thoughts about screenwriting, and how she managed to create the magic of Juno.
ON HOW SHE GOT INTO WRITING
"I’ve always written for my own edification and for fun but I have this fear of rejection so I spent my entire life being a writer who didn’t get published. For that reason, I’ve never received a rejection letter in my life because that terror would just grip me. I didn’t even write for the school paper. So, when the internet publishing revolution came about it was perfect for me, I could write every day, put it out there and not have to worry about an editor telling me I wasn’t good enough. It was very freeing. I started blogging every day and when I started blogging about stripping and the sex industry, suddenly surprise surprise I got a huge audience! For some reason people on the internet are interested in sex – who knew that?! My blog traffic went through the roof and one day I got an email from this guy who said he was a big fan of my blog and he was also a producer in Hollywood and he said I think you should try writing a movie. The odds of writing a screenplay and having it produced are daunting as it’s a very competitive field and as I’ve said, competition doesn’t appeal to me, nor does rejection. I’m very unambitious and I want to live in a bubble! So I said no but he hounded me for a bit and I just said ‘whatever’, because I had free time on my hands. I hit upon the idea for Juno. It didn’t take me very long. I don’t think writing movies is hard – when I hear people have spent years nursing a single script I can’t imagine what their day looks like! I wrote it and Mason (Novick) the producer said ‘Right - let’s take it out there and see what people think’. It was received very warmly from the beginning and we were very surprised and we continue to be surprised every day. It’s been a very crazy situation."
ON THE INSPIRATION FOR JUNO
"Jason Reitman and I have both this fascination with writing about sort of controversial topics and poking fun at them. We both like to do that and we have similar politics the more I get to know him. But the idea for Juno was really a random spontaneous thing. I guess I’m inspired by awkward situations. I love awkward silences, I love forced politeness. To me, there is hilarity to be found in that.
"I was kinda sitting in my kitchen in Robbinsdale, and thinking about the image of a teenage girl sitting across from these uptight yuppies in their living room. They’re basically auditioning to be the parents of her unborn child. And I was like, that’s possibly the most awkward thing I could imagine, and it is therefore hilarious. And I wound up building the film around that image. And then I just based the character of Juno on myself as a teenager, although I was never that cool."
ON THE DIALOGUE IN JUNO
"I didn’t really look at it as teen-speak but more like weirdo language! Ellen Page just presents it in such a saucy way too and I’m kind of immature myself and although this sounds kind of cheesy, being on the internet a lot, as I am, I’m actually obsessed with it to the point I’m undergoing hypnosis to cure my internet addiction – I’ll spend 19 hours a day on the internet if you let me. Because of that, you get immersed in the youth vernacular. Every week I learn some new word the kids are saying and I try to integrate it into my vocabulary like some pathetic old person!"
ON WHAT MOVIES SHE WATCHES
"Everybody knows that I’m not a snob when it comes to pop culture, obviously. I love reality shows. I will go see crappy movies, happily. I’m not an especially highbrow person, but I have always loved small, quirky, edgy movies. To use a string of obnoxious adjectives. And you know, like I loved Harold and Maude, I loved Rushmore. I saw Napoleon Dynamite for the first time while I was in the process of writing Juno. And it kind of renewed my vigor for writing. Because I thought like, this is a total oddball little movie and yet all these people have responded to it so maybe my script isn’t going to get lost in the shuffle. That was inspirational to me. Even though I think [director, Jason] Reitman has tired of the Napoleon Dynamite comparisons, they’re somewhat warranted. Movies that are smart and meaningful as opposed to a big corny ass movie where a pretty girl falls down."
"It frees me creatively; it’s made me a more outgoing person. It’s made me unafraid to squelch certain tendencies I used to be ashamed of. Now I kind of celebrate my weirdness a little more. Which anybody can do in Los Angeles. I was a dark person. There have been times in the past where I thought about ending my life. And I guess, at the risk of sounding incredibly cheesy, it’s just life affirming. I feel like I did something that made a difference. And I want to continue to do that. And I certainly never thought that would happen."