Race in writing

One race, many peoples (from mediadiversified.org)

One race, many peoples (from mediadiversified.org)

I’ve spent a few months now reading dozens of teleplays, and one thing that stood out as a new trend for me was the phrase “mixed-race” when describing a character.

“Attracted to the noise, JOANNE (27, tall, mixed-race) looks up from her laptop. A smile blossoms across her face.”

Now, lest anyone take offence, I really don’t care to what race a character is attributed. Nor do I care if the character has parentage of different races or even different species (looking at you, Spock).

Instead, what struck me was that in only one of these teleplays did the fact that the character was mixed-race in any way influence the story and/or the character’s worldview. Which begs the question:

Why mention race at all?

In a screen- or teleplay, you should only be telling me things I need to know to understand the story or interpret a character’s behaviours and attitudes. Unless being 7 feet tall means a character can do something no one else can do and the plot in some way turns on that ability, then I don’t need to know the character is 7 feet tall.

Likewise, if a character is a Korean-Italian and the only thing this fact influences is possibly his or her name, who cares? Where are the subtextual or textual influences of this genetic melange?

Spock was every bit his warring human and vulcan sides

Spock was every bit his warring human and vulcan sides

In the case of Spock, entire stories were built around the internal and sometimes external conflicts arising from his mixed heritage. He fought constantly to suppress his human side and that influenced his relationships and reactions with everyone else.

In the single teleplay I read where the character’s mixed lineage did matter, the character struggled with being treated as an outsider by both communities. Thus, in being ostracized by both cultures, she built the defence of being a rebellious loner and responded to her world thusly.

American father, Chinese mother, Kwai Chang Caine lived conflicting cultures

American father, Chinese mother, Kwai Chang Caine lived conflicting cultures

In none of the other teleplays was anything like this even remotely the case. In none of those scenarios, did the writer use the choice to inform the character. In fact, in almost every mixed-race teleplay, the writer never specified what races had been mixed.

That’s how unimportant this fact was to these writers. And there’s the real shame.

Although I don’t know what the writers intended by making their characters mixed race, I suspect it was simply to make themselves look socially conscious.

What they achieved, at least in my eyes, was the exact opposite.

Colourful interludes

After completing my day at The Ex (see Back to visit the Ex), I still had to get home and because the weather was so cool, if grey, I decided to wander along Toronto’s waterfront.

Back to visit the Ex

My annual pilgrimage to the Canadian National Exhibition, an end-of-summer ritual in Toronto. Sadly, The Ex is our national fair that seems to get smaller and smaller each year.

The grand old lady has definitely seen better days, but she still entertains the crowds.

Illiterate in 3 languages…all English

canadianEnglish

“That which we call a rose, would by any other name, smell…”

William Shakespeare, Bad Line Break theatre

As many of you know (or have quickly surmised), I am Canadian, and more specifically, Anglo Canadian. Unto itself, that’s a pretty cushy thing to be in this country.

In choosing to live as a writer, however, I added an otherwise unnecessary twist to my life—I forced myself to learn English as a second language.

Wait. Didn’t you just self-identify as an English-speaking Canadian?

Yes, I did. But I’m a Canadian English-speaking Canadian.

And one of the first things you realize when you become a Canadian writer is that you will probably starve for lack of work.

Now, I’m not knocking Canadian writing, whether fiction, for film and television, journalism, what have you. It is easily some of the most beautiful writing available in the English world. But it is often written to (if not for) an incredibly small market, and opportunities to succeed are therefore often few and far between.

If feels like 8 writers encompass the entire Canadian television landscape. And name a Canadian movie. (I’ll wait.)

Nope and nope.

Nope and nope.

Okay, now name one not directed by David Cronenberg or Denys Arcand.

I was once offered a job as the Editor of a Canadian biotech magazine—yes, I used to be even more nerdy—for $30kpa. And yet, already on my resume was a job working for an American biotech mag that started around $65kpa.

Bottom line is thank goodness for my passion to write, because my passion for money has taken a beating.

(Side note: This was a choice I made and for which I take full responsibility. I don’t mean this to be a “life is so unfair” rant.)

What this has meant, therefore, is that to make it as a writer, I have had to learn English as a second language. In this case, American English.

Recently, the BBC published a short article that tried to explain Canadian English within the context of its British and American counterparts. Rightly, the author noted that the differences were more than a matter of spelling (e.g., centre v center; honor v honour). Rather, the differences also manifested in idioms, speech patterns and word choice.

As long as everyone's having fun

As long as everyone’s having fun

As with most Canadians, I had a bit of a leg up on learning American as our proximity to the border (mere kilometres and even fewer miles) means we are inundated daily by American film and television programming. But I also had the additional benefit of having been married to an American, and a Southerner to boot (more on “boots” later).

Where I would recommend taking the 401 across north Toronto, Leela would suggest taking 66 from Fairfax into Washington. Luckily, we were both practical enough to set aside arguments about whether we needed to go to hospital or the hospital.

All this to say that although the differences between Canadian English and American English can be subtle, they can easily explode before the eyes of the unsuspecting.

Writing for an American biotech magazine and working with American editors was something of an ESL boot camp. And over the intervening 15 years, I like to think I honed my American skills to the point where you suspect I am from Minnesota or Western New York (hello, North Tonawanda).

In fact, I’m going to rely heavily on my multi-Angloism as most of my writing, whether for money or in my screen- and novel writing, is aimed at American audiences. And although my primary goal remains writing the best story, my secondary goal is writing it in the most innocuous way. I don’t want my writing to “read” Canadian.

Versus

Truth be told, I don’t want my writing per se to be noticeable at all. If it is, I’ve taken the reader out of the story.

This is not to say that I want my stories to be bland, but rather that I want all of the art to be in the story itself, rather than the more mechanical aspects.

In my Canadian stories (so far a sitcom pilot and screenplay), which are set in Canada, involve Canadians and target Canadian audiences, I write Canadian. For pretty much everything else, I write American.

Should I start targeting British audiences, then I’ll spend more time learning British English, and make fewer spelling changes.

In the meantime, I’ll continue to bounce back and forth between the multiple Englishes like a character out of Monty Python.

What’s it aboot?

Anyone can make fun of how Canadians communicate (or don’t). Goodness knows Canadians do. But I have to admit that I struggle with the whole “oot and aboot” phrasing that American audiences in particular seem to see as a Canadian phrase.

It’s not that I think we pronounce these words correctly so much as we don’t say “oot”. Rather, we say “oat”.

As I mentioned, I was married to a Southerner, and one day, we had a lengthy conversation about the word “South”. Try as she might, Leela could not get me to pronounce the “ou” without it taking on a surreal emphasis akin to “owwwwwww”.

Instead, I would say “Soath”. And instead of “about”, I would say “aboat”. And as I made a point of listening closely to Anglo-Canadians speak, I never heard a single one say “aboot”. It was always “aboat”.

That being stated, I will totally cop to “eh”. It’s us. End of story.

Screenwriters should learn from Shakespeare: Language governs the action

I might have gone with another play, but I like the message. Something aspirational for every writer.

Screenwriter On Location

There is no doubt that William Shakespeare’s Hamlet continues to be one of the most intriguing and highly analyzed plays ever written, and the protagonist Hamlet is arguably one of the greatest dramatic characters ever created. From the moment this disconsolate prince enters the scene the audience/reader is made acutely aware of his conflicted soul. This tragic hero is a walking dichotomy that provokes every sort of human emotion, and th-2

sets the stage for the revengeful plot to be carried out. Shakespeare uses the power of language to not only control the plot, but also to establish the storyline, reveal Hamlet’s varied complex character flaws, control fate, establish irony, and to govern the action of the play. Shakespeare brilliantly uses this character to hold the weight of the play with his dialogue, and reveal a vivid display of universal conflict within humanity.

Hamlet’s distress over his fathers death, his…

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The Man from UNCLE – see it while you can (a review)

MfU poster

As a literal child of the 60s, I am barely old enough to remember the television series The Man from UNCLE, yet another show centred on Cold-War America’s fascination with the spy world. While Bond, Flint and Helm were doing their thing in theatres, The Men were joined by the likes of The Saint, I Spy, The Persuaders and Get Smart.

Unfortunately, whereas I can quote lines from Get Smart (don’t judge me) and have fond memories of The Saint, things are a little foggier when it comes to The Man from UNCLE. Thus, when I took in the newly released movie, my mind was open.

Essentially, an origin story for the UNCLE organization—United Network Command for Law and Enforcement—the movie introduces us to the two men on which the series hinged, American spy Napoleon Solo and Soviet spy Illya Kuryakin, and how they are forced to work as a team despite their complete distrust both of each other and of their own governments.

I won’t go into great detail about the plot as it really doesn’t matter—much as the plot of a typical Bond flick doesn’t matter. The only reason for the central plot conflict is to force these two guys together and watch them play “whose dick is bigger.” Really. I mean it.

Over a two hour span, I think there was maybe 30 minutes of actual story. The rest of the time was spent in a great variety of chase scenes, some of which were quite funny, or watching Solo (Henry Cavill) and Kuryakin (Armie Hammer) argue over fashion, spy gadgets and how badly the Soviet needs to get laid.

Now & Then: Chemistry is key for bickering twosome Napoleon Solo (dark hair) and Illya Kuryakin

Now & Then: Chemistry is key for bickering twosome Napoleon Solo (dark hair) and Illya Kuryakin

All of the friends who saw this movie with me had issues with this. The story wasn’t particularly engrossing and they felt like director Guy Ritchie had simply provided a light dessert; enjoyable in the moment, but offering little satisfaction.

To some extent, I agree with them. I am a fan of Ritchie’s earlier efforts with the Sherlock Holmes movies (Robert Downey, Jr., Jude Law). Here, the stories were quite rich and complicated, as one would hope with a Sherlock Holmes tale. Using this barometer, The Man from UNCLE definitely failed.

But to some extent, I think my friends missed the point (but then, I would). I don’t think Ritchie was going so much for a story that you might find in the most recent Bond films, filled with character complexities and inner conflicts, longer story arcs, generous back story.

Rather, I think Ritchie was going for the vibe and energy of that earlier generation of spy films, which were more a vehicle for the star than anything and featured much shallower stories. To me, this film was more about Dean Martin’s Matt Helm, James Coburn’s Derek Flint, and if only for the humoured banter, Roger Moore’s James Bond.

Ritchie is trying to capture a time and place, or perhaps more specifically, a style. And if we have learned anything about Guy Ritchie, in a battle between style and substance, he will always go with style. In some ways, I see him more as a painter than a director, as his primary goal seems to be a luxurious visual. Dialogue is simply a necessary evil for him.

Although, this is not to say that the dialogue was a burden here. The chemistry between Cavill and Hammer is palpable, much as it was between Downey Jr. and Law. And the addition of Alicia Vikander’s character Gaby simply enriches that dance.

Alicia Vikander's Gaby complicates life for the boys

Alicia Vikander’s Gaby complicates life for the boys

She is a very capable actor and this role is perhaps the complete opposite of her performance in Ex Machina (my review). Although, you may end up questioning which role was more manipulative.

Unfortunately, Ritchie may have overestimated the power of his painter’s brush in this film if my friends and the 2/3-filled Friday night opener was any indication of how this movie is being received. This film was obviously set up to be a franchise, but as we have seen in the past, that decision doesn’t rest with the studios as much as with the audience (aka box office).

I’m hoping the movie does financially better than it looked. I’d like to see more of these movies. May have to live with reruns of the original series, instead.

200px-ManFromUNCLEbook

Other reviews of The Man from UNCLE:

The Man From U.N.C.L.E. about more than just the cool clothes: review – Peter Howell, The Toronto Star

Movie Review: The Man from U.N.C.L.E. – Danny F Santos