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It’s subtle, almost imperceptible;

The sense you’re being measured.

 

It’s not malicious; it may not be conscious,

And it’s not the metric of any ruler or scale.

Rather it’s based on history.

 

Not world history; not even your history,

But a history of pain and joy;

A history of violence and caresses;

A history of anticipation, both eager and dread.

 

It’s a measurement made during a moment’s pause;

Through a renegade lock of hair;

In a side-long glance rather than challenging stare.

 

We measure the people we meet,

Seeking solace that this one’s different,

Checking for warning echoes of past sorrows.

Hoping for the best. Wary of the worst.

 

I am measured. You are measured. And yet,

The result speaks more of the measurer than the measured.

Passing

Droids

When you walked by me tonight,

Did you see the holes in my jeans

Or see the whole of my being?

 

When you crossed the sidewalk,

Did you see the dirt on my face

Or witness the pain in my eyes?

 

When you whistled to yourself,

Did you hear the hack of my cough

Or consider the song in my heart?

 

When you looked away,

Did you see the tracks on my arms

Or the bruises of past abuse?

 

When you accelerated your step,

Did you smell the stench of urine

Or breathe the scent of possibility?

 

When you turned your back,

Did you dread unrestrained need

Or wonder at untapped potential?

 

When you blocked out my cries,

Did you fear the monster before you

Or lose the veil of your delusions?

 

When you walked by me tonight,

Did you think you could escape?

My truth is your truth.

 

Walk all you want;

The longer you walk,

The longer I remain.

Stranger

Our songs

SONY DSCWhere are the troubadours?

Who will sing our songs,

Tell our stories, shed our tears?

 

Our world has so much to say,

Yet our streets and courtyards

Boom with unrelenting silence.

I witness the horrors of another world,

Hear the cheers and jeers of strangers,

But my neighbour weeps in solitude,

Oblivious to the bonds we share,

Unknowing of my face, my voice, my heart.

 

Where are the troubadours?

Who will hear my story, my song,

Bring it to strangers in a familiar land?

 

Ghosts pass every day, unseen,

Faces held to the ground they trod,

Eyes focused on illusory distances,

Cacophonous words uncommunicated;

A wall of flesh and bone and cloth,

Devoid of spirit, absent of connection.

 

Where are the troubadours?

Who will touch our hearts, our souls,

With music, with stories, with love?

 

A strum of string. A strike of key.

Tremulous glottal vibration.

And an audience thirsting:

To see, to be seen;

To understand, to be understood;

To connect, to love.

 

Where are the troubadours?

Why even bother? (Creative crisis)

2-broke-girls-s1-poster-2

The life of anyone practicing an art form—whatever you do with passion is your art—is a continual balancing act between impassioned self-expression and self-questioning despair. For me, this duality revolves around my efforts in fiction writing (i.e., screen, novel, poetry, short stories, etc.).

Earlier today, I learned that the television series 2 Broke Girls ended its six-season run on CBS, and the news briefly shifted my balance toward despair.

On a couple of occasions, I tried to watch the sitcom about two broke girls plying their trade as diner waitresses while targeting a dream of opening a cupcake shop. But each time, I had to turn the show off after a few minutes because I found the comedy so excruciating.

Every 15 seconds, there was yet another wink-wink nudge-nudge one-liner that I felt lacked any art whatsoever, dialogue that but for an incessant laugh-track would likely have been met with complete silence in front of a live audience.

And yet, the series aired for six seasons. It had enough of an audience for CBS to keep it on the air.

I like broad comedy; truthfully, I do. I even write it on occasion.

I live for Mel Brooks’ comedies, for Monty Python’s Flying Circus, for Blackadder, for The Muppet Show, for SCTV, In Living Color and Kids in the Hall.

Anyone who has followed me for any period of time—especially on Twitter—knows I am up for any joke-opalyse.

But the appeal of 2 Broke Girls and its ilk—looking at you, Two-and-a-Half Men—simply eludes me. It feels like one-liners in search of a higher purpose.

But here’s the thing I constantly need to remind myself:

This difficulty rests entirely within me, and has nothing to do with the creators or writers of any of these shows.

 

Celebrate, don’t negate

Getting ANY television show to air, getting any screenplay turned into a movie is difficult, even in this era of seemingly limitless venues and diminishing equipment costs.

That any show manages more than a pilot episode is amazing. So, six seasons of broadcast should be celebrated from every mountain top.

As an artist, I applaud 2 Broke Girls creators Michael Patrick King and Whitney Cummings for getting their show on the air. I congratulate the people behind the Sharknado series for continuing to produce films.

To denigrate these efforts simply because they do not suit my tastes is not only unfair, it is also blatant hubris.

Who the hell am I—a writer who has one television special to his credit (thank you, SomeTV!)—to say that these efforts are unworthy of attention?

For that matter, even if I were more routinely lauded and vastly more accomplished, it would not be my place to dictate what should be valued as Art.

And as an artist, as someone exploring my passions:

Dwelling on this topic is useless. More importantly, it is detrimental to me and the craft as I exercise it.

 

Remembering why

It would be naïve to suggest that trends in comedy and writing have no influence on my career as a writer, but honestly, my career is secondary to my writing; a beneficial side effect, if you will.

Comparing my efforts to those of others is therefore unimportant.

My only true comparator is what I wrote yesterday and any internal sense of whether I am getting better at making the points I wish to make, telling the stories I want to tell.

I write because I have something to say.

I write because I don’t know how not to.

I write because it brings me joy.

Certainly, part of understanding my craft is seeing how others approach the same challenges and opportunities I face.

Just as I must choose my path forward, so too must they theirs. Although I may not see the merits in their choices, they are doing what is right for them and I must honour that.

There is room enough for all of us.

 

Disclosure:

I own complete series collections of Get Smart and Hogan’s Heroes, which I appreciate others might consider as insipid as I do 2 Broke Girls.

 

See also:

So, What’s Your Story? (web)

So, What’s Your Story? (Facebook)

The creativity is ours

Sparsely

When I have told a story well, I have merely put in place the elements from which you will create your own version of the story.

You meld these elements with your own perspectives, histories, moods and experiences to go places that I can’t begin to imagine.

In this way, Art is a communal exponential experience, and the Universe is as blessed by the one who receives the gift as by the one who first shares it.

Cast of characters

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Discovering characters who aren’t THE HERO (thank you, Monty Python)

When you are developing a story, how do you construct your characters?

With the possible exception of the hero, it can be challenging to build characters that populate the universe you have created.

As the universe (and your concept) revolves around the hero, we often start with a very clear idea of what that character is up against and how he or she will respond. But in the myopia of storytelling, the other characters are often fuzzier.

In some cases, we do not know who these characters because we haven’t met them yet. We haven’t gotten to the part of the story in which they enter. They are nebulous possibilities.

Alternatively, until our hero has explored his or her world some and maybe faced a challenge or two, we don’t know what the hero requires in terms of an antagonist, a sidekick, a mentor, a love interest.

What if we create a character only to determine later that he, she or it is ill-suited for our hero?

Then you rewrite that character…or perhaps you don’t, and the character lives with its flaws within your story.

It would be supremely wonderful to have everything completely mapped out in your story before you uttered or typed the first word, but creativity simply doesn’t work that way.

Like life itself, stories evolve as our characters live them, and even the hero may undergo profound change from your first impressions when you formulated your concept.

To my mind, that is actually the exciting part of storytelling. I am just as surprised by what my characters do as my audience is…I just get to see them first.

So, when you are first developing your characters, take the pressure off yourself. You are not going to get it perfect, so don’t try.

Kang

Find your placeholder

Cast your mind’s eye

Cast your characters like a film or stage producer and director might cast their projects. Invite characters in to audition and then go with your gut until you know better.

When I wrote my animated screenplay Tank’s, I didn’t have a great handle on the antagonist of the story, so I stole The Lion King’s Scar (Jeremy Irons) until I did. Mentally seeing and hearing Scar whenever my antagonist appeared allowed me to keep writing without worrying about getting it right.

In a few comedy sketches I wrote, I would see and hear Mad TV’s Stephanie Weir (see YouTube clip below). In fact, I worked as though I was writing my sketch for Stephanie. Because I knew that wonderful comedian’s style, I immediately knew how my character would respond to a situation, what words she would use.

Four Kates

The four Kates

If I have a female role I am trying to fill, might I consider the four Kates?

Is the character a Kate Winslet; strongly independent but coming from a place of softness and wonder?

Is she a Kate Capshaw; the hapless victim, eternally floating with the current until pushed too far, who then comes out swinging?

Is she a Cate Blanchett; internal strength incarnate but with an intellectual prowess that cuts a foe down before anyone knows the fight is on?

Is she a Katherine Hepburn; fierce brawler one minute, playful kitten the next?

Choose any one of those four (sorry Katherine Heigl, but I don’t see me writing parts for you) and I never consciously have to consider that character again…the words, actions and reactions are obvious to me.

 

Isn’t that cheating?

No.

First, all story and character is based on what has come before it. What makes the story unique is the writer, then who ever works on it next (editor, director), and then the audience who takes it in.

When I use Scar, Stephanie Weir or Cate Blanchett as a placeholder and guide, I am interpreting those characters/people through my personal lens.

And ultimately, I am fitting those visions into the story I am developing, demanding different things of them than others have or might. It is simply a starting point.

My antagonist Kang is not Scar, although there are overlaps as there are with pretty much all Disney villains (not implying that Disney is interested in Tank’s…but I am accepting calls).

The point here is to remove or at least temper the roadblocks that stand between you and the completion of your story.

Remain open to the possibilities with your characters and I think you’ll find they will ultimately tell you who they are.

And who knows? Maybe your character will be so wonderful that the three living Kates will vie for the role.

 

If you’re interested in learning more about story and storytelling, check out:

So, What’s Your Story? (web)

So, What’s Your Story? (Facebook)

 

Note: Until I assembled this piece with its images, I hadn’t noticed how monochrome my experiences were. I want to leave this post as is, but will give greater thought moving forward.

Valerian – Movie of 1000 disappointments

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I am told that Luc Besson is a great filmmaker, with credits like The Fifth Element, Leon, La Femme Nikita. Unfortunately, the only Besson movie I had seen to date was Lucy (my review), and so I was a bit reluctant heading out to see Valerian and the City of a Thousand Planets.

Based on a graphic novel, the movie tells the story of two young military operatives—Valerian and Laureline—sent on a mission to recover an eternal replicator (too hard to explain), but who get embroiled in an ever-shifting landscape of political and military intrigue that may involve an extinct alien race.

Woven throughout this action-adventure-mystery-thriller is a hormone-riddled romance between the leads that is so execrable that Harlequin and most YA publishers would turn it away.

I walked into this movie expecting almost nothing in terms of story; Lucy lessons learned. And that is precisely what I got.

The story is pretty easy to follow, but gives you little reason to follow it.

The action sequences aren’t particularly thrilling, and the dialogue is cliché if not outright ham-fisted. That said, I am sure the scripts were printed on very nice paper…maybe with watermarks and all that.

But whereas I had few expectations of the story, I held out some hope of being dazzled by visuals of alien worlds.

To its credit, the movie started that way, presenting us with the alien paradise of Mül, a pastel portrait straight out of a 70s acid trip.

Mul

Once we leave the wonder-world though—primarily to the space station/ark known as Alpha—the sets quickly degenerate to things we’ve seen a million times in other films.

Each of the visuals is as two-dimensional as the screen onto which they are projected, offering zero depth to the two-dimensional characters that flit across the screen like dying fish. The irony of seeing this movie in 3D is not lost on me.

So, no story and no stunning visuals, but the actors, am I right? Wrong.

I cannot put the blame completely on the actors, but they certainly earned some of it, as pretty much no one was able to imbue the wooden script with any emotion or pathos.

Dane DeHaan’s Valerian and Cara Delevingne‘s Laureline had zero chemistry, and so every attempt at love-making or wit fell flat. And if anything, Valerian comes across as a petulant child with multiple personality disorder.

Valerian plant

One of these is a sedative. The other is a plant.

No sooner does he completely thwart the military hierarchy with his own brand of pseudo-macho anarchy and independence than he delivers a grandiloquent lecture to Laureline about being a soldier who follows a code.

One of my friends suggested that Valerian should have been a film series to allow for better world building and character development. I can’t say that he’s wrong.

That said, if you asked me to watch even ten minutes more of this movie, I’d laugh in your face.