Let's just deal with two things first before we even look as what this movie has to say about writers and the writing life.
(1) This dude is an atrocious writer, as evidenced by the slow pan across his laptop screen: "He pricks her slightly so that a thin trickle of blood starts rolling down her neck and says, "I'm gonna rape and kill you right here..." Not exactly killer prose (so sorry for the pun, but I'm leaving it).
And (2) This flick takesa few minor trips into skinemax territory without getting two 'porny' (to coin a phrase).
However, all that said, the flick is a pretty watchable little mystery thriller, even if the premise isn't all that original. William Snow plays Todd Russell, a police detective who retired after being unable to solve the most important murder investigation of his career. He took his knowledge and became a true crime writer and quite a popular and successful one. Then one day, it seems like the killer from years ago has returned and is re-enacting the crimes from his unsolved case. Obviously, as the cliche demands, Russell becomes the prime suspect.
Now, this tight little mystery twists and turns more than Caribbean dancing, and even if you figure out the final twist, you won't be certain of it until the movie confirms it.
But, you're here to see what it has to say about writing and the writing life.
Early in the film, while meeting with his research assistant Ben Sykes, played by Matthew Dyktynski, Russell is asked about the coffee in his fridge (yeah, I guess he was iced coffee before it became cool):
Ben: Doesn't that stuff keep you up all night?Todd: Yeah, writing.Ben: I wish I had that sort of discipline.Todd: You want to be a writer?Ben: Yeah? I've got this idea I've been kicking around.Todd: Well, if you wanna talk about it or need any help.Ben: Thanks. I really appreciate it. Maybe I'll just wait until I get it a little more defined.Todd: Just let me know.
That scene takes maybe 40 seconds of screen time between the conversation and sorting through the papers and other bits of action between the dialog, but there's a good deal we can unpack from it.
Published writers can be some of the most helpful people for up-and-comers.
I found the opposite to be true. Every step I took was because someone already in the business was offering to help. And not just in comics but in prose as well. It was fellow writers who introduced me to my publishers. It was publishers who introduced me to other publishers. It was other writers who helped me understand the needs of new markets I was trying to enter. And so on.
It's been something I've wanted to be a part of my journey in regards to others as well, so I'm always looking to return the favor or pay it forward or whatever cliche you may use to express that idea -- take what I know and share it with other writers (that's actually how this blog began even though I'm no Stephen King doing my On Writing magnum opus nor a Eudora Welty reviewing One Writer's Beginnings.
But sometimes they can also not be.
Sometimes, like those "already in" folks paving up the hole in the way behind them that let them in, the competition for an increasingly smaller number of slots with publishers can cause some writers to close up the shutters and put out the "nobody's home" sign.
And that's okay. They're first priority is to write and to create, not to promote you. It's not their job to get you published. It's your own. Sometimes they are a huge help. Sometimes not so much. When it's offered, appreciate it. When it isn't, be understanding.
It can be tough for an aspiring writer to hand over a manuscript, even to a seasoned pro.
On the flip side, sometimes it can also be tough for a new writer to be forthcoming with their manuscript. In a world of publishing where every little helpful step is a boost, why would they?
1. The copyright fear.
For way too long, new writers have harbored fears that someone is going to steal their idea, when chances are, it was an idea long stolen even before they came up with it. But the fear still remains.
2. The fear of being told you suck.
I almost called this point "The fear of learning you suck." but I changed my mind because suck is such a personal, sliding-scale kind of thing. Regardless, learning that your work doesn't hit on all cylinders for even one person (particularly when that person is a writer you respect) can hurt. And the fear of discovering that has kept more than one aspiring writer from hearing the words "Wow! This is nicely done."
3. The fear of having to face reality.
Hot on the heels of #2 is this one. Let's be honest, there are more writers who won't make a living doing this thing they love than there are writers who will. Not only that, there are more writers who won't be able to write well received or (better yet) acclaimed stories than will. Furthermore, there are still more writers who won't find a wide readership that extends beyond family and friends and local readers.
And that's okay.
However, facing this possibility can still be difficult. Sometimes, it may feel better to just be in denial.
My favorite scene is the one in which Russell visits his publisher, Pat, and is actually given the opportunity to offer suggestions for changes or other input on his next book's cover. Outside of that being even part of reality for a lot of writers, and outside of the god-awfulness of the covers he is shown, he looks them over.
Pat: So, what do you think? There's room for a couple of changes. I mean, if you think it's not perfect.Todd: I think the cover shouldn't give it all away, Pat.
What's the purpose of a cover? A tease? A little something interesting on the shelf to capture your eye? Well, in a world of digital sales outlets like Amazon, a cover should have a lot more than just "shelf appeal." As my buddy Bobby Nash says often, "Can you read it when it's thumbnail-sized?"
Should it give it all away? Or, to use the pulpy vernacular from the Spicy mags, should it just show a bit of leg?
I think Todd's on the right path here though. In my opinion a cover can be a symbolic or a straightforward tease, but you don't want to give away any big secrets and ruin any surprises for readers? (Like happens way to often in contemporary movie trailers, sadly.)
Then Pat and Todd get to the real reason he is visiting. Something is on his mind.
Todd: You like Lori, don't you?Pat: Of course I do. You know she'd do anything for you.Todd: Then why can't I let her into my life?Pat: Because you're afraid she's going to leave you.Todd: Well, I was impossible to live this. I made Sarah leave.
The writing life can affect those around us. I mean, yeah, it can affect us as writers most of all, but our moods and our schedules and even our habits and writing superstitions (lucky coffee mug, anyone?) can also affect those around us. When we are inside our own minds analyzing and overanalyzing plot and character details, we are often ignoring something that is important to those around us IRL. And that can have real-life implications and repercussions.
While it's important to give yourself the freedom to get lost in the world of your story, don't forget that you don't live in a vacuum. (Unless you do, then write 24/7, you lucky bastard.)
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