Posts Tagged ‘Wilkes’

Ross Klavan’s (a) “Schmuck”

August 12, 2014

Ross Klavan, the charismatic voice of the creative writing program and one of our beloved screenwriting faculty members, was kind enough to share some of his thoughts and process for his novel, Schmuck with The Write Life blog.schmuck

Schmuck takes place in 1960’s New York, where Jerry Elkin and Ted Fox rule the radio airwaves. Between Elkin’s zany dialects and impressions and Fox’s golden, straight-man voice, they’ve got it down pat. But if listeners could hear between the lines, they’d notice an undertone of tension between the hit team. Jerry resents Ted for his dismissive attitude towards TV offers, and his ability to sweet-talk the ladies. Even his own son gets the girl, Sari Rosenbloom, an eighteen year old bombshell that Jerry can’t get off his mind.

Between seedy, well-connected mobsters, a head-swiveling femme fatale, and a son that just doesn’t get it, Jerry navigates this post-war, Jewish-infused, zany, larger-than-life landscape.

Schmuck was published by Greenpoint Press and is available through their website, which can be found by clicking here: http://www.greenpointpress.org/gb_book_schmuck.html

You can also purchase the book on Amazon and through Barnes & Noble.

Schmuck is loosely based on your father’s radio show. Why write something so close to home?

The most famous joke about show business is the one about the guy in the circus who sweeps up behind the elephant. You know which one I’m talking about. He walks behind the elephant with a broom, clearing all the elephant crap and cursing to himself about how much he hates his job. And when somebody says, “If you hate it so much why don’t you quit?” He says, “What?! And leave show business?!” I’ve lived all of my life connected to show business and I’m sort of the guy sweeping up behind the elephant…and also the guy writing about the guy who’s sweeping up. All writing and performing is obviously based in your self since you’ve got no other place to begin. I’m lucky that my own personal lunacy–mishegas as the holy men say–leans sharply toward a combo of the masochistic and exhibitionistic. That means that I can exploit my own experience and then beautifully alter, embellish, form, shape, structure and compose until it both seems real and strangely heightened, both at the same time. It’s either that, or I go back into analysis.

Does your artistic work take from your real life often, and is it hard to balance between what’s real and fictional?

My work almost always takes off from real life, at least to start out. As for the line between real and fictional—I don’t know, it’s not so solid for any of us, I think. I like to jump back and forth across that line or blend both sides or step aside and see what gets called up from the dregs. That’s an incredible pleasure. Dream experience—that’s real experience, too, just a different kind. And like I said before, I’ve spent all my life around show business and I like writing about show business—not major movie stars and big money deals, for some reason that’s a snooze for me. I like the other levels. Clowns and jokers and radio guys who live in a world of TV. Where people are desperate and striving like their life depended on it and not usually succeeding. The screenwriter who can’t sell anything and who ends up shot dead by his mistress and floating in her pool, to me that’s a better story than the big names who end up on the cover of “Vanity Fair.” It’s plays more in my imagination. For a while, when I was younger, I supported myself as a reporter doing grunt journalism and you were supposed to be accurate above almost anything else. Eventually, my mind started to develop hemorrhoids. Even if you’re not going to be in the arts, I highly recommend living by the imagination as long as you’re not walking off a cliff.

“Schmuck” has been said to blend zany humor with a deadly somber undertone. Was it hard to write in such opposition?

It’s much more difficult to live with that opposition, which many of us do. It’s sort of like, one minute it’s all “ha-ha-ha” and you recognize the Absurd…then, when you see how absurd it all is, you start to feel it’s all so sad there’s not enough tears in the world to cry, and then you start laughing again because you hear yourself thinking that and it all seems so ridiculous. I tried to give Jerry Elkin that quality—underneath it all, he knows that we’re all sharing a misshapen rock spinning around in space and nobody really knows what the hell is going on.

Jerry Elkin is loosely based on your father. Has your father read the book, and if so, what does he think of Jerry?

My father died ten years ago so he hasn’t read the book—at least, I don’t think he has. I like to imagine that if he’s out there in that Great Radio Station in the sky, that maybe he got a few laughs out of it. He had a pretty wicked sense of humor that stayed with him until the end.

Do you have a specific process that you use when you write, and does “Schmuck” differ from your usual process because of it’s roots in your own life?

A theater director once told me that he went into rehearsal with a specific goal in mind for each particular session and then, when he got there, it was time to go home even if rehearsal only took five minutes. For some reason, that’s how “Schmuck” was written. Every time I sat down to work, I had a specific problem to solve—not a number of pages—but a chapter or a scene or a sequence of scenes to finish. Just what felt right. When that was done, I headed for the couch, lay down and put the “New Yorker” over my face. I also kept a notebook of ideas and lines and things to look at or change when I hit the next draft. Every project has something of its own character. I usually start off with a process of free association, just riffing and coming up with scenes and ideas that light up, even if they seem to be totally unrelated. Then, if I haven’t completely cracked up, I start finding some kind of narrative line that connects what scenes I’m going to use.

What the most important thing that you want to convey to an audience when you write, and how do you try accomplish that?

That’s an incredibly tough question to answer so I’ll hide from it as best I can. One way of looking at it—only the book itself can answer that question, otherwise there wouldn’t be a reason to write it. Also, you don’t want to get between the reader and his or her experience of the book–a writer has no business being there, you should be off working on something else or taking a nap. Then, overall, I’m going for something that’s tremendously alive and vital, or I hope it is, anyway—I don’t have any grand theories that make sense and I’m not smart enough to have any mind-bending ideas. But I hope the reader comes away at least with a feeling of life and enjoyment—like they’ve been hit in the head with some kind of weird tuning fork. And in a book, I think, you do that by rhythm, tempo, structure and a certain kind of language.

Sari Rosenbloom has been compared to Daisy Buchanan. Was this an intentional inspiration, and how else does “Gatsby” fit into “Schmuck’s” world?

Oh, yeah, there’s a definite “Gatsby” thread running through the story. Partly, that’s because I wanted to convince my audience that I’d actually read at least one great book. Also, growing up, I spent all too much time not too far from the real Gatsby House—or what was supposedly the house Fitzgerald used–and I got a feel for the parvenu’s outlook. Then, at one point, I started to think of “Schmuck” as a sort of “Gatsby” that’s told through the eyes of Meyer Wolfsheim, the Jewish gangster character, the guy who fixed the 1919 World Series. Which, by the way, is not a bad trick if you can get away with it.

You’ve written scripts for Miramax, Paramount, and TNT. How does your script writing differ from your novel writing?

At the gross level—which may be our favorite—a script has more people involved and you get a lot more money. But aside from the practical–there’s a common level in all narrative writing, I think, from commercials to novels to feature films. You’re dealing with characters and stories and people and you’re trying not to bore anyone. I wrote the film “Tigerland” which starred Colin Farrell but I did the script off the first draft of a novel I’d written. I’d worked out the story already, so it was much easier than starting from zero. For prose fiction–a novel can rest more in its language, going directly into the reader’s psyche, a mind dart. A screenplay has to do that also but it has to unfold in the reader’s imagination as a film, so that even a character’s consciousness is there to be literally seen, heard and understood in a medium that’s going to be watched and that takes place in time, somewhat outside of the viewer’s control. At some point, even if it becomes second nature, you have to care about that when you write a screenplay. I love film—I’d have to say that film and a kind of molecular understanding of what it is to write a screenplay have only been of the greatest help in other kinds of writing, especially prose fiction. It teaches you to move a story, not to be precious with yourself, to make everything count.

Your wife, Mary Jones, is a painter. Does her artistic vision bleed into your work, and vice versa?

Mary’s a terrific artist and I’ve probably learned much more from her than she’s learned from me. Her courage and seriousness and willingness to take chances, her connection to her own work and her respect for it, her ability to let it change…that this is part of everything she does and that she wears it lightly, I’ve gained from all this now for a long time. When we first knew each other many years ago, I remember once she lost a lease on her studio and was looking around for a new place. I asked her why she didn’t just rent a cheap apartment, what difference does it make where you paint? And she said, “Because during those times when you’re not selling anything or you’re stuck or you feel like everyone hates your work, it’s important to have a place to go that reminds you who you really are.” Maybe writers have to have a version of that, too…and since we don’t need a lot of brushes or canvases, it can just be in the mind.

What advice would you give to aspiring writers?

Ah ha! The old advice question. Sometimes I hear writers say that there’s more bullshit out there about writing than there is about sex…but actually, I think, a lot of the writing advice is pretty good. It’s just…what do you do with it once you hear it? How do you make it your own? Can you actually sit down and use it? Then there’s this—I think what most of us want when we go after advice about writing is for somebody else to do the real work for us. I’m not talking about specific craft questions. But we live in a world that’s got a large sign across the sky that says, WARNING: DON’T BE ALONE IN YOUR IMAGINATION! And effort, pain or frustration? Forget about it, they get chosen last for the team. But that’s exactly what writers have to do and where they have to go, hour after hour. Real problems with writing are solved by writing. Eventually. Maybe painfully and with much frustration. OK, on some days, more easily. On some days, it’s like a tight muscle opening. So the best advice is that, ultimately, there’s no advice—you have to do your own work, day after day. Abandon all hope! Nobody can do it for you. And if you’re having one of those days when you think everything you’ve done sucks, you don’t deserve to live and you’re wasting your time at the pad or the keyboard…well, after you’ve screamed into the pillow, try not to have too much to drink and then, take a look at your stuff and try to see very, very specifically, exactly what it is that’s turning the blade in you. Try to see exactly what it is that you don’t like. Because that, exactly, can be fixed. With a generality, you’re screwed.


 

Ross Klavan’s work spbossklavanans film, television, radio, print and live performance. His original screenplay for the film Tigerland was nominated for an Independent Spirit Award, he recently finished an adaption of John Bowers’s “The Colony,” and he has written scripts for Miramax, Paramount and TNT, among others. The “conversation about writing” he moderated with Kurt Vonnegut and Lee Stringer was televised and published as “Like Shaking Hands with God,” and his short stories have appeared in magazines and been produced by the BBC. An earlier novel, “Trax,” was published under a pseudonym. His play “How I Met My (Black) Wife (Again),” co-written with Ray Iannicelli, has been produced in New York City, and he has performed his work in numerous theaters and clubs. He has acted and done voice work in TV and radio commercials and has lent his voice to feature films including Casino, You Can Count On Me and Revolutionary Road and the new Amazon web series Alpha House, written by Gary Trudeau. He has worked as a newspaper and radio journalist in London and New York City. He lives in New York City with his wife, the painter, Mary Jones.

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Todd McClimans’ Time Traitor

August 4, 2014

In collaboration with Wilkes Magazine’s Summer Reads Contest, in which participants comment on the featured book of the week in order to win a free copy, I interviewed Todd McClimans, author of Time Traitor, whose book is currently participating in the contest.

Todd’s book, the first in the American Epochs series, is a middle grade, sci-fi/history novel about the adventures of children who travel to significant events in American history, such as the American Revolution, and where they meet historic American icons like Benedict Arnold.

The book’s Amazon reviews are very telling, with comments like, “McClimans does a masterful job of character development with his young heroes Ty and Kristi as well as the story’s supporting cast of friends and foes,” and “The author doesn’t shy away from the brutality of slavery or ground combat, and he does a fine job of showing that history, even the most painful aspects of it, is more complex than any textbook could capture.”

You can find out more about the book by going to Time Traitor’s website (http://www.timetraitor.com/), or it’s Facebook page (https://www.facebook.com/toddmcclimans2013).

Could you tell me a little about your book?TT-frontcover-103013

Time Traitor is the first book in the American Epochs series, a Middle-Grade historical/sci-fi series that is meant to take kids to important eras, or epochs, in American history and hopefully trick them into learning some important history while enjoying a story. I decided to incorporate science fiction and time travel instead of writing traditional historical fiction because, for one thing, I would LOVE to time travel myself and writing stories about time travel is the next best thing. But, equally as important, I want my readers to experience the events in history through the eyes of contemporary characters to which they can relate.

 My main characters, Kristi (an African American girl from a rich family) and Ty (an orphaned boy from England) are real life kids with real life problems. Kristi is struggling with the divorce of her parents and lashes out in school as a way of getting attention. Ty is an introverted bookworm who deals with bullying and harassment and is unwanted by his step-father after the death of his mother.

The two discover that their eccentric history teacher, Dr. Xavier Arnold, is a direct descendant of General Benedict Arnold, a former patriot who sold out his friends and countrymen by switching to the British side during the Revolutionary War. Xavier Arnold, in an attempt to improve his tainted family name, invented a time machine to go back to the time of the war and assist Benedict in his plans for treachery and make him a hero again, but for the British this time. He drags Kristi and Ty back with him as pawns in his scheme and they have to traverse colonial America to stop Dr. Arnold and force him to return them to their own time.

How did the idea come to you?

I am currently an elementary school principal, but when I came up with the idea, I was a fifth grade teacher. I used novels about specific time periods in history to help the students gain a better understanding of the time periods and the cultures of the people in our social studies curriculum (Sign of the Beaver—frontier life and Native American relations, Rifles for Waite—western theater of the Civil War, etc.). But, beyond Johnny Tremain, I had trouble finding novels about the Revolutionary War for my students. So, I decided to write one of my own.

About how long did it take you to write it? What was your favorite/least favorite part of the process?

My first draft came to me quickly. It took me about six weeks to plan and outline the story. Once I had an outline, it only took me about two months to write my first draft. However, I am a compulsive reviser, so I spent the next eighteen months rewriting and revising before I started submitting. Revising is my favorite part of the whole writing process. In the classroom, I tried impressing upon my students that stories, or any other kind of writing for that matter, are never truly finished and can always be improved upon.

I love how you can simply change a few words or descriptions around to make a story funnier, scarier, happier—whatever-er.

My least favorite part is most definitely the submission process. Trying to boil your story, your baby, down to a few sentences in a query letter that probably won’t get past the cubicle of a college intern in a publishing office or agency is daunting and discouraging. I hate to use the cliché needle in a haystack, but that’s how it feels.

Have you started work on any of the other books in the American Epochs series? Can you tell me anything about those?

The second book, Time Underground, is currently with the editors at my publishers and is due to be released in November of this year. In Time Underground, Kristi finds out that her great-great-great-great-great-grandfather was a slave who escaped on the Underground Railroad and survived to sire her family. However, he had a younger brother who attempted to escape with him, but was caught and disappeared from history. Kristi and Ty go to 1858 to find Kristi’s uncle and help him get to the north and safety.

I’m about 25,000 words into the first draft of the third book in the series. My working title is Time to Heal—but I’m not in love with that title yet, so I expect it to change. The third installment is set during the Civil War where Ty works in the hospitals and experiences the horror of Civil War medicine before he’s dropped right on top of Little Round Top during the Battle of Gettysburg and the Confederate assault.

What was it like trying to collaborate factual, historical events to turn them into a fictional, fantasy narrative?

It was very important that my narrative be as historically accurate as possible. As I stated above, I wanted my readers to learn about the historical events while they are reading, so I do a great deal of research before writing and while I’m drafting. I believe the term for it is active history. It’s not a rote recitation of historical events, but a recounting of events through the eyes of characters who do not see the outcomes as predetermined. It’s a fine line to tread, but that makes it all the more fun to write…and hopefully to read.

How do you work with suspended disbelief, making something so fantastical become a believable scenario?

I use some author’s license and try to write in a way that seems believable. My stories are technically science fiction because of the time travel, but they are not traditional sci-fi. I don’t go into extended explanations into the science behind my time machine or the theoretical possibilities of time travel. I think it works because my stories are written from the points-of-view of young characters who don’t really care how they were transported through time, just that they were transported and what they are going to do about it. I count on my readers to use their imaginations while they are reading, giving them an active role in the story instead of a passive one.

When writing a young adult novel, do you have to give your language any special consideration? Is it difficult not to condescend to your intended audience? What do you think is the real difference between YA literature and Adult literature?

My series is meant for a Middle Grade audience (ages 9-14), a step younger than YA. That being said, storytelling is storytelling so I don’t see a whole lot of differences in the language for different intended audiences. Kids are more intuitive than we give them credit for. They know when language and descriptions are condescending and they’ll drop a book much faster than an adult at the first sign of condescension. No middle grade reader would be caught dead reading a “kiddie book”.

I see the major task for any writer, whether he/she is writing MG, YA, or Adult books is the ability to get his/her readers to relate to the characters and the real life issues they face. A story comes alive when the reader can see him/herself in the main characters. Take an adult detective novel, for example. The antagonists often deal with social issues such as alcohol abuse, broken marriages, or kids who won’t talk to them. Adult readers can relate to those issues. YA readers deal with teen angst (do we still call it that???) in their real lives. Many antagonists in YA books deal with questions and decisions about overbearing parents, individuality and independence, an even sex, alcohol, and drug use because those problems/questions are real to YA readers. MG readers worry about their parents’ divorce, bullying, and mean teachers. I see these issues as more innocent, yet no less real to the characters and the readers.

Have your children read Time Traitor? What do they think?

My oldest son is eight and going into the third grade. He has the reading ability to comprehend Time Traitor, but he doesn’t have the background knowledge about the Revolutionary War to truly understand the importance of the events in the book. I’ll wait until he reaches that point in school to let him read it.

What advice would you give to other aspiring writers?

I’ll be cheesy and steal Nike’s motto. Just Do It. Everybody knows someone who wants to write a book someday. And all of those people have real, legitimate reasons for putting it off (jobs, family, time, etc.) But to be a writer, you have to actually sit down and write it. Then rewrite it and rewrite it. You have to understand that you’re going to write a lot of garbage along the way as you learn. But the more you read and the more you write, the better your writing will develop. I’m not aware of any savants who sat down and wrote the Great American Novel on their first shot. You get out what you put in.


IMG_5076Todd McClimans is an elementary school principal and former fifth grade teacher.  He holds bachelors degrees in Creative Writing and Elementary Education and master’s degrees in Creative writing and Educational Leadership. He lives in Pennsylvania with his wife and three young children.  A self-styled history buff and fantasy nerd, Todd first became interested in writing about American history when teaching his fifth graders the riveting stories of patriots and their struggle for independence during the Revolutionary War.  He aims to bring history to life for young readers by writing stories with a careful mixture of historical fact and fantastical story-telling with characters to which children can relate.

Application Deadline for January Admission

November 14, 2012

Acceptance into the Master of Arts in Creative Writing program operates on a rolling admissions basis; however, to meet deadlines, completed applications for January Residency entrance into program must be received as follows:

  • December 15 for regular admission
  • December 1 to be considered for Graduate Assistantships

The Master of Arts in Creative Writing is a 30-credit, low-residency program with tracks in fiction, poetry, screenwriting, playwriting, and/or creative nonfiction.

To graduate from our Master of Arts in Creative Writing program students will produce and present a full-length text and support materials that demonstrate the mastery of requisite standards, processes, and procedures for bringing that project into its appropriate public venue.

The Master of Fine Arts in Creative Writing is the M.A. (30 Credits) plus 18-credit, low-residency program optional continuation of the Master of Arts in Creative Writing. The Master of Fine Arts is a terminal degree in the Creative Writing field. Students interested in the Master of Fine Arts MUST first complete the Wilkes University Master of Arts in Creative Writing. Students in the existing M.A. may apply for admission into the M.F.A. no earlier than the last term of the M.A. Graduating with a M.F.A. will require students to revise their M.A. thesis to produce a publishable manuscript, or begin a new project. Additionally, they will produce and present a literary analysis paper, complete a term-long internship in teaching or publishing and submit a final portfolio that chronicles their work in the entire program.

In both programs, you will train to be a professional creative writer by examining

  • the personal life of a writer;
  • the craft, technique, and analysis of creative writing;
  • the art delivery method for one’s work.

Full application and admission info: http://wilkes.edu/pages/496.asp

The Write Life Returns!

March 30, 2011

Welcome back to The Write Life, the official blog of the Wilkes University Creative Writing Program.  As you can see, we have changed things up a bit.  Each week, we will be posting articles written by professionals from every nook and cranny of the writing industry.  These articles, essays, and personal experiences are meant to enhance your writing life, and to provide you with the tools to sustain an independent career.

My name is Amye Archer, and I will be your host and guide as we traverse this literary landscape.

Your Tour Guide!

I am an MFA student at Wilkes, and will be graduating this June.  I am a mother of four-year-old twin girls, and I also teach part time at some local universities.  As a writing mom, I will also be sharing some of my experiences with you as I try to balance writing and family.

The Write Life is a collaborative effort, written by writers for writers.  With this in mind, we’d love your feedback.  Please feel free to submit ideas for future posts or any ideas or suggestions to  amyeba@gmail.com In the upcoming weeks, The Write Life will feature craft articles, Q&A’s with agents, advice from editors, and personal accounts of people writing  in every genre.   Some areas of the site are still under construction, so bear with us!  We look forward to providing you with valuable resources to help create your Write Life!