Inside the mind of author Michael Marano

Hey, Folks!

So, did you have a moment or two, or three, this Holiday Season that was full of drama, good or bad, that you’d LOVE to put into a work of prose you’re writing?

You ever look at works by playwrights, screenwriters, and TV writers and how they can take moments from real life and make them dynamic and compelling and say to yourself, “Damn! I wish I could put things like that in my short story or novel?”

Well, whether your idea of a Holiday story is Die Hard or Hallmark Channel movies, multi-award-winning novelist and nationally syndicated film critic Michael Marano’s class at Boston’s Grub Street, SCREEN & STAGE TO THE PAGE: What Drama, Movies & TV Can Teach Prose Writers (starting January 10, 2019) will let boost your prose, giving you access to the incredible storytelling tools stage and visual media writers have been using for decades in the creation of Tony, Oscar, and Emmy-Award-winning narratives!

What kinds of tools are we talking about?

Well, chances are you’ve just had, or maybe had last year, an exchange around the Holiday Dinner Table that’d make for an awesome chapter in a novel, or a scene in a story. Take a look at this scene from Judd Apatow’s classic show, Freaks & Geeks (play from the 15:40 mark to 19:30)…

<p><a href=”https://vimeo.com/58193659″>Episode 4 – Kim Kelly Is My Friend</a> from <a href=”https://vimeo.com/smokinrobocop”>smokinrobocop</a&gt; on <a href=”https://vimeo.com”>Vimeo</a&gt;.</p>

In SCREEN & STAGE TO THE PAGE: What Drama, Movies & TV Can Teach Prose Writers, we will dissect the ways in which all the highs and lows and escalation of that scene are concentrated for maximum emotional impact.

What other kinds of tools will we learn to use?

Think about it. Is there a scene more clichéd than the police interrogation scene? 99% of them can be summed up to: “Hello, Detectives. Here’s the exposition you need to go to the next act, where you’ll get more exposition.” But with True Detective, novelist and short-story writer Nic Pizzolatto re-invented the interrogation scene so it became riveting drama in and of itself:

We’ll dissect exactly how Pizzolatto did it, so that what in TV format is binge-worthy can, for your prose, be page-turning!

Screen & Stage to the Page will meet for 10 weeks on Thursday mornings from 10:30 AM to 1:30 PM at Grub Street HQ in Downtown Boston, 162 Boylston Street, 5th Floor by Park Street Station near the Common.  Click on this link to enroll!!!

Hope to see you all in January!

Dreamt I attended a screening in a very large outdoor amphitheater of a newly unearthed work print of an unfinished _Lord of the Rings_ movie filmed in the late ’60s… and it was AWFUL. In order to appeal to the fucking hippies, the filmmakers removed Tom Bombadil and replaced him with some fucking longhair named “John the Bard” who looked like one of the Bugaloos and who sang groovy songs no doubt intended move lotsa units of the eventual soundtrack album. Groovy. The breaking point at which everyone got up and left en masse was when our heroes reached The Prancing Pony, and among the Hobbits there, in extra special cameo roles, were Liz Taylor and Richard Burton.

Really.

Yesterday, I bought a new fountain pen: a Lamy Extra Fine Safari in Charcoal Grey and some fresh bottles of ink (in the classic colors of blue, black, and blue/black). Yes, much in the way that Veronica in the Archie comics will feel better about the world when she impulsively buys shoes, I feel better when I impulsively buy stationery and pens. (Worth noting: on the Archie-inspired TV show Riverdale this week, Veronica mentioned using a Mont Blanc.)

When I got home, I broke in the pen by working on a scene in the novel I’m working on, A Choir of Exiles, on my favorite kind of paper, old accountant ledgers.

Why old accountant ledgers? I wrote about that here.

Though I should say that these aren’t old accountant ledgers, anymore. I took the truly old ledgers to a print shop and had them make me a box of new tablets to the exact specs of the old sheets on which I first started writing fiction when I was a scrawny teen in the late 1970s/ early 1980s who looked like this (pretentious beard and all):

And why fountain pens? I wrote about that here.

Here’s the current pile of A Choir of Exiles sheets I’ve been writing on said ledgers with said fountain pens, next to a bottle of absinthe for scale and to show that I’m still pretentious.

But something occurred to me this morning… I never really thanked the person who introduced me to the joys of writing with a fountain pen, as opposed to the shitty ballpoints on which I’d learned to write cursive.

Anne Lindberg was a friend from college whom I’ve not seen in 31 years. Back then, I was busting my ass to to get a degree in History and Medieval Studies, taking a heavy load of classes that were very lecture-focused. Scribbling notes in ugly ballpoint (and sometimes felt-tip) while seated in those horrible plastic desks/chair hybrids took up most of my time. While we were hanging out in Anne’s dorm room one night, she gave me a fountain pen. Now, it was one of those basically disposable Sheaffer jobs that cost (as I recall) $2.95 back then, but I thought it was one of the most miraculous things I’d ever used. I couldn’t believe how the thing just skated over the paper when I took notes while in lectures, like these notes of mine from 1985, about Early Medieval Cosmology in De consolatione philosophiae by Boethius :

By the way, did you see how I used the original Latin title of De consolatione philosophiae instead of just saying The Consolation of Philosophy? I told you I was still pretentious!

But back on point, the fact is, Anne taught me that the physical act of writing could be a  delight, that grinding a 19 cent, piece-of-shit pen into foolscap wasn’t the only way to commit words to some kind of permanence without typing. Since then, I’ve written probably a million words in fountain pen, maybe more. And for that, I owe her thanks.

So… wherever you are… thanks, Anne! Your random act of kindness to a college friend has had a lovely effect on my life and my craft.

This is Stoopy, so named for his love of visiting people while they hang out on their stoops. He is the boss of my neighborhood in Boston, and looks upon all the humans living here as if he is their patron and boss… which he is. If your door is opened, he will calmly walk in to your place and make himself comfortable, often demanding turkey and other cold cuts before leaving. He walks around using the _exact_ center of the sidewalks, and only crosses the street at crosswalks, after looking both ways. Stoopy is Zen. Stoopy master of all he surveys. Be like Stoopy.

I never met William Peter Blatty. Yet as someone who was not, as he was, educated by Jesuits, but was educated in History and Theology and Philosophy by people who were educated by Jesuits, I felt a certain intellectual connection to him and his work. And, as someone who has always loved a good joke, I admired the hell out of the guy who could pull a fast one over on Groucho Marx, as Blatty did when he posed as an Arab prince on Your Bet Your Life.

I hold Mr. Blatty’s thematic trilogy of The Exorcist, The Ninth Configuration, and Legion in such high esteem because of the deep humanity and humor present in those works. Admirers of these novels, and their film adaptations, need only hear the following words to break out in an uncontrollable grin: “Carp”; “Rabies”; “Lama”. (Or maybe “Fritos.”) If you’ve read his comedic book Demons Five, Exorcists Nothing, the question “Did you fuck my sister?!” will probably make you guffaw. His humor was always based on deeply human interaction. As was his horror.

It was with Mr. Blatty’s understanding of humanity, and our shared intellectual background (albeit, mine was second-hand Jesuit instruction), that I approached him to blurb my first novel, Dawn Song. I wrote him at the end of 1997. he sent me the following reply, postmarked Dec. 31…

The generosity with which Mr. Blatty extended to me the courtesy of reading my book, and providing it with a thoughtful and very kind blurb that has graced every edition of it, demonstrated to me that the humanity present in his fiction was, in fact, the humanity present in the person. On this day of his passing, I know that I shall miss this person, knowing his humor and humanity are no longer in this world.