Welcome to another Mannequin Monday. Today we dress the naked form, the blank page, with both words and moving images. A quote from author/painter Huguette Martel s graphic story, Adventures of a Would-be Filmmaker: “When I die, and if there is life after death, I want to finally be able to walk in very high heels.” And in this week’s interview, camera operator Georgia Packard encourages any filmmaker to emulate Ansel Adams in walking around their subject from all angles before shooting. Read on.
This Week’s Reading
Here is a delightful graphic story by author/painter Huguette Martel titled Adventures of a Would-be Filmmaker. Again, I thank Narrative magazine for posting the story.
In Martel’s story, a woman in her seventies, a painter by profession, decides to make a film. It’s now or never, she tells herself. In applying for film school, she must submit a synopsis of a film script to the admissions committee. She submits three different script proposals. All are rejected.
The woman is French by birth, an immigrant to New York City in her late teens. She is also a Jew who lost her father in the Holocaust. The admissions committee tells her: Avoid the Holocaust. Avoid old people who are dying. Watch out for production costs.
Her first submission is humorous. They reject it. her second, quite serious. Again, rejected. The third synopsis focuses on a series of film trailers. Rejected.
For each script proposal she paints pictures and suggests film scores. All the images are moving, delightful, poignant. Supporting the script. For example:
“When I die, and if there is life after death, I want to finally be able to walk in very high heels.”
The character is telling us, this is my life. I can’t help it if a committee thinks aging and the Holocaust and film trailers are overdone. This is all I have. It is me. I offer you vignettes of my life. I am someone who does not know the rules of baseball. The smell of goat cheese brings me to tears. I love animals. I can’t wear high heels. I lost my father. In the Holocaust.
This is a thoroughly entertaining and moving story. See more of her illustrated stories in The New York Review of Books.
This Week’s Podcast/Interview
Several years ago I had the privilege to interview camera operator Georgia Packard for my website, The Filmmaker Lifestyle. The one note that has stayed with me is something she said she learned from Ansel Adams: observe your subject. As a kid, Packard took a summer class with Adams.
“Ansel Adams was such a wonderful mentor,” Packard says, “teaching me pre-visualization in his still photography. We would go out with a pin-hole ‘camera’ shoebox with only one exposure. I knew I had to get it right the first time! I walked around my subject looking high and low, moving far left and right before releasing the cap.”
The lessons stayed with Packard. “I still do that on my film sets, watching where the actors move and often from where the director is watching the scene. This works really well when there are two cameras shooting the scene together so I can offer up my camera’s position.”
My Current Writing
In the vein of adventures in filmmaking, here’s a playful, teaser zine I made for my next book, Surfrider. In it the teen film crew, Tessa, Eric and Lyndie, find themselves caught up in drug smuggling in Malibu. Murder, too. And a plot to destroy an historic landmark. Coming soon.
Welcome to another week as we dress the blank page, fill the canvas with color, shape the block of clay. This week is all about the face of the enemy. The face of awareness, of forgiveness. The enemy as teacher.
This Week’s Reading
This week I read a story in Narrative magazine titled Bangana, by CJ Hauser. The story opens: “I commute to war five days a week in a station wagon the color of an egg.”
A fascinating story. The main character has been a female fighter pilot in the Afghan war, flying F-16s on numerous missions. That changes when she gives birth to her child and returns to the same war as a drone operator. She now works out of a building in Virginia, spending all day, five days a week, monitoring potential hostile activity at locations in the Middle East.
In this story she watches over a warehouse in the middle of nowhere. She monitors an old man in a house near the warehouse, tending to his meager garden and his goats. The drone can clearly pick out his face. She looks for what is termed Pattern of Life Analysis (PLA). What looks normal. What does not. The not may draw down fire from an armed drone. The old man does nothing to draw attention to himself. Things change when vehicles suddenly appear at the warehouse. Passenger faces known to be hostile. She will need to make a response. She hesitates. Is the old man also the enemy?
This Week’s Podcast/Interview
“Meeting my enemy in prison changed my life.” Back in 2013, I interviewed Tom Magill, artistic director for the Educational Shakespeare Company in Belfast, Northern Ireland. Tom commits his life to reversing a pattern of violence in Northern Ireland. He uses drama and film to heal the trauma so deeply rooted within criminal justice and mental health settings.
Tom himself grew up with firsthand experience of violence and prison life. Violent behavior landed him in prison in the early 1970s. Assigned to deliver food trays to other prisoners, he one day braced himself to enter the cell of an avowed enemy, Frank Stagg, accused republican IRA member. Tom prepared himself for hostility. He was ready to kill.
In the cell he found Stagg, emaciated and half-starved, in the midst of a self-imposed hunger strike. Tom came face-to-face with his enemy’s weakness and vulnerability. “Any anger I had for this man turned to compassion.” Stagg told Tom to stop wasting his life. “My enemy became my teacher.”
Tom now uses filmmaking as a transformative tool in creating patterns of peace. His company’s first feature film, Mickey B, used Macbeth as the story line for a film script using actual inmates in an Irish prison. See the trailer here: Mickey B.
Prospero’s Prison is the followup feature film from the Educational Shakespeare Company. Tom continues his work in changing patterns of violence to those of peace.
My Current Writing
Here’s an excerpt from my novel Off-Road. The film crew, Tessa, Eric and Lyndie sit in the school lunchroom on the first day back to school. Their friend Terrell, in counseling for anger management, confronts a fellow student who taunts him over his sister, a wounded Iraq veteran.
I Can’t Hear You
Summer vacation ended Tuesday. A sea of uniforms, khaki bottoms and white, navy and green polo shirts, filled the school lunchroom. Shouts. Hugs. Backslaps. Laughing.
Tessa sat at an empty table. Fumbled with the lunch she threw together for herself that morning. Hiding the bruises on her face. Bruises that were now a bright purple. Makeup forgotten in the rush to get out the door and catch the bus.
For the last two years she had spent every lunch period in the library. Away from all her classmates. Away from her school world. Crying. Watching Ryder’s films on her phone. Memorizing them. Dialogue. Images. Camera movement. Composition.
Alone. Always alone.
She was about to get up and go to the library when Lyndie eased up and sat down next to her.
Lyndie leaned in. “You still pissed at me?”
Tessa shook her head. Peered over at Lyndie.
Lyndie continued, “Sorry I called you a princess.”
“Good. We need to put that behind us. We have a film to finish.”
Tessa managed a weak smile. “Deal.” She turned to Lyndie. “Can I ask you a favor?”
“Shoot.” Lyndie spooned yogurt into her mouth.
“My mom is still in Chicago. Won’t be back till Thursday.”
“Want me to stay over?”
“Sure. I’ll bring my bass. We can fool around with background music…if they don’t load us up with homework.”
Eric walked up to their table. “I just got a text from my dad, Tessa. It’s an update from the rangers at the Bureau of Land Management.” He held up his phone for her to read.
BLM called. Camera not recovered yet. Sorry.
Tessa shrugged. “No surprise there.”
As Eric spread sriracha sauce on his turkey sandwich, he said, “I did a search on—”
“What’s up?” Terrell slammed his tray down next to Eric.
“Hey, Terrell,” Eric said.
“Hey, dude.” He reached over to Eric’s tray and grabbed a couple of fries.
Lyndie watched Eric cut his sandwich in half with a plastic knife. “You know, real men don’t eat cut sandwiches.”
Eric looked confused.
Terrell laughed, high-fived Lyndie.
“Did I see you in AP English?” Lyndie asked.
Terrell nodded. “A lot of reading this year.”
“So how was your summer, Terrell?” Eric asked, chewing on his sandwich.
“Not bad. I got to see my sister Shantell in Brooklyn for a few weeks.”
“How’s she doing?” Eric asked.
He shrugged. “Better. You know, getting around. Public transit’s better in New York. She can get to the VA hospital more easily. Can’t drive yet. They’re working on getting her a prosthetic leg.”
Three boys, all seniors, walked by the table. Stopped to stare at Tessa. One spoke. “Girl, who messed up your face?” Tessa put a hand over her cheek. Then he saw Lyndie’s head injury and Eric’s finger splint. “Wow, you guys are a mess.”
He turned his attention to Terrell. “Dude, I hear your sister still hasn’t got her fake leg.”
Terrell looked at him, eyes blazing. The boy turned to his fellow seniors. “I’ll bet that slows up her love life.”
Terrell spun around, shoving his lunch tray across the table.
The senior took a step backward. “Just kidding, man.”
Terrell jumped up, grabbed the boy’s shirt, and shoved him across the floor. The boy regained his balance and came at Terrell.
Eric called out, “No, Terrell!”
Too late. Terrell threw a left fist at the boy, caught him square in the nose. Blood gushed down his white shirt. He fell to the floor, clutching his face.
Someone at a nearby table yelled, “Fight!”
Terrell leaned in. “Nobody talks about my sister. She’s got more balls than you’ll ever have. You ever serve in Iraq, asshole?”
The boy scuttled backwards away from Terrell.
Eric and Tessa stood up. Took hold of Terrell’s arms. Tried to pull him back. He shook them off.
“You didn’t answer me.” Terrell bent over. Face to face with the boy on the floor. “You serve in Iraq? You see combat? I can’t hear you.”
The boy shook his head. Blood ran onto the floor.
A teacher, one of the phys ed coaches, ran up. “Ellis, step away. Now!”
Terrell stood and moved back. Hands held high.
The teacher knelt down by the injured boy. He touched the bloody nose. “Not broken. Just a lot of blood. You’ll be okay. Come on, I’ll take you to the nurse.”
Terrell boomed, “I’m not finished with you,” as the two walked away.
The school principal, Mr. Hearn, appeared, accompanied by a security guard.
“Mr. Ellis, my office. Now.”
He turned to Tessa before he walked off. “What happened to your face, Ms. Warren?” Before Tessa could answer, he spied Lyndie and Eric. Stared hard at all three.
“I am guessing whatever you did to one another happened before school opened today. But it may be indicative of behavior we do not tolerate in this school. I want you in my office too. Now.”
They followed him out of the cafeteria. Behind them, students stood on lunch tables, phones in hand, recording the incident.
A janitor began mopping blood up off the floor.
As they walked behind the principal, Eric whispered, “Wow, Terrell’s in deep shit now.”
“So are we,” Tessa said.
Lyndie nodded. “Terrell’s already on probation from the trouble last year.”
“He told me he’s been in mandated counseling since then,” Eric said.
“What happened to his sister?” Tessa asked.
“She drove over an IED. Improvised explosive device. They almost lost her. The other soldier in the truck killed instantly. Soldiers in another Humvee got her to medics right away. They saved her.”
Hi. Mannequin Monday again. Dressing the blank page. Making art. Welcome back. I love a good opening line. Pulls you right into the story. One of my favorites is the first sentence of Hemingway’s The Old Man and the Sea. “He was an old man who fished alone in a skiff in the Gulf Stream and he had gone eighty-four days now without taking a fish.” The entire story is set up in the one line. The old man will endure in spite of obstacles and pain.
This Week’s Reading
This week I read In That Time, a short story by Richard Bausch, featured in Narrative magazine.
Richard Bausch opens his short story with the line: “Back in late June of 1949, when I was twelve years old, I spent a morning with Ernest Hemingway.” The line grabs the reader right away. Someone spent a morning with Ernest Hemingway. Tell me more.
Visiting Cuba, sent on an errand to buy a newspaper for his father and stepmother, the boy encounters Ernest Hemingway in a small cafe. What follows is a momentary bonding between boy and author. And when it’s over, the boy has discovered that Hemingway is fluent with fiction, even in his everyday conversations.
In his awkwardness, the boy blurts out to Hemingway, “You killed a lion.” That sparks a conversation about Africa and big game hunting. The boy says he wishes he could travel to Africa and hunt lions. Hemingway talks of killing a water buffalo with a bowie knife. They talk of the war. Hemingway says he has killed many enemy soldiers.
Later in the conversation, the boy begins to realize all of what Hemingway has told him may not be entirely based on fact. “Suddenly I wanted to ask him if the things he had told me were true. I knew that I would not do so, but I also understood that there had been no stabbing of a charging water buffalo with a bowie knife, nor any killing of a hundred Krauts.”
At the end of the morning, after the boy has witnessed Hemingway also talking to several reporters, then to the boy’s father and stepmother, he says of Hemingway: “I had a sudden sense of what the whole morning had cost him, the strain of being who he was in that place and at that time, the world as it was then, keeping up with his fabrications. And I’m convinced that I knew, somehow, sudden as a spark and a dozen years before it happened, how his life would end.”
This Week’s Podcast/Interview
Shawna Baca, a self-taught filmmaker, in an interview with me several years back, talked of making a story breathe life. “I considered myself as a storyteller, not necessarily a writer. Even though I wrote my own material, what I gravitated to more than the material was the intention or purpose of the story and how we were all emotionally influenced by that story.” She went on to say, “… writing a good story is key but then knowing how to make that story breathe life is the magical part that makes each filmmaker unique in his or her own right.”
Knowing how to make a story breathe life. That’s what it’s all about.
My Current Writing
The opening line of my book blurb: “One phone call jolts young Tessa Warren out of her black-and-white, home-alone life.”
Listening to Dan Blank’s podcast conversation with author Leigh Stein, I sparked on something Stein mentioned. In marketing her current fiction title, due out in June, she thought she’d like to try creating a zine she could share with potential readers. It gave me the idea to create a zine of my own, a digital version, to help publicize my YA novelOff-Road. Since I don’t have Photoshop, I used Pages to build a basic two-page ezine. The result is below. My MacBook Pro is ten years old, and I can’t upgrade past El Capitan, so my methodology is limited (frustrating?). I managed to get the ezine from Pages to Photo as a JPEG, then into Facebook and Twitter. I like it, and I’ll experiment with more later on. Maybe even create a larger ezine to use as a bonus for signing up for my newsletter.
Enjoy your week. Don’t forget to make art. And make your story breathe life!
Mannequin Monday. A day to dress the blank page. To fill the empty screen. To chip away at the block of stone. To shape the blob of clay.
The mannequin’s purpose is to be draped by the dresser. Blank media exists for the artist. Let’s fill and shape, let’s make art, with our words, our visions, our hands.
Every week I will post a story I have read, a bit of discussion on the story, another reference to a podcast, article, or interview, and then an excerpt from my current writing. The outline will mimic the structure of several online fiction courses I have taken with the International Writing Program at the University of Iowa. I hope you may find inspiration here.
A simple act of befriending a young boy has consequences for a scientist ten to twelve years later. The scientist tracks a group of monkeys in a rainforest in India, studying their eating habits. She goes out into the jungle daily from her base camp, always accompanied by her tracker. One morning, as a drenching rain soaks the jungle, the tracker refuses to go out with the scientist. She ventures out alone. What drives her is the motto of grad students – “Give us data or give us death.” She finds a boy of about nine or ten following her in the forest. They strike up a limited conversation. She does not speak Tamil. Nor he English. Over time he often follows her as she tracks the monkeys.
When her project is complete and she is returning home, the boy begs to go with her. She agrees to bring him to stay with her parents for one year, to educate him and provide a service to her parents. After a year he returns to his own family. All go on with their lives.
Ten years later the boy, now around nineteen, calls the scientist out of the blue. They talk briefly. Again, they lose touch for several more years. Another call. The young man’s father is in need of cardiac surgery. The scientist makes arrangements for money to be wired to help with the medical expense.
I won’t reveal the ending.
The story is told from the scientist’s first person point of view, speaking to the young man. You followed me. You spent a year with my parents. You returned home. You called me. Thank you for calling. So good to hear you are well.
We never hear the scientist’s name. Or the boy’s. It’s a conversation between two people. No need for names. A story devoid of description. She is not talking to us, the readers. She speaks to him. Directly.
3. This Week’s Podcast/Interview:
Several years ago I posted on my blog Creating Story about urban underground photographer Steve Duncan. Duncan has spent years exploring and photographing urban underground arteries that include New York City’s subway and sewer tunnels, as well as the Paris and London underground.
Duncan was afraid of the dark.
In a 2010 interview in Columbia Magazine, Duncan said, “I figured if I could venture alone into this dark and terrifying tunnel, I could be proud of myself. There was the sense that if I didn’t push through with it, I wouldn’t be able to look myself in the eye.”
What a great metaphor for writing. Afraid of the dark. Moving into the underground. Pushing through. And looking yourself in the eye when done.
4. My Current Writing:
Steve Duncan has inspired part of Tessa Warren’s brother Ryder’s psyche. In my upcoming Surfrider, Tessa talks to Kelsey, one of Ryder’s friends from film school. Here’s a draft of the conversation:
Kelsey thought for a moment. “It’s all about story.”
“Film. It’s story. Storytelling.”
“If I know you, you’ve watched Ryder’s films many times.”
Tessa smiled. “Hundreds.”
“Do you recall the one he shot in the New York subway tunnels?”
“Sure. One of my favorites.”
“What was the story?”
“The conversation with the woman who lived in the tunnel. The one who had lived there for years.”
“That’s the story everyone sees.”
“What else is there?”
“What you don’t know. What you should be able to sense.”
“I don’t get it.”
“Ryder was terrified in those tunnels.”
“Oh yeah. He grew up out here in LA. Wide open. Light. Breezy. Lots of sun and space. Most of your houses don’t even have basements, right?”
Tessa nodded. Where was this going?
“New York is a great city, don’t get me wrong. I grew up there. I was used to the dark side. Basements, alleys, subway tunnels, tunnels under the rivers. Blackouts. Ryder didn’t know that.”
“But he lived there for four years.”
“He did. But he would never walk through an alley. Never walk down a narrow street or a dark street. He would walk around it. He was never comfortable with the subway. He often walked where he had to go. Sometimes preferred a bus.”
“But he did that movie.”
“That’s my point. If you watch that film closely, you realize first that of course he himself is not on screen. What you don’t see is what he is feeling.”
“He went down into those tunnels alone. In every case he was trespassing. It’s illegal to be in there. He started out talking to homeless people up on the streets. The ones in the bus and railroad terminals. The ones who slept outdoors over the sidewalk steam grates.”
“The woman he talked to in the tunnel…he met her up on the street. He worked on building trust with her. Would bring her coffee. Talk to her. She told him, you want do a story, come see where I live. Where a lot of us live.”
“And he did?”
“He followed her into the tunnels. The blackness. She had no flashlight. She knew the way. Told him not to use a light. He followed her in the pitch black. For a long way. Where she lived is an isolated part of the subway system. She would not let him turn on his camera light till they reached her alcove, hidden in a maze of tunnels.”
Tessa shivered involuntarily.
“I talked to him later when he came back. He was filthy. He was shaking. He took a long shower. We sat and talked about it. He had been terrified. He had to face his own fears. Face down his terror.”
Tessa thought of the film she had watched so many times. Began to sense the tremor in his voice as he spoke with the homeless woman. Began to imagine the blackness beyond the camera light.
“The story, Tessa, is deeper than what you see. There is an art there. Ryder was a telling a story, sure. A story of the homeless woman. But there was the story of him getting the footage. The story of facing up to fear. Confronting oneself.”