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#87 The turning of the year always puts me in a reflective mood. It's a time to think about what I might wish to change or preserve, to strengthen or finally let go. I set goals, but these days they aren't so much things I want to do as ways I want to be or feel—the shape of my life for the coming year. It turns out this is more useful for me: things tend to happen in relation to the shape of life. Things fit or they don't. If I know what I'd like the shape of my life to be, it's easier to tell when I want to encourage a thing to continue, or whether to let it go. It's one thing to say, "I'm going to finish a novel this year." It's another thing entirely to say, "I'm going to feel that I'm always being the best writer I can be." The former requires word count, desk time, rigorous attention to craft. The latter requires all of that as well as being open to the idea that finishing the novel might not be the best use of the writer's time. It's a tricky exercise. Goals untethered to vision are less meaningful. Vision without goals is less productive. And so on I go, seeking balance. Growth and peace; comfort and adventure; still moments and big life; clarity and fearlessness; to be, or at least to act as if. It's been both a good year and a hard one. Tonight Nicola and I will drink champagne (Thierry Triolet, our new favorite) and talk about the old year and the new. We're hoping for more good and less hard in 2006, but I expect we'll take whatever we get and squeeze as much out of it as we can. Thanks to everyone who visits the virtual pub for a pint every now and then. I value your company, whether you stop to chat or just to listen. My very best to you all. See you again in the new year. |
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#86 Hooray for Hollywood! For those who haven't seen the news, here's a recap: Warner Independent Pictures announced in Variety today the producers, executive producer, studio executive and screenwriter who are involved with the film adaptation of Solitaire. Here's the skinny for those who like the details: Greg Widen wrote Highlander (the original) and Backdraft, and wrote and directed The Prophecy. From my perspective, his work balances character and relationship with story and action. I'm delighted: so many films seem to think that characters only exist to drive the cool cars from one chase scene to the next. I'm looking forward to seeing how he adapts Solitaire to film, and am assuming that it will be a different story in many respects from the book. Will it retain the essence of the characters and relationhips? Will the screenplay emphasize the internal journey of the book, or external aspects? And does it matter? It's been said that prose focuses on how people think and feel, while film focuses on what people do and say. I believe this is true. And a movie based on Solitaire should be judged on its own terms as a movie. But, of course, it's not this simple. I would love to see Solitaire play out on screen the way it played in my head when I wrote it (and still does)—but it won't, because movies based on books never do. And yet, I'll be looking for whatever moments do make the cut, whether they are moments of character, relationship, event, setting, dialogue.... What will Widen, Cherry Road and WIP choose to do with all the moments available in the text? Which ones will they find ultimately meaningful to use as a springboard to their own vision of a film based on the novel? That's the great adventure of adaptation. I can't wait to see how it all plays out. I've said more about how I feel about adaptation here, for those who are interested. So please join me in a virtual toast to the fine folks involved with this new phase of Solitaire. Let's drink to their success in adapting it into a screenplay that excites and moves and entertains, and to the moments of the book that will find new expression. Cheers! |
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