Posts Tagged ‘twitter’
Sentenced last month and currently serving a year’s prison sentence for driving under the influence and vehicular manslaughter, Avary’s musings could be seen as inspirational to most fledgling writers. In fact, The Scribbler would like to think Avary has already bagged half a dozen ideas for new writing projects.
There are many theories about how Avary is managing to Tweet from Ventura County Jail. One suggests that while serving a year’s custodial sentence and five probation, the Californian justice system saw fit to grant Avary a work furlough allowing him to work on Return to Castle Wolfenstein, his current film project based on the hit computer game, before returning to prison at night. If this was the case we’re sure it would be more widely publicised.
Other reports suggest he’s using his telephone call to phone his 140 character Twitter update to a friend who then updates his profile for him. Or a third idea is that he is microblogging using a mobile phone application. Regardless of how he is doing it, one thing’s for sure, Avary’s Tweets are gradually building a very vivid picture of what life is like inside a correctional institution.
Also follow The Scribbler on Twitter here: @ScribblerBlog
Feast your eyes on a famous example of Roger Avary’s talent below. A drug induced scene from his film Killing Zoe:
What do you think of Roger Avary’s Twitter? Has it inspired you in any way? Is it a good resource for research in life from behind bars? Are you now bitten by the Twitter bug? How can social networking benefit the writing process? Please do discuss below
Words: Dean Samways
To celebrate the DVD and Blu-Ray release of ‘How To Lose Friends and Alienate People’, The Scribbler talks to the author of the book that became one of the funniest movies of last year.
In an exclusive interview Toby Young talks about how he got into writing, what nurtured his talent and how the transformation from book to film transpired.
Enjoy our little chat with one of the most sought after writers of the twenty-first century below and leave a comment:
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THE SCRIBBLER: When, where and how did you first discover your flair for writing, and how was it nurtured early on?
TOBY YOUNG: Both my parents were published authors so, for me, writing a book wasn’t a particularly huge leap. Growing up, it was always something I thought I’d do. In addition, my father was always quite encouraging. From a very early age he used to tell me that I was a natural writer.
TS: What was it about working on The Danube that drove you to follow a career in journalism when you were, at the time, studying very different subjects?
TY: I studied Philosophy, Politics and Economics as a student — a subject known as PPE — and that is considered a typical degree for a journalist to take. I think a more pertinent question is why I didn’t go into current affairs journalism, why I tend to do the softer, more personal stuff, and that was something I fell into by accident. It was just easier to get published on the features page than the op ed page and, having come up that route, that’s the path I’m still on. But as I get older I find myself drifting more towards news and current affairs.
TS: You mentioned that as you get older you feel drawn to current affairs, how has that transition in writing styles and subjects been for you?
TY: I just mean that I enjoy appearing on programmes like Newsnight and Question Time – not that it happens very often!
TS: Can you describe the move you made from journalism to fiction writing? What differences exist between the two disciplines in terms of having to change your methods? Did you come across any difficulties and how did you overcome them?
TY: I’ve published very little fiction. My two books – ‘How To Lose Friends and Alienate
People’ and ‘The Sound of No Hands Clapping’ – are both non-fiction.
TS: While your two books are non-fiction some creativity must have gone into them, even if it was just finding ways of making scenes sound as colourful as possible. How did you approach writing books like that? Are they not just mammoth features?
TY: I’ve read quite a few books on screenwriting and done Robert McKee’s screenwriting course a couple of times. I found that very helpful when it came to writing books. I think the principals of storytelling are universal, regardless of whether you’re writing fiction or non-fiction.
TS: How did ‘How To Lose Friends and Alienate People’ come about? Can you briefly describe the writing process of such an auto-biographical book. Was it as much fun writing it as it is reading it?
TY: I worked on the proposal for ‘How To Lose Friends’ for a couple of years, but, after I’d sold the book on the back of that, it only took me about six months to write. I’m not sure “fun” is the right word to use. Hunter S Thompson said, “I suspect writing is a bit like fucking, which is only fun for amateurs. Old whores don’t do much giggling.”
TS: To the majority of readers it would appear you’ve led quite the lifestyle. How do you intent to follow your two books? Do you think you’ll have to turn to fiction to convey the same messages and humour?
TY: Well, my life is certainly less exciting now that I’m married and have four children. I want to write more fiction, but it’s hard finding the time between all my other commitments.
TS: During the film making process of HTLF&AP was it difficult to let some of the book go in the production reasons? How much input did you have in the process?
TY: No, I didn’t find that at all difficult. William Goldman, the novelist and screenwriter, once told me that a writer has to learn how to murder his babies, but that came naturally to me. The producers of the film were initially a little wary of me because they thought I’d fight to preserve every last scene in the book, but when they realized I wasn’t going to do that they were much more open to my suggestions. I knew that if the book was going to be turned into a film it would have to be very different.
TS: Are you happy with the finished piece? Has is inspired you to do a bit of screenwriting?
TY: Yes, very happy. It’s a very entertaining film. On the screenwriting front, I caught that bug about twenty-five years ago and I’m still plugging away. Being involved in the making of a film hasn’t put me off in the slightest.
TS: As the hype over HTLF&AP the movie pipes up again with the release of the DVD what are your plans for the future?
TY: I’d like to keep writing books, plays, movie scripts, etc, but be paid a lot more for doing it.
TS: You’re a bit of a jack-of-all-trades when it comes to writing. Which discipline do you enjoy dabbling in the most and why?
TY: I like comedy writing the best, particularly devising comic scenes. If you can pull that off, it’s very satisfying, particularly when you hear people laughing in the theatre or the cinema.
TS: I was able to contact you quite freely without having to go through publicists or PR. Do you usually work with them? For the budding writers out there, what are the pros and cons of working with such professionals?
TY: I worked with a PR company on How to Lose Friends & Alienate People, but generally speaking I don’t. As far as I can tell, the only advantage of forcing people who want to interview you to go through a PR company is that they take you more seriously.
TS: The Scribbler is dedicated to inspiring and advising would-be writers to get their material published. What is the best piece of advice you could give them, or you have ever been given concerning your work?
TY: When I was about 19 I bumped into Clive James at an airport and told him what a big fan I was of ‘Unreliable Memoirs’. He reciprocated by giving me a piece of advice that I’ve found very useful: Keep it personal. The important thing is to find your own voice, to write in a style that is unique to you. Once you can do that, the rest is easy.
TS: Just how personal are you prepared to go in your writing? How much of yourself do you dare put into your work?
TY: I like to think I’m pretty open and honest, but it is easy to delude yourself about just how open and honest you’re being. That is to say, many people who write about themselves and their reactions to things claim to feel what they think they ought to feel, but which, in reality, they don’t. I don’t think they’re being straightforwardly deceptive – it’s more that the lies they tell themselves spill out on to the page — but it still has the smell of dishonesty about it. The really hard thing about personal writing is to be completely faithful to who you really are and not pretend to be the person you think you ought to be.
TS: What you up to at the moment?
TY: I have a few irons in the fire, but experience has taught me not to talk about anything until you’re ready to unveil it before the public because, so often, these projects come to nothing.
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Find Toby Young in cyberspace:
Watch Toby Young interview Simon Pegg (and vice versa) for The Culture Show below:
Are you a fan of Toby Young’s writing? Does the movie do HTLF&AP justice? Post your views, comments and start discussions in the comments box below.
Words: Dean Samways
For all the stories that are constantly rattling around and exploding inside my head, all too often actually sitting down at my desk and writing things down is bloody difficult. It’s a bizarre dilemma. Too many ideas; not enough writing.
As you may have guessed, the topic of the week is procrastination and writer’s block. Fittingly, this blog is a week late. Apologies. My book hasn’t been going that well this week, you see. I’m still stuck at the thirty thousand word mark. In fact it’s actually shrunk a bit, when I lopped off a couple of dodgy pages, and murdered a whole character. I’ve been under a lot of pressure in the day job, and then I had a midnight trip to casualty, and there’s been some good telly….
All true, but I know it’s not the main reason for the lack of progress. I suspect I’m adept in the dark art of procrastination.
I’d like to think I’m not entirely to blame. Even if it is not harder to be a writer today than in the past, I think it is easier to be a procrastinator.
I am amazed at the sheer amount of distractions available. Mobiles, email, daytime television, Facebook – so far I have resisted the siren texts of Twitter – all consume vital minutes: often not many, but enough to break into my periods of concentration. As many times as writing feels glorious and effortless, I find it feels like homework or exam revision. During these periods I will do anything to avoid my desk.
Even as technology has granted us time from manual chores, it gives us the choice to do something else. We don’t want this choice. Watching Ice Road Truckers on Discovery, or joining some bizarre collective on Facebook is far easier than actually writing. For a writer, choice of entertainment is a bad. Give us only books, paper and pen, and lock us away.
Perhaps it will be a good thing. Only those committed enough to screen out distraction will complete their books: and thus the dilettantes and chancers will be screened out themselves, never cluttering the publisher’s desk, and leaving the field free for the committed and the good. And the question that wakes me in a cold sweat at night: which one am I?
A writer needs isolation and silence. He needs to delve deep into his own head: set dilemmas, flesh out characters; have the quiet space for his own imagination to whirr and play. Like Homer in the isolation booth, only when you’ve set aside some quality time with just you and your head, will the hallucinations that form the strange stuff of stories flicker into existence.
Not the Homer referred to in the blog post but still a poetic one
But then, perhaps when you’ve actually managed to pluck up the courage to sit in front of the laptop, you feel the weight of expectation pressing down on you. You’ve read a lot of books. You know all about literary theory and the corpus of 19th century Abyssinian poets. Thus, what you write is going to be perfect – isn’t it?
This has been one of my biggest problems. I want it to be perfect. But, almost always, the words on the screen capture just a ghost of my intention. That’s not what I meant. That’s not what I meant at all. I am paralysed and I have to fight to stop myself slipping back into the embrace of impossible expectations.
But there is hope. Few great authors found the writing process easy. In fact many of them spoke of the craft with something approaching revulsion and horror, yet still managed to write, publish and be successful. Philip Pullman, answering a question on writer’s block says:
“I don’t believe in it. All writing is difficult. The most you can hope for is a day when it goes reasonably easily. Plumbers don’t get plumber’s block, and doctors don’t get doctor’s block; why should writers be the only profession that give a special name to the difficulty of working, and then expects sympathy for it?” (www.philip-pullman.com)
In practical terms there is a universe of techniques to jumpstart your writing. The most important for me is letting yourself be bad when you write. Lay down utter drivel. Just keep it private and tell yourself it’s just a rough draft. Rediscover the joy of forming sentences, paragraphs, creating characters. Create a schedule. Get up an hour early, and write in the dawn. Go walking – leave for work a half hour earlier and walk, letting your thoughts riff along the beat of your legs. Knock yourself out of regular thought patterns. Buy the Daily Mail. Get yourself worked up.
To finish on a more philosophical tack, I think that ultimately what keeps you writing is a mixture of love and fear. Love, for the special times, when writing feels like flying; and fear, of the alternative: of not writing. That is a giving-up, a little death. To write is to have a chance to live twice over, at least: firstly, you see, hear, smell and touch more intensely; and, second, when your stories are read, you yourself are multiplied. That’s worth writing for, isn’t it?
Watch Pullman talk about The Golden Compass and his writing technique below:
What are you guilty of when it comes to procrastination? Have you every experienced writer’s block? How did you overcome it?
Words: Richard Walsh