Showing posts with label author. Show all posts
Showing posts with label author. Show all posts

Saturday, December 26, 2009

The Spotlight Interview: Bill Minutaglio, Author of "Molly Ivins: A Rebel Life"


10 questions with two-time Pulitzer Prize nominee Bill Minutaglio, the author of the recently-released book, "Molly Ivins: A Rebel Life

First, Mr. Minutaglio provided this exclusive preface for us:

Molly Ivins was, for a while, the most powerful woman in journalism—and she was one of the toughest, most tragic, women in America.

She had enormous power and influence: Presidents, senators and royalty called her.

She appeared in over 300 newspapers, had huge national bestselling books, and appeared on 60 Minutes, Letterman and Leno. She had millions of followers.

She punched men out in Texas—and once knocked George W. Bush's most important political partner to his knees in a bar in Austin. She rode motorcycles—and could drink any man under the table. She eventually became a profoundly high-functioning alcoholic - in and out of rehab, causing a ruckus around major political figures (like Nancy Pelosi), and managing through it all to write for every major magazine and news outlet imaginable. Her work was compared to Mark Twain, Rabelais and Mencken.

She broke open the doors for Maureen Dowd, Arianna Huffington, Gail Collins and almost any other woman who wanted to have an opinion column in America. She suffered death threats and bomb scares. She raised millions of dollars for civil liberties and other causes across America. She personally supported hundreds of people over the life of her career—she gave away, in the end, millions of her own dollars, to strangers, friends, the homeless. She was unfathomably generous.

And, her entire life was defined by her relationship with her father—who was the autocratic, racist, head of Tenneco, one of the most powerful energy corporations in the world. She grew up in unbridled affluence, she grew up as friends with George W. Bush, she attended the finest private schools in America and studied in France—and she rejected all of it to become of the most fiercely liberal voices in American history. She lived with one of the most radical activists in America, she was engaged to be married to a wealthy man who wanted to start a "master race”—and Hollywood producers continually talked to her about making a movie of her life.
There really was never a figure like Molly Ivins. And there will probably never be another. She was like Amelia Earhart meets Annie Oakley.

Her story was one that needed to be told—it was so intensely narrative (which explains, I believe, why those producers, screenwriters and directors wanted to make that movie based on her life). She fought sexism at every turn in her life. She lived large, fought hard and told the top editor of The New York Times to fuck off. And just when she seemed ready to beat back her raging, drunken nightmares, she was hit with cancer. She battled three wicked bouts of cancer.

And through it all, she laughed her ass off, spoke truth to power, gave away even more money -- and never stopped working. Her friends—Maya Angelou, Dan Rather, Willie Nelson, Ann Richards, Bill Clinton—marveled at her stamina. And when she died there were enormous memorial services around the country, including ones in New York City and Texas.

For a narrative story teller, Ivins's story was inevitable. There were so many breathtaking twists and turns in her life. I knew her a bit and knew some of her story. But not all of it. It simply became richer, more intense, as I researched it.

With one of her former researchers, we worked on the book for 18 months. We did research across America. We delved into her personal archives, her diaries (including scalding, intense ones where she talks about her fight with alcohol, her lovers, her fights with the most powerful people in American publishing and politics), her personal letters. She was the most profound self-chronicler imaginable, and we had access to hundreds of thousands of documents, papers, letters, touching on almost every aspect of her and her family's personal history.

I learned that, when you weigh Molly Ivins in historic context, her story is a grand, outsized American saga. She was often "the only woman in the room"—and she fought like holy hell to be heard, to be respected, to change things for the good of America. She was a trailblazer and a firebrand. Again, to say she lived large is really an understatement.

Mike: Do you remember the day you decided to write a book about Molly Ivins?

Minutaglio: With Molly Ivins having millions of readers, a huge national following, and the kind of rocketing life that made some movie producers want to make a film about her, I assumed someone was going to write a biography. She was larger than life. She lived hard. Her former aide-researcher in Texas began telling me these fascinating stories about her life and that's when we decided to collaborate.

Mike: How well did you know Molly personally?

Minutaglio: I knew her as a colleague in the media. We both covered George W. Bush. I worked down the hallway from her when I was in daily journalism in Texas. We were in the Austin bureaus of competing Texas newspapers. I would see her at Bush's press conferences, meetings. After I wrote my biography of Bush for Random House, I got to know her a bit more—we were both interviewed on the Charlie Rose TV show.

Mike: Do you have a memorable firsthand experience with her?

Minutaglio: We had lunch a decade ago in a raucous Mexican restaurant in Austin. Loud, crazy scene. She had called me up and demanded I meet her. I remember her leaning over the table, staring hard at me and talking about her life. She said that fame could wash over you. That you had to keep from drowning. That it was a wild ride. And then she laughed - which she did a lot - and laughed very loudly. She was always throwing her head back and laughing really hard.

Mike: Did she ever say anything about writing or journalism that's a keeper for you?

Minutaglio: I was staggered to hear how, so early in her life, she was an apostle for subjectivity in journalism. She had come to that idea when she was in her early 20s. She thought a lot of "objectivity" in journalism was phony and useless. She also, probably obviously, believed that it was perfectly fine to poke big fun at the people in power -- as long as you did it with a smile, and didn't do it with acid-tipped daggers. She always maintained that satire was good, but that you never wanted to cross the line into mean-spirited vitriol.

Mike: How long did it take you to write the book?

Minutaglio: It took 18 months. We had access to her personal papers, diaries, notebooks. Her family and best friends were very helpful.

Mike: What's the most surprising/shocking thing you found out about her?

Minutaglio: Molly Ivins was far different than the person millions of her readers assumed her to be. She had an enormous battle with alcohol, one that stretched for decades. It led to some very intense moments in her life—ones where she put herself in great danger, personally and professionally. When she was young, she wrote a note to herself—saying she would commit suicide if she didn't become famous one day.

She also was incredibly unafraid to occasionally step back and literally punch someone in the face: She hit a man so hard in Dallas that his teeth sprayed out on a city street. She hit a man so hard in the Austin area that she knocked him out and he fell into a cactus patch. She knocked George W. Bush's alcoholic political mentor to the ground after he tried to stop her from leaving a drinking session at a bar.

The men in her life were extraordinary: She was engaged to be married to a very affluent man whose father was a high-ranking US diplomat who was doing work for the CIA—and then her fiancĂ© died in a horrific motorcycle crash. Her father was one of the most powerful men in American industry -- he was president of Tenneco—and he committed suicide. She grew up with George W. Bush. She lived with a man who, for a while, was one of the leading activists in America. She gave away, in the end, probably millions of dollars. She had a close relationship with the man who basically paved the way for Bush to become president. She was consulted by presidents, senators and other powerful political figures. She was best friends with Ann Richards—and faced rumors that she and Richards had an intimate relationship. And, of course, Ivins endured three wicked bouts of cancer—and numerous death threats.

And, finally, she decided she hated working at The New York Times—and deliberately provoked the powerful editor Abe Rosenthal by trying to inject some, ahem, "colorful innuendoes" into her stories. It let to her basically telling him, and the Times, to take a hike.

Mike: How did you work the writing with your co-author?

Minutaglio: I wrote the book and he was the lead researcher.

Mike: Do you remember how you felt the day Molly died?

Minutaglio: That it was the end of an era. That there would never be another one like her –so colorful, so singular in American journalism. She had become a national, and maybe international, celebrity.

Mike: What did you like about her writing? What made her so powerful?

Minutaglio: She was, without question, one of the most influential women in the history of American print journalism. She had such an enormous, loyal following. She was often "the only woman in the room" in this ballsy, bad-ass, tough Texas environment—of hard-drinking, devilish (maybe demonic) Texas kingmakers and smashmouth politicos. She stayed up later than all of them, drank them under the table, and was able to get stories and insights that no one else would get. She was unrelenting, had an iron constitution, and she had completely decided to devote her writing (and her many TV appearances -- including her short-lived gig as a commentator on "60 Minutes") to addressing social justice and civil liberties.

Mike: What did you admire about her as a person?

Minutaglio: When you consider the historic context, what she achieved was just extraordinary. Her father was domineering, and her parents had charted out a path for her in a gilded, wealthy world of high society. She rejected all of that -- though she studied at Smith, studied in France, was fluent in French, knew how to sail yachts -- and devoted herself to writing and reporting. And she did it, again, by being "the only woman in the room" in these macho, crazed, moments in Texas.

She was also massively prolific. She wrote thousands of articles, was syndicated in close to 400 newspapers, had several national best sellers—and wrote for most of the major magazines. She gave speeches around the country. She was a workaholic.

Through all of her travails with alcohol, relationships and cancer, she remained fiercely generous. She literally gave away almost all of her money. She gave jobs to friends. She pulled people up, dusted them off, and gave them her time, friendship, work, places to live.

Divorced from how you feel about her politically, she was an exceedingly generous person. She never married, never had children, endured death threats and whispers about her sexuality—and yet always seemed to find time to help what she would call her “extended family”....the many, many people she rescued, fostered, promoted.

You can order Bill Minutaglio’s book on Amazon.com http://www.amazon.com/Molly-Ivins-Rebel-Bill-Minutaglio/dp/1586487175. And for more info on the book or Mr. Minutaglio, please visit http://www.mollyivinsbook.com and http://www.billminutaglio.com.





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Wednesday, September 23, 2009

Future of Journalism: Bill Minutaglio


Bill Minutaglio
Clinical Professor, University of Texas at Austin
Award-Winning Journalist and Author
http://www.billminutaglio.com
Click here

I asked Mr. Minutaglio:

What do you tell young, aspiring journalists about the future of the business? Can you still be encouraging? What advice do you give them? And how can they best get a job in these tough economic times?

His response:

Mike, I'm in this unique vantage point situation for your questions, in that I am a full-time member of the journalism faculty at one of America's largest universities -- one that draws people from around the nation, the world. And I work with aspiring, young journalists every day. So I hear their concerns, ambitions. I have students that range in age from 18-30 -- graduate students, undergrads.

One thing is clear: There is no shortage of young people who want to report and write great stories. They know the technology has changed, is changing. They know it better than anyone else, because they are changing it themselves -- they are inventing the paradigms.

They also are fully aware that there are fewer and fewer guarantees of full-time jobs, 401ks, even year-long contracts with magazines. They know all of that: And yet they continue to commit to studying journalism. And they continue to have a huge thirst for knowledge, for growth, for studying the still basic, eternal, elements of journalism: They want to know how to interview people, talk with people, investigate stories, drill down on stories, change hearts and minds. The young people getting into journalism today are, in many ways, far more courageous than anyone who got into journalism in the 1970s and the 1980s.

People who are in their 50s today went into journalism back in the '70s and '80s, knowing full well that there were plenty of jobs, publications, opportunities. They entered the work force secure in the knowledge that there would always be another newspaper, another magazine, they could work for. Think about it now: Students are still lining up to study journalism, to commit to journalism, knowing full well that things are vastly different today.

If that doesn't give you hope in some way, then you are a dead soul indeed. Young people are moving into journalism with a wonderful idealism and level of commitment. Are they naive? No -- they are hopeful. Their primary concern remains protecting journalism's eternal ideals -- shining the light on the truth.

Are they worried about jobs? Yes, of course they are. But they seem to recognize that they can and will be far more nimble than the generations that came before them: They have to be and they know it.

What I hear repeatedly from journalism students -- mine range in age from 18-30, including graduate students -- is that they are going to master all the multimedia skills they can and then be prepared for any opportunity that fits their interest and circumstance.

As for advice, I tell young students that they can be served by acquiring more knowledge -- but not general platitudes. They need specific tools. To stand a better chance of getting employed, it's beyond obvious that you have to be able to master - or do well -- a variety of multimedia tasks. And not just social networking.

These days, almost every newspaper and magazine is asking that its staffers bring multimedia skills to the table - yes, the social networking, but also the visuals, the audio, the packaging, the web design, Flash, etc. That holistic, multimedia knowledge is now being offered by almost every good university journalism program. If you can afford it, if you have time, one very practical step is to find a year-to-two year graduate level journalism program and immerse yourself in all that it offers.

The technology is changing so fast that it is not a bad idea to take time out and spend a year or two, if you can, in a quality graduate program that will not only yield you a master's degree -- but will expose you to the latest, cutting edge knowledge surrounding multimedia. You will emerge with skills that are cross-platform, that put you in a position to really be a jack-of-all-trades, that will help you take control of your own career -- you can offer yourself to a journalism entity as someone who comfortably wears many different hats.

It turns out, by the way, that major universities also happen to be enormously fruitful networks for jobs - employers, editors, routinely contact universities hoping that there are some bright students who can help those "old school" editors make the transition to the newer technologies, and who can speak to the next generation of readers.

My sense is that so many editors are so afraid of the future that they look toward some large institutions of higher learning and assume that the researchers there, the educators there, are studying the trends - and that the students from those programs might be well-versed in the latest trends. We have, as an example, several young journalists who pulled out of their budding magazine or newspaper careers to go back to graduate school -- so they can steep themselves in "the new thing." Or be around full-time journalism researchers who are trying to perfect or predict "the new thing." Universities, good ones, also routinely hold conferences that bring together great journalism minds -- people who share that cutting-edge knowledge and who also provide wonderful networking opportunities for students, for young journalists. Again, not everyone has time or money to "go back" to school -- but, in a sense, everyone is "going back to school" these days, whether you are formally enrolled somewhere or not.

We are all learning something new each day -- the social networking, the multimedia, etc. My argument is that some young people should consider, if they have the time and money, enrolling somewhere where they can be exposed to a full buffet of new paradigms, new ways of doing journalism, new ways of making yourself an attractive candidate for editors, publishers, producers, etc.



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Thursday, August 6, 2009

Scribe Blake Snyder dies at 51

Scribe Blake Snyder dies at 51
Best known for "Save the Cat!" books on screenwriting
By Jay A. Fernandez
The Hollywood Reporter

Screenwriter and author Blake Snyder died Tuesday morning from cardiac arrest. He was 51 years old.

Snyder co-wrote the screenplays for the Universal comedy "Stop! Or My Mom Will Shoot" (1992) and the Disney family film "Blank Check" (1994). But he became most well-known as a screenwriting teacher whose bestselling books "Save the Cat! The Last Book on Screenwriting You'll Ever Need" (2005) and "Save the Cat! Goes to the Movies: The Screenwriter's Guide to Every Story Ever Told" (2007) encouraged a host of aspiring writers, producers and development executives to see the patterns in all successful movies.

"I often recommend Blake's books to aspiring screenwriters because they are by far the most useful and most readable books on screenwriting I've ever come across," said screenwriter Karen Lutz ("The Ugly Truth"). "He truly loved movies and was able to break down the structure of them in a way I'd never seen done before and in a way that completely made sense to beginner and pro alike."

Snyder's screenplay proselytizing led to his hosting seminars and workshops around the world -- New York, London, San Francisco, Vancouver, Barcelona, Beijing -- that showcased his folksy, enthusiastic boosterism for screenwriting and his love of film in general.

Repped by Andy Cohen of Grade A Entertainment, Snyder continued to write and sell specs throughout his 20-year career.

A third book, "Save the Cat! Strikes Back: More Trouble for Screenwriters to Get Into... And Out of," is set for publication in October.

"There was no one more gifted in the art of story structure than Blake Snyder," said longtime friend and screenwriter Tracey Jackson ("Confessions of a Shopaholic"). "He could tell you in two minutes why something didn't work and in another three how to fix it. And unlike many with a great gift, he was not miserly. He felt it was his calling to help others help themselves and took great pride when those he helped found success. He made all those he met feel special and encouraged them all in their dreams."

A Beverly Hills resident, Snyder graduated from Georgetown University and went on to teach at Chapman, UCLA, Vanderbilt and the Beijing Film Academy.

He is survived by his mother, Florence Snyder of Santa Barbara; his sister, Sally Maher of Santa Ynez; and a niece and nephew.

A memorial service is being planned.



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Monday, August 3, 2009

Sue Silverman Stops Here on Blog Tour!



On Tuesday, AUGUST 18, Sue Silverman, author of Fearless Confessions: A Writer's Guide to Memoir, stops here on her blog tour to discuss the "Five Redemptive Paths through Memoir."







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Sunday, July 19, 2009

Pulitzer Prize Winning Author Frank McCourt Dies at 78


By Dennis McLellan, Los Angeles Times
July 20, 2009

Frank McCourt, the retired New York City schoolteacher who launched his late-in-life literary career by tapping memories of his grim, poverty-stricken childhood in Ireland to write the Pulitzer Prize-winning memoir "Angela's Ashes," died Sunday of cancer. He was 78.

McCourt, who was recently treated for melanoma and then became gravely ill with meningitis, died at a hospice in New York City, his brother Malachy told the Associated Press.

McCourt, the Brooklyn-born son of Irish immigrants who returned to Ireland with the family during the Depression when he was 4 years old, had spent three decades teaching English and creative writing in the New York public school system.

At elite Stuyvesant High School in Manhattan, where he taught for many years, he had always advised his creative writing students to write about their own



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Tuesday, March 24, 2009

Spotlight Interview: Blake Snyder/Part 3


Blake Snyder, Screenwriter/Author

Mike: What’s the No. 1 avoidable mistake that beginning screenwriters make when submitting their screenplay?

Snyder: Make sure the concept is strong. That will open a lot of doors for you. And including a nice query letter with your concept will get you a lot of attention as well.

The truth is, if you have something that someone wants, you can’t make mistakes. Everyone is looking for the next hit. This is why I focus so much on the logline in my book.

I have run across people who are totally tone deaf about concept. I could tell them about concept and “poster” and “loglines” all day long and they won’t get it. I think that’s the biggest stumbling block to success.

What is this movie about? That’s the key question when you’re pitching someone. We are busy people, with plenty of stuff to occupy our time and attention. So, how are you going to break through that haze and communicate an idea to me? How can you capture my imagination?

Mike: What makes for a perfect logline?

Snyder: A perfect logline is a poem. I have to see the movie and the poster and it has to intrigue me. The best ideas are ones where when you say it, anyone who hears it immediately chips in with suggestions.

Mike: During the writing process, how do you know when a scene is working or not?

Snyder: After a while you start to set up some rules for yourself. What’s the conflict? How do you start off emotionally? How do you end emotionally? How you satisfy that goal? It is kind of hard to explain, but I think that there is that thing about what is boring and what is fun. It’s hard to do a scene analysis, but if you’re reading the script and you can’t stop turning the page, that’s a good sign. For me, momentum is important. If a scene is a problem for me it’s because it stops me from reading. Why that is and what I have to do to fix it differs every time.

Mike: How has your writing improved over the years?

Snyder: Screenwriting is a craft. It’s full of tricks. And that craft and those tricks can be learned with experience. For instance, what’s wrong with a story becomes clearer faster, and I love that. I am better at it now because I am no longer afraid to say I’m wrong, or fix some part that’s just limping along, dragging the rest of the story down. I also think my writing has benefited from other kinds of writing I’ve done. In my occasional periods away from the business, I’ve written a weekly Internet column, a novel, and articles for magazines and newspapers—that has all helped my communication skills tremendously.

Mike: Have the style and requirements of scripts changed drastically in the last decade?

Snyder: Yes, a lot. When I started my career, a typical script was 120 pages long. If it was 119, people that matter in the business might read it, might not. Now, scripts are between only 90-95 pages.

Mike: What caused such shortening?

Snyder: Short attention spans.

Mike: Do you listen to or read pitches from aspiring screenwriters?

Snyder: Every single day. I’m approached all the time from 20-year-old screenwriters, and I absolutely love it. I’m always telling writers: “Send your best pitch to me. Let me hear your idea.” I’m thrilled to hear new ideas, and I try my best to give the most helpful feedback I can. But I’m a big believer in giving the screenwriter the truth about his or her chances to sell their script. The truth is, I’ve turned over many a student to my agent or producer friends of mine in the past. If you can intrigue me with your log line and your structure, I’ll help you. I am happy to provide that service for the industry. Because I think the industry needs new blood, new writers all the time. It’s also very rewarding for me personally.

Mike: Do you read full scripts as well?

Snyder: Yes, if they hooked me with their pitch first.

Mike: How long does it take you to figure out if you have potential hit on your hands?

Snyder: I can tell you if your movie has a chance in the first 2-3 pages. I could look at a script from across the room and know whether it’s been written by an amateur or a professional. If I see big blocks of dialogue or thick descriptions, I know that the writer doesn’t know what he or she is doing.

Mike: What should an aspiring screenwriter do to become better at doing the craft?

Snyder: Obviously, I think you need to read books like mine. But also read the ones written by greats in the industry such as Syd Field and Robert McKee. And go to screenwriting workshops and seminars. I’ve been to a couple of McKee’s seminars. He’s such a great performer. His intensity is very inspiring. Any aspiring screenwriter should find a way to go to one.

And, above all, practice, practice, practice.

Mike: Should I read a lot of scripts?

Snyder: As many as you can.

Mike: Any ones in particular?

Snyder: I would be as current as possible. Look at what’s being made now and what’s hitting it big and try to figure out why. And stick to your own genre. Each genre has its own rules and regulations.

Since my genre is PG comedy and family, I studied Wedding Crashers. What a great script! From title to concept, it was perfect. People think it’s just a silly movie. A lot of people don’t like it. But it made $200 million. And they made it for $40 million. I want to know why it was such a big hit.





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Saturday, March 7, 2009

George Singleton: 10 Things to Do While Waiting for The New Yorker’s Response

10 Things to Do While Waiting for The New Yorker’s Response
By George Singleton
http://www.georgesingleton.com/
Click here

I’m pretty sure that The New Yorker sells my SASEs’ stamps half-price to people on the street, instead of mailing me back a rejection.

This has been going on since 1987.

Sometimes—maybe five percent of the time—I’ll get a little piece of paper back. There for a while a guy named Willing Davidson responded, and asked for me to send more.

Then he either changed his mind, quit, or passed away.

I’m still optimistic enough to believe that one day the New Yorker will take a story from the slush pile, and maybe even a story from someone who lives in the American South.(Gee, has anyone there ever noticed that, oddly enough, some writers actually come out of the South?)

Anyway, for those writers out there who hold an odd, Pollyanna-ish view of the world like I do, here are ten things to do while waiting for that response.

10. Paint the exterior of your house with a one-inch wide brush

9. Go back to college and study what you really wish you’d’ve studied the first time around

8. Memorize the Periodic Table of Elements backwards and forwards

7. Invent a Time Machine

6. Paint the exterior of your neighbor’s house

5. Walk north to Canada, take ten steps over, walk south the Mexico or the Atlantic Ocean, take ten steps over, walk north to Canada, take ten steps over, ad infinitum

4. Translate Ulysses into Braille, by hand, using butcher paper and a stick pin

3. Wallpaper India

2. Track down the person responsible for Windows Vista and beat him or her with a length of bamboo

1. Write stories/novels/essays throughout the entire time, and send them elsewhere.

George Singleton, an accomplished short story writer whose work has appeared in such respected publications as The Atlantic Monthly, Harper’s, and Playboy, is the author of a new book, Pep Talks, Warnings, and Screeds: Indispensable Wisdom and Cautionary Advice for Writers.





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Sunday, February 15, 2009

Interview Excerpt with Author Michael Cunningham

Interview Excerpt with Author Michael Cunningham:

"I've come to think that what we call 'talent' is inextricably linked to a bottomless fascination with the process itself, that an artist of any kind possesses, among other qualities, the desire to do it and do it until it comes out right.

"It took me some time to understand that what I needed to do was not reform my natural inclinations, but to give in to them.

"I'm not convinced that writers must only write about what they know, but I'm sure we should only deal with that about which we care passionately.

"Have patience. Don't panic."


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Friday, January 23, 2009

Event Alert: Susan Orlean Reading in New York City

Susan Orlean, longtime staff writer for The New Yorker and a friend of this blog, will be reading in NYC on Friday, January 30, 5pm – 6pm.

Where: New York University Lillian Vernon Creative Writers House, 58 West 10th Street, New York, NY 10011.