Okay, you’re stuck on that proverbial desert island. No one around, but for some strange reason there’s a movie house and a trained monkey that knows how to run the projector. What three films would you want to have with you, one from each category:
(We at TKZ will try to air drop you some popcorn)
by Michelle Gagnon
While watching the season finale of GIRLS, there was a moment at the end where I was seriously tempted to hurl something at the television. Because after all the advances women have made over the past fifty years, apparently for the younger generation of women showcased by the show, we’re pretty much back where we started.
This episode concluded with a nod the classic, “An Officer and a Gentleman” scene where Richard Gere sweeps Debra Winger off her feet, literally. Now, I loved that movie–still do–but the underlying message at the end was that the only way for poor Paula to advance in life was to marry well. I’d hope that nearly thirty years later, we were past such tired tropes. But according to Lena Dunham, they hold true. Not only does her character get “saved” by a man (ironically, the same one that earlier in the season terrorized her), but her fellow castmembers all fall in line accordingly. One starts dating her ex-boyfriend again because he’s suddenly struck it rich. Another dumps her boyfriend for not being ambitious enough (as underlined in a scene where his boss explains that, “she wants you to make enough money to be able to keep buying her purses shaped like bread products.”) Even the “hippie” character Jessa takes a payout from the wealthy investment banker she was married to for a heartbeat.
Really? Is this what we’re selling to girls in their twenties? I understand that GIRLS is a fictionalized version of reality, but if this throwback mentality is being showcased ironically, it’s far from apparent. And over the course of the season, this “girls can’t do it” attitude has been emphasized time and again. Hannah finally scores a book deal, but suffers a breakdown over the stress and is unable to write it. Marnie is laid off, becomes a hostess (and paramour to an older artist), and decides to become a singer; but we only see her pursue that dream via an ill-advised attempt to humiliate her ex at his office. And Jessa simply takes off.
I’d like to think that this is not emblematic of a wider issue with the upcoming generation of women, but a recent conversation with a friend was very disheartening. She told me that her recently-divorced brother (a man in his forties) now only dates girls in their twenties; thirty is his cut-off point, because after that age they‘re focused on marriage. Plus, he’s discovered that girls in their twenties are extraordinarily eager to please. They have no problem with him calling last minute because another date cancelled. They text suggestive photos after the first date. In addition to the age limit, he also stops seeing them after five dates–and he claims that most of them don’t seem to expect anything more.
He’s an awful jerk, of course, and probably has a keen eye for girls with low self-esteem. But listening to her, I couldn’t help but think that the behavior she’s describing is precisely what Dunham has been showing us over the past two seasons. Her characters are not strong young women, struggling to forge their way in the world through that challenging post-college phase. They’re highly educated girls whose lives invariably revolve around men, and whose biggest aspirations appear to involve being supported by them.
Mind you, I’m not saying that finding a person to spend the rest of your life with isn’t a lofty ambition. And I also strongly believe that deciding to stay home and raise children is just as valid a choice as pursuing a career in the workplace. But the fact that this is what we’re seeing on television, at the same time that Sheryl Sandberg’s eye opening book “Lean In” is making waves, is telling. Mary Tyler Moore it ain’t.
I’d love to see a show aimed at this age group with strong female role models–and I’m hard pressed to name a single one. A show where the “girls” had some self-esteem, and respected their relationships with themselves and their friends as much as their romantic liasons. A show, basically, where it wasn’t all about finding the right boys. In television, where shows created, written, and run by women are finally becoming more prevalent, is this really the best we can do?
Nancy J. Cohen
This past weekend, I had the privilege of speaking to the Southwest Florida Romance Writers in Estero, Florida. Up to 25 members were present when I spoke about Social Networking for Writers and passed around my eight-page handout. We could have discussed this topic for a lot longer than the allotted hour, but our time ended and I left for home.
On the drive back to the east coast, I reflected on how a speaker really has to gear her talk to the audience. Speaking to a bunch of writers is a lot different than giving a talk to a roomful of fans. Readers in general are eager to hear how you got published, where you get your ideas, what you researched for your story, and if you make a living at what you do. Don’t ask me why, but that question always arises. Would you ask a lecturer how much money he makes?
You’re expected to be witty and entertaining and to use anecdotes in your talk. I like to educate the public on the realities of the publishing business, so I’ll talk about the impact of the digital era, choices for writers today, and what readers can do to help authors in terms of customer reviews, Liking our pages, sharing our posts, etc. Lay persons find this information to be fascinating. Sure, I’ll talk about my books but mainly as an overview about my series and some of my research experiences. I don’t believe in doing readings or a book review on a specific title. There’s nothing more boring, IMHO, as an author’s droning voice as he reads from his own work. It’s more exciting to talk off the cuff about the publishing world and what fuels my stories.
In contrast, when speaking to fellow writers, I aim to teach. I want to get points across that they can take home and use in their own work. Motivational talks uplift and inspire writers to keep plowing ahead despite the setbacks that we all experience in this career. I’d rather give practical tips, how-to details, and specific instructions. Handouts accompany all of my workshops. This is not necessarily the case if I’m on a panel, however. Then it’s much harder to get across a lot of information because you’re sharing the time and stage. It’s good to come prepared with a few pointers regardless, and handouts are still appreciated, but having one hour to myself is best for in-depth instruction.
I’ve attended panels at writers conferences where the authors prattle on about their work, and attendees leave the room having been entertained but learning nothing new. I don’t care to attend those types of sessions myself. I’d rather go to a workshop where I can gain new insights or tips on a specific aspect of writing or marketing. Anybody can talk about himself. How many can teach in a meaningful, clear manner? Those who can’t teach will do very well speaking on panels at fan conventions, libraries and community groups.
Where am I going with this? If you have a speaking engagement coming up, consider your audience. If it’s a bunch of fans/readers, talk about your books, the publishing world, where you get your ideas, the writing process. If it’s a group of writers, target your material so they can take away something worthwhile.
If you’re a reader, what do you like to hear when you go to see an author? If you’re a writer, do you differentiate how you approach each audience?
I’ll be flying most of the day today, praying for a lull in the wacky weather that’s been plaguing the East coast this year. (Whatever happened to Spring, anyway?)
I’ve been known to make heroic efforts to write when traveling. One time back in the 90’s during a family visit in Cleveland, I holed up in a hotel room, rented a typewriter (a typewriter–that’s how long ago the 90’s were), and banged out several chapters.
“What is Kathryn doing all day?” my kinfolk wanted to know.
I never try to write when I’m physically on a plane, however. It’s all I can do to make it through a few pages of whatever book or magazine I grab at the airport store. There’s something about the way the stale, over-pressurized air mixes with the stoic energy of passengers crammed into gerbil seats that puts a damper on creative energy. I feel like I need my elbows to write.
But that’s just me. What about you? Are you able to write in a productive way on an airplane?
When you write, do you imagine the movie version? Who would you cast in the lead roles in your current novel?