Tag Archives: Steven Spielberg

Rejections and Successes

Posted on by

by James Scott Bell
@jamesscottbell

All writers get rejected. Well, almost all…there have been a few first-time-out successes (though often followed by a second-book failure, leading to another form of rejection: no new contract).

Many writers report on the rejection slips and letters they received, putting them in a pile, or in a file, or on a spike in the wall. Persistence and production is what mattered. The pulpsters would get their stories returned by SASE (quiz, kids: what does SASE mean? No Googling!) and put them in another envelope and send them out again.

There are some famous rejections in literary lore.

“It is impossible to sell animal stories.” (To George Orwell re: Animal Farm)

“We are not interested in science fiction which deals with negative utopias.” (To Stephen King re: Carrie)

“If you insist on re-writing this, get rid of that Indian stuff.” (To Tony Hillerman re: The Blessing Way)

I will add mine. I was going through some old file drawers the other day, and found it. My very first book proposal and my very first rejection letter! Now, this was for a nonfiction book, and I was truly wet behind the ears (i.e., just out of college). It was a form letter, which began with a warm “Dear Author.”

In answer to your present query, we are not interested in seeing this manuscript as we are not looking for this type of book on this subject matter at this time.

We appreciate your writing us about your manuscript and would be open to future queries about other books you are writing.

Sincerely,

The Editorial Staff

Hey, at least they appreciated me! And said they were open! (That they said this to every author they rejected was a thought that did occur to me.)

In that same file drawer, I found an even earlier letter, this one concerning a screenplay I had written as a film student in 1975. It was from Hal Barwood, whom I’d met when he was living in a house on the street I grew up on. He was the writer, with his partner Matthew Robbins, of Sugarland Express, Spielberg’s first feature film. And other successes. He’d invited me to send him my script, which I did. (I also found the script. Boy, was I not ready for prime time!).

He wrote me a very nice letter on Universal Studios letterhead, with some sage advice.

The idea underlying your story would make a charming and professionally workable premise for a TV movie. But what I think you have started to write is a stage play. There’s nothing wrong with that — much of the dialogue is very snappy — however, in the movies much of the storytelling should happen on the bench during the “time outs.”

He could have ended it there, but finished with this:

Don’t despair — anyone who can crank out engaging stories like this one should keep his nose to the grindstone.

That’s the kind of encouragement that can make all the difference to a young writer. When I finally put my nose to that grindstone thirteen years later, it would be another seven years before I started to sell.

Persistence and production.

Now let’s talk about successes. I was also going through my bookshelves clearing out space. Over the years I’ve collected bunches of Alfred Hitchcock and Ellery Queen magazines. These I decided to donate. And then I just happened to look down at one of them, and this is what I saw:

Our own Elaine Viets got the cover for the debut of her new series! Boom! I’d call that a major score.

I’ll never forget the box of books I received when my first thriller was published. My book! In print! From a real publisher! I was on my way. It wasn’t always smooth sailing (is it ever?) but I stuck around. I’m still sticking.

So let’s take a stroll down Memory Lane. Do you remember your first rejection slip? (For you kids, rejection email.) How about your first success, however you define that? Let’s hear your stories. And keep producing and persisting. Carpe Typem!

Using Fence Post Characters

Posted on by

fortitude My favorite stories, written by me or someone else, are those dealing with characters best described as “fence post” characters which usually possess at least two or more of these traits: they are out of their element; in at least potentially in trouble: they have little or no idea how they got where they are; and have to rely on their skills and wits, to get out of the situation, though they appear to be ill-suited to do so. Think of a turtle on top of a fence post, if that helps. Sometimes a character like that can make, or save, the story you are telling, particularly if it just isn’t working otherwise.

I thought of this while binge watching a new dramatic series named Fortitude. It’s on the Pivot Network, which you’ll find in the equivalent of the nosebleed seats of your cable television system.  Fortitude is set in a desolate section of Solvard, a Norwegian territory; the title is the name of the small town where almost of the story takes place. Two murders bookend the first episode, and at first it looks like your typical whodunit which will be investigated by a barely competent sheriff who may well be in the tank for some special interests relating to tourism as well. Everything changes, however, in Episode Two, with the arrival of our “fencepost” character in the form of Detective Chief Inspector Morton. Brilliantly played by the criminally underappreciated Stanley Tucci, Morton is 1) an American; 2) an ex-FBI agent now working for the London Metropolitan Police; and is 3) investigating the circumstances surrounding the death of one of the murder victims, who is a British citizen in 4) a God-forsaken area of Norway that looks like Boston (or Columbus, Ohio) did last week. Morton’s arrival puts almost everyone concerned in high dudgeon, particularly the sheriff (at least at first), but there isn’t much anyone can do about it because of some treaty of some sort which gives Morton jurisdiction. Morton no sooner sets foot on the slippery ice when he starts uncovering things, frozen ground and non-stop snowfall notwithstanding. Think of a cross between True Detective and Twin Peaks (the television series, not the restaurant chain) and you’ll have a vague idea of where things seem to be going. Morton, however, out of his element but not out of his league, is the fulcrum which takes the story off in an entirely new direction.

You can do this in your own work. If your story or novel isn’t working, change up your primary character. Make them uncomfortable in their own skin. Change gender or race or education level, just for a start. Even a small difference taken to its conclusion, logical or otherwise, can change the character and or the story dramatically. Downsizing your character’s abilities, such as they are, and throwing them to the sharks when they can’t swim works even better. I read a book several years ago — and I apologize out front for not being able to recall either the name or the author (yes; I’m getting old) — of an Asian father whose daughter disappears while attending college in England. He doesn’t speak English but makes the trip, determined to find her, armed with little more than fortitude and a keen power of logic and observation.

I do recall the name of a short story — because I have read it at least once a year since it was published — which puts a somewhat unassuming turtle on top of a very dangerous fence post. I’m speaking of “Duel” by Richard Matheson. “Duel,” in case you haven’t had the pleasure, concerns duela motorist named “Mann” who is terrorized along several miles of highway by a trucker. The story was written over four decades ago, some eighteen years before the term “road rage” ever entered the nation’s lexicon, but still reads well. Mann is not Jack Reacher, or even his baby brother; he is totally out of his element and just wants to be left alone to keep driving. It doesn’t happen, of course, but what does will keep you reading. Steven Spielberg made an excellent attempt at capturing Matheson’s magic in a made-for-television movie, but you have to read the story to really appreciate what Matheson did so well.

Now, if I might ask…authors: have you tried this? And readers: have there been any fish out of water characters that you have enjoyed in novels, stories, or films? Please. Share with us.