Writer and Author

Tag: Neil Gaiman

Now that’s what I call a signing!

I went to see Neil Gaiman read from the upcoming book he’s written in collaboration with musician Amanda Palmer today in Chapters bookshop on Parnell Street.  I love going to readings and signings.  I’m a total groupie when it comes to watching and listen to writers I respect and especially ones who’ve inspired me as a writer myself.  There aren’t half enough of these kind of events in Dublin so it was a real occasion.

Today’s event was absolutely packed.  Around 500 people had shown up.  Even when I arrived at around 3.30, an hour and a half before the reading was due to start, there were droves of people clustered around the display of Gaiman books stacked in enticing view of the door.  Wandering around the shop there were people ensconced in every cranny, taking up their positions and preparing for a long wait.

By around 4 o’clock there was an almost carnival atmosphere.  Around the black swagged corner where the reading was due to take place there were drifts of people, mainly young, all clutching their books for signing.

As I’ve written here before I’ve signed books myself for Devil.  Not for 500 people of course.  In fact not even for people.  My form of signing involves the Customer Service desk and some usually stressed staff.  I’d love to do the other kind of signing …if I’m very lucky maybe one day I’ll get the chance.

Writing is something I do, something I’ve always done, but now I want something more.  I want to be an author.  OK technically I already am, I have a card saying I’m one and I can walk into book shops and see a book with my name on the cover but what I want one day is different.

What I write at the moment is True Crime.  It’s an extension of the day job, a longer form of journalism.  But when I’m writing for pleasure, the kind of writing I spent hours at when I was growing up, it’s another thing entirely.  Left to my own devices I write fantasy.  Not full blown fantasy, in fact several friends who are more avid readers of the genre than me have informed me that what I write isn’t even really fantasy.  When I’m talking to them I tend to refer to it as satirical fantasy.

When I write that it flows unlike anything that hangs on the facts.  I can write passionately about the stories I see unfolding in court but it’s always going to be a case of setting down the facts in order.  You can’t change dialogue that didn’t quite flow in real life, however much it may jar.  People look the way they look and the facts are totally immovable.

When the fiction’s flowing it can feel as if you are simply rreplaying scenesthat are taking place somewhere but at the back of it all there’s the knowledge that what you are creating something rather than simply recounting it.  But even then there’s more to it than that.

When I write journalism I expect the reader to be interested, diverted, maybe even moved if the subject’s strong enough but fiction can be loved.  Over the years I’ve met many writers as a journalist.  A lot of them were people I respected and I would have had more than a little bit of hero worship but it’s the novelists I was always most eager to meet.

These are the people who’ve actually created the worlds that lived in my imagination.  That’s something completely different from being someone who uncovers truths.  I’m not explaining myself particularly well here but there is a difference.

My first love is writing fiction.  I’m not saying I’m up there with Mr Gaiman, I’m still learning and I’ve got a long way to go but one day if just one person comes up to me and says that a world I’ve created caught their imagination that’s what I want as a writer.  My words, my stories, firing imaginations and maybe even making people want to write.  That would be the achievement.

Maybe one day…and in the meantime Devil has it’s own path to wander for a while yet.  In that regard I may have some news soon.  But tonight I’m finished for now, and off to read my newly signed copy of Coraline!

When Hollywood Loses the Plot – Literally

I’ve been sorely vexed on the last couple of visits to the cinema.  The posters for The Secret of Moonacre are everywhere and they make me decidedly cross.  Now it’s followed me home and the trailers are showing on television as they announce themselves as the latest blockbuster fantasy.  But they are wrong, so, so wrong.  Every time the ad comes on I find myself shouting at the TV or clutching wildly for the remote control and eventually decided that this was something that merited a blog post.

Now before I continue I should probably state a couple of things.  Firstly, this is not crime related (well not legally speaking anyway) so if you’re looking for discussion of the latest murder to pass through the Irish courts the links to the crime stuff are to the right of this piece.

Secondly The Little White Horse was my favourite book as a child.  Yes, I know it was also J.K. Rowling’s favourite book but that’s not coming into this.  This is post is not going to a model of journalistic balance and objectivity.  Again if you want something more along those lines the links are to your right.

So The Little White Horse has always been a special book to me.  I’ve always grown salmon pink geraniums because of a description in the book about a particularly idyllic kitchen; lions were always known as Wrolf after the large mysterious “dog” belonging to Sir Benjamin Merryweather; I used to have a toy cat called Zacariah…I could go on but risk sounding somewhat obsessed.  Let’s suffice to say that that book was one of the first books I ever loved and has a special place because of it.

Not only that but it’s embedded itself so deeply that echoes of it have found their way into my writing.  Maybe not the journalism (that would be a little odd) but when I’m writing fiction those echoes are there, in descriptions of food or clothes mainly I think.  Those echoes have been a source of fascination as I edit the novel.  I’m not talking about derivation here just the literary landscape your brain inhabits after a lifetime of reading.

Anyway, back to the film.  I was delighted when I heard, a couple of years ago, that a film was being made of The Little White Horse.  But wondered at the time how Hollywood was going to deal with a simple little story about not making knee jerk reactions and bothering to find out the truth.  It’s quite an old fashioned book, written in the 1940s, with everyone pairing off at the end leading to a trilogy of weddings.  The fantasy elements are actually quite subtle.  I’d be the first to agree that it could probably do with a bit of delicate pruning for a modern audience but the film company has definitely thrown the baby out with the bath water.

Hollywood in it’s infinite wisdom has decided that this

Little White Horse Book Cover

Little White Horse Book Cover

doesn’t quite cut it.  They’ve gone for this…

Secret of Moonacre Movie Poster

Secret of Moonacre Movie Poster

In the new version there is magic and mystery and major mutilations of the original plot.  No character is safe.  The hero has changed from a constant companion and childhood friend to a slightly dodgy bit of rough who’s had a full family transplant and is now the son of the villain of the piece.  His mother, one half of the next generation of lovers, has become a weird priestess type who is no longer Robin’s mother.  Wrolf is black for god’s sake!  Lions just aren’t black!  The changes are so blatant that even looking at the trailer or the poster shows up dozens of points that have been butchered.  Rather than bothering to make a film of a much loved book the idiots have decided to make a generic sub-Harry Potter fantasy extravaganza that bears little or no relation to the original.

Now I will freely admit that I have not seen The Secret of Moonacre.  I don’t intend to – I don’t like going to films that make me want to throw things at the screen and any that take such an ad hoc approach to a story I know so well are going to fall into that category.  It might work as a stand alone film (or even a franchise apparently) but it’s not what it says on the tin.

I know stories get changed for films.  I’ve had to think rather seriously about that over the past couple of months in relation to my own book and decided that it’s a necessary part of building a narrative.  When I write something I’m writing a book.  It doesn’t necessarily run along the same narrative tracks that a film would need to.  I can take pages to describe something that can be shown in a second on screen but on the other hand I can go places films can’t, not having to worry about budgets and technology, just the limits of my imagination.  The problem with a film like Moonacre though is that they’ve abandoned the original source material.

In a 2008 interview with Empire Magazine, director Gabor Csupo, whose previous credits include the Bridge to Terabitha, that he had decided to ramp up the adventure and magic end of things.  He is quoted as saying “We didn’t want it to be like your typical costume movie…I told each department to just go for it, follow it to your wildest dreams so it looks just a little out of the ordinary.”  Quite why they didn’t just write a completely separate story, change all the character names and go with that is beyond me.

But Little White Horse isn’t the only book that’s ended up this way.  Even books as well known as Peter Pan have suffered from over zealous script writers.  Despite the fact that J.M Barrie himself wrote a script of the story there has never been a film that simply stuck to the story, keeping the darkness of the original, not to mention the fact that it’s actually addressed to the parents rather than the children.  The 2003 version directed by P.J. Hogan felt it necessary to add a snotty aunt to the Darling family entourage with the principal purpose of making Mr Darling a weak, bumbling character at odds with the traditional alter ego of Captain Hook (in theatre tradition the same actor invariably plays both parts).  This spoilt an otherwise faithful translation of the book and the play and added an extra layer of fluff that simply wasn’t necessary.  It’s a story that has never managed to make it onto the big screen without unnecessary changes.  At this stage the film probably closest to the spirit of the book is a biopic of it’s author, Finding Neverland. I’m not even touching last years sorry attempt at Philip Pullman’s The Northern Lights.

I know that writing fiction and writing scripts are two entirely different disciplines but the basic narrative rules still apply.   Hollywood has a habit of assuming their audience are popcorn munching imbeciles and, maybe some of them are, but that doesn’t mean you get to insult the rest.  As Hollywood searches for the next blockbuster it’s always going to get a great deal of it’s stories from books.  There will always be cases of sexing up, contracting and simplifying plots and amalgamating characters but it can either be done skilfully, such as Peter Jackson’s Lord of the Rings trilogy or the recent film adaptation of Neil Gaiman’s book Stardust.  These are films that have taken a book and trimmed it enough to keep the story flowing on screen but not sacrificed the original author’s voice.

I would be delighted if one day a major movie studio came looking for something I had written and I’m not big headed enough to think I would have any control whatsoever over what would happen once the contracts had been signed but I hope nothing I’ve written ever gets mutilated the way The Little White Horse has been.

© 2024 Abigail Rieley

Theme by Anders NorénUp ↑