Oh Alright Maybe

A flurry of Facebook comments from Stevo and Motorbike Steve about the return of The Walking Dead behooves me to confess that The Goddess and I started watching the second season a while back and got two eps -, no wait, three -, hang on.

… Whoa. Okay. Disappointment in the second season was so deep that it wasn’t even entered into my viewing diary.

I’m as shocked as you are, believe me.

But back to the story. We got however many eps into the season and She turned to me and said what I’d been thinking for all the eps subsequent to the season opener: This is boring. So we stopped.

Michonne and travelling companions (“The Walking Dead” #19).

But Season 3 beckons with the promise of Michonne and the penitentiary arc and… godsdammit, that arc was just mindblowingly awful (but in a good way) that I just have to relive it, and it’s been too, too long since we’ve had a bad-ass no-nonsense African American heroine like Strange Days‘ Mace.

Angela Bassett as Mace in “Strange Days” (1995).

Yeh okay, I’m in.


The Actual Writing – Part Two

The moment of glibness having passed, I remembered James Cameron‘s superb description of the process in the introduction to his 1993 scriptment of Strange Days:

I find the writing follows a logarithmic curve. Plotted against time, the curve is almost flat at first, then curves upward until it is nearly vertical.

I offer this not as an excuse but as a possible explanation of how I write.

I’d like to think I’m a regular kind of writer – y’know, bang out five/ten/whatever pages of script per day, no matter how long it takes, come family crisis or no. But try as I might, I’m not that kind of writer. (Nor would my family allow it.) I have to set aside a fixed number of hours per day to write. Sometimes they’re productive, sometimes they’re not. What’s important, for better or worse, is that I have the time to be creative. I need the discipline.

My first feature script followed that curve for the most part. Well, it would if you saw it from the far end of the room; up close, the peaks and valleys leading up to The Big Upward Curve represented the failed attempts to turn it first into a novel, then a comic. It was a combination of extreme boredom and some depression that put me onto screenplays. Everything clicked. It was game on.

After missing a couple of self-imposed deadlines, and in the lead-up to a Meaningful Birthday, there was a blurry month – this was pre-Goddess – where full-time work took up a third of the day, and the remaining waking hours were spent hunched over a keyboard. And then, for the first time, I got to type in the magic words:



D F Mamea

It felt good.

Still does, each time I get there.