I do quite a lot of adaptation work, mostly book to film, although I have also adapted for the stage and am currently adapting a musical to book form. That last one is particularly fun! It’s science fiction too!
Sometimes this adaptation is from complete stories and sometimes it is from treatments and outlines. The point remains, you are working with somebody else’s ideas and characters. You have been put in a position of great power here, and with great power comes great responsibility. (Now that’s a line for somebody).
For me it is like being a child again and going round to somebody else’s house and being invited to play with their toys. It’s really exciting, loads of fun, but you make doubly sure you don’t break anything – these are not your toys after all. You are in a position of trust.
When ‘adapting’ writing gurus such as Syd Field go on record as saying, ‘The original is the source material. You are not obliged to remain faithful to the original’ and Robert McKee says, ‘never be afraid to reinvent’. I tend to disagree, I think you should fall over backwards to stick as closely to the original as possible, WHILE RECOGNISING THAT YOU ARE WORKING IN A DIFFERENT MEDIUM WITH DIFFERENT REQUIREMENTS. That last bit is of course crucial.
I don’t think you should work with somebody else’s ideas and characters and remake them in your own image. I also happen to think far too many directors have been cavalier in their approach to pre-existing stories, but that’s another matter. If there are things about the story material you have problems with, don’t get involved. By the same token the ‘originator’ has got to recognise that producing a script from their work will probably involve some changes to get it onto the screen. Films work differently from books and plays and that’s part of the joy of experiencing story in different forms.
The point is that you don’t go round to a new friend’s house and break their toys deliberately.
The difficulty of becoming an author (♂) of SF and fantasy is as nothing compared with the really hard choice of deciding which hat one should wear to complete the image. The problem is compounded if one still has a full head of hair or, indeed, actually is a hat fan and likes wearing different hats, depending on mood and the occasion. This will not do though, oh no!
Above all hat wearing for the author is about creating the right image, unless you’re somebody of the calibre of Terry Pratchett and it doesn’t matter about image because you are so damn good that you can wear a kettle if you so fancy. For the rest of us a few pointers are useful.
The Black Hat suggests mystery and danger and possibly vampires as well. There is no doubt that with a Black Hat you will be taken seriously – unless it doesn’t fit properly as Black Hats have a habit of doing. With the Black Hat you have to ‘pull-it-off’ if you want to ‘put-it-on’. We better come back to the Black Hat. Otherwise, you could perhaps go for the brown fedora, a good choice the brown fedora. It suggests a certain devil-may-care attitude that says your hero won’t let a little thing like a goblin army get in his way. Enchanted sword at the ready the brown fedora wearer knows his audience and always has a glint in his eye and an ironic smile on his lips. The brown fedora wearer delivers.
Or perhaps the Greek Captain’s hat might be the best choice? The captain’s hat hints of exotic locations and distant shores, maiden’s in diaphanous clothing, unicorns and, of course, sea monsters. It can be tipped back and worn to bed for that ‘lived in’, ‘world building’ look of the writer with maps at both the start and the end of his epics. The Greek Captain’s hat might just require the use of a writing pen name though – Emile Dulcas sounds good to me.
The Panama has stood many writers in good stead for generations; this is surely the hat for a writer! But isn’t it more Catholic guilt than elves and Goblins? Do Panama hats do dragons? Plus its association with the 5-day cricket Test Match doesn’t exactly shout ‘productivity’. Wouldn’t the hero of a Panama hat wearer be likely to forget about his quest while he discussed the merits of The Duckworth Lewis Method over a jolly-up in the Dancing Dragon?
Have a look here for a very stimulating conversation with fellow writer Jason LaPier discussing combining genres in fiction writing, and much more. It’s always an interesting subject , because people can get very worked up about their favourite genres.
And it’s also interesting to find out how other writers approach their plotting and world building (his book has a great cover too!). Plotting is so important, but can sometimes seem slightly magical. I’m not even sure how I approach my own plots sometimes.
WARNING: The use of customised mini-figures (produced by a leading Danish construction toy manufacturer) to promote ‘Detective Strongoak and the Case of the Dead Elf’ is not meant to imply that this is a children’s book.
It’s hard to express how much pleasure the arrival of a certain ebay purchased action figure has given me. Mad’s Alfred E Neuman as Wonder Women – when Two Worlds Collide! And two of my favourite worlds as well.
So, let’s get Mad!
America’s Mad comic was a complete joy to a British young New Town boy. An occasional treat thanks to the scarcity of all American comics at that time in the UK. I’m not sure if it’s a early urban (marine?) myth, but I once remember reading that the comics were simply brought back to England as required ballast for ships returning to the UK from the States. To think the survival of our inner fantasy life was then dependent on a form of paper stabiliser.
Mad was something special; something we just didn’t have in magazine form in the UK. It’s mixture of satire (oh yes it was), inspired art work (Where are my Don Martin collections now, who nicked them?) and great reoccurring strips (Spy versus Spy – swoon) made each issue something to treasure and reread. And even when I actually became a freckled sticky-out eared Newman, when my family changed its name, it never worried me that Mad cover star Alfred E. might become an albatross around my new New/Neu neck – most boys I knew were more into The Dandy and Beano. Mad was a gateway into a different world … and I liked it.
Wonder Woman was a different matter and a rather different Gateway (Gateway City, geddit?). DC and Marvel comics could be as hard to obtain as Mad in a small New Town. On a limited budget one also had to pick and choose and Wonder Woman generally had to be picked up as a bonus when purchasing another DC legend like Superman or Batman. And then come Linda Carter and TV’s Wonder Woman and what a difference that made! Boy, what a difference! She has something that made an adolescent male look at the comics in a totally way. It’s hardly surprising then that when I came to write about female stereotypes and the roles of women in society I chose Wonder Woman to frame the discussion. My ‘Life and Times of a Wonder Woman’ with the sensational Tara Paulsson did well on the Edinburgh Fringe stage and was a Herald’s Critic’s Choice, with the fabulous Tara Paulsson playing “Wonder Woman” in her many different guises: TV star, comic icon, Amazon and stripper/lecturer in feminist studies. The play was also staged in London and then, joy of joys, it went to the New York, where the New York Times said:
“This multilayered, one-hour, one-woman show is an ingenious conceit, a way of talking about feminism, sexuality and society’s view of women, told through the history of a cultural icon … part history lesson, part feminist tract, all funny,” Continue reading Mad about the Woman
The day I didn’t meet Douglas Adams was a Thursday. I’m not sure of the month or year, but I do remember it was a Thursday – I thought it was rather appropriate. That, by the way, was a ‘Hitchhiker’s Guide to the Galaxy’ reference. If you didn’t get that you might be better off reading another blog.
It was in Cambridge, where I didn’t meet him, which was also rather appropriate as Douglas (I can call him Douglas as I never met him) was both born in Cambridge and went to university there. I did not go to university in Cambridge, but at the time when I didn’t meet Douglas, I was working at Nottingham University. I was a Macintosh Research Station. Actually, I was part of a larger multi-media development group, but as I was the only one using the Mac, and we were sponsored by Apple, that made me ‘the station’, or so I liked to think.
The Apple sponsorship took the form of the use of their very latest computer – one that incorporated ‘Hypercard’. I was using this rather fab little program to show how, if pictures and information are classified using the BBC’s hierarchical Telclass system, a specially written search engine could assemble a subject node, without using text searching. This method could, in theory, produce ‘new’ information not noticed at the time of classification. Yes, pretty cool – Douglas would have been excited I am sure, if we had ever met.
Apple were impressed, when I did my demo to them. I’d assembled a short subject node about tigers with drawings I’d done of tigers and mammalian locomotion, muscles and the like. They stood behind me and said: