At San Diego Who Con 2024 (https://www.sdwhocon.com/), I enjoyed lecturing on “From Shakespeare to Shelley or Dante to Dickens: The Literary References Who Has Introduced You To!”.
I first thought of it while watching an episode with my favorite classic Doctor Peter Davison. I heard a line that was so specific I thought that it had to come from some book I didn’t know. It did. So then I researched what other famous authors had been quoted by the various Doctors and deeply enjoyed finding lots of Shakespeare and Dylan Thomas and of course, Byron and Shelley were in that mix. It was a reminder that writers READ. They read a lot to fuel their work.
The lecture also allowed me to highlight some great English actors who’ve starred in Shakespeare’s works like Patrick Stewart, Derek Jacobi, and Alex Kingston – some of whom also (of course) guested on Doctor Who.
I always say I could talk about The Monkees all day – or at least for an hour, which is what I just had the privilege of doing with Joe Russo of The Monkees Pad on YouTube.
It’s especially fun to talk with folks like Joe, who know The Monkees so well – both the music and the TV show, which is more my specialty. We covered how the show got on the air (thanks to a young Grant Tinker), how so many of their counter-culture jokes made it past the censor, and why the fandom keeps growing across the generations.
If you love The Monkees individually or as a group, and if you love the TV of the 1960s, I hope you enjoy the listen.
Since there’s been so much talk this week about mothers being proud of their highly accomplished children it’s a wonderful week to share the link to the latest Writers Guild Foundation panel co-sponsored by the Stephens College MFA in TV and Screenwriting covering the topic of “Writing Females in Leadership Roles”.
Moderated by our Executive Director Dr. Rosanne Welch the panel includes three writers from shows that celebrate female leaders from the real-life 23-year-old Miep Gies who hid Anne Frank’s family to real-life First Ladies Eleanor Roosevelt, Michelle Obama, and Betty Ford to the fictional female leaders of Station 19. Many thanks to Joan Rater (A Small Light), Zora Bikangaga (The First Lady), and especially to our Stephens College MFA alum Alexandra Fernandez (Station 19) for joining us to discuss everything from our childhood role models of female leadership (mostly moms and aunties) to the traits we expect to see in our leaders, to the nuts and bolts of working in a television writers room.
If you haven’t yet watched Derry Girls you have to – This trailer to the first season shows the brilliance of creator Lisa McGee, who wrote ALL 3 seasons worth of episodes herself (much like Susan Harris wrote many of her early season shows herself to cement the tone and style).
I don’t always agree with the idea of no writers room – writers rooms have a deeply important purpose – but in this case, her story was SOOOO distinctly of Derry, not even merely of Ireland but completely from her own home town and her own time period as a teen in that town, that I understand. In essence, she wrote an 20 hour movie broken up into 3 seasons of 8 half hour episodes apiece.
So like a loooong film, what the trailer can’t yet show is the wonderful arcs of each of these young women who by the Season 3 series finale (not a spoiler alert since I’m not telling you what they decide) must decide how to vote on the Good Friday Agreement.
The house where Lisa McGee grew up, in Derry, in Northern Ireland, sits on the bank of the River Foyle, near a largely Catholic neighborhood known as the Bogside. In 1969, the Bogside was the site of a three-day conflict. Residents hurled projectiles and petrol bombs; they were met with tear gas and batons. The violence spread to other cities and towns, and ultimately resulted in hundreds of injuries and a number of deaths. British troops were called in to Derry—the beginning of a long-term military operation. The conflict, known as the Battle of the Bogside, marked what many would call the start of the Troubles, which dominated Northern Irish politics for roughly three decades. In 1972, violence flared in the Bogside again. More than a dozen civilians were killed by soldiers in a massacre known as Bloody Sunday.
Tidbits with great points for writers (aspiring and published/produced because writers are always learning) include:
Write what you’re afraid of writing: “ “I had said my whole life, ‘I’ll never write about the Troubles,’ ” she told me. “Everything I saw about the Troubles was either the news, or something quite shit that was going on in my actual life.” In films about the period, she didn’t recognize the people. “There were never any jokes. I don’t know any Northern Irish person that isn’t funny,” she said. Lewin, who had been listening to McGee tell stories about her childhood for years, persuaded her to try. “They’re so joyful,” she said.”
AND
Create writerly habits: “She often carries a notebook. “If somebody says something funny, she’ll write it down,” Mallon said. “She might even ask you again, ‘What was that? What did you say?’ She wants to get it right, word for word.” Mallon told me that McGee once heard his father say something about his car—“It stinks of fish in here!”—and borrowed the line years later in “Derry Girls.”
While the show is comical to anyone who has any experience in a Catholic school –that background isn’t required. We all understand coming-of-age and coming-to-love-our-heritage and teenagers and parents dealing with each other.
But on top of all that viewers outside of Ireland learn about the history of another country and its political turmoil and hear some great discussions about peace and how we’re all a lot more similar than we are different. And that’s what art can do.
Susan Harris wrote her first freelance TV show in 1970, wrote for All in the Family and Maude from 1971-1973, premiered SOAP in 1977, followed it up with the spinoff of Benson in 1979, and The Golden Girls ran from 85-92. Though she retired in the early aughts her “Girls” have since been re-envisioned for audiences in Holland, Greece, and Chile.
How many years AFTER her last hit show went off the air and she – the writer – is known for those shows — not the many journeymen directors who came and went – so much so that in June 2024 June 8 to be exact) the Los Angeles Times Daily Crossword puzzle included this question: 1 Across, 4 letters: “Emmy-winning sitcome created by Susan Harris.” Answer: “SOAP.” The explanation: “Former TV writer and producer Susan Harris created quite a few hit TV shows, including “Soap”, “Benson”, “The Golden Girls” and “Empty Nest”.
THAT is how writers should be written about (especially by other writers) and why I’m editing a book of essays/chapters on The Works of Susan Harris!
I was doing editor rewrites on a chapter titled “Dorothy Parker: The Creative Genius Behind Film Franchise A STAR IS BORN.” To the note asking me to consider a “less hagiographic title,” I said “No”.
A quick check showed me that many, many, many male writers are called geniuses – but few women.
“Try a quick google search of the terms “literary genius”. The same names keep appearing: William Shakespeare, Fyodor Dostoyevsky, Henry James, William Chaucer, Virginia Woolf, Ernest Hemingway, Herman Melville, Walt Whitman, Jane Austen, Mark Twain, J.D. Salinger, and so on.”
But I would object to J.D. Salinger. Catcher in the Rye did not move me at all – but S. E. (Susan Elizabeth) Hinton’s The Outsiders moved me and all the generations from mine through my son’s Millennial group and into the folks watching the musical on Broadway right now – while teaching us all to love the poetry of another male genius – Robert Frost. See, I’m willing to use the adjective on men when they deserve it.
So the lesson of the day is that if any writer deserves to be called genius, it’s Dorothy Parker.
Own your genius. And use it to describe other female creatives. And maybe refrain from using it on less men for once.