Molly O'Keefe's Blog, page 36
June 11, 2012
Donald Mass Workshop
Donald Mass came up to Toronto for a full day workshop this weekend. He'd been here once two years ago and I still have the notebook of scribbles and lightbulb moments I took during that workshop. My memory was that it was magic so I eagerly grabbed my notebooks for this years workshop. And it was magic again - but of recognizable sort.
For those of you who haven't gone to one of his workshops - I highly recommend it. He spends hours and hours helping you create three-dimensional, fully realized characters. His whole methodology seems to me to be about time. He asks you a question about your character, a question that has nothing to do with the plot or about the characters relationship with other people, and then he tells you a story about why that question matters and then, gives you a few minutes to scribble things down. It's the last step that matters.
I give myself lots of time to think about my books - I go for walks, I brain storm, honestly , it feels like weeks before I'm able to actually write. But this kind of time - with no distractions and just asking questions about my characters, going deeper and deeper - I don't do it anymore. And I think it makes a big difference. It's not just about knowing your characters - which for some reason makes me roll my eyes - but it's about being informed about your world.
Last DWT Sinead (after determining that we could kill with our combined strength both Adam Levine and Fassbender (because they are thin little men, not because we are actually murderous) should they happen to walk into Maureen's living room) made the comment that we need more brainstorming. One day of plot work and then another day of character work. And I remember thinking - Good God, why would we kill Adam Levine - and that character thing seems like a luxury.
But then we had the Donald Mass workshop and I'm totally convinced - we need to make time for that luxury.
For those of you who haven't gone to one of his workshops - I highly recommend it. He spends hours and hours helping you create three-dimensional, fully realized characters. His whole methodology seems to me to be about time. He asks you a question about your character, a question that has nothing to do with the plot or about the characters relationship with other people, and then he tells you a story about why that question matters and then, gives you a few minutes to scribble things down. It's the last step that matters.
I give myself lots of time to think about my books - I go for walks, I brain storm, honestly , it feels like weeks before I'm able to actually write. But this kind of time - with no distractions and just asking questions about my characters, going deeper and deeper - I don't do it anymore. And I think it makes a big difference. It's not just about knowing your characters - which for some reason makes me roll my eyes - but it's about being informed about your world.
Last DWT Sinead (after determining that we could kill with our combined strength both Adam Levine and Fassbender (because they are thin little men, not because we are actually murderous) should they happen to walk into Maureen's living room) made the comment that we need more brainstorming. One day of plot work and then another day of character work. And I remember thinking - Good God, why would we kill Adam Levine - and that character thing seems like a luxury.
But then we had the Donald Mass workshop and I'm totally convinced - we need to make time for that luxury.
June 8, 2012
Some of my favourite things right now
I'm deep in line edits, my brain is mush and even the giant coffee I drank this morning isn't doing anything to wake me up. To top it off, my kids recently saw Sound Of Music for the 100th time and have been singing 'my favourite things' all the time.
So it's top of mind. So here it a list of my favourite things right now, only some of them writing related.
1) Cole haan shoes - Love them, some of their high heeled shoes have made me gasp when I've tried them on, because they don't feel like your toes are being squished into a little vee. Not all are amazing, but the ones that work will be the only heels you'll ever wear again...
2) Anna dressed in blood - by Kendare Blake - an amazing YA ghost story that is scary and tense and quick paced and with a great guy protagonist who is smart and wry and funny. I'm half way through and loving it.
3) P90X and Insanity - OK, this is more a love hate thing. I don't know if you've seen the cheesy informercials, but I have both of these. They are tough, tough, and I'm reasonably fit, and these regularly kick my butt, but as work out at home DVD's go, it saves me a ton of time getting to and from a gym and no other workout has ever felt as challenging as these. But the warnings should be considered, they are really tough and need to be approached with caution, as it would be easy to get injured if you haven't worked out before.
4) Yoga jeans - as comfortable as they sound and really flattering. I live in my pair.
5) Any book by Sherry Thomas - her latest just got released and it's part of my reward for finishing edits.
6) Sangria - Because it's patio season and nothing is more refreshing on a hot summer day.
That's it for me. Anyone have any other favourite things to add?
So it's top of mind. So here it a list of my favourite things right now, only some of them writing related.
1) Cole haan shoes - Love them, some of their high heeled shoes have made me gasp when I've tried them on, because they don't feel like your toes are being squished into a little vee. Not all are amazing, but the ones that work will be the only heels you'll ever wear again...
2) Anna dressed in blood - by Kendare Blake - an amazing YA ghost story that is scary and tense and quick paced and with a great guy protagonist who is smart and wry and funny. I'm half way through and loving it.
3) P90X and Insanity - OK, this is more a love hate thing. I don't know if you've seen the cheesy informercials, but I have both of these. They are tough, tough, and I'm reasonably fit, and these regularly kick my butt, but as work out at home DVD's go, it saves me a ton of time getting to and from a gym and no other workout has ever felt as challenging as these. But the warnings should be considered, they are really tough and need to be approached with caution, as it would be easy to get injured if you haven't worked out before.
4) Yoga jeans - as comfortable as they sound and really flattering. I live in my pair.
5) Any book by Sherry Thomas - her latest just got released and it's part of my reward for finishing edits.
6) Sangria - Because it's patio season and nothing is more refreshing on a hot summer day.
That's it for me. Anyone have any other favourite things to add?
June 7, 2012
Why Movies Need Editors
I recently watched This Means War. First let me say I’m falling a little in love with Christopher Pine. My crush started in the new Star Trek and is consistently growing. Soon he might make boyfriend potential.
And I thought this movie was good. But as it ended I thought, it could have been great as a romantic comedy. But this movie needed my editor Wanda.
It spent too much time on the “action” and not quite enough time on the character development. Essentially it’s a romantic comedy/action film with a love triangle (a real triangle in this case and not V as the two men were in fact friends). As the movie progressed though it became way more romance than action film.
And I truly wondered what was going to happen. Who would she chose and how would the two love interests’ friendship survive. And as the movie went along it became obvious to me who the choice was going to be – I won’t spoil it for you. But when I got to the end and learned I was right – I saw all the little things they could have done to have made her decision more clear.
The whole time in my head I could hear Wanda saying… you need more here. You need to develop this earlier. We need to see more of her reaction/his reaction earlier on.
Let’s face it – sometimes when we write a story we know way more about what happens in it when we get to the end. It’s our job and our editor’s job to then fix the first part so that it leads us to that conclusion successfully.
I feel like this movie figured out in the last act who the “winner” was. But what they needed to do was go back and give us all those little delicious clues as to why she made the choice that she did.
They were there…. They needed more... just like Wanda is always telling me.
And I thought this movie was good. But as it ended I thought, it could have been great as a romantic comedy. But this movie needed my editor Wanda.
It spent too much time on the “action” and not quite enough time on the character development. Essentially it’s a romantic comedy/action film with a love triangle (a real triangle in this case and not V as the two men were in fact friends). As the movie progressed though it became way more romance than action film.
And I truly wondered what was going to happen. Who would she chose and how would the two love interests’ friendship survive. And as the movie went along it became obvious to me who the choice was going to be – I won’t spoil it for you. But when I got to the end and learned I was right – I saw all the little things they could have done to have made her decision more clear.
The whole time in my head I could hear Wanda saying… you need more here. You need to develop this earlier. We need to see more of her reaction/his reaction earlier on.
Let’s face it – sometimes when we write a story we know way more about what happens in it when we get to the end. It’s our job and our editor’s job to then fix the first part so that it leads us to that conclusion successfully.
I feel like this movie figured out in the last act who the “winner” was. But what they needed to do was go back and give us all those little delicious clues as to why she made the choice that she did.
They were there…. They needed more... just like Wanda is always telling me.
June 6, 2012
First Lines of Novels
I'm at that dreaded place again. Dreaded for me. Well, when I really think about it, it wasn't always a dreaded place. I think now that I have a modicum of success, the pressure adds more dread to....
Da-da-da-dum... The first line of a new book.
I know I could just get started, dive in, and figure out the first line/scene later, but thus far, books don't work like that for me. Wow. I've just realized it's true. I've written 8 or 9 full manuscripts and probably 4-5 other partials that I have yet to finish (and may never) and I have NEVER changed the opening of one of those books.
Sure, I edit and tweak--a lot. But that opening line, the way I see the beginning of the book, I've never once changed it. Have I? Sinead and Molly can correct me if I'm wrong. I did add a prologue to two of my unpublished manuscripts after the fact... but I've never completely cut an opening scene or completely rejected the opening line that first fell into my head.
I sometimes roll my eyes at authors who say that characters talk to them, or stories arrive from the ether and they (the authors) just transcribe... But I realize I need to take some of my eye rolling back. Because first lines come to me that way.
First lines are important. They draw the reader in. They set the tone. They raise questions.
I was at a great workshop with Donald Maass about 5 or 6 years ago during which he spent about 2 hours just reading out people's first lines, asking the group if they'd keep reading, and then we'd work as a group to find a better place/way for that author to start if their first line didn't work. Of the 40 or more first lines we looked at, I think mine was one of two that he and the group liked. I'm not bragging. Merely saying that these lines come to me like miracles from heaven and I'm not sure if I know how to start a book if the heaven's don't provide.
But I must. And I will. Every book I've written has developed differently (no process is my process) so maybe this will be the book where the first line/opening scene reveals itself later.
Or maybe my first line magic is used up... I have realized (with some trepidation) that in my last two completed manuscripts (the ones for Deviants and Chosen, the first two books of The Dust Chronicles) I open with a scene-setting line. Something that's considered in most circles to be a beginner mistake. (It was a dark and stormy night.) But I like the lines... I think that, while they do describe setting, they also create mood and pose questions, so I decided it was okay to break that no-description-in-your-first-line rule.
And now... in celebration of Deviants going into production and the ARCs being available at BEA this week--I hope they got them done in time--here is the opening paragraph of Deviants, coming October 30, 2012 from Amazon Children's Publishing:
And the original opening paragraph from my first draft:
Not that different is it? OH, YIKES. Now I like the original better. Why did I do this?????? :)
And, first line gods... Please deliver onto me the first line for Glory. Book 3 of The Dust Chronicles.
Da-da-da-dum... The first line of a new book.
I know I could just get started, dive in, and figure out the first line/scene later, but thus far, books don't work like that for me. Wow. I've just realized it's true. I've written 8 or 9 full manuscripts and probably 4-5 other partials that I have yet to finish (and may never) and I have NEVER changed the opening of one of those books.
Sure, I edit and tweak--a lot. But that opening line, the way I see the beginning of the book, I've never once changed it. Have I? Sinead and Molly can correct me if I'm wrong. I did add a prologue to two of my unpublished manuscripts after the fact... but I've never completely cut an opening scene or completely rejected the opening line that first fell into my head.
I sometimes roll my eyes at authors who say that characters talk to them, or stories arrive from the ether and they (the authors) just transcribe... But I realize I need to take some of my eye rolling back. Because first lines come to me that way.
First lines are important. They draw the reader in. They set the tone. They raise questions.
I was at a great workshop with Donald Maass about 5 or 6 years ago during which he spent about 2 hours just reading out people's first lines, asking the group if they'd keep reading, and then we'd work as a group to find a better place/way for that author to start if their first line didn't work. Of the 40 or more first lines we looked at, I think mine was one of two that he and the group liked. I'm not bragging. Merely saying that these lines come to me like miracles from heaven and I'm not sure if I know how to start a book if the heaven's don't provide.
But I must. And I will. Every book I've written has developed differently (no process is my process) so maybe this will be the book where the first line/opening scene reveals itself later.
Or maybe my first line magic is used up... I have realized (with some trepidation) that in my last two completed manuscripts (the ones for Deviants and Chosen, the first two books of The Dust Chronicles) I open with a scene-setting line. Something that's considered in most circles to be a beginner mistake. (It was a dark and stormy night.) But I like the lines... I think that, while they do describe setting, they also create mood and pose questions, so I decided it was okay to break that no-description-in-your-first-line rule.
And now... in celebration of Deviants going into production and the ARCs being available at BEA this week--I hope they got them done in time--here is the opening paragraph of Deviants, coming October 30, 2012 from Amazon Children's Publishing:
The air at the uppermost reaches of Haven is hot and thick with the stench of rat droppings. Small price to pay for free food. Normal girls run screaming when this close to rats, but I can’t afford luxuries like fear.
And the original opening paragraph from my first draft:
The air at the uppermost reaches of Haven is hot and thick with the stench of rat droppings. Small price to pay for free food. Most teenaged girls would run screaming this close to rats but I’m not most girls. Not by half.
Not that different is it? OH, YIKES. Now I like the original better. Why did I do this?????? :)
And, first line gods... Please deliver onto me the first line for Glory. Book 3 of The Dust Chronicles.
June 5, 2012
Ding dong! The book is done!
I turned it in. The third book in my Messenger series has flown through that series of tubes we call the Internet from California to New York City. I walked around all day yesterday whistling, "Ding Dong! The book is Done!" Then tonight my youngest child graduates from high school. He turned 18 about 3 weeks ago. Some of the ladies here know about the little issue I had with his birthday dinner, but they've been sworn to secrecy. Hear that drunk writers? SECRECY.
Anyway, I'm done with my book and apparently I'm done with child rearing. I told my oldest I'm now just his friend. He told me that sounded chill.
Another thing that's chill? Getting to the book that's been waiting for revisions for months. Months!!! I don't even remember what I wrote. It has to do with a car accident, some teenagers, a senator, a preacher and some religious controversy.
Then I have to figure out what to do. The last couple of years have been crazy busy. Kids graduating from high school and applying to colleges. Kids going to college. We've moved my mother twice and she's had innumerable health crises which seem to land us in emergency rooms on holidays with lots of drinking. Oh, and my day job went from part-time to full-time.
One of my sisters thinks I need to take a hiatus and "just be Eileen" for a while. The other sister thinks that I need to keep writing because it's usually most crucial to keep going just when it's the hardest. I don't know what I think except that I'm pretty sure that I'm at a major crossroads and that there's no right road and no wrong road, but I'm going to have to choose a direction.
Anyway, I'm done with my book and apparently I'm done with child rearing. I told my oldest I'm now just his friend. He told me that sounded chill.
Another thing that's chill? Getting to the book that's been waiting for revisions for months. Months!!! I don't even remember what I wrote. It has to do with a car accident, some teenagers, a senator, a preacher and some religious controversy.
Then I have to figure out what to do. The last couple of years have been crazy busy. Kids graduating from high school and applying to colleges. Kids going to college. We've moved my mother twice and she's had innumerable health crises which seem to land us in emergency rooms on holidays with lots of drinking. Oh, and my day job went from part-time to full-time.
One of my sisters thinks I need to take a hiatus and "just be Eileen" for a while. The other sister thinks that I need to keep writing because it's usually most crucial to keep going just when it's the hardest. I don't know what I think except that I'm pretty sure that I'm at a major crossroads and that there's no right road and no wrong road, but I'm going to have to choose a direction.
June 1, 2012
The Avengers and liking your characters
So it's no secret that I'm a hugh Joss Whedon fan, and last night I finally got around to seeing the Avengers, and yes, it's as good as the hype. So go see it, you will have fun.
But my major take away from the movie is how much affection Whedon has for each of his characters and it shows. Everyone in the movie has one great moment, at least one great line and is as strong as everyone else.
And no where is this evident than in the female characters, even the minor ones, who are strong and interesting and equally as capable as their male counterpoints. And yes, Scarlett Johansen does wear a skin tight suit, but so does Captain America and the camera spent as much time focused on his butt as it did on hers.
Whedon does this, his women are always as capable as his men, it's why I've loved his work, and a fantastic contrast to the usual women as sidekick role, see anything directed by Michael Bay, where the women are lingered on by the camera, but pretty useless elsewhere, but I'm pretty sure Michael Bay hates his human characters, why else would he make them act like that?
The Avengers made me think about my current WIP, which is definitely centred on one protagonist, and whether I've given all my characters a heroic moment, a sweet moment and one where they are the star of the scene. I'm pretty sure I haven't, but I'm going to go back and fix that and I'm going to try and like all my characters equally, because I'm pretty sure I've played favourites before.
Has anyone else gone to The Avengers? What was your favourite part of the movie?
But my major take away from the movie is how much affection Whedon has for each of his characters and it shows. Everyone in the movie has one great moment, at least one great line and is as strong as everyone else.
And no where is this evident than in the female characters, even the minor ones, who are strong and interesting and equally as capable as their male counterpoints. And yes, Scarlett Johansen does wear a skin tight suit, but so does Captain America and the camera spent as much time focused on his butt as it did on hers.
Whedon does this, his women are always as capable as his men, it's why I've loved his work, and a fantastic contrast to the usual women as sidekick role, see anything directed by Michael Bay, where the women are lingered on by the camera, but pretty useless elsewhere, but I'm pretty sure Michael Bay hates his human characters, why else would he make them act like that?
The Avengers made me think about my current WIP, which is definitely centred on one protagonist, and whether I've given all my characters a heroic moment, a sweet moment and one where they are the star of the scene. I'm pretty sure I haven't, but I'm going to go back and fix that and I'm going to try and like all my characters equally, because I'm pretty sure I've played favourites before.
Has anyone else gone to The Avengers? What was your favourite part of the movie?
May 31, 2012
Back to self-publishing...
Two interesting things came up this week since my mini rant that I thought I would share. Turns out there was a sampling done (very small) among 1007 self-published authors. I don’t’ know if any of these authors had been traditionally published previously.
Some were earning more than $100,000 per year, but the average was around $10,000 a year with less than 10% of the authors earning 75% of the total revenue. And half of all authors earned less than $500 in a year.
I thought this was a perfect mini picture of what reality looks like. It shows there are definitely going to be top earners, but most are going to be lower earners.
Guess what – that’s very true of traditional publishing too. Some are going to be Nora Roberts. And some are going to be… well me.
And then I read Sarah Mayberry’s blog regarding her self-publishing effort Her Best Worst Mistake (which if you enjoy her books or category novels in general you’re going to LOVE this.) This was a perfect example of how a combination of traditional publishing and self-publishing can work for you. She had a project that didn’t really work for Harlequin and was a nice compliment to her category career. Harlequin gave her permission to use the characters previously printed in a Blaze book and because she’s an established category author with a great reputation for writing quality books she’s probably going to make out really well with this title.
But she makes the point that the one thing that was missing from this project was Wanda Ottewell. For those who don’t know Wanda, she’s Molly’s and Sarah’s and my editor with Harlequin. I think we would all raise our hands and say she’s amazing and has made us all better writers. And to Sarah’s credit, she has obviously learned enough from Wanda over the years to know what she’s doing. Her book was awesome. But still there is that risk.
And I thought that is it. That’s the choice we get to make. Sarah made a great point about not standing on either sideline and wagging our fingers at one another. And I thought right – I don’t want to be on the sideline either. I’m a traditionally published and self published author. Now I know which I prefer and what I think works for me, but the great part of this new shift in the business is that we have options.
What’s important is that we recognize the pros and cons of each option.
Some were earning more than $100,000 per year, but the average was around $10,000 a year with less than 10% of the authors earning 75% of the total revenue. And half of all authors earned less than $500 in a year.
I thought this was a perfect mini picture of what reality looks like. It shows there are definitely going to be top earners, but most are going to be lower earners.
Guess what – that’s very true of traditional publishing too. Some are going to be Nora Roberts. And some are going to be… well me.
And then I read Sarah Mayberry’s blog regarding her self-publishing effort Her Best Worst Mistake (which if you enjoy her books or category novels in general you’re going to LOVE this.) This was a perfect example of how a combination of traditional publishing and self-publishing can work for you. She had a project that didn’t really work for Harlequin and was a nice compliment to her category career. Harlequin gave her permission to use the characters previously printed in a Blaze book and because she’s an established category author with a great reputation for writing quality books she’s probably going to make out really well with this title.
But she makes the point that the one thing that was missing from this project was Wanda Ottewell. For those who don’t know Wanda, she’s Molly’s and Sarah’s and my editor with Harlequin. I think we would all raise our hands and say she’s amazing and has made us all better writers. And to Sarah’s credit, she has obviously learned enough from Wanda over the years to know what she’s doing. Her book was awesome. But still there is that risk.
And I thought that is it. That’s the choice we get to make. Sarah made a great point about not standing on either sideline and wagging our fingers at one another. And I thought right – I don’t want to be on the sideline either. I’m a traditionally published and self published author. Now I know which I prefer and what I think works for me, but the great part of this new shift in the business is that we have options.
What’s important is that we recognize the pros and cons of each option.
May 28, 2012
I love it when Shatner shows up
We're watching the season premiere of Rookie Blue. I sort of constantly want to smack Andy and Sam because they can't follow the rules for more than like two seconds. Then all the sudden, William Shatner stumbles out of a car and the whole show just got better.
Say what you will. He can be melodramatic. Still I just love him. Maybe it's my memories of how goldenly beautiful he was back in the Stark Trek days. Maybe it's remembering him calling people maggots when he was TJ Hooker. I even liked it when he kept saying his character's name on Boston Legal. Of course, let's not forget his turn as my uncle on Sh*t My Dad Says. He just makes me happy.
So does Patricia Clarkson, for that matter. She's another one. She makes everything she's in terrific.
Do you have anyone like that? An actor or actress that makes you tune in?
Say what you will. He can be melodramatic. Still I just love him. Maybe it's my memories of how goldenly beautiful he was back in the Stark Trek days. Maybe it's remembering him calling people maggots when he was TJ Hooker. I even liked it when he kept saying his character's name on Boston Legal. Of course, let's not forget his turn as my uncle on Sh*t My Dad Says. He just makes me happy.
So does Patricia Clarkson, for that matter. She's another one. She makes everything she's in terrific.
Do you have anyone like that? An actor or actress that makes you tune in?
I loved Battleship and I'm not afraid to admit it
I did, I loved that movie. There is a good possibility that the two beers I had before hand were what made it so special, in which case I can only urge you to have two beers and then go see a really fun movie.
I think Peter Berg must be a nice guy. All the stuff he does, seems to have such a warm beating heart to it. He takes the time to show the small moments that create not just character, but special character. This is a total action movie, no real surprises, but he gives us little moments with the characters that are special. Different. The winks and nods to the game Battleship were really clever. The bombs, the fact that for a part of the movie the two opposing forces were fighting each other blind - really clever.
Maybe it's my love of Taylor Kitsch that has blinded me to possible flaws in this total popcorn, summer, special effects driven blockbuster. It's possible. I do love him and this movie could have been called Tim Riggins Gets a Haircut and Saves The Planet. Honestly, Kitsch's character even drives the same freaking truck as Riggins. Not joking. And there are some other nods to FNL. All fun, for the four of us in the audience that had actually seen that show.
As a side note did anyone watch Simpson's last night? Lisa wants to be a YA writer but can't actually sit down to do the work so she does all the procrastinating that all of us do, including watching all the season's of FNL. Very funny. A good wink at the YA world.
Anyway - there are worse ways to spend some time. Have two beers and go watch Rigs save the world.
I think Peter Berg must be a nice guy. All the stuff he does, seems to have such a warm beating heart to it. He takes the time to show the small moments that create not just character, but special character. This is a total action movie, no real surprises, but he gives us little moments with the characters that are special. Different. The winks and nods to the game Battleship were really clever. The bombs, the fact that for a part of the movie the two opposing forces were fighting each other blind - really clever.
Maybe it's my love of Taylor Kitsch that has blinded me to possible flaws in this total popcorn, summer, special effects driven blockbuster. It's possible. I do love him and this movie could have been called Tim Riggins Gets a Haircut and Saves The Planet. Honestly, Kitsch's character even drives the same freaking truck as Riggins. Not joking. And there are some other nods to FNL. All fun, for the four of us in the audience that had actually seen that show.
As a side note did anyone watch Simpson's last night? Lisa wants to be a YA writer but can't actually sit down to do the work so she does all the procrastinating that all of us do, including watching all the season's of FNL. Very funny. A good wink at the YA world.
Anyway - there are worse ways to spend some time. Have two beers and go watch Rigs save the world.
May 25, 2012
Mandy Patinkin is breaking my heart
I got my hands on Homeland and watched the entire series in less than two weeks, because it is amazing. It's tense and the characters are amazing and complex and the plot twists are awesome and Claire Danes plays possibly the most interesting, driven and screwed up woman on TV right now and she's totally believable.
But hands down my favourite part of the show, (and Damian Lewis is on it, so this is saying a lot) is Saul, played by Mandy Patinkin. I love that on a show with so much tension, he is so calm, almost understated, a pretty wonderful foil to the Claire Danes character.
He is soft spoken, so when he does yell it makes more of an impact, he is a voice of reason and somewhat of a power player in Washington and during the course of the first season, his life sort of falls apart. Sorry(Spoilers ahead), stop reading here if you don't want to know, but in a show with lots of twists, this is one of the minor ones.
His wife of 25 years leaves him. It's quiet, no yelling, no hysterics, just the extreme sadness of two adults. She wants a husband who can be with her, is interested in what she loves and he wants a wife who is there for him when he needs her, but their needs do not line up. He loves her, because when she is in his life, he isn't lonely, but she is often lonely, because his job takes up so much of his life, which is shown perfectly in the first episode when he goes to pick her up from the airport and he gets called away and he has to take a cab home.
In a show where a lot of plot is a little over the top, life and death, this subplot, in it's understated and quiet way, was the perfect counterpoint. Saul, while being the backbone for everyone around him, sees his own life falling apart and no one really notices. Especially the main character who is caught up in the drama in her own life and job, and yet the relationship between Saul and Claire Danes doesn't change because she is not his backbone.
It's a fascinating relationship, and one of the many things the show does really well. Anyone else watched it? (Maureen has, and is the reason I watched it)
But hands down my favourite part of the show, (and Damian Lewis is on it, so this is saying a lot) is Saul, played by Mandy Patinkin. I love that on a show with so much tension, he is so calm, almost understated, a pretty wonderful foil to the Claire Danes character.
He is soft spoken, so when he does yell it makes more of an impact, he is a voice of reason and somewhat of a power player in Washington and during the course of the first season, his life sort of falls apart. Sorry(Spoilers ahead), stop reading here if you don't want to know, but in a show with lots of twists, this is one of the minor ones.
His wife of 25 years leaves him. It's quiet, no yelling, no hysterics, just the extreme sadness of two adults. She wants a husband who can be with her, is interested in what she loves and he wants a wife who is there for him when he needs her, but their needs do not line up. He loves her, because when she is in his life, he isn't lonely, but she is often lonely, because his job takes up so much of his life, which is shown perfectly in the first episode when he goes to pick her up from the airport and he gets called away and he has to take a cab home.
In a show where a lot of plot is a little over the top, life and death, this subplot, in it's understated and quiet way, was the perfect counterpoint. Saul, while being the backbone for everyone around him, sees his own life falling apart and no one really notices. Especially the main character who is caught up in the drama in her own life and job, and yet the relationship between Saul and Claire Danes doesn't change because she is not his backbone.
It's a fascinating relationship, and one of the many things the show does really well. Anyone else watched it? (Maureen has, and is the reason I watched it)
