Re: Book Recommendation

Dill Carver wrote:
Charles_F_Bell wrote:

Again. The standard is what the movie made in its first run on U.S. screens. It cost $178M and made through the summer of 2014 $100M. What it did make a year later or might make by the end of the year 3074 on Mars is irrelevant.

How does that work?

Again. The movie cost $178 million to produce and it earned $392 million within the first 24 months

Again. The standard is: if the movie does not lose $78M on almost 4000 screens in the U.S. during its summer run, it is a success. If it could be predicted that foreigners, having notorious appetites for bad American films. would be the primary audience then the distributing to them might have been better than wasting distribution and marketing in the U.S. market which would be treated to "straight to video" or a run on SyFy that it deserved.

27 (edited by Dill Carver 2016-12-03 11:44:37)

Re: Book Recommendation

Hold on Charles, you should be yelling at Warner Bros rather than me, because given the success of the movie, its popularity with both critics and audiences and the huge profit that it made for the studio and its backers and bankers, they have announced the production of a sequel.

http://www.independent.co.uk/arts-enter … 75176.html

I don’t think that they’d bother with developing a franchise if the movie was the flop that you insist it was.

As you mention again and again, the movie suffered a slow start in US theatres upon its release. However this did not prove to be a pattern and the movie recovered to become very popular and very profitable. The reason the release was slow seems be unclear to the industry and most theories that I can find upon the subject suggest the publicity and marketing were poor and the ambiguous title 'Edge of Tomorrow' failed to evoke interest. This was addressed by the addition of a tag-line title 'Live, die, Repeat.' There are other theories that point toward an anti-Tom Cruise effect but you state the following;

Charles_F_Bell wrote:

.Edge of Tomorrow (2014) lost $78 million and not because of bad acting or direction or lack of action/special effects or even the story's premise - it was the script,...

It can’t find the quality of the script being attributed to the movie’s poor release performance anywhere on-line? Several other reasons are suggested but I can’t find anyone from the media or movie industry blaming bad scriptwriting for the poor initial audience figures?

I’m very interested in your revelation that it was actually (and entirely) the script which killed this film upon its release. I saw the film at the cinema with my son when it was released a couple of years ago in the UK. Given this renewed interest I watched the movie again on Amazon Prime tonight and thought the script was okay. There were a couple of lines I thought were a bit cheesy but no more than any other movie that I’ve seen recently. I watched this evening with my family and both my son (14 yrs) and daughter (18 yrs) loved the film. My wife hated it, but she is French and hates everything filmed in colour that is not directed by Claude Chabrol, René Clément or Jean Cocteau. She also thought that the France scenes, especially those set in Musée du Louvre looked fake, as if they’d been filmed in a studio down the road in Watford (which they were).

Would you be so kind as to share the source of the article which identifies the script as the reason the movie suffered a slow audience take-up ?

Oh, and apparently the wildly inaccurate and irrelevant 'Standard' for measuring movie success that you chose to religiously adhere to is from the ‘box office receipts only’ world of the 1950's and is more akin to popcorn sales. It doesn't take into account the 21st century and the money that movie media makes in theatres outside of the US, and the DVD sales along with TV, Netflix, Amazon Prime and ITunes etc. media outlets. To the film studios, backers and bankers the standard by which a movie’s success is measured nowadays is in dollars of profit. Money in the bank. $392 million and counting, in the bank, in this case.
http://io9.gizmodo.com/5881236/the-way- … ely-broken

28 (edited by Charles_F_Bell 2016-12-04 11:15:23)

Re: Book Recommendation

Dill Carver wrote:

As you mention again and again, the movie suffered a slow start in US theatres upon its release. However this did not prove to be a pattern and the movie recovered to become very popular and very profitable. The reason the release was slow seems be unclear to the industry and most theories that I can find upon the subject suggest the publicity and marketing were poor and the ambiguous title 'Edge of Tomorrow' failed to evoke interest.

In the direct democracy of free-enterprise capitalism, the ticket purchasing movie-theatre-goer is more equal than others, if only, at least, for the divvying up of profits to those directly connected to the movie rather than to those farther downstream. There are indeed two issues in maximizing profits - the second being irrelevant to this discussion and the first being the initial marketing puts people in seats for the opening weekend, and TET had a poor opening weekend, but the audience picked up, then leveled off. The word of mouth effect might have initially been good but never escalated. It neither fit those who wanted more cerebral or those who wanted more lightness. It certainly is a movie that is trying very hard to please everyone but pleased no one in the details of what makes a good, better-than-average movie because the script/theme/action/dialogue is everywhere at the same time. It is a poorly written and utterly unoriginal. In the country that invented the American "film", the movie, the U.S. ticket-purchasing movie-goer is the most discriminating in the world, not for any artistic reason -- that is the "film" -- but for American cultural values.  Whatever was good in War of the Worlds (the Tom Cruise version in 2005) as a family movie, supporting family values, more so than in the original, was completely absent in TET. The initial marketing for WoW was vastly easier than for TET, but it soared to a summer blockbuster because it contained underlying American values. Some have have suggested that TET is an analogy to the muslim alien invasion of Europe centered in France which can only be stopped by Anglo-American greatness in the face of adversity. If that were true, few could realize it in the thick, discombobulated plotline, and certainly no Hollywood personage is going to promote it. Moreover, the foreign audience and downstream American audience is too obtuse to pick up on that message, and the theatre-going audience is not wanting to look for that, unlike as for 300, for example, and more obviously American Sniper and 13 Hours while, of course, Hollywood distances itself from admitting to messaging in that way.

Re: Book Recommendation

Charles_F_Bell wrote:

.Edge of Tomorrow (2014) lost $78 million and not because of bad acting or direction or lack of action/special effects or even the story's premise - it was the script,...

It can’t find the quality of the script being attributed to the movie’s poor release performance anywhere on-line? Several other reasons are suggested but I can’t find anyone from the media or movie industry blaming bad scriptwriting for the poor initial audience figures?

Would you be so kind as to share the source of the article which identifies the script as the reason the movie suffered a slow audience take-up ?

Re: Book Recommendation

jack the knife wrote:

Does Maass ever say how many breakthrough novel authors he represented? I'm sorry, but I read what's available on Amazon for the first and latest editions of his book, and I was underwhelmed. First of all, he proclaims what a breakthrough novelist must have in the book. Duh. Any novelist who has been working at the craft for more than a month already knows these pearls of wisdom. Secondly, he keeps referring to writers who already have agents, publishers, and publicists and are complaining about their drop in sales. Because they had their "lucky" breakthrough moment and still don't get it. I think that category of authors is not largely represented by the writers on this site. To me, this is a how-to book aimed at making money from starry-eyed writers thinking his advice will propel them to greatness. Please. Agents like Maass who have been around for decades and collected a stable of bestselling authors do not need breakthrough novels. It would mean more work for him to sell them. He likely made his bones by taking chances on an author when getting started in the biz - he had no choice then - and lucked out, but now he's a fat cat earning his commissions from established authors. My suggestion for writers seeking representation: steer clear of old agents like Maass and find the young, eager-beaver agents wanting to make their mark. Granted, they won't have the inroads to the major publishers like Maass, but you'll have a better chance of landing them.

Good advice, Jack! Good to see you around btw:)

Re: Book Recommendation

If movies, books, art, etc. were plucked off the market after the first week of less than fantastic sales, then the first week would be a clear indicator of success, but thankfully the market and business gurus don't measure that way so couch potato critics ascribing success to first week numbers is rather asinine to say the least. Take care. Vern

Re: Book Recommendation

vern wrote:

If movies, books, art, etc. were plucked off the market after the first week of less than fantastic sales, then the first week would be a clear indicator of success, but thankfully the market and business gurus don't measure that way so couch potato critics ascribing success to first week numbers is rather asinine to say the least. Take care. Vern

I think the release or 'opening run in America' figures meant something back in the days when the movie theatre was the only place on earth that you could see the film. It became a less relevant factor when the 'home' cinema, VHS tapes and then DVD markets opened up. Less again when cinema became 'global' with movies being released at different dates in different countries and continents and completely pointless now that movies can be downloaded via Netflix, Amazon, and iTunes type of services.

In these times, we tend to consider movies as they are released and decide if the title is worth a cinema trip or whether a wait of a couple of months until the DVD or download is in order.  Our 65" Sony Smart TV with Bose sound is a big factor in those decisions nowadays. 

Books I recall, used to be similar (at least here in the UK, I don't know about the US), where the first release run was always the hardback format with the paperback release following some months later. I remember queuing through the night as a young man at Foyles Bookshop in Charing Cross Road for the release of John le Carré's 'A Perfect Spy.' Years later my eldest daughter queued through the night several times as a teenager for Harry Potter releases. The only way you could get your hands on the novel at release date, was hardback from a bookshop. Speed and availability of media transfer via the Internet in conjunction with counterfeiters has killed that tradition. Nowadays I simply bang a pre-order into Amazon and the book of my choice is delivered to my door on release day. I do miss the thrill of the bookshop.

Re: Book Recommendation

Dill Carver wrote:
Charles_F_Bell wrote:

.Edge of Tomorrow (2014) lost $78 million and not because of bad acting or direction or lack of action/special effects or even the story's premise - it was the script,...

It can’t find the quality of the script being attributed to the movie’s poor release performance anywhere on-line? Several other reasons are suggested but I can’t find anyone from the media or movie industry blaming bad scriptwriting for the poor initial audience figures?

Would you be so kind as to share the source of the article which identifies the script as the reason the movie suffered a slow audience take-up ?

A life led around by Google, eh?  I cannot reveal my sources as anyone who reads my profile understands.

Re: Book Recommendation

Dill Carver wrote:

Books I recall, used to be similar (at least here in the UK, I don't know about the US), where the first release run was always the hardback format with the paperback release following some months later.

Like it or not; understand it or not, NYT bestseller lists are composed from hardback sales, and the success of movies is determined by first-run theatre sales.  The reason is related to the fact that Amazon "reviews" are useless and the perishability of Kindle books. The time will tell factor is only important to historians and bean counters.

Re: Book Recommendation

Dill Carver wrote:

Would you be so kind as to share the source of the article which identifies the script as the reason the movie suffered a slow audience take-up ?

I did a little research, & think I found the original source. Hope this helps. smile

36 (edited by Dill Carver 2016-12-04 13:47:22)

Re: Book Recommendation

Charles_F_Bell wrote:

Edge of Tomorrow (2014) lost $78 million and not because of bad acting or direction or lack of action/special effects or even the story's premise - it was the script,...

Dill Carver wrote:

It can’t find the quality of the script being attributed to the movie’s poor release performance anywhere on-line? Several other reasons are suggested but I can’t find anyone from the media or movie industry blaming bad scriptwriting for the poor initial audience figures?

Would you be so kind as to share the source of the article which identifies the script as the reason the movie suffered a slow audience take-up ?

Charles_F_Bell wrote:

A life led around by Google, eh?  I cannot reveal my sources as anyone who reads my profile understands.

If you have no evidence just say it. People make shit up to suit their purpose all of the time. Because, as Abraham Lincoln is reported to have said; ‘You can fool most of the people most of the time...’

If this movie failed to meet the expectations of the industry during its opening run, explicitly and entirely due to a poor script as you state within your reply to the opener of this thread, then there would be specific references to issues regarding the problem script of ‘Edge of Tomorrow’ plastered all over the Internet from here to eternity.

There is not.   

One can listen to the script as it is performed within the movie and it doesn't sound bad at all. One can download the script in PDF format and it doesn't read badly.     

I think you are a bullshit artist whose first instinct it is to make up a lie in order to support your opinion or agenda via exerting a manipulating influence upon people you consider to be inferior and dumb.  Many people in this world don’t care and are happy to suck up to any outrageous bullshit they are fed, take it as law. Truth fabrication; it was the trade of Joseph Goebbels, has been the trade of religions since the first bullshitter was born and is the principle by which governments, politicians, corporates, the news media, public relations organisations, marketing organisations and independent narcissistic individuals thrive. It is their principle material, their stock in trade.

I’m not your patsy, Charles. You need to understand that. I am not most of the people most of the time. I am simply a deteriorating dog soldier with shrapnel in my head where the sense should be. I close my eyes and I can taste blood and cordite. I hear screams and my head swims in a vile swirl of betrayal, treachery and injustice that has consumed most of my life and all of my soul. I have come to know there are but a few true human values or virtues. These are honesty, honour, kindness and loyalty and they are the only things that make life worthwhile. Without truth where are we? We are lost and truth is becoming rarer and more suppressed than ever. It is routinely disguised and destroyed just like ISIS dynamites the Temple of Bel ruins in Palmyra because the truth of it doesn’t fit the fiction of their religion.

I am many things and most of them wanting or substandard and to many I am considered dumb. That is, as it may be, but please remember that I’m not your patsy.

The sad thing is that if you had a genuine point to make, with a little effort you could have dug up and cited plenty of real-life examples where a poor script is actually reported to have ruined a movie. Instead of that you instinctively troop out an untruth. For convenience sake you swap real-life for a real lie. But what was once called propaganda has been refurbished. It has endured a makeover and is called ‘spin’ nowadays. Spin is a precious and highly regarded and rewarded modern day skill.

Charles_F_Bell wrote:

A life led around by Google, eh?

You would have me look like a fool, an inferior, and this for using the Internet for research. For using Google in order to check facts and thereby uncover your lie. 

Good for you. Hail the Spinmiester. You are perfectly equipped for this modern society and will thrive. Perfectly dishonourable.

Me, I’m in the beleaguered and despised minority and I’m finished. I know that. I’m sure that you and yours will see to that. But I’m still not your patsy.

Re: Book Recommendation

Dill Carver wrote:
Charles_F_Bell wrote:

Edge of Tomorrow (2014) lost $78 million and not because of bad acting or direction or lack of action/special effects or even the story's premise - it was the script,...

Dill Carver wrote:

It can’t find the quality of the script being attributed to the movie’s poor release performance anywhere on-line? Several other reasons are suggested but I can’t find anyone from the media or movie industry blaming bad scriptwriting for the poor initial audience figures?

Would you be so kind as to share the source of the article which identifies the script as the reason the movie suffered a slow audience take-up ?

Charles_F_Bell wrote:

A life led around by Google, eh?  I cannot reveal my sources as anyone who reads my profile understands.

.

I’m not your patsy, Charles.

Wow!  You give meaning to finding one's accusers out-of-touch with the reality of what else is out there in comparison.  Egotistical, diarrhea-mouth, blowhard ...

The fact of the matter, evidenced in my more recent fiction writing, is I find value in expressing more in fewer words, and, in fact, point to the folly of the naturalist detailing every single fact{*} while entirely missing the context and meaning of facts.

I learned from the age of twelve or so that the rejoinder "cite your sources" is pseudo-academic blather displaying ignorance of the subject matter because if one does not know what the sources might be, one is a pretender.

{*} in regards to this thread and TNBW generally, there is no good advice to describe characters' physicality, for example, unless there is relevance to the story - Boy meets girl who has red hair requires prior "red hair" description if the boy loves red-heads (or Irish, perhaps); otherwise, prose description is waste of words to write and to read. And the push to make a character, if not a kitten or adorable puppy, "likable" by way of described appearances is silly.

38 (edited by Memphis Trace 2016-12-04 14:22:11)

Re: Book Recommendation

Ask not for whom the Bells of the world troll, they troll for thee.

I appreciate your taking the time Mr. Carver to expose him, once again, for what he is.

Memphis Trace

39 (edited by Dill Carver 2016-12-04 17:48:47)

Re: Book Recommendation

Charles_F_Bell wrote:
Dill Carver wrote:

Books I recall, used to be similar (at least here in the UK, I don't know about the US), where the first release run was always the hardback format with the paperback release following some months later.

Like it or not; understand it or not, NYT bestseller lists are composed from hardback sales, and the success of movies is determined by first-run theatre sales.  The reason is related to the fact that Amazon "reviews" are useless and the perishability of Kindle books. The time will tell factor is only important to historians and bean counters.

Like it or not, my only point re: book sales was conversational and upon the demise of the strictly hardback format only first release tradition. Although some prestige titles still maintain the tradition, most mainstream novels are released in paperback, hardback and kindle format from the outset nowadays.

I'm not sure if it is you who understands the NYT Bestsellers or not? I am an avid reader of the NYT Bestseller lists, I'm a subscriber to the lists. The NYT Bestseller lists are multiple lists for different categories i.e. fiction and non-fiction, genre specific lists, paperback list, hardcover list and yes, the electronic list (the e-book categories of the previous list) which includes Kindle version sales.
The NYT Bestsellers is not just a Hardback sales list. (Which is not trusted by the bean counters BTW as the list relies upon results from over the counter sales at a few pre-determined book stores which easily be by manipulated)  -You could search 'Ted Cruz NYT Bestseller cheat' on the puerile Google machine that leads my life.  If of course Google exits in the 1950's  where you live?

40 (edited by Dill Carver 2016-12-04 15:11:52)

Re: Book Recommendation

Charles_F_Bell wrote:

I learned from the age of twelve or so that the rejoinder "cite your sources" is pseudo-academic blather displaying ignorance of the subject matter because if one does not know what the sources might be, one is a pretender..

Yes, but you were under the threat of explosive bat attack from the Imperial Japanese Army at the time.

Nowadays, in the 21st century it is considered correct and honorable (good practice and decent protocol) to cite your sources when you quote researched material within your publication.

Throw your garbled thesaurus sourced insults and play the superior intellectual bully as much as you like. I'm dumb and your intellect holds no sway over me. In fact it makes you look to me like a ridiculous figure of fun.

Now then, you authoritatively stated here that the movie 'Edge of Tomorrow' failed entirely and specifically because of the script.

I say that it did not fail because of the script and in support of that opinion I give you an entire Internet's worth of evidence.

Would you please show us the evidence to back up your 'say so' statement that the script is considered responsible for the slow audience take up of this movie?

Thanks in advance.

Re: Book Recommendation

Charles_F_Bell wrote:

The fact of the matter, evidenced in my more recent fiction writing, is I find value in expressing more in fewer words, and, in fact, point to the folly of the naturalist detailing every single fact{*} while entirely missing the context and meaning of facts.
.

Great stuff. How's that working out for you?

Readers love nothing better than reading bullet points. Be sure to hi-light the pertinent words in case they are skipped over within the brevity.

42 (edited by corra 2016-12-04 19:17:44)

Re: Book Recommendation

Charles_F_Bell wrote:

I learned from the age of twelve or so that the rejoinder "cite your sources" is pseudo-academic blather displaying ignorance of the subject matter because if one does not know what the sources might be, one is a pretender.

This response stinks of a pathetic scramble to maintain your intellectual integrity in this thread without having to reveal that you have no source -- you are simply sharing your opinion. No one with an ounce of intelligence would believe that you have sources you're simply not sharing because you find the question proof of ignorance. You cite your sources when you have them -- readily, arrogantly, and expediently. You're not doing so in this case because you've been caught without a source. You know that, and you think that throwing out dim-witted insults and then spewing intellectual piety will distract people from your folly. No one is distracted.

Intellectual integrity means that if you make a claim and it's wholly opinion, you say so. If you're making a claim based on expert research or opinion, you cite your sources. Then everyone within the conversation can have a balanced view of the picture and develop their own conclusions. Ignorance is holing up in your moron cave and claiming that because you believe something, though you have absolutely no sources to back up your claim, everyone who disagrees is ignorant. And then calling said people names, like a twelve year old. Which is sadly the only source you've cited in this thread to date. And remarkably, that source is, as ever, you.

Good to see that you realize you conduct your intellectual conversations from a childish perspective though. That's the first step! smile

Charles_F_Bell wrote:

Egotistical, diarrhea-mouth, blowhard ...

P.R.O.J.E.C.T.I.N.G.

Re: Book Recommendation

Charles_F_Bell wrote:

The fact of the matter, evidenced in my more recent fiction writing, is I find value in expressing more in fewer words, and, in fact, point to the folly of the naturalist detailing every single fact{*} while entirely missing the context and meaning of facts.

Funny for one claiming to express more in fewer words to invite us to evidence his recent fiction writing where he takes an entire prologue to tell us a truck and car didn't collide -- brilliant. Of course you are correct in stating "the folly of the naturalist detailing every single fact" to a god-like figure who needs no sources other than his own infallibility. The thing with gods or worshipers thereof is that the only truth is what the god-like figure says it is and nothing can be said or produced to counter such an entrenched faith. If the Earth, yeah the entire universe, was collapsing around you, it would mean nothing if you said otherwise. Your mind is just as set in concrete as the rules of language you insist are set in concrete. It is as pointless to debate/discuss with you as to try the same with a stump or other brain-washed religious fanatic. No proof is acceptable because you believe only in your godlike infallibility. Yet there are still times when charity and hope bring me back into the fruitless cause of trying. This is another of those moments when the possibility of a miracle slips into my thoughts though I know it too will soon join the pile of wasted effort strewn about the forums. Consider me a sucker for lost causes. Take care. Vern
.

Re: Book Recommendation

vern wrote:
Charles_F_Bell wrote:

The fact of the matter, evidenced in my more recent fiction writing, is I find value in expressing more in fewer words, and, in fact, point to the folly of the naturalist detailing every single fact{*} while entirely missing the context and meaning of facts.

Funny for one claiming to express more in fewer words to invite us to evidence his recent fiction writing where he takes an entire prologue to tell us a truck and car didn't collide -- brilliant.

Exactly the sort of thing that you would not understand: irony being both the purpose and method of farce - that the book is, as I announce in the tagline: a novel experience in serious farce. I use such language as something to be pointed out in contrast to the message of overall simplicity in everything spoken, read, and thought. But your being rather a simple thing is itself an argument in real life, and not in idealized fiction, against simplicity.


vern wrote:

Of course you are correct in stating "the folly of the naturalist detailing every single fact"

And it is an unnecessary complication of detail for Dil and Dagnee sticking their tongues out and whining that in spite of anything anyone might say, whether real (with sources fully annotated and verified) or imagined, they liked a particular crappy movie.

Re: Book Recommendation

Dill Carver wrote:
Charles_F_Bell wrote:

The fact of the matter, evidenced in my more recent fiction writing, is I find value in expressing more in fewer words, and, in fact, point to the folly of the naturalist detailing every single fact{*} while entirely missing the context and meaning of facts.
.

Great stuff. How's that working out for you?

Readers love nothing better than reading bullet points. Be sure to hi-light the pertinent words in case they are skipped over within the brevity.

What?

Re: Book Recommendation

Charles_F_Bell wrote:

The fact of the matter, evidenced in my more recent fiction writing, is I find value in expressing more in fewer words, and, in fact, point to the folly of the naturalist detailing every single fact{*} while entirely missing the context and meaning of facts.
.


Charles_F_Bell wrote:

What?

This I assume is some of your "more recent fiction writing" ?

A complete mystery thriller novel encapsulated within a single word? Brilliant. Breathtaking. A work of genius.

I was going to suggest to you a sequel called;

Where?

But shit, I've gone and done it. I've gone and written the entire 2nd novel for you!

How?

Blimey, I've done it again... written your trilogy.

47 (edited by dagnee 2016-12-04 18:31:08)

Re: Book Recommendation

Charles_F_Bell wrote:

And it is an unnecessary complication of detail for Dil and Dagnee sticking their tongues out and whining that in spite of anything anyone might say, whether real (with sources fully annotated and verified) or imagined, they liked a particular crappy movie.

It seems to me you guys need to decide what qualifies as success: First week ticket sales or the total amount a movie makes over time. I was just pointing out that a few classics were not box office successes and some box office successes were not classics. I also think a good story, whether it be book, movie, tv show, opera, or Broadway play will find its audience and its message will not be diminished over the course of time.

If you want to characterize that as whining...okay. But personally, I think it's silly to waste all this time on a rabbit trail when the topic is a self help book for writers, not the worth of a syfy action movie. I agree with Jack, on the average the only thing 'how-to' books really do is enrich the bank account of the person who wrote it.
smile

Re: Book Recommendation

CFB wrote:

Exactly the sort of thing that you would not understand: irony being both the purpose and method of farce - that the book is, as I announce in the tagline: a novel experience in serious farce.

DEFINITION:
farce
/färs/
noun
noun: farce; plural noun: farces

a comic dramatic work using buffoonery and horseplay and typically including crude characterization and ludicrously improbable situations.

synonyms: slapstick comedy, slapstick, burlesque, vaudeville, buffoonery
"the stories approach farce"

antonyms: tragedy
•the genre of farce.

•an absurd event.
"the debate turned into a drunken farce"


synonyms: mockery, travesty, absurdity, sham, pretense, masquerade, charade, joke, waste of time; informal shambles 
___

So, which definition of "farce" are you using? I see nothing comedic within your verbiage. Additionally, to modify farce with "serious" as you do, seems to negate the purpose of farce, but then most of your arguments seem to negate either your current position or a prior one. I would concede that your literary depiction could be in the "absurd event" or "waste of time" category, but then it would be doubtful you would make that assertion about it, so please enlighten me. Take care. Vern

Re: Book Recommendation

dagnee wrote:
Charles_F_Bell wrote:

And it is an unnecessary complication of detail for Dil and Dagnee sticking their tongues out and whining that in spite of anything anyone might say, whether real (with sources fully annotated and verified) or imagined, they liked a particular crappy movie.

It seems to me you guys need to decide what qualifies as success: First week ticket sales or the total amount a movie makes over time. I was just pointing out that a few classics were not box office successes and some box office successes were not classics. I also think a good story, whether it be book, movie, tv show, opera, or Broadway play will find its audience and its message will not be diminished over the course of time.

If you want to characterize that as whining...okay. But personally, I think it's silly to waste all this time on a rabbit trail when the topic is a self help book for writers, not the worth of a syfy action movie. I agree with Jack, on the average the only thing 'how-to' books really do is enrich the bank account of the person who wrote it.
smile

Oddly, we are in agreement to the extent any of these off-topic parts of the thread go. My OP reply was essentially that getting advice from a movie/TV industry writer is not pertinent to the degree selling one's novel and making a living at script writing are quite different all the way to the extent of the measure of success. One can succeed by making a profit of $1.99 on a self-published novel after ten years (in the standard proposed by Dil Carver), and an entry-level Hollywood writer can make a net profit in one year on his contribution to a movie script before taxes of some $37K even if the movie never makes a profit. In most respects, it is like apples and oranges.

The top 6% of movies (i.e. those which made the most profit) provided 49% of all the money made by the profitable films.
Overall, it is 50:50 on any movie making any profit. But the writer gets his $37K either way.

https://stephenfollows.com/hollywood-mo … -a-profit/

It took me 20 seconds to "research" this on the internet to provide some sourcing of a fact -- and everyone knows every internet fact is always true and accurate. This concept of movie-industry profit I have already known for years before my extensive 20-second internet search, and anybody would know if he or she has had any interest in the subject.

Re: Book Recommendation

vern wrote:
CFB wrote:

Exactly the sort of thing that you would not understand: irony being both the purpose and method of farce - that the book is, as I announce in the tagline: a novel experience in serious farce.

DEFINITION:
farce
/färs/
noun
noun: farce; plural noun: farces

a comic dramatic work using buffoonery and horseplay and typically including crude characterization and ludicrously improbable situations.

synonyms: slapstick comedy, slapstick, burlesque, vaudeville, buffoonery
"the stories approach farce"

antonyms: tragedy
•the genre of farce.

•an absurd event.
"the debate turned into a drunken farce"


synonyms: mockery, travesty, absurdity, sham, pretense, masquerade, charade, joke, waste of time; informal shambles 
___

So, which definition of "farce" are you using? I see nothing comedic within your verbiage. Additionally, to modify farce with "serious" as you do, seems to negate the purpose of farce, but then most of your arguments seem to negate either your current position or a prior one. I would concede that your literary depiction could be in the "absurd event" or "waste of time" category, but then it would be doubtful you would make that assertion about it, so please enlighten me. Take care. Vern

I provided insight into the subject with the posting in Literary Fiction Forum entitled "Serious Farce" , but I suspect that because you are not even a member of  the Forum you have and have had and will always have no interest in the topic or any novel purporting to be Literary Fiction and are never of the mind to understand the context of my Prologue to Remembrances and Reconciliation within farce that, not in 17th century drama, broadly means almost all of the synonyms you list above except, I'd like to think, "waste of time." Like a dead body presented in the first scene of a mystery, the words of the Prologue are an introduction to the story but the significance, the farcical nature,  of which cannot be determined until reading through to the end of story. Absolutely, there is no determination of the value of the novella by the first three pages or first three chapters or all chapters until the very last word. There is an absurdity in such a description of an event that does not happen like the absurdity that corresponds to Marxism, Climate Change, President Hillary Clinton and any number of things you, especially, cannot ever find absurd, or funny, and therefore you are well outside the demographic of anyone interested in the novella.  However, as things ought to proceed, you would have read the entire 34,000 words of the novella and provided critique/commentary in the means for which Premium members expect rather than as homeless gutter-dweller sniping at your betters leaving a fine restaurant.