EDITED 10/10/15-- WEBINAR LINK AT THE END
What a week!
Last week, I launched my new short story collection, Ghost Summer, at EsoWon books in Los Angeles, where I was interviewed by awesome "Project Greenlight" producer Effie Brown. (To get a link for audio and video to that interview and join my mailing list, sign up here.)
But mistakes are a part of life for all writers.
That's why I'm conducting a free webinar at 9p ET / 6p PT Friday (10/9) with husband/collaborator Steven Barnes on "Avoiding the Top 3 Mistakes New Writers Make."
I am not only an author and screenwriter, but I have taught writing at the MFA level for eight years, as well as undergraduate and post-graduate. I have been a writing coach and mentor. Too often, my students repeat the same mistakes...and I'd like to help you avoid making them too.
If you sign up for my mailing list, you'll receive the links to Effie Brown's interview AND a link to sign up for the webinar--and you'll be the first to hear news and offers. Or, you can simply sign up for the webinar.
Hope to see you there!
HERE'S THE WEBINAR LINK
Thursday, October 8, 2015
Tuesday, September 1, 2015
|DeRay Mckesson (left) and Ferguson protesters in Missouri in 2014. No photo credit provided.|
As a lifelong horror lover who has co-written and co-produced a short zombie film, I've often pondered why zombies have so taken hold of the public imagination. An uncomfortable revelation dawned on me in 2014 as I watched the police army amass in reaction to protesters in Ferguson:
We--people of color, and black people in particular--are this country's zombies. We are the horrifying shadow suburbia is afraid will slip through the window at night. We are the reason for the U.S. history of stockpiling guns, dating back to fears of slave rebellions. Terror over the nation's "browning" make us the shambling masses who drive people to lock their doors and fantasize about barricades and sudden flight. It's not true for all of us who love zombies, obviously, and it's usually not conscious--but it's the simmering social subtext.
Recently, science fiction author Greg Bear echoed my observation during a lunch with me and my husband, author Steven Barnes, at the World Science Fiction Convention (Worldcon): American horror, he said, has its origins in fear of The Other.
Which brings me to the new AMC series "Fear the Walking Dead," which had so much blatant anti-black imagery in its first two episodes that even white reviewers took notice. The word The Hollywood Reporter used was "polarizing," but I'm comfortable with "racist." This week, Vanity Fair published the rhetorical headline "Has Fear The Walking Dead Inherited The Walking Dead's Race Problem?" Another blogger wrote yesterday on how the show is angering fans. And this post from a black writer: "Why I'm Quitting Fear the Walking Dead: It's Kind of Racist."
If you've been paying attention to the show's predecessor, "The Walking Dead," these charges of racial bias against black men in particular are far from new. My husband stopped watching it with me after the strong Alpha from the graphic novels, Tyreese, was killed off after being rendered utterly ineffectual on the TV version. (This after the insulting creation and sacrificial death of "T-Dog," who was even more ineffectual.) We've heard the dismissive "Who, us?" responses from showrunners, basically, "Hey, it's the zombie apocalypse--everybody dies!"
|The parade of dead black men from "The Walking Dead"|
But "Fear of the Walking Dead" shows its hand in ways that even its predecessor did not. During a moment in Episode 2, I said to my husband, "Oh, God--do you think they would...?" And his response, even as someone who had disavowed "The Walking Dead" was: "They wouldn't. It would be too obvious."
Well, they did. WARNING: SPOILERS AHEAD.
One of the frustrations that led to me making my own horror short film was the tropes around black characters, particularly how often black characters die first. It's a kind of "death lite"--not the real people, but just enogh to scare us for the real characters' safety. Blacks also tend to appear as Spiritual Guides or Sacrifical Negroes (or, in the case of the film Annabelle, as both). I blogged about this while we were crowdfunding in 2013: "Eulogy for the Sacrificial Negro."
So what did "Fear the Walking Dead" do?
The first character killed off was black. Not just black--but a black drug dealer. And a weak black drug dealer who is fought off by his jonesing white client. So, yes, from the very start, the show has introduced an ineffectual black thug as the first zombie to die. A thug's black body laid out on the street. (As a culture, that's how we like men's black bodies: laid out dead on the street.)
Episode 1 also managed to throw in a good old-fashioned black man jump scare with the school principal, a la the weak Candyman sequels.
Then came Episode 2, which doubled down on the imagery. Because, boo-hoo, the white teenage girl's black boyfriend is INFECTED. (I could almost hear the collective sigh of relief as she was forced to leave him suffering in bed before he could bite anyone--or turn into a more serious relationship.)
And then came the moment when my husband said "They wouldn't."
While scavenging for supplies, survivors run across the shambling form of--you guessed it--the black school principal, who must be violently dispatched with a fire extiguisher. So all three of the black men the main characters have in their circle, the only black people we know, are either zombies or infected. In the first two episodes.
The showrunner, Dave Erickson, blamed it on casting. And then, even after they realized what had gone awry (assuming they considered it "awry"), they said they wouldn't change it because the story is the story. So, whatever.
I might have been able to swallow all of that without being so angry I could barely get to sleep if not for the cynical use of protest imagery as a backdrop to the zombie storyline. So now, all of a sudden, they're so politically astute that they can throw in a protest against a police shooting that turns into a riot. Because, hey, that's what would happen, right? Never mind that these are real issues and real crises based on the same societal fear of black men the show feeds upon.
I wrote off the issues in "The Walking Dead" as a "blind spot," i.e. what happens when you have a show with a diverse cast without a diverse writing room. (Correct me if I'm wrong, but I don't think there are any black writers for either show. I would LOVE to know if there are; clearly, they need some backup.) But despite the protestations of the showrunner of "Fear the Walking Dead," the use of black male death in this show FEELS much more intentional. More like the desired effect.
In these shows, the successes of other marginalized groups come at the specific cost of black men.
I admit it: I kept watching "The Walking Dead" because of Michonne even after my husband quit. I have a Michonne action figure on my desk. And I wanted to like "Fear the Walking Dead." It's exactly the origin story I've been waiting for, and so much of it could work for me except for the blatant visual hostiliy to my race.
What we call "just entertainment" is never that. I have an 11-year-old son, and I believe that the imagery on shows like this makes the world less safe for him (although he does not watch it). Gives solace to people who do not like him, or might want to hurt him, based on his skin color. Makes him seem like more of a monster because that is the way society is ready to treat him.
I also have some specific suggestions for the teams behind "The Walking Dead" and "Fear the Walking Dead": stop your deny, deny, deny strategy. Your shows have a problem. Face up to it, say it's not all right, and vow to fix it.
And this is a message to all TV: Since you now love featuring actors of color because of the shifting Nielsen demographics, add more writers of color. Hire more black showrunners.
Stop the lazy line "There aren't any black writers who write horror." I have appeared in anthologies full of black horror writers, I know other black horror screenwriters, so there are many. Look around. If you must, do a national search like "Saturday Night Live" did.
You'd be surprised at the gems you can find when you stop denying and decide it really matters.
Tananarive Due is a novelist and screenwriter based in Los Angeles. She teaches Afrofuturism at UCLA. She has won an American Book Award and an NAACP Image Award. Her website is at www.tananarivedue.com
Thursday, August 13, 2015
Publishers Weekly (Starred review) - “In these extraordinary tales, American Book Award–winner Due (My Soul to Take) uses a clear-eyed view of history to explain (but never excuse) the present.”READ MORE HERE
Ghost Summer named one of Publisher’s Weekly’s “Most Anticipated Books of Fall 2015”
About Ghost Summer:
Whether weaving family life and history into dark fiction or writing speculative Afrofuturism, American Book Award winner and Essence bestselling author Tananarive Due’s work is both riveting and enlightening. In her debut collection of short fiction, Due takes us to Gracetown, a small Florida town that has both literal and figurative ghost; into future scenarios that seem all too real; and provides empathetic portraits of those whose lives are touched by Otherness. Featuring an award-winning novella and fifteen stories—one of which has never been published before—Ghost Summer: Stories is sure to both haunt and delight.
On Ghost Summer:
“Tananarive Due’s characters quietly move into your heart and take up residence. You love them, you fear for them, and they scare you half to death.” –Nalo Hopkinson, author of Hominids and Brown Girl in the Ring
“Beautiful and terrifying. Tananarive Due is the modern master of horror and humanity.” –Daniel José Older, author of Shadowshaper
"When you read a Tananarive Due story you know you are in for a treat. She pulls you in from the very first line and does not let go. " –Dolen Perkins-Valdez, New York Times bestselling author of Wench and Balm
On the works of Tananarive Due:
“I enjoy reading the kind of novel that seduces me right into it and makes me forget about work or sleep. My Soul to Keep does that beautifully.” —Octavia E. Butler
“Ms. Due accomplishes the hardest thing of all with deceptive ease, creating characters we care about on their most human level.” –Stephen King
“Smart, soulful, craft Tananarive Due deserves the attention of everyone interested I contemporary American fiction. …She is one of the best and most significant writers of her generation.” –New York Times bestselling author Peter Straub
Friday, December 12, 2014
Wednesday, October 8, 2014
Are you working on a screenplay, or do you have a screenplay idea you’re not sure how to start?
Do you want input from industry professionals on your screenplay or idea?
Are you an author who would like to learn to adapt your own work to film?
Whether you’re a screenwriter, a prose writer or a producer, there has never been a more exciting time to try to get your foot in the door in television and film. But it all begins on the page – with a terrific screenplay or teleplay.
For the FIRST TIME, authors and screenwriters Steven Barnes and Tananarive Due (WGA) are offering a 30-day ONLINE screenwriting workshop Nov. 1-Dec. 1 to help you whip your project into shape. Because this is an inaugural course, we’re offering the workshop for the low introductory fee of $200 for early registration. (Late registration: $300.) Take this workshop from anywhere.
SPACE IS LIMITED. We may repeat this workshop in early 2015, but not at this price.
Here’s what you get:
· One 30-minute personal phone consultation with Steven Barnes or Tananarive Due
· Notes on 10 pages of your screenplay and treatment/outline. (Choose whether to receive notes at the start of the workshop, during, or at the end of the workshop.)
· Four weekly hour-long Google Hangout video sessions with instructors Steven Barnes and Tananarive Due
· College-level syllabus with outside viewing and reading
· A guest appearance by an industry professional to answer your questions
· Peer review from other screenwriters in the workshop
Here’s what the workshop requires:
· Registration fee ($200 early-bird / $300 regular – SPACE IS LIMITED)
· An existing screenplay or a screenplay idea you can outline
· RECOMMENDED TEXTBOOK: Story by Robert McKee
· Willingness to participate in peer review with other workshop members
· Internet access for one-hour weekly Google Hangout lectures / discussions
WANT TO ENROLL? Write to Tanacoach@gmail.com to reserve your space.
You may also email us your questions.
Who are the instructors?
New York Times bestseller Steven Barnes has written more than twenty-five science fiction, fantasy, and horror novels. His “Stitch in Time” episode of “The Outer Limits” won an Emmy. The NAACP Image Award winner also has written for “The New Twilight Zone,” “StarGate,” Andromeda,” and “Ben 10.” He has been nominated for written for Hugo, Nebula and Cable Ace Awards. In 2013, he and his wife, Tananarive Due, co-wrote and co-produced the short film "Danger Word," based on their novel, Devil's Wake.
Tananarive Due, a member of the Writer's Guild of America (WGA), has been named to the Grio100 and Ebony Power 100. The Essence bestseller and NAACP Image Award winner has also won an American Book Award for The Living Blood. She recently received a Lifetime Achievement Award in the Fine Arts from the Congressional Black Caucus. She is the former Cosby Chair in the Humanities at Spelman College. In addition to co-producing and co-writing the short film "Danger Word" with Steven Barnes, she currently has several book projects under option.
WANT TO ENROLL? Write to Tanacoach@gmail.com to reserve your space.
You may also email us your questions.