As a American Literature major, I especially liked this passage about his time at a fictional liberal arts college studying English:
The actual classes of course were pointless [I try to make this point to impressionable teenagers who work too hard to get 4.9 GPAs]. I signed on as an English major, but the professors were dreary pale gnomes who intoned about "text and countertext" and "fiction as the continuance of a shared illusion." Instead of loving perfectly good books like Moby Dick, where a fucking whale eats everybody, these fuckers insisted on pretending to like excruciating books like Boring Middlemarch and Jack-off Ulysses. They were a bloodless and humorless race who spent their hours rooting around in eighteenth-century sonnets and old New Yorker stories looking for coded gay sex. But I got their lingo down. I could rattle off papers on "Moby Dick: A Vivisection of Capitalism" or whaetever in a couple hours and get an A-.I think I took the same class. My femi-nazi professor for Late 19th Century Literature nearly through me out of her class for one of the papers that I wrote because it basically boiled down to "How can anyone read this crap." I guess my failings were that I never learned the lingo. I did, however, rattle off some great papers comparing The Death of a Salesman to Al Bundy from Married...with Children and using copious references to Simpson's episodes.
When the protagonist's college girlfriend gets engaged, he decides that he has to do something cool to prove that he has won, so he decides to write a best-selling novel. He uses the drivel on the current best-seller's list to take notes and packs his book with the same sort of plot and character points as other popular books.
This is basically the same way to make a movie. People complain about the lack of originality in movies and the number of sequels, but sequels are easy to get green-lighted because the original proved that there is an audience. A formula film (like a Bromedy featuring Vince Vaughn or Seth Rogen) is easy to sell. But, an original movie?
All those people complaining about the lack of originality should pay their money to see actual original movies. Last weekend, I was at the movie theater and a group complained that Avatar's plot was very basic and like every other movie's. Of course it is. It's a hundred-million dollar plot-line.
People don't want original movies. How do I know? Because Hurt Locker has grossed like $12-million. The #1 rated movie on moviefone is Up in the Air, which is based on a novel, and stars George Clooney, a safe way to attract an audience. It's a nice movie, especially because it doesn't have a happy ending like most cheesey romantic comedies, but I preferred Hurt Locker, District 9, The Hangover, Away We Go and several others.
It's disgusting, to me, that The Proposal gets so much critical acclaim (a Golden Globe nomination for Sandra Bullock?) and Away We Go is ignored even though it is a much better film with some measure of originality.
After he writes the book, he writes about how he sold it and then how it became popular. To summarize, he blames dumb luck. While it is disheartening to blame luck, it's hard to argue.
People who know about publishing will not find this part of my story strange at all - I predict they'll nod with glum recognition - but those readers unfamiliar with how publishing works ma find the story of how I sold my novel to be crazy and implausible. But, trust me, this is how it happened.Basically, a college friend was an editorial assistant who liked his book:
"Oh not good good," she said. "I mean...I was impressed, you know, that you wrote the whole thing, but...I mean, tornadoes?"Toward the end, the protgonist goes to have lunch with the new dean of his old department. They hired him because he believes in free market reviews: the value of a book is related to its sales, not the reviews by the literary elite. And this is a major point: What is good?
Now I pantomined "hurt."
"So you didn't think it was good."
"Look, Pete." She leaned in close, and whispered. "I can't tell anymore."
'What?"
"I can't tell. I don't know if they're good or bad or what."
"Aren't you supposed to be an assistant editor?"
"Editorial assistant, but I - don;t think anybody knows."
By now we were leaning in like two spies. "They can't tell, my boss definitely can't tell, his boss certainly definitely can't tell. Nobody knows. And we're in a lot of trouble."
We think that a timeless classic like Old Man and the Sea is better than the latest Robert Ludlow thriller, but is it? Is it better because teachers force students to read it, thus making it more literary or educational? If more people buy and read Grisham's The Client than Steinbeck's Of Mice and Men, why do we insist that Steinbeck is a better writer or that Of Mice and Men is a great book? Why are people who care about their academic reputations afraid to admit that they prefer the fast-moving thriller to a boring 19th century novel taught in most university English courses? What makes it better? What is a truer indicator of better: popularity or elitist book reviews?
In coaching, the same thing happens. People argue that other coaches are better than Phil Jackson, but by what measure? People point to MJ, Shaq and Kobe Bryant, but others have coached these stars with much less success. They argue that he does not stand and yell, but how is that a measurement of good coaching?
Recruiters constantly argue that an unproductive player with length and athleticism who looks like a great basketball player is the better player, but isn't productivity the ultimate measure? I mean, the literary elite can argue theme, tone, plot, etc, but if more people enjoy, buy and read a science-fiction thriller than Edith Wharton's The House of Mirth, how can you call The House of Mirth better? Reviews are like the recruiters (opinions) and book sales are like productivity (facts).
It's easy to argue for or against, but at the end of the day, book sales and on-court productivity matter. People like movies like Avatar and The Proposal because they are familiar and easy just like college basketball recruiters like length and athleticism. While an original movie may be more interesting to me, just like English professors prefer boring books like The House of Mirth, that doesn't make it better, and if others agree, the only way to ensure more original movies or books is to pay for those in circulation or at the theatres.