The actor has been promoted to series regular, Deadline reports. Romance won out in the end (cue the studio audience “aww”), and it set him up perfectly to become a series regular.We’ll see what “Fuller House” Season 3 has in store for Jimmy, Stephanie, and the rest of the gang when the show premieres on Netflix later this year.[via: Deadline] Posted February 15, 2017 by Stephanie Topacio Long”Fuller House” can’t get enough of the Gibblers.Adam Hagenbuch, who joined the “Full House” sequel series in its sophomore season, is getting a bigger role in Season 3. That means we’ll be seeing a lot more of Jimmy, and possibly the Gibbler Gallop as well.In Season 2, Jimmy emerged as a love interest for Stephanie (Jodie Sweetin) — once she managed to get over his blood ties to Kimmy (Andrea Barber), of course. They had more serious obstacles as well, including him springing the L-word before she was ready and the threat of him having to relocate to New Zealand.
Macfadyen will play Margaret’s love interest, Henry Wilcox.Want more stuff like this? “Manchester By the Sea” writer/director Kenneth Lonergan is penning the script, and Matthew Macfadyen (“Pride and Prejudice”) and Tracy Ullman (“Tracey Ullman’s Show”) are set to co-star.The 1992 “Howards End” film adaptation starred Vanessa Redgrave, Anthony Hopkins, and Emma Thompson, who won an Academy Award for her performance. Set at the turn of the 20th century, “Howards End” follows the Schlegels, the wealthy Wilcoxes, and the working-class Basts as they navigate the changing landscape of social conventions and class divisions. Posted February 15, 2017 by Kelly WooHayley Atwell is going from comic books to classic literature.The “Agent Carter” actress will star in a limited series adaptation of E.M. Atwell will play Margaret Schlegel, who hails from an intellectual and idealistic family. Forster’s novel “Howards End” for Starz and BBC One, according to Deadline. Like us on Facebook.
For the cast of the live-action “Beauty and the Beast,” it’s a chance to make Belle into a 21st century heroine.In a behind-the-scenes video (via Entertainment Weekly), director Bill Condon and star Emma Watson talk about the breathing new life into the animated classic. This new version “expands on it and gives it more detail and depth.”The featurette provides new glimpses at the lavish production, epic scenery, and the lovable household objects that befriend the young heroine. Posted February 15, 2017 by Kelly WooWhy remake the perfect movie? And of course, it highlights the growing romance between Belle and her Beast (Dan Stevens).”It was enormously exciting to see so many people concentrated on creating magic that will endure,” said Ian McKellen, who plays the clock Cogsworth. “I have loved ‘Beauty and the Beast’ since I was about four years old,” Watson gushes.
Olmos will play Felipe Reyes, a once-strong patriarch who has been beaten down by violence and hard labor. “Battlestar Galactica” lead Edward James Olmos has been tapped to star in “Mayans MC,” the spinoff to FX’s biker drama. Like us on Facebook. He wants to bury the past and lead his sons down a lawful, righteous path.”Sons of Anarchy” creator Kurt Sutter co-wrote the pilot and is directing it, as well. “Mayans MC” takes place after the events of “Sons of Anarchy,” and focuses on EZ Reyes, a prospect in the Mayan MC charter on the California/Mexico border who struggles with his desire for vengeance against the cartel as well as his need for respect from the women he loves. Sutter told The Hollywood Reporter that the spinoff’s “tone, pace, storytelling will be unique.” Want more stuff like this? Posted February 15, 2017 by Kelly WooThe “Sons of Anarchy” spinoff has found its captain.
Like us on Facebook. And the question remains: When they find each other, will they be the same people who parted at the standing stones, all those years ago?”New Season 3 cast members include Lauren Lyle as Laoghaire’s daughter, Marsali; César Domboy (Borgia) as the adult Fergus; Gary Young (The Shannara Chronicles) as Mr. pic.twitter.com/3WcwVTSWQN
— Outlander (@Outlander_STARZ) February 15, 2017According to TVLine, the 13-episode Season 3 will feature episodes shot in Scotland and South Africa, with that country subbing for the Caribbean locations of the third “Outlander” book, “Voyager.”Here’s a statement from Starz President of Programming Carmi Zlotnik, anticipating fans’s disappointment:”While Droughtlander will last just a little longer, we feel it is important to allow the production the time and number of episodes needed to tell the story of the Voyager book in its entirety. Too long!!” and “Whyyyy?!!!” And one pointed out that this will disqualify the show for Emmys consideration (which is also the case for “Game of Thrones” Season 8, which usually arrives in April and will now arrive sometime in the summer).But dinna fash yourselves: As one fan wisely put it: “I guess if Jamie and Claire can wait 20 years, we can wait 7 more months #droughtlander#agony.”[via TVLine, Entertainment Weekly]Want more stuff like this? As always, adversity, mystery, and adventure await them on the path to reunion. Returning in September will make that possible.”Here’s more on Season 3 from Starz’s official release:”Separated by continents and centuries, Claire (Caitriona Balfe) and Jamie (Sam Heughan) must find their way back to each other. The scale of this book is immense, and we owe the fans the very best show. But instead, the “Outlander” clan just got the cold water splash update that Season 3 will not arrive on Starz until September.September!We dinna think we’d have to wait that long. “The Droughtlander won’t be as long as they expect.” His words led to hope of an early premiere, like very soon, since Season 1 premiered in August, and both Seasons 2 and 3 started in April. Posted February 15, 2017 by Gina CarboneAye, Sassenach, the #Droughtlander will be longer than we hoped. #Outlander will return to @STARZ this September. Starz announced the Season 3 premiere month today, but not the specific day..@SamHeughan & @caitrionambalfe are off to South Africa to continue production on Season 3! Moore said fans would have Season 3 sooner than they thought. Willoughby; Charlie Hiett as Capt. Thomas Leonard; Wil Johnson (Waking the Dead) as Claire’s friend Joe Abernathy; and John Bell (The Hobbit: The Battle of the Five Armies) as Jamie and Claire’s nephew Young Ian.Fans are already reacting to the September return with variations of “Nooooooooo! Back in July, after “Outlander” Season 2’s beautiful finale, showrunner Ronald D.
Sure, I would have loved to see a film like La La Land years ago starring singer-dancer Gregory Hines, the master of improvisational tap dance whose tapping could sound like a jazz drummer. One legitimate complaint that marginalized people (women, people of color, Muslims, the LGBT community, etc.) have had about Hollywood in the past is that when they were portrayed, it was done in a negative way. Even Sebastian wonders about how accurately he sees things in “City of Stars”: “City of stars / There’s so much that I can’t see.” Starlight romanticizes whatever it illuminates. Posted February 15, 2017 by Gina CarboneJust to be clear, Kareem Abdul-Jabbar liked “La La Land.” A lot. So much has been done in recent years to overcome those debasing images, but we still have to be careful. Mia also sings this about her aunt: “She lives in her liquor / And died with a flicker / I’ll always remember the flame.” Sure, you’ll remember the flame because you’re too blinded by your own ambition to see the real moral: She died with a flicker because she was an alcoholic burnout! 26 on ABC.Want more stuff like this? […] The problem comes when we romanticize the crash and burn. He respected writer/director’s Damien Chazelle story choices. The ditzy blonde, the Muslim terrorist, the gay predator are all familiar stereotypes from years of TV and movies. No wonder we can’t all just get along!”La La Land” tied for the most-ever Oscar nominations with 14. Then the drama of the breakup seems more fulfilling than the prospect of actual romance, which can then seem mundane in the long run. “But every time I do, along with the immense joy, I’ll have a tiny nagging feeling of, ‘What if?'”However, perhaps because his review was headlined “Kareem Abdul-Jabbar: How ‘La La Land’ Misleads on Race, Romance and Jazz,” and his “bigoted message” comment was given prominence, the comments are quite defensive. This could be a deliberate ironic twist, but if it is, it’s a distasteful one for African-Americans. That seems to be getting ignored in the larger debate about the film, but he makes some good points.Here’s part of his thoughtful critique:WARNING: PLOT SPOILERS AHEAD.ON RACE Jazz is a uniquely African-American music form born in New Orleans and raised in Harlem during the Harlem Renaissance. There are already nearly 400 comments, after the post has only been up a few hours, and they mostly focus on the race angle, skipping everything else, and asking why everything has to be about skin color. It will surely pick up a few trophies when the show airs live Sunday, Feb. That has been discussed before in other “La La Land” reviews, but he also sounded a different note on the romanticizing of the “crash and burn” of relationships. It’s not that a black man can’t be the sellout or the drug dealer, it’s just that they shouldn’t be if they’re the only prominent black character in the story. Now a continual series of melodramatic breakups makes a person seem more tragically edgy and becomes justification for why they can’t find real love. That’s where they learn about what to look for in a mate, what a relationship should look like, how to treat each other. But I’m also disturbed to see the one major black character, Keith (John Legend), portrayed as the musical sellout who, as Sebastian sees it, has corrupted jazz into a diluted pop pablum.Wait just a minute!The white guy wants to preserve the black roots of jazz while the black guy is the sellout? […] As Mr. This is what happens not only when you challenge “La La Land” — even when you say you liked it (just like the “SNL” sketch) — but also when anyone brings up race, even in the context of a positive review. But he was disappointed with the use of the white savior trope in relation to the one black main character. Whether it’s intentional or unintentional, that sends a bigoted message rippling through our society.ON ROMANCEI’m equally interested in how the film portrays romance, because pop culture (movies, TV, books, music) is the major source of information about romantic relationships for our youth. Having said that, I’m still delighted to see Ryan Gosling play a man (Sebastian) devoted to the artistry of traditional jazz. Like us on Facebook. […]That’s where the romanticizing comes in. The whole childish doomed-romance genre celebrates personal achievement with only an obligatory sad nod toward the consequences. In fact, in his critique for The Hollywood Reporter, he called it “bold, daring and deserving of all its critical and financial success.” However, the NBA legend/culture critic is not joining the cult of “La La Land” — which suffers no criticism of any kind — so he pointed out “a few elements that warrant closer examination” in the Oscar frontrunner, “particularly regarding its portrayal of jazz, romance and people of color.”As he added, “In fact, the better a work of art is, the more we must dissect it, because now we’re not just measuring Rotten Tomatoes popularity or boffo box office, we’re assessing its proper place in our cultural canon.”Right away, he clarified that his issue is not with the number of black people. Antolini says in The Catcher in the Rye: “The mark of the immature man is that he wants to die nobly for a cause, while the mark of the mature man is that he wants to live humbly for one.” Had Mia and Sebastian chosen to live humbly, they might have had their success — or not — and been happy together.Kareem (who has been on screen a few times himself, from “Airplane!” to “The Stand”) reiterated that he found the characters and movie delightful and he knows he’ll watch it again and again over the years.
Most of the cast is reuniting for the short film “Red Nose Day Actually,” to air during Comic Relief’s Red Nose Day special, a charity event airing in the U.K. “Love Actually” came out in 2003, and fans have always been curious to know what happened to the characters in Richard Curtis’s classic Christmas romance. Emma Thompson and Chiwetel Ejiofor are not mentioned at this point, and — of course — our beloved Alan Rickman passed away last year, so he won’t be involved.Richard Curtis explained his thought process in doing this 10-minute sequel-of-sorts:”It seemed like a fun idea this year to do a special sketch based one of my films, since Red Nose Day is now in both the U.K. on May 25.According to The Guardian, “Red Nose Day Actually” will feature Hugh Grant, Martine McCutcheon, Keira Knightley, Andrew Lincoln, Colin Firth, Lucia Moniz, Liam Neeson, Thomas Brodie-Sangster, Olivia Olson, Bill Nighy, Marcus Brigstocke, and Rowan Atkinson. We hope to make something that’ll be fun – very much in the spirit of the original film and of Red Nose Day – and which we hope will help bring lots of viewers and cash to the Red Nose Day shows.”If Chiwetel Ejiofor’s Peter is sitting this out, maybe it’s because Andrew Lincoln’s character, Mark, finally gets his wish and steals Keira Knightley’s Juliet away from his best mate? – I guess that’s the big question… or is it so obviously Liam? show to be posted in March.[via Collider, The Guardian]Want more stuff like this? and America. Posted February 15, 2017 by Gina CarboneTo us, this is (nearly) perfect! Like us on Facebook. I would never have dreamt of writing a sequel to ‘Love Actually,’ but I thought it might be fun to do 10 minutes to see what everyone is now up to. We’ve been delighted and grateful that so many of the cast are around and able to take part – and it’ll certainly be a nostalgic moment getting back together and recreating their characters 14 years later. Who has aged best? on March 24 and on NBC in the U.S. We’ll have to see what happens when the special airs in May, or at least wait for video from the U.K. Well, we’ll soon find out.
It had been accepted that there was a whole season and we all were expected to treat it almost like a political campaign. Here’s the full list of nominations.Want more stuff like this? Then, last year with ‘The Martian,’ I ended up at a bunch of these cocktail parties and it was just so grotesque. I went through that experience and then didn’t go again for years. Somebody asked me, ‘Do [you] want him to do bad?’ I just want him to live up to my extremely low expectations.Ah, the Matt-and-Jimmy feud never gets old. It seemed like that Harvey Weinstein, full-court press [worked]. I certainly hope they are.Do you have any advice for host Jimmy Kimmel?Evidently, he said that he doesn’t care at all who wins as long as I lose. I tried to get on his Oscar show last year. Like us on Facebook. Then I was nominated as a supporting actor but didn’t really participate a lot. I mean, I was nominated; he still didn’t let me on. But it’s interesting to hear about these self-promotion parties from the perspective of a nominated actor.In 2016 Damon was up against Bryan Cranston in “Trumbo”; Michael Fassbender in “Steve Jobs”; Eddie Redmayne in “The Danish Girl”; and Leonardo DiCaprio, who won for “The Revenant.” So they probably suffered through the same forced cocktail party chit-chat together. But Leo was going to win that thing no matter what, so you could argue that the campaigning was a waste of time and effort, as well as just a “grotesque” way of selling yourself.The 2017 Oscars air Sunday, Feb. Posted February 15, 2017 by Gina CarboneTrying to win an Oscar can be gross. It’s like you have to do several month’s worth of extra acting on top of the nominated role. Just ask Matt Damon.He already has an Academy Award for co-writing “Good Will Hunting,” and he’s been nominated as an actor three times — Best Actor for “Good Will Hunting” and “The Martian,” and Best Supporting Actor for “Invictus.” Now he’s back on the nominee list in 2017 as a producer of “Manchester by the Sea.” Damon just talked to The Hollywood Reporter about making “Manchester by the Sea,” his frenemy Jimmy Kimmel as this year’s host, and how repulsed he is by the very political process of campaigning for Oscar votes.Here’s a portion of the Q&A:How has the Oscar-going experience changed over the years?With ‘Good Will Hunting,’ that was kind of the start of campaigning. 26 on ABC. Now I’m wondering if those days are over. It felt like it had gotten out of control.
Look, if you can stay the right size you can stay mobile. It’s like crack. That’s the best way to operate if you want to try something different.I was on another set of another movie and your costume designer was saying that this was the weirdest movie she’d ever worked on, which I think you should wear as a badge of honor. Posted February 15, 2017 by Drew TaylorGore Verbinski’s “A Cure for Wellness” (out this weekend) is a bold, visionary horror epic that’s unlike anything you’ve ever seen before. He’s very classically boned. But this spa, as anyone who has seen a trailer for the movie (or looked at its ominous poster) can attest, isn’t quite right … I think most people are reacting to the big isolation tank. We were going to push it all the way. That’s almost unheard of!The film follows Lockhart (Dane DeHaan), a young Wall Street operative with questionable moral fiber, who accepts a job from his superiors to retrieve one of the founders of the company, who has been holed up in a mysterious German spa (the founder, Lockhart is told, is necessary for an important company merger). It’s inevitable you get close to that temp score. So it was really important to say, “We’re not going to go there.”Did you import any of the stuff you were working on for “Bioshock” into the thought process for this?You’re not the first person to ask me that, and I’m sure there’s something subliminal. When you’re eight weeks before shooting, that’s right in the transition; you’re no longer the architect, you’re the contractor. Oh, I should go online.”Is there any inclination for you to return to animation?Well that’s one of the back-burner projects that is hopefully going to get going. If we just put things close together, it’d be easier to say, “Oh, that’s related to that.” But in a way, things can make sense in a dream.It seemed like this movie was an effort to get back to basics, but then it winds up being two-and-a-half hours long and looks like it cost $200 million.It’s the same budget as “The Ring,” it’s just that we had a really great tax incentive in Germany. You’ll find it. I deferred my fee completely and we don’t have big movie stars, so there’s very little above the line. We are firmly rooted in the Gothic. I wanted to build something that really felt real. And what if that was a sickness? We are certainly not risk averse. So I went for it. If it finds its champions, it’ll be OK.Can you talk about your composer, Benjamin Wallfisch? But the narrative is so different from “Bioshock.” We’re taking the tranquility and calm and purification of a wellness center and corrupting that, which is something else entirely.How cool was your “Bioshock” movie going to be? It’s a self-fulfilling prophecy, especially if you’re using a composer’s other work against a movie. We had a bag that was a quarter full but we had autonomy. Most of the creative thought process takes place up until that moment and then it’s the forces of gravity and physical reality and weather and all of that comes to bear and you move and you dance. It’s all up there. It’s like, “Now I just need to make it.” You enter triage mode. The movie is more prescient now than it was when we made it in 2015. He seems to be part of your longtime collaborator Hans Zimmer’s crew. We’d need a new financier willing to take the risk. I needed the scale and I needed the pressure of all of this water and a place to put a camera and move around. And it evolved from there.What were your influences? But it would take a lot of work to get to that point, before you’re ready to bite into it.You have a few things on the docket.You know that IMDb stuff is so out-of-date. I’m not sure which one is going to go yet. You know, it’s good to be a little nuts. So it’s the sense that he’s being drawn to this place that maybe has been there, above the clouds, watching mankind from industrial revolution and the advent of personal computers to our obsession with cell phones, and offering a diagnosis. We were also talking about genre pictures of the ’70s and, in our favorite movies, there was always a sense of the inevitable — like a hidden, unseen force. I don’t think any of them are on the Internet. So we tore the vines off and repainted it. This place is old but it’s also operating in a kind of dream state. If you can stay mobile, you can pick up a lot of production value from hitting the road.Did you feel creatively reinvigorated by the experience?[Laughs] Yeah, this was a reboot. That’s so funny. It seems a lot like an old Vincent Price movie.[Laughs] Well, certainly. You’ll be the first to know. Certainly “Cure” is way out there on the horizon.Are you excited to scare people again?Yes. They were very hands-off. We really wanted to say, “OK, there’s this guy and as he gets closer to this place his cell phone stops working and his watch stops.” He’s entering the world of dream logic. There’s a whole map. We’re out there, we’re finding them, one by one. So it was great for exteriors but the interiors wouldn’t work. Like the scariest part for me was on “Pirates 2” when the studio wasn’t nervous anymore. This is a strange meta-science that is happening here. What if the narrative is this illness that the protagonist doesn’t know about? So they’re kind of a mini-major. But really you’re the patient — you’re in the darkened room and we’re using sound and image and composition and performance to slow cook the audience. There’s just something nice about … I think there’s something beautiful in that.It seems like the kind of timeless movie that people are going to be watching for a long time.It needs to find its core, you know? It was a great chance to start over. But I think letting it remain slightly enigmatic has value as well. Do you and Justin know the whole history of the facility and everything?Sure, yeah. There’s a few things that have been on the backburner because “Cure” has been all encompassing. That’s harder and harder to do these days. That’s where you want to be. But I called Hans and said, “I know you’re not going to be able to do this but I don’t want to temp score this movie. But just know that this is a genuinely creepy movie that will stay with you long after you leave the theater.I jumped on the phone with Verbinski to talk about the creative rejuvenation “A Cure for Wellness” represented (his last film was the outrageously underrated “The Lone Ranger”), where the idea for the film came from, what his “Bioshock” movie would have been like, and how excited he was to be scaring the hell out of people again.Moviefone: Where did this idea come from?Gore Verbinski: Well, Justin Haythe, the writer, and I were walking and talking about different ideas. I think we’re living in an increasingly irrational world. You ask questions and I go, “Where are you getting this? If we can get you nibbling at breadcrumbs rather leading you through the narrative, I think you prey upon your motivation to discover. I think, when you watch it the second time, you’ll see that it does add up. We’re both fans of the novel by Thomas Mann, “The Magic Mountain.” That was a jumping off point. On the other side of Germany we found this abandoned hospital that had graffiti all over it and vines. But if you try and tap into some feeling, I like to think the curtain closes, and because we’re diagnosing the modern man if you will, that it resonates when you think about it in a few days.There are a lot of unanswered questions in this movie. He recommended Ben and I really liked him. It was a letdown.Is there any chance of it being revived?I don’t know. It’s the black spot on your X-ray. But I’m excited about doing animation again.”A Cure for Wellness” is out this Friday. Just level with me.Well, we were going for it. I want somebody who is going to be with me for nine months.” That’s clearly going to take Hans out of the running. There’s no half-measures. But cautiously, because with those movies the curtain closes and you go, “Well, that was then.” Because when movies really creep you out, they tap into some kind of contemporary fear. I do think that it’s healthy to go to Germany and know nobody. I’m an [H.P.] Lovecraft fan. So we’re getting a lot of production value from traveling. It’s not a waking state. Saying anymore would be downright criminal. And beyond it being a new Gore Verbinski movie, it’s a wholly original film –one that has scope and scale and visual complexity. You just grab a camera and make a movie.Was there any pushback from the studio for an original movie of this size?Well, the movie was produced by New Regency, which has a distribution deal at Fox. I went to Germany in the winter of 2015 looking for castles and found this one. The music in the movie is so great.I’d never worked with him on all the movies I’d done with Hans. It’s cathartic. So we had to figure it out. It’s the kind of gonzo masterpiece that will be studied over and picked apart for years to come, and it’s clear, from almost the opening frame, that it’s a movie that only Verbinski could have made. And people said, “Oh, that looks really steampunk” or whatever. They’re smiling at you and going, “Just doing that thing you’re doing, we love it.” And you just go, “Holy sh*t.” So trying to find the brink of uncertainty. It’s a really great genre, in the sense that, in this case, you’re following Dan’s character as he reluctantly becomes a patient in this place. We never put a piece of music against the picture that wasn’t original, which is really liberating. That stuff is just ancient. It’s all going on the screen. Part of me is like, “I made it.” That’s the hardest part.
And, in the modern storyline, Miguel and Kevin (Justin Hartley) had a sweet talk about how much Kevin can be like Jack. Does Jack drunk drive home on VDay? Jack probably died going to get Kate while drunk driving. He has a past with alcohol, and the scene left fans very worried about what’s to come.#ThisIsUs okay. Before going off to have his cheeseburger (their planned meal together), Jack said he never thought of himself as being in her way.It felt like foreshadowing, especially when the camera lingered on Jack taking another drink. #ThisIsUs
— Betty I want answers (@charmed_im_shr7) February 15, 2017Hope that Jack’s death wasn’t caused by a drinking & driving accident. Like us on Facebook. Were the kids around that age during the funeral scene?#ThisIsUs
— JH (@RandomTh1ngs) February 15, 2017Oh & tonight after what Randall said to William I’m pretty sure Jack died alone. It was a good episode for Miguel, kinda taking some of the heat off of him for getting together with Rebecca at some point after Jack dies.Eventually, Kate (Chrissy Metz) is going to tell Toby (Chris Sullivan) about how Jack died, so that may be how fans learn — or we could see it play out during the ’90s timeline. Just a theory from the last scene #ThisIsUs
— Christina Frazier (@ChristinaFraz18) February 15, 2017Anyone else worried that Jack’s gonna die after leaving things that way with Rebecca? Maybe both in the same episode? — Erin Vieira (@ErinMatticola) February 15, 2017Anyone else think Jack dies from drinking and driving? on NBC.Want more stuff like this? The Feb. 😢😢😢 #ThisIsUs
— Debbie McCormick (@debroxx) February 15, 2017Seeing Jack haveing that drink makes mewonder if that is the moment thatleds to hisdeath or sets in motion the events to his death #ThisIsUs
— Kim (@Stich_2) February 15, 2017#ThisIsUs please don’t tell me jack gets drunk and has an accident. #ThisIsUshttps://t.co/BJ7Xhtl0NT
— Kimberly Roots (@kimroots) February 15, 2017I’ve been suspecting alcohol might have something to do with Jack’s death for awhile. Another amazing episode. Posted February 15, 2017 by Gina Carbone”This Is Us” did not have the happiest of Valentine’s Days. I hope I’m wrong though. Season 1 has 18 episodes, and Episode 15 just aired, so we only have a few weeks left to learn The Truth About Jack. Jack and Rebecca (Mandy Moore) had just had a big fight about her secret past relationship with bandmate Ben (Sam Trammell) — it only lasted two months, back when she was 19 — and Jack’s jealous (over)reaction, leading Jack to change his mind and say she shouldn’t go on tour. — Jordyn 🐱💍💄 (@JordynRose86) February 15, 2017@NBCThisisUs Terrified that Jack dies in a drunk driving accident! While Jack worried about the chemistry between Rebecca and Ben during their Valentine’s Day gig, Miguel only had eyes for a brunettte across the bar. Huge fan! It breaks Miguel’s heart that Kevin doesn’t like him, being seeing Kevin makes Miguel feel like he has a piece of his best friend back. They both said some things they probably regretted, with Rebecca getting in the last harsh shot — saying she needed to have something for herself without Jack getting in the way. #ThisIsUs
— Scarlett Splane (@ScarlettKate) February 15, 2017Omg! 14 episode, “Jack Pearson’s Son,” ended Jack’s storyline in that ’90s timeline as he sat in a bar, eating a bacon cheeseburger alone, and — big clue — drinking away his sorrows. But he’s still our Jack.The only good news from the episode was for Miguel (Jon Huertas). No matter what happened, it is going to hurt to find out.”This Is Us” airs Tuesday at 9 p.m. Calling it. So that’s what I’m thinking & it devastates me😭 #ThisIsUs
— Scarlett Splane (@ScarlettKate) February 15, 2017If Jack does die after driving drunk, it would certainly put a big dent in his Perfection armor. Instead, the show left fans with big potential clues on how beloved patriarch Jack Pearson (Milo Ventimiglia) will die.We know Jack dies when The Big Three are teenagers.
So I guess it is maybe a little natural to me to have a big mouth and to say what I feel.But there is a responsibility and a pressure when there are more and more amazing trans people who have a platform, and who are speaking out and letting their voices be heard, but there’s still not that many of us with this kind of platform. Art has the capacity to transcend, to elevate us, to give us hope and a space to imagine. We saw black folks as president. To have them bring to very attractive tall men. I’ve told our showrunners I want to see Cameron — if, God-willing, we get a Season 2 — argue a case in front of the Supreme Court.On assuming the role of an influential voice in the trans community:I’ve always had a lot to say, so when I got a platform, people started listening more. A lot of the protocols were that you transition, and you pass as a non-trans person and disappear. The casting folks narrowed it down to two actors, and they thought it would be very good if I read with them in person. I was like, “Please have them be at least 6’2″ oh my goodness!” So yes, I got a say in it. And Tom is a really brilliant actor.So there’s so much more to us than just being trans. It’s just real life. We need examples of that in 2017.On how she thinks she’d fare as a real-life attorney:I think I’d be amazing! I think “Doubt” is that.We didn’t know that Trump would be elected president — I don’t think he thought he would be elected — so we were just doing this show that deals with a criminal justice system that does not assume that people are innocent, often overcharges people so they can take plea agreements so that we can populate our for-profit prisons, right?So defense attorneys are the necessary adversarial piece to disrupt that system, and I think we see very clearly on our show “Doubt” that these lawyers are there to disrupt this often corrupt and unjust justice system to make sure that people get a fair trial, and are seen as human beings no matter what they are charged with. It becomes a challenge, I think. There’s a brilliant Emmy-nominated short drama on YouTube called “Her Story” that explores that a little bit, and there have been a few films, but nothing on network television, never, so I was very excited.What’s so wonderful about Joan and Tony is that they’re just brilliant. It’s something that Peter says to Cam in a later episode that is just brilliant and spot-on, and we’ve never ever seen it on network television. the responsibility of artist is even more heightened. In my personal life, I date men. I can’t give that away: it’s really juicy, and it’s really real, and I couldn’t believe how real it was when I read the scripts about what happens in their relationship. So then if we can begin to see it in a fictional way, and becomes a familiar thing, it’s not so far-fetched when we start to see it in real life. Once I read with the two actors, they were both amazing, but it was very clear to everyone who I had the most chemistry with. That is the very exciting thing about being an artist.I think because of the new administration … My character on “Orange Is the New Black” is married to a woman. I think what was so brilliant about Meryl Streep at the Golden Globes is that she stepped into that artist responsibility in such eloquent and intentional way. They’ve been able to connect with me as a human being, connect with a lot of the things I’ve talked about. I actually saw their son Tom in this brilliant off-Broadway play called “Hir” by Taylor Mac in New York. So they brought the two in. I think what I love about art, and the possibility of art, is that years before we had a black president in the White House in real life, we saw them on television. It was pretty clear.On shifting from “OITNB’s” Sophia, whose trans issues are always at the forefront due to her incarceration, to “Doubt’s” Cameron, who can explore a more well-rounded existence:That comes from Joan and Tony — I think that comes from them having a transgender son, and knowing that, yes, he’s trans, but he’s an actor and he’s smart. You’ll understand as the season goes on that Cameron is very trusted, and Isaiah believes that she’s very good at what she does. I hope people watch this show, because it’s just groundbreaking in terms of that.On how she thinks real-life juries and judges would accept a trans attorney arguing a case:I know a lot of trans women, trans men who are lawyers, and they argue cases in front of juries all the time. That’s a very exciting thing to play. He’d be like, “We need a secure case where this and this would happen,” and he would go and do the legal research and figure it out.And that’s very exciting — the research part of being an attorney is really exciting, and being able to use the law and find precedent, and even make new law. So that’s very exciting. Cameron and all the attorneys at Roth & Associates are fighting for justice. They just get it. The series, created by former “Grey’s Anatomy” writers (and married couple) Joan Rater and Tony Phelan, blends high-interest legal cases with sudsy relationship intrigue: central character Sadie (Katherine Heigl) is caught up in a taboo romance with a client accused of murder (Steven Pasquale), and Cox’s Ivy League-educated Cameron Wirth quickly lands in her own risky personal/professional entanglement as well.Cox, who joined with Moviefone and a small gathering of reporters, reveals she’s ready to make Cameron’s case — and tread into heretofore unexplored territory on TV in the process.On taking on her character’s unique romantic life, a territory previously little explored in film or television:Laverne Cox: Getting to play that storyline over this past season, it just felt so special. As a trans woman, dating men who are straight-identified, and all of the intricacies and all of the things that they go through, I’ve never really seen that explored, certainly not on network TV. But I think what excites me most about the law is finding — particularly David Feige, one of our writers — a few of our writers who are actual lawyers in real life and I would talk on set about secure cases. We saw them in movies. So it’s a balance for me.I read this beautiful meditation this morning about codependency and not care-taking to the detriment of yourself. So I think it’s absolutely believable.I think if you just look at my life and my career, I’m very blessed, but I’ve been able to go on network television and do talk shows, and do interviews, and connect with people across all kinds of differences as an out trans person. If you’ve gotten the right judgment, you make new law. So it’s a balance thing that I’m figuring out on the job, and I haven’t figured it out yet.”Doubt” premieres tonight (February 15th) on CBS. Yes, Cameron is a lawyer that happens to be trans, and happens to be a woman, and happens to be black. We see the humanity in everyone, and I think there’s some moments that Peter has, my love interest, that I think some of it came from our brilliant writers Imogen Binnie, a trans woman who’s one of our writers.Before we even started shooting, I got to visit the writers’ room last June, and we talked through the whole season and Cameron’s arc through the whole season, and we talked in depth about some of my experiences dating as a trans woman, and some of what I think is going on with men who find themselves attracted to trans women, and not knowing what to do with that, and having shame around it, and a deep, deep cultural stigma.So I’ve been talking to so many guys lately, and trans women lately, about cis women who find out that the men that they’re with are into trans women, and how angry they often get when they’ve discovered that. I think often times people who are marginalized, who are by themselves at Ivy League institutions, like Cameron obviously did, and by themselves in corporate environments, have to be overachievers, because there often is the assumption that, “Oh, you got this because you’re affirmative action and you don’t really deserve it.” So we have to work two or three times harder than everybody else.On Cameron being an African American attorney, outside of her trans identity, in the current political climate:There’s black people, it’s just real life. But before I had the “Orange Is the New Black” platform, I was still talking about the things that were important to me and speaking out about things that were important to me. In part, I think if you go to trial more it is, but a negotiation is kind of acting, too. Posted February 15, 2017 by Scott HuverIf audiences loved “Orange Is the New Black’s” breakout star Laverne Cox in prison orange, just wait until they see what she can do in the power suits of a legal eagle.Cox emerges as one of the central delights of the new CBS legal drama “Doubt,” as one member of a bold legal firm attempting to champion social justice cases in the courtroom. I think in the pilot because they’ve gotten a hung jury, it’s like, “We’ve got to do something.” But I think you’ll see that she’s actually quite trusted, and everyone believes that she’s very good at what she does.That’s a wonderful thing to play. I think she was stealth for a while, so I don’t know if the jury’s always read her as trans, but she’s very successful at what she does.I think the reality is that trans people have existed among us for a very long time. If you’re in just a contract negotiation with a lawyer, there’s a lot of theater, I think, involved in that. I think we use our experiences as human beings to hopefully inform the work that we do. So that my work with my advocacy is to make sure that my life mask is on, that I’m taken care of, that I have enough in my own cup so that that cup could overflow for other folks. There’s actually a very famous trans woman named — her name escapes me right now — but she does a lot of immigration cases, and she’s written a book and she’s out as trans … There’s a love and empathy that they have for all these characters and all these circumstances. It’s like Christmas. So there’s a lot to explore culturally, and I think this can begin a really important conversation I hope that we can have with love and empathy around, because there’s a lot of men, as I’ve experienced, who are straight identified who love transgender women.I did get to do a chemistry read. People have a capacity for that, and I think when we just begin to see people as people, all that other stuff melts away.On where Cameron’s colleagues land in their faith in her: I think in the pilot, there’s a suggestion that Isaiah wants Sadie to help her walk her case, and she’s like, “I don’t need help.” But for the most part, Isaiah trusts Cameron. So that’s what we see with Cam.And certainly the trans stuff comes up when the issues of dating Peter come up. So there’s decades of history of trans people doing all kinds of extraordinary things we just don’t know about. So it’s a huge responsibility, and I’m constantly thinking about what is my responsibility, and trying to balance that with being an actor, and being on set for 18 to 20 hours a day, and waking up at three in the morning, and having to learn my lines, and prep scenes. So it gives the public a space to imagine it, right? Certainly those things influence the ways in which she’s able to have empathy for the clients that she represents, and to convey that empathy to a judge and to a jury.
All courses to be effective must incorporate regular opportunities for Q&A with the instructor—basically, office hours. Images help engagement a lot. Zippy allows you to pre-load lessons and assignments and schedule them for release on specific days. It’s also easier from a marketing perspective to teach topics you’re well-known for, that you have demonstrated success in, or that you know would interest your community or clients. What constitutes a lecture can be very flexible. Later on, using Screenflow or Camtasia, you can break up a long video into the intended lessons.)
For live lectures, build in question breaks. Almost every live lecture should leave 5-10 minutes at the end for student questions. Camtasia or Screenflow: both are excellent tools for recording audiovisual lectures but require purchase. The instructor needs to provide writing instruction in some form, usually on a weekly basis. Students can dial in through a phone number for audio only, and you can record sessions for students who miss. Most online courses are best when there’s one goal, focus, or lesson per week. For this to happen, the course needs a discussion and community area for posting. This would include critique/feedback, live office hours of some kind, forum discussion, or even an in-person component. If you’re new to online teaching, choose a class you’ve taught multiple times, where you have confidence in your approach and knowledge base. Students can tell when you’re phoning it in, or just posting lessons then disengaging. For Video-Based Lectures or Lessons
These are some of the principles I encourage you to adopt. Always build in next steps or actions. There are other teaching platforms available—some with wonderful features—but (1) they’re probably more expensive and (2) they may not support having specific start and end dates to your course. This is usually the most intimidating for new online instructors, as well as experienced—it’s more or less like doing a live webinar. Private Facebook groups work great for the discussion and community aspect of an online course because nearly everyone is familiar with it and logs in at least once a day. Make them put what they’ve learned to work, or get them writing. And usually, it’s not desirable to mandate feedback unless the students are insightful in giving it. I use the Zippy Courses plugin installed on WordPress. Course Lessons or Lectures
An online writing course can’t just rely on student production of material for critique. Course Benefit and Structure
With writing courses for adults, it’s important to focus on what the students will achieve or have in hand at the finish line. Attention will skyrocket. The primary motivation for adult writers who take online classes is to:
Acquire new skills
Complete a writing project (be motivated and be held accountable)
Get personalized feedback and instruction
People also appreciate the immediacy of online education in serving their needs. How long will the course run? Written lecture: using PowerPoint or Keynote helps incorporate visuals (preferable for some types of material), but text only can work well. When students register for a course, they receive login credentials and can immediately access any curriculum made available prior to the official course start date. More often, and students won’t be able to keep up; less often, and students will become disengaged. Unplug your phone and turn off your cell phone ringer. For me, the latter is essential if you want all students to go through the same experience together with you, and if you want to avoid doing a self-study or a continuous course that’s always open for enrollment. This would ideally be halfway through, but you should base it on when you think the most questions are likely to arise (e.g., during the most confusing or complicated material). If you’ve ever used Lynda, you know the model. I recommend about one live session per week, whether through text-based chat or audio/video conference. Freedom and flexibility are often critical for adults deciding to take an online course—more important than even price. It allows everyone to see and hear each other (assuming you have a webcam), plus you can share your screen and do text chat. Course Community and Discussion Area
Students will find a course more valuable if they meet other like-minded people with whom they might even continue a relationship after the course ends. Ideally, your lecture doesn’t consist solely of audio with a static visual (or a talking head); this leads to student boredom and distraction. And so I came up with the following tips. I also build in at least one additional opportunity for students to ask questions. Rather than using your computer’s built-in external microphone, you may need to purchase an external microphone for best possible results. (Only half joking.)
Break up your lecture into 3-6 minute increments. The more interactive the course, the more expensive it generally is, but obviously the more time the instructor must commit. You could also choose to create a self-study, but this post focuses on writing courses with a specific start and end date. It might be:
A live video conference session using software such as Zoom (and recorded for students who can’t attend). If not, I suggest you develop slides unless you have other visuals. This will depend on the nature of the session, but one of the first things students will ask for is a copy of your lecture. I don’t recommend that you be merely a talking head, but that you have visuals to share, and budget plenty of Q&A/break time. It’s Your Turn
If you’ve taught online writing courses, I’d love to hear what has worked (or not) for you and your students. When you can’t think of anything, add a cat GIF. Be prepared to share your slides in PDF form. Deciding What to Teach
Here are some starting questions for those who have never taught online before. Prior to that, my experience and prepared curriculum was entirely centered around the traditional classroom. (The best writing classes have interaction and engagement with an instructor who can offer feedback/critique.)
How much personal attention will be offered? The easiest method by far is to create a private Facebook group for the course, but you could also create a private WordPress site with forum capability through a plugin such as BBPress. And if you’ve been a student in an online writing course, tell us about any positive experiences—what made the course valuable to you? Apple’s standard-issue earbuds—the ones with a built-in microphone—also work very well. While readings can help illustrate important principles or lessons of craft and technique, any energy devoted to group discussions about readings are almost never a good use of student time and energy. Good feedback doesn’t happen by accident, and writers need training in how to give it, which may be outside the purview of the course being taught. The course might focus on one large-scale project (first 25 pages of a manuscript, a completed essay or story) that is worked on and submitted to the instructor for feedback; or it might focus on completing a series of smaller assignments. If necessary, post a sign on the door that says, “Recording in progress.” There is nothing worse than being distracted during a live session or recording, trust me. Having something in writing, like a tip sheet, is very helpful with online courses, so that students don’t have to search through recordings to find that 1 minute when you referenced a particular resource. Unless you’re enthusiastic about “boot camp” style courses that run in a weekend or a week, I recommend a minimum of four weeks and a maximum of twelve weeks. For audiovisual lecture delivery: Hopefully, you already use PowerPoint, Keynote, Prezi, or some other slide-based presentation tool to accompany your lectures. A critique can be written or audio recorded and delivered in private, and/or done in a more traditional workshop manner, where all students can see and benefit from observing the instructor’s critique of the work. What will the course focus on? (For efficiency, when you record a lecture, you can certainly do it all in one take, while giving yourself a pause between lessons or sections. One big caveat is that I am not an expert in curriculum design or creative writing pedagogy (either online or offline!). Find an enclosed room where you will not be interrupted. As I gained experience managing and evaluating online education through Writer’s Digest—and teaching online courses myself—I began to field more questions from authors who were curious about doing it themselves, but didn’t know where to start. If it makes sense, build in a third break for questions. Student satisfaction is often tied directly to how they feel the instructor interacted with their work, their forum/discussion posts, and/or their questions during office hours. If you’re uncomfortable doing this, you should prepare a handout with the key ideas, lessons, resources, websites, or tips from your presentation. A course’s success depends greatly on understanding or anticipating the needs of students, creating and delivering material that leads to learning and engagement, and thus producing the outcomes they most desire. Recommended Technology
I favor the following tools for online courses. Photo credit: joe bustillos via Visual hunt / CC BY-NC-SA
My first exposure to online writing education—for adults outside of degree programs—was Writer’s Online Workshops, a division of Writer’s Digest. In any event, in most non-degree writing courses, the students are seeking the insights of the instructor, and not the other students. I’ve found that—unless students are in a university program—it’s very hard to mandate that other students give feedback. Zoom: This is a simple teleconference tool ideal for office hours or even live lectures. Instructor Critique and Engagement
Instructor feedback or interaction is critical to a writing-focused course. So I invite those who have more formal study and knowledge to share suggestions in the comments. Protecting Instructor Time
I recommend two levels of registration for any class involving critique:
Basic registration: All curriculum, lessons, community discussion features, instructor office hours or Q&A opportunities, plus a basic amount of critique/feedback
Premium registration (usually limited in number): Everything in the basic, but allows for more material to be critiqued, more revision and feedback, or more one-on-one time with the instructor
Students love having a choice because they may not have the time or ability to produce a large amount of work during a particular time, and/or may be mainly interested in the curriculum. Progress toward goals is very inspiring. It’s less daunting to tackle a video lecture when things are broken down into their smallest steps or components. Responding in the forum or otherwise being present in the forum, proactively posting questions and doing check-ins, and in general “showing up” is vital. Recorded audio or video lessons using software such as Camtasia or Screenflow. By incorporating action steps into your curriculum, you will see satisfaction skyrocket, because people feel like they are accomplishing, creating, or learning something. Students will learn better if they’re given a specific task or action after watching a lecture or series of lectures. Use summary lists, imagery, graphics, and other visuals to reinforce the points you’re talking about.
This is not a good opportunity for an author who has just published their first book, and thinks visibility at BEA might fix their marketing and promotion problems. It will not. If that is indeed your goal, you should have a very polished pitch, and demonstrate a successful track record. As far as I’m concerned—as someone who attended this show for 10 years, mainly as an editor with a traditional publishing house—it is not worth the investment. I have updated this post since so much has changed in the last five years, both in regards to this particular trade show, as well as the publishing industry. It started off as a convention for booksellers (the American Booksellers Association), and it’s attended mostly by people inside the industry, including literary agents, booksellers, librarians, and the media. Should you exhibit at Author Market? The bulk of BEA consists of an exhibit floor where publishers purchase booth space to show off their upcoming titles (and authors), sell rights, and network with colleagues. It is a New York industry event where traditional publishing insiders talk to other traditional publishing insiders. If you—the author—are not present to advocate for it, your book doesn’t stand a chance. Remember that “visibility” in this context means visibility to the trade (the industry), not visibility to consumers. Here’s why. Still, while BEA attempts to educate and protect authors from making expensive mistakes, be smart and do your research before you make BEA part of your strategic marketing, publicity, and PR plan. If you’re a professional, independent author with a significant history of sales, and already know of other professionals you could potentially meet and network with at BookExpo, then it may be a good opportunity for you. (I challenge anyone in the comments to provide evidence that a self-published book gained traction at BEA because the author paid a fee to secure placement—and the author was not present.)
BEA is a quality industry event, and it is a legitimate marketing and promotion opportunity. Best-case scenario: set up meetings in advance and don’t ambush people. It was initially known as “Author Hub” and is now called “Author Market.” This is not an opportunity to sell books—selling books is not allowed at BEA. Yes, but usually at the invitation of their publisher. Imagine setting a copy of your book down in the world’s largest book fair, and expecting someone to not only notice it, but be entranced by it so much they can ignore 10,000 other things happening at the same time. It’s the largest industry trade show in North America focused on traditional publishing. Nobody is going to notice your book there. But for the majority of indie authors, it does not make sense to invest what are likely your limited resources in BEA. There’s a separate event—BookCon—that focuses on consumers. Your book is likely to be promoted with many other books, with no way of attracting attention even if someone did pause for a second within 50 feet of your book. But they will be happy to cash your check and say that your book had a “presence” at BEA. Important: In the past, BEA has taken steps to ban companies/organizations who resell BEA marketing opportunities at exorbitant prices. You can give away copies, though. But it’s not going to lead to meaningful sales. You can see the unwelcome mat reflected in these 2017 registration prices (highest for authors!); authors must also be “approved” for a badge. Here’s the Author Hub sales sheet for 2016. There’s also a separate rights area where literary agents often have tables. In 2014, in acknowledgment of the growing indie author market, BEA opened up an exhibit area where indie authors could buy affordable tables to conduct meetings and network. Do authors attend BEA? BEA is generally not interested in unaffiliated authors walking its floor, because every editor/agent hides from the author who is pitching their self-published work. Services that offer to promote your book at BEA are rarely, if ever, hand-selling or promoting your book in a meaningful way. Every year, traditional publishers decide what specific titles they want to push heavily at BEA, and will often invite the authors to do signings or events meant to bring visibility to the work pre-publication. Avoid paying to have your book promoted for you at BEA
Aside from the Author Market, there are a handful of opportunities for authors to get visibility for their work at BEA. Yes, there are librarians and booksellers, but they’re rarely paying attention to the places where an indie book may be showcased or promoted. For more insight and advice
Read Orna Ross at ALLi on what book fairs (may) offer indie authors
Indie author David Gaughran has long warned against book fairs You’ll greatly annoy people if you go pitching on the floor, unless it has to do with subrights or licensing. Photo credit: Clarissa Peterson / CC BY-NC-SA
In 2012, I wrote the following post as a warning to self-published authors who fall prey to scams that take advantage of the highly recognized industry trade show, BookExpo (BEA), previously known as BookExpo America. If you want to satisfy your ego, go ahead. The emphasis of the show is on traditional publishing, rights sales and pre-publication marketing, and does not favor indie title promotion. First, a little background: What is Book Expo (BEA)? Whether or not you exhibit at Author Market, BEA is not a shortcut to getting up close and personal with traditional publishers or literary agents, in the hopes one of them will publish or represent your book.
Sarah Miniaci at Smith Publicity and Kristina Radke at NetGalley review the marketing and publicity strategies that can help increase your book’s discoverability, word-of-mouth, and reviews. Today I’m happy to share an exclusive with my readers: a case study on the book launch for Mission: Jimmy Stewart and the Fight for Europe by Robert Matzen. Here’s an overview of what you’ll find in the hour-long discussion, with time stamps:
4:05: Getting to know the project and determining goals
9:05: What goals were set for the book
11:15: Action item #1: Create pre-publication buzz with consumer market targets (using NetGalley and Goodreads)
25:40: Action item #2: Obtain book trade reviews to establish visibility with buyers (librarians and booksellers) for holiday 2016 season
34:30: Action item #3: Generate major media coverage around release through Christmas 2016
42:15: Results obtained from action items #1 and #2
45:45: Results obtained from action item #3
49:00: Results recap
50:30: Key takeaways And Smith Publicity is a full-service book publicity firm which, since 1997, worked with thousands of authors and publishers in promoting books from every genre—from New York Times bestsellers to first-time, independent titles. Over 300 publishers and hundreds of indie authors use NetGalley to offer advance review copies of their books and generate early buzz in the book community. Any publicist or author can implement the tactics covered in this case study, which include (but are not limited to) how to incorporate NetGalley’s tools into wider campaigns.
Also in this month’s Glimmer Train bulletin:
My Grandmother’s Cigarette Box by Karen Brown
Pleasing Contradictions by Joshua Henkin Any accomplished writer is also a reader—and usually a reader first. At the end of a semester, he wrote to me: “There’s a very specific world that only you can write about, a map that only you can make…”
Read the rest of Danielle’s excellent piece. This is an area that Steven Pressfield is well known for covering (see The War of Art), and in this month’s Glimmer Train bulletin, fiction writer Danielle Lazarin shares how she deals with the challenge:
I was only halfway through Stuart Dybek’s I Sailed with Magellan when I decided I should just give up on writing altogether…and I wanted to leave it to him, a far more lyric, braver writer than I would ever be. At these humbling moments, I remember advice I received from Dan Chaon while studying fiction at Oberlin. For the writer who is the least a bit humble, this sets up one of the most significant psychological barriers to pursuing a writing career: How could I ever produce something as wonderful as [admired writer / admired book]?
(PDF files consist of an interior file and your cover file.) IngramSpark does not offer any editorial, design, and production services; you have to come prepared with your files ready to go. Visit this post for background on how to self-publish. If that’s not a possibility for you, then you’ll have to find a formal distributor who can help you, and that’s a difficult challenge for the first-time author. A key difference between IngramSpark and CreateSpace: CreateSpace offers a range of paid services to help you prepare printer-ready PDF files. I recommend that authors use CreateSpace to distribute their print books strictly to Amazon (do not choose their “extended” distribution), then use IngramSpark to distribute to the universe outside of Amazon (bricks-and-mortar bookstores, including Barnes & Noble, and more). The end result of using either CreateSpace and/or IngramSpark is that your print book will be available to be ordered by nearly any retailer, as a print edition, and available for sale through their online storefronts if they have one (such as barnesandnoble.com). Working directly with online retailers usually means better profits, more control, and more access to marketing/promotion tools (but not always). Bottom line: There’s no one right way to go about it, since it depends on your time and resources, your books, and your marketing strategy. This will maximize your reach and your profits from each sale. Today, the most important thing any author needs to know about distribution is that more than half of all book sales (regardless of format) take place online. IBPA has some recommendations of who to approach. These files are required to make a print edition of your book available and on sale through retailers. Print-on-demand printing means that your book isn’t printed until someone orders and pays for it; when an order comes through, one copy will be printed and shipped to the customer. Photo credit: The City of Toronto / CC BY
Note from Jane: This post is part of a 101 series on self-publishing. If not, it’s probably best to go with print on demand. As far as reaching other retailers with your print edition, it’s far better to use IngramSpark’s print-on-demand service. Working with ebook distribution services usually means giving up a percentage of your profits to the distributor, in exchange for the centralized administration and management of all your titles. There’s nothing to stop you from ordering 50 or 100 copies at a time if you want to sell books to local or regional stores on consignment. Also think it through: If you did invest in printing 500 or 1,000 copies, do you already have customers or accounts that you know would purchase those copies? This will reduce your profit and also risk returns, but these are the industry standard terms required if you want bookstores to place an order. You do not have to hire an expensive self-publishing service to get your book distributed through Amazon and other online retailers; you can secure distribution on your own at little or no cost for both your ebook edition or print book edition. Parting advice
A self-published author can quickly get their print and ebook distributed to the most important online retailers by using just a couple services, all of which have no or very low upfront costs. Would you rather deal with each online retailer directly, or would you rather reach them through an ebook distribution service? Both services allow you to purchase copies at unit cost plus shipping. You could even choose to use two ebook distributors. This access is also largely without upfront costs, making it straightforward for any author to begin selling their book at Amazon, the No. Print-on-demand distribution
Assuming you’ll go the print-on-demand route, then you have two key distributors to consider:
IngramSpark, a division of Ingram, the largest book wholesaler/distributor in the US; distribution fees cost about $60 per title
CreateSpace, a division of Amazon; no upfront fees
Again, as with the ebook distribution decision, you don’t have to be exclusive with either. It does require buying your own ISBN numbers from Bowker—you cannot use a CreateSpace-provided ISBN with any book you want to distribute via IngramSpark. Or you could choose to distribute directly to Amazon, Apple, Kobo, and Nook (by using their do-it-yourself portals), then use Smashwords to capture the rest of the market (such as Scribd and libraries). You can also change your mind at any time (although not without some administration hassle and sales downtime). How to distribute when you have a print run
If you do invest in a print run and are comfortable fulfilling orders from your home or office, then you’ll need to sign up with Amazon Advantage to distribute and sell your print book through Amazon. If books are printed only when they’re ordered, that reduces your risk, but it also means that you’re probably not going to see your books sitting on bricks-and-mortar retail shelves nationwide (or even regionally)—that’s the drawback. You can use both and benefit from both. Distribution used to be the biggest challenge that self-published authors faced in selling their work—at least before online retail came to dominate bookselling. Today, the most critical distribution is within the reach of each individual author at no cost. Don’t be fooled by expensive self-publishing packages that claim to distribute your book to thousands of outlets. You must also pay for shipping your books to Amazon. 1 retailer of books in both print and digital format. Do you have speaking or event opportunities where you could sell them? For example, you might sign up with Pronoun (because they offer the best royalties on Amazon ebook sales), but then add in Smashwords to get the library market that Pronoun doesn’t cover. Print book distribution
Print book distribution is fairly straightforward if you’re making use of print-on-demand technology to print your books, rather than investing in a print run (where you produce hundreds or thousands of books at a time). It costs $99/year and they require a 55% discount off the retail price. If you really, really want to encourage bookstores to order and stock your print-on-demand book: Make sure you use IngramSpark, and set the discount at 55%, and make the books returnable. First-time self-published authors rarely have a sufficient marketing and sales plan in place (or a sufficient track record) that would justify bookstores ordering and stocking books on their shelves. The good news is that you don’t have to choose between working directly with online retailers and using ebook distributors, since it’s rare for any distributor to demand exclusivity. Some ebook distributors can also reach outlets you can’t on your own, such as the library market, and may offer you helpful tools to optimize book sales and marketing. However, don’t assume that if you do a print run, that means you can get distribution into physical retail stores. Self-published authors have the same access to online retail distribution as the major publishers. Here’s how. For example, you could choose to work directly with Amazon KDP to sell your ebooks on Amazon, then use an ebook distributor such as Draft2Digital or Smashwords to reach other retailers. Ebook distribution
Once you have ebook files ready to go (EPUB and/or MOBI files), you have a choice to make. You can always order print-on-demand copies at a reasonable unit cost if you want 50 or 100 copies on hand to sell at events. My book, Publishing 101, costs about $3.60 per unit if I want a copy, plus shipping.
In my latest column for Publishers Weekly, I discuss the potential of online education for book marketing, particularly prior to publication. I mention three distinct strategies:
Create a free email-based course leading up to your book release. Read the entire column. Create a free webinar series leading up to your book release. Offer an interactive online education opportunity to readers who buy your book by a particular date.
Rachel Lindsay is one of those four, and we’ll see her hometown date this coming Monday. I hate that anything was ruined for #BachelorNation but I’m incredibly excited that @therachlindsay is our new #TheBachelorette A smart, strong, independent Texan who loves her @dallascowboys What more could a man want?A post shared by Chris Harrison (@chrisbharrison) on Feb 14, 2017 at 8:55am PST
According to Entertainment Tonight, the early announcement was due to the fact that “The Bachelorette” production is starting in just a couple of weeks. That hometown visit will now double as our first look at “The Bachelorette,” since we’ll be seeing more of Rachel’s family this spring.There were rumors that Rachel would be the Season 13 Bachelorette, but host Chris Harrison made it official last night on “Jimmy Kimmel Live”:So happy for this moment!!! “The Bachelor” Season 21 is still airing, with Nick Viall down to his final four future exes. Like us on Facebook. Thank you so much for the love and support!!!! Posted February 14, 2017 by Gina CarboneNow even ABC is spoiling its own show. Here are the finale spoilers.Want more stuff like this? Can’t believe I am the new bachelorette…still feel like I’m dreaming #bachelornation #bachelorette #thankful #blackhistorymonth #historicmomentA post shared by Rachel Lindsay (@therachlindsay) on Feb 14, 2017 at 6:11am PST
Chris Harrison, who was very supportive of the idea of Rachel’s casting before she was announced, turned to Instagram to apologize to “Bachelor” fans for the early spoiler that Rachel doesn’t end up with Nick:I’m sorry about the timing of the announcement. “Because of the timing and the desire to cast the best bachelors they can find, the network needed to make the announcement on Monday.”It does give fans — and potential bachelors — an opportunity to get to know Rachel, 31, even better by watching her with her family in the hometown visit. Wanna know if she’s eliminated during hometowns or lasts longer?
The season started with near-record ratings then crashed, only bottoming out in time for the December midseason finale. After a two-month break, the show just returned February 12 with the midseason premiere, and the numbers look promising. Posted February 14, 2017 by Gina CarboneRise up, indeed!”The Walking Dead” Season 7 has been on a ratings roller coaster, and it now seems to be on the climb back up. We’re not talking record ratings, but a definite improvement from the past few episodes, and the highest overall numbers and 18-49 ratings since Episode 3.According to TV by the Numbers, Episode 9, “Rock in the Road,” earned just a hair under 12 million viewers — not bad, especially since it was opposite the Grammys — and a 5.7 rating in the coveted 18-49 demographic. For comparison’s sake, TV by the Numbers reports, Season 6’s midseason premiere was down slightly from the fall finale; Season 5’s was up 5 percent; Season 4’s spiked 34 percent; and Season 3’s improved 13 percent.Here are Season 7’s overall viewers and ratings so far:• Episode 1: 17.03 million, 8.4 rating (18-49)
• Episode 2: 12.46 million, 6.1
• Episode 3: 11.72 million, 5.7
• Episode 4: 11.40 million, 5.4
• Episode 5: 11 million, 5.2
• Episode 6: 10.40 million, 4.9
• Episode 7: 10.48 million, 4.9
• Episode 8: 10.58 million, 5.1
• Episode 9: 11.99 million, 5.7The start of the season was a serious downer, and that was reflected in the numbers. Like us on Facebook. However, the Feb. 26 Episode 11 is on its own, since it will be opposite the Oscars.”The Walking Dead” Season 7 continues Sunday, Feb. That’s a 12 percent rise in the demo, and 13 percent in overall viewers. But Episode 9 was an old school episode, suggesting the show really is back to doing what the fans know and love. Check out all the promos here.Want more stuff like this? 19 with Episode 10, “New Best Friends,” at 9 p.m. A lot of folks tuned in for the premiere just to see who Negan killed, then walked away. Episode 10 should either retain these Sunday night numbers or maybe even climb higher, since there isn’t as much competition. on AMC.
The rest of the film could be white noise, and we’ll melt for every scene with Baby Groot. 2″ is going to make Scrooge McDuck-level coin. And it’s a process Marvel has employed since the first Iron Man.But because the Marvel testing process is not as random as other studio procedures, the 100 score for Guardians 2 is not necessarily able to be compared to other non-Marvel movies. The buzz got even louder after The Hollywood Reporter said the Marvel sequel scored an extremely rare perfect 100 percent rating — the highest in Marvel’s nine-year history, and obviously the best you can do.Insiders told THR that Marvel’s previous top-scoring titles were “Iron Man 3” and “Avengers,” which both tested in the high 90s, so take that for what it’s worth.However, here’s the catch: Marvel does test screenings its own way, using “friends and families screenings” as opposed to the audience test screenings all studios do, but mostly with Average Joes and Janes at the mall or other locations around Los Angeles. Posted February 14, 2017 by Gina CarboneNo matter what, “Guardians of the Galaxy Vol. That’s already a pretty specific sample group (who knew Valley girls could be so influential to the film industry?) but of course it’s not the same as inviting your own very biased family to screenings.Here’s more on the process from THR:”The audience is shown the movie and asked to rate using a series of boxes marked excellent, very good, good, fair, and poor that is then scaled. Two words: Baby Groot. Let’s be honest: He probably earned all those 100s himself.Want more stuff like this? It’s one way for Marvel to control security and prevent leaks of either plot spoilers or footage from getting out. Like us on Facebook. And keep in mind they listed “Iron Man 3” as a previous top-scoring Marvel film, and fans and critics were not as charmed.Then again, Chris Pratt did hype “Guardians of the Galaxy Vol. And testing, of course, is a complicated process and not indicative of a movie’s box office performance or reviews.”So we can compare it to other Marvel movies, since they’ve been doing this testing from the start, but not to any other films. 2” as the “the biggest spectacle movie of all time.” And there’s Baby Groot. Follow-up questionnaires and discussions also occur with studios also looking at whether or not audience members would recommend the movie or not.Marvel, however, culls from a more select pool of recruits, what it terms ‘friends and families screenings.’ It’s larger than one might think and still a vigorous testing procedure, not a celebratory reception.