Don’t worry, everybody lost the instructions
Yep. I admit it. I had the 45. I downloaded it on iTunes. I had the song. I followed The Greatest American hero, one of the best mid-season replacements of all time (followed by Buffy maybe?) from time slot to time slot as it made it's reckless flight week to week. The adventures of a super hero with a super suit, given to him by aliens, and partnered with an FBI agent, a great method I think, of giving Ralph's crime fighting a sense of credibility and purpose, this lone teacher is suddenly thrust into a world of unique powers and adventures each week. Despite the lead character's never mentioned name change from one season to the next since he shared the name of the man who shot Ronald Regan, the Greatest American Hero gives us something that we all need very much, and it does it in a way that's entertaining week to week.
Entrusted with the suit, which gives him miraculous powers, Ralph is able to fly, turn invisible, run really fast, magnetize himself, pretty much anything that the story calls for. He does it all, just not very well. He's learning, and sometimes when he's flying he lands in a heap, like a great albatross, or sometimes like a sack of potatos. He does get better, and eventually he learns that he has much more to offer. He finds out that there's a lot more inside him, that he's capable of, he just doesn't know it. He's capable of so much, yet his inexperience and unfamiliarity with the suit makes him clumsy, and we can see him stumble, recover, and eventually they catch the bad guy. How is this possible? Simple, he's lost the manual.
The aliens who dropped off the suit, ostensibly for someone else in the first place, left a manual that would teach the user how to do everything the suit was capable of. On his way from the site of the alien ship, Ralph loses the manual, and is forced to learn on his own how to progress and win through life. He has been imbued, as we all have with great power, creativity, and gifts, he just doesn't know what they all are or how to use them.
We've all lost that manual that came with being born. The Greatest American Hero is about how we all go through life unsure of ourselves, and without the full knowledge of what we can become. If we could just tap that gap in our cosmic consciousness and come up with the answers to why we are here, and what is our purpose in life, and what will we be good at and enjoy, life wouldn't be the real mystery that it is. We are all living without that knowledge, learning about what it means to us day by day, and how that interpretation changes.
Ralph is eventually offered a second manual, as I remember it, but this one is quickly lost as well. All this cut and dried stuff is for the birds anyway. Part of life is learning these things for yourself, stumbling, and learning how to fall on your face and come back to nail a problem the second time around.
Be happy we lost the instructions. Believe it or not, I am.
Eighty-Eight Miles an Hour!
Everybody wants to travel through time. Even if you're not into science fiction, everybody thinks about traveling though time. At the very least it would be great for going back in time in order to complete homework or other assignments and still be able to enjoy the weekend. Usually, I think it comes down to one of three things, though saving the universe does tend to apply. I think when you're talking about time travel, you're talking about escape, regret, and curiosity, and I wonder sometimes if what it all really boils down to is regret, but that's another story. When you travel to the future or the past, strictly speaking from the earth-bound side of time travel, it seems to be about what you can prevent from happening. There are those who would cheat the system, making sure bets, or stealing the coveted wife of another, and who can stop that from happening, and there's the side of - if you go back in the past and change something, or make it better - will that change the present for that particular person. Will their father turn out to be a successful Author instead of a sniveling idiot, as happens in Back to the Future? There's also a more humorous side, of visiting important people throughout history as happens in Bill and Ted's Excellent adventure. (Excellent!) Of course if this kind of time travel is true then there should be lots of living folks out there who've had the equivalent of Bill and Ted's phone booth or the Doctor's TARDIS land in front of them.
Can you destroy your life by going back in time and killing your grandfather? Can you, in fact change time at all, I mean to say, will your character, assuming that they can travel in time at all, be prevented from making any changes that make an impact on their future? For some reason I've never liked, this kind of flat prevention or frustration routine. The characters should be able to do anything that they need to in order to make the story work. Going to the trouble of allowing them to travel in time, and then not letting them make a difference hardly seems worth the time to write. Want to be darring? Why not write a story in which the lead character actually has go back in time to kill their grandfather in order to save the world? Maybe I ought to write that one. Would your character do it? Would yours make that leap into a quantum parallel universe where he may or may not exist once the mission is complete?
Time travel is some sticky stuff. Still makes me want a DeLorean though.
Aren't we all travelers through time though? It's all moving by as we stand here in the ever-changing present. For me it's been an incredible journey, and continues to be so.
Who ya gonna call?
When Ghostbusters first came out, I wasn't allowed to see it. I wanted to. My friends were all going to see it, but I wasn't allowed. It's not something that bothers me. At the age I was, I probably wouldn't have cared for it as much as I do now, and having really discovered it on cable later, it was probably the best way anyway. All the sexual innuendo, yeah, it probably would have gone over my head at the time, but maybe not. I mean, how blatant can you get when you have gods from another world who call themselves the gatekeeper and the keymaster. Captain Obvious's presence is just not needed here.
Over the years though, what I've really come to love the most about the story is the side of how they come together to start a business, be it an awfully strange one, as entrepreneurs in a time when a lot of people were losing their jobs. It's a part of why I think there seems to be such a strange surge in the rumor mills of science fiction entertainment news that a Ghostbusters III is on the way. I personally refuse to believe that's coming until I see a trailer, and watch interviews with the guys, but it's an interesting thought. A lot of people are losing their jobs right now, and many of them are falling off the unemployment radar after their benefits run out. How many of them will get together and start making their own work rather than waiting for someone to hire them? Pieces of the story that fascinate me the most are about all the corners they have to cut in order to get what they need, they have unlicensed, possibly dangerous equipment they've all invented together, and the fact that they have to bluff their way into their first job catching the green Slimer. They don't even know if their own stuff works, and how could they? It's not like they've had anything to practice on.
Another thing I wonder, all these guys making ghost hunter shows on television, people who run ghost tours, and the like. Were they inspired by this movie? Is there something here, about taking that leap, and everyone in the group pushing their credit to the max to start the business something that has helped to inspire these folks to take the chance and go a little unorthodox for their means of livelihood? Very interesting.
Ever taken that leap in an unexpected direction? Were you successful, or did you fail? Did you feel good about it one way or the other?
Owning your Name (Saye Saye Saye)
There are times in life when you have to deal with your name. Everybody's got a hang up. Some people don't like their middle name, others think they'd rather have a different first name, but I've always liked mine. The only thing about mine, is that it's an easy target. With a name like Saye, it's never been a challenge to make fun of, and I've heard them all. It's gotten to the point over the last several years that I now react with a calm "Oooo, that's a new one," when someone gives me a fresh jibe over my name that I haven't actually heard before. Sometimes I even laugh at them. I decided that I would come to terms with my name (besides the fact, that doesn't Saye sound like a great name for a writer?) when Michael Jackson and Paul McCartney came out with their song "Say Say Say." I can't tell you how many times I've had people come up to me and try to sing it at me.
I don't know whether they think I'll take offense, or if it's supposed to upset me, but mostly, it just annoys, and if you stand there long enough and just listen, the singer will eventually look foolish and just stop. Here's the thing though, after all these years, and having that song sung to me like I'm some kind of immaculate karaoke judge, It's gotten into my brain. In many ways it's sort of become my theme song. I've never owned a copy of the song. Never had the single, never downloaded it on iTunes, or bought it in any other way. I think I may have had a copy of the song on tape at some point copied off the radio, but most of those were short-lived attempts to keep music. I realized recently that I didn't need to have a copy.
When it's been ground into your brain by people all around you, you don't need to have a copy of your own. You have one with you all the time. It frequently plays through my mind, while I'm on the train, or sitting in traffic. No headphones required. It's always there for me. It's like a constant companion. No matter how old Paul is getting, or all the tragedy Michael went through before he died, this song will always be a part of me, which brings me to another point.
Something I've thought about for a while now. I believe that certain books, movies, songs or other media, maybe even favorite recipes that you cherish from your childhood or sort-of fast-track through heavy repetition later in live may actually become a part of your soul. For me, it's mostly movies, and old television shows that stick in there, but get me talking about the difference between the soundtracks from The Little Shop of Horrors's Broadway album and the one from the movie, and you'll know which one of those is a part of my soul. Which brings me back to writing what you know. What do I know? Star Wars, Star Trek, Battlestar Galactica (both the old and the new...), Indiana Jones, all the way up to today, and shows like Warehouse 13. Talking books, it's everything from H.G. Wells, Ray Bradbury and Douglas Adams, to Simon Green and Stephen King, with a goodly sprinkle of Terry Pratchet. These stories, movies and songs have become a part of my soul. (Dungeons & Dragons anyone?)
I used to wonder how to write what you know (and still be interesting) when what I knew was all school, and work, and whatnot, keeping it from a totally personal and real world knowledge, then I started to think about what it was I was really thinking about. What do I know?
Space Opera, and swashbuckling. May as well give into it right?
Dreamscapes of my Mind
They say to write what you know. That's a hard thing for me to accept sometimes. There's always this balance between two extremes for me. I've always wanted to write science fiction, and to a certain extent, that's the only thing I've ever been really interested in. Of course I tend to lump this all into fantasy vs. science fiction, which is really a different post all together, but this is the crux of the matter in my mind. You see, I figured out recently that what I know is science fiction.
I used to think that writing what you know meant that I was supposed to write about things that I actually knew about, school, going to work, office politics, what it's like to be a father, the trials and tribulations of everyday life. The kind of thing that when incorporated into a screenplay, you could shoot it without a single special effect. All that's nice, but I don't think they make a compelling story all by themselves. I just love space too much. Space and pirates. Har!
So recently I sat down and listed out all the fantastic science fiction that I've ever loved, from the Hitchhiker's Guide to the Galaxy and the Illustrated Man to Star Wars and Harry Potter. What I know is all science fiction and fantasy. So, I may as well write that. I kept the list, and maybe I'll talk about them all, everything from the first time I deconstructed a story into it's component parts to learning to write notes in the dark for Film School (I can still do it pretty well) but again, those are all another post.
Take the movie Dreamscape for instance, a fairly low budget thriller about psychics that train to enter people's dreams in a big secret government project, when it turns out that they are being trained to become killers, keying in on the idea that if you die in your dream, you die in life. I know this not to be true from personal experience, having died many times in my dreams, but that's not the point, it's still an interesting story that keeps coming back over and over again for me. Sometimes I think I'm the only one I know who cares for the film, but that didn't stop me from using it as inspiration for a screenplay I wrote during College for a screenwriting course.
Dream delving. It's a powerful concept isn't it? The idea of entering someone else's dream, or even just taking control of your own. I've done that sometimes, when I woke up just enough to realize it's a dream, and you have a moment there of lucidity, and you're suddenly in control. Who wouldn't want to do that on a massive scale? I mean what if the dream world is the real world and this one is just an illusion we use to keep us from flipping out at just how wild, crazy and creative the world around us really is?
Drop a dream in your story and see what happens.
