My relationship with Atlas Shrugged by Ayn Rand began years ago. As most reading this may know, the fictional story of man’s mind on strike is Rand’s magnum opus. I read the mysterious tale, which struck me as both knowing and searching, one summer in Chicago. I recall thinking that it was at once epic, cautionary and glorious. When I finally finished, I felt exalted. I’ve read Atlas Shrugged, which was published 60 years ago today, several times since.
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But that first time was indelible. I was confused, serious and young, still forming my thoughts and views and, frankly, wanting more from life than sometimes seemed possible. I remember reading Atlas Shrugged — in my apartment, while riding on the El or Chicago & North Western railroad or on the rocks on Lake Michigan’s shore — and thinking that this story was suddenly, strikingly very important and relevant. I had lived long and hard enough to know that its characters, plots and theme were true, though I knew I had more to learn.
Reading Atlas Shrugged was part of my lesson plan. It turned out to be much better than that. This is a plug, not a review. Yet writing even this brings back the searing emotions I experienced while reading Atlas Shrugged as a young man. I was caught up in the thrills, suspense and drama of everything from finding the motor to losing the lights of New York City. I hung on every page and thought about every chapter. I recall being stopped by passengers on the train. I was often harassed or scolded but I was also met, on occasion, with an abrupt interruption by someone who’d say something short, direct and oddly personal. They’d usually spot me reading. Then, before disembarking, they’d simply tuck a briefcase, newspaper or package of cigarettes away while coming to face me and say: “Who is John Galt?” I’d look up. We’d almost always part in silence with a nod or a smile.
Yet there’s loneliness while reading this epic tale. I experienced it that summer in Chicago, again when I re-read it years later, and again and again, as the world closed in, resembling the dystopian America Rand conceived, re-created and dramatized with romantic realism, power and a passionate love for life. The story of the woman of ability who runs a railroad in a rotting civilization and who is the ideal man breeds a sense of alienation, at least it did for me, while at the same time yielding a sense of clarity and peace. I am enlightened, soothed and uplifted when I read Atlas Shrugged. I am horrified, too, of course, and the libertarian movie trilogy narrowly and unfortunately focussed on that, but, mostly, I am exalted. Though it is fiction, this is the world in which I live. It is richer and more vibrant than the horror of a civilization coming to a grinding, screeching stop.
In Atlas Shrugged, Ayn Rand teases, sketches and distinguishes with literary brilliance what makes the world go. She does this eerily, compellingly and with grace, depth and grandeur. That I’ve found it takes a lifetime — at least it does for me — to contemplate, reflect and integrate the wisdom to be gained from its themes is less discouraging now than it was when Atlas Shrugged was in its 20s. I celebrated in Boston when Rand’s last published novel turned 35, ten years after its author had died, and again in Colorado when it turned 50. And again at the first Objectivist Conference (OCON) in Chicago and this summer at the world’s first OCON in Pittsburgh. I think of it when the lights go out, trains derail and Washington directives come down. I think of it when the manmade glows, rockets soar and the individual rises above the collective and for his own sake.
I think of Atlas Shrugged, too, when the best men fall, hide or stumble. The world is still confusing, though I am less confused, perhaps even more than when I read it when I was young. There is still so much about life that stings, saddens and looms, and, 60 years after it shocked the West and was denounced by the dominant thinkers, Atlas Shrugged is here to read, enjoy, think about, ponder and inspire.
In my general adult writing course, I recently read “All Summer in a Day” by Ray Bradbury and a draft of a short-short story I wrote called “Escape from Indigena”. Each student reads or listens and formulates what he thinks is the writer’s theme. This immersion in the writing process, which I call Writing Boot Camp, is a kind of mental fitness training for living in a world that still sometimes feels like it’s about to “blank out”, expire or has just plain gone bad. Atlas Shrugged is foremost a novel about what being alive means. It is poetic, serious and profound. I first read it because I passionately wanted to live. I write this because I still do. So, this is my 60th anniversary plug for Atlas Shrugged, which is to say — if you want to read a great and powerful American novel, especially if you, too, sense that something’s horribly wrong with the world and you want to know why so you can live and enjoy your life to the fullest, do something wonderful for yourself: read Atlas Shrugged.
Blake Scholl addresses Objectivists in Pittsburgh. (Photo by Scott Holleran)
Watching Boom Supersonic founder and CEO Blake Scholl address this summer’s Objectivist Conference in Pittsburgh, I was struck by the newness, youth and growth of the movement to advance Ayn Rand’s philosophy, Objectivism. Blake is a friend whom I’ve known since he was a student at Pittsburgh’s distinguished university named for two great American capitalists — Andrew Mellon and Andrew Carnegie — at the end of the 20th century. Today, Blake’s a leading new voice for capitalism, seeking to reclaim and restore supersonic air travel.
As the only philosophy to advocate capitalism on the ethics of egoism, which Ayn Rand (1905-1982) reduced to what she boldly and, I think, rightly called the virtue of selfishness, Objectivism is perfect for attracting, inspiring and guiding productive achievers such as Blake Scholl, who departed after his talk in Pittsburgh to Paris, where he tripled orders for Boom Supersonic’s new jet (its XB-1 Supersonic Demonstrator is scheduled to fly at Edwards Air Force Base in Southern California in 2019). The system of ideas created by the author of Atlas Shrugged is bound to foster businessmen such as Blake Scholl, who presented his vision for aviation based on speed, convenience and quality before what the Ayn Rand Institute claims is its largest annual Objectivist Conference.
The city of steel, bridges and exemplary education, Pittsburgh, too, is the perfect place to exhibit an enticing preview of the manmade. Pittsburgh was at the crux of creating the world’s single, greatest period of productive achievement, the Industrial Revolution. This magnificent city, where pioneering soldiers, frontiersmen, industrialists, doctors and artists protected and forged the nation’s most enduring new enterprises — in medicine, engineering, energy, movies, television and the arts — continues to be underestimated. Just like America, Ayn Rand and the best minds.
Certainly, Boom’s Blake Scholl is not infallible; he may make mistakes in executing his vision. However, with Blake’s presentation, the Objectivist movement reaches a higher point — fittingly, in a tower located next to railroad tracks at the south bank of the Monongahela River in a proudly industrialized metropolis which climaxes at a golden triangle pointing West, stretching into lush, green hills. This year’s OCON included lectures on intellectual property, stoicism and the gold standard. Ayn Rand biographer Shoshana Milgram delivered insightful talks on Rand’s interviews with industrialists and an examination of Rand’s favorite novel, which is about building a grain elevator. There was a screening and discussion of the Oscar-nominated documentary Ayn Rand: A Sense of Life, trivia and talent events and a panel discussion on free speech with Flemming Rose, a journalist who once published a Mohammed cartoon and still needs police protection. Pittsburgh doctor Amesh Adalja spoke on the history of infectious disease in the city where his heroes, Drs. Thomas Starzl and Jonas Salk, made medical history. OCON Pittsburgh — during which the Pittsburgh Penguins won hockey’s Stanley Cup and I visited family and friends and saw the Pittsburgh Pirates defeat the Colorado Rockies at PNC Park — included tours of the Homestead blast furnace once owned by Andrew Carnegie‘s U.S. Steel, Henry Clay Frick’s (1849-1919) home and owned works of art and Fallingwater, the home Frank Lloyd Wright designed for Pittsburgh department store owner Edgar Kaufmann in 1936. I was writing TV scripts on deadline during the conference and missed some talks, events and mixers. And, while certain conference services, staff and events failed, fell flat or need improvement, others were good, new or interesting.
Blake Scholl’s talk stands out as an Objectivist hallmark. That this Carnegie Mellon University graduate stood as a businessman against the cynicism and anti-intellectualism of our times to demonstrate that the good is possible and that air transportation can and ought to be grand, fast and glorious realizes Ayn Rand’s depiction of man as a heroic being. That he did it in Pittsburgh is perfectly rational. So, here comes evidence that the potential for the gleaming, industrialized future Ayn Rand’s idealistic novels envision, promise and dramatize can be made real. Whatever happens on the day after tomorrow, to paraphrase a condensed description of Atlas Shrugged — a novel, it must be recognized, which also depicts a dramatic episode of aviation adventure — this is true, which is cause for all thinkers to want more of what Objectivism explains and offers for living here on earth.
The 22nd annual Los Angeles Times Festival of Books is a unique combination of book sales, signings and promotional events. I’ve attended for years and, still, I enjoy it while acknowledging its deficiencies. My top complaint is the same as always: volunteers, event staff, venue staff and security are poorly equipped and trained to direct the over 150,000 people who come to the University of Southern California campus. Event maps are lacking. One volunteer in a festival information booth gave me the wrong directions to the Salvatori Computer Science Center, not to be confused with an arts and letters building donated by a Salvatori with that name emblazoned on it. Getting around the festival, important if you favor lectures and panel discussions as I do, gets worse every year (read my thoughts on last year’s festival here).
Once at the destination, which could be anywhere around USC’s wonderful campus near downtown Los Angeles, you’re often afforded outstanding opportunities to listen, learn, ponder, explore and examine the world of books and ideas. I spent much of the two-day weekend event roaming around booths, visiting small university presses, independent booksellers, university writing programs, USC’s many schools’ showcases and booths for various authors, theaters, publications, schools and products, from Atheists United, Titanium sponsor Acura dealers of Southern California and the Ayn Rand Institute to author Zoe Summer and YaYa’s Creole Products. Add music—the Trojans’ marching band is always a favorite—cooking and kids’ areas, and C-Span’s Booknotes interviews and scads of other contests, prizes and free samples, from books and prints to power bars and bags (which come in handy with California’s plastic bag ban, which amounts to a tax) and the book fair truly is a festival. Subtract the presence of book publishers that dominated early festivals, however, and there are fewer and fewer books, especially new, major books and authors.
I had previously attended a conversation with author Glenn Frankel at an event at the Autry Museum of the American West in LA’s Griffith Park several weeks ago. His book about High Noon and what he and many others in Hollywood refer to as the blacklist (Hollywood’s highly touted 1950s’ blackballing of presumed Communists or Soviet sympathizers, not the list of unmade scripts) makes Frankel, who won a Pulitzer Prize for international reporting and worked for the Washington Post, an attractive guest speaker. So, I already knew that Frankel, who also taught journalism at Stanford and the University of Texas, knows his subject well. He’d told the Autry audience, for instance, that High Noon was shot in 32 days on a low budget, that screenwriter Carl Foreman was called to testify to a congressional committee about his membership in the Communist Party and that star Gary Cooper was the son of British immigrants, that he may have been impacted by childhood visits to Montana’s state house, where he saw a painting of Lewis and Clark, and that he was not very political.
When I saw that Frankel was on a book festival panel on classic Hollywood, I decided to attend. Knowing that, at the Autry, he had dropped the context that the United States was under threat of attack by the Union of Soviet Socialist Republics (USSR), something that people who talk about the Hollywood blacklist usually do, and that we know that the Soviets funded subversive efforts to undermine the U.S. government, I wanted to hear a detailed analysis of classic Hollywood, including the blacklist, through panel discussion.
Instead, the panel was the opposite. Moderated by USC writing instructor, Newsday political cartoonist and author M.G. Lord, who wrote a book on Elizabeth Taylor titled The Accidental Feminist, the panel was a barrage of uncorroborated claims and arbitrary assertions about the blacklist which turned into a political rant against Trump and conservatives with hardly any discussion of classic Hollywood. Author Jon Lewis, a movie professor at Oregon State University, declared that Trump’s election means democracy is dead in America (seriously). Kenneth Turan, the Los Angeles Times film critic, whom apparently everyone calls Kenny, barely spoke about classic film, though he did mention being raised as an Orthodox Jew. Frankel, who is both extremely knowledgeable and fundamentally mistaken in his book’s assertion that Ayn Rand is to blame for what he sees as the injustice of a Hollywood blacklist, gave the most substantial classic Hollywood analysis. Others went for laughs and digs at Trump or the blacklist.
To her credit, Karen Maness, a scenic artist and co-author of The Art of the Hollywood Backdrop and painting instructor for the University of Texas Department of Theatre and Dance and scenic art supervisor at Texas Performing Arts, gave very interesting facts and insights about classic movies’ backdrops.
The classic movies discussion was disappointing but a panel on writing short stories was worse, despite efforts by PEN Center USA literary programmer, author and moderator Libby Flores. Given the team’s credentials, I was astonished that no one really talked about writing short stories. Channelle Benz, who earned her MFA at Syracuse University, has published short stories in The American Reader and is the recipient of an O. Henry Prize. Author Dana Johnson is an English professor at USC and winner of the Flannery O’Connor Award for Short Fiction. Brooklyn writer Rebecca Schiff graduated from Columbia University’s MFA program and her stories have appeared in The Guardian. Deb Olin Unferth, who writes in Austin, Texas, was a finalist for a National Book Critics Circle Award and her work has appeared in Harper’s, the Paris Review, and Tin House. So I was looking forward to a detailed examination of writing short stories. The panel started late and veered into the writers’ rambling thoughts on why they are fascinated by “the color of blood” and admissions and confessions of personal tastes and idiosyncrasies. When I asked if they have an explicit theme in mind when they write a story, only Schiff answered and she didn’t say much. No one else spoke.
Unferth was the most entertaining short stories panelist, using humor to lighten the dense discussion, which did not include mention of a single writing habit. Unferth, who told the audience about a story she wrote in which a shooter contemplates whether to gun down a child at the top of a hill, was asked about the most memorable reader response to her writing. She made the audience laugh when she admitted that a blogger once posted—and apparently kept posting—about how he hated one of her stories, which he wrote was a downer that kept dragging him down. Imagine that.
When Flores asked everyone to name the first story to make an impression, no one could think of a single story to name. At some point, Schiff did manage to credit Kurt Vonnegut with the advice to “make your character want something—even if it’s just a glass of water.”
Titles among their material might have been a cautionary clue that they aren’t terribly interested in breaking down the writing, let alone editing and publishing, process. Benz is the author of The Man Who Shot Out My Eye is Dead. Johnson’s newest book is titled In the Not Quite Dark: Stories. Schiff’s latest book is called The Bed Moved.
Easily the most stimulating panel came late in the festival on Sunday. Whereas the short story writers gave the impression that writing is mysterious, magical and indecipherable, the writers on the “From Page to Screen” panel stressed the opposite idea.
Panelists included Brian McGreevy, author and screenwriter (and co-creator of AMC’s The Son with Pierce Brosnan), who was a James Michener Fellow at the University of Texas. His latest novel is The Lights. Also on board: novelist Tod Goldberg, who wrote novels based on USA Network’s Burn Notice and co-authored the Hammett Prize finalist Gangsterland, for which he’s writing a sequel, Gangster Nation, scheduled for publication this fall; Los Angeles writer Pamela Ribon who recently co-wrote Disney’s Moana and former Dark Shadows actress Lara Parker, author of three novels based on NBC’s cult soap opera, who attended Vassar College, graduated from Rhodes College in Memphis with a BA in philosophy and received her MFA in creative writing from LA’s Antioch University. The moderator, USC writing instructor Richard Rayner, who’s written nine books, including an LA crime history, A Bright and Guilty Place, and an interesting article on Rudyard Kipling, liked to talk more than he liked to let the panelists talk.
When they did, the page-to-screen writers were hilariously insightful and incisive, generously sharing their insecurities, showing their battle scars and being utterly candid in every detail about their writing. Contrary to the painfully pretentious short stories panel, these writers were quite self-aware and purposeful in trying to help the audience grasp the hard work and wrenching business of writing. They fed off of Goldberg’s delightful banter with Ribon, which was at once politically incorrect and perfectly suited to the occasion, delivering with good humor the necessary tips, tools and knowledge to manage Hollywood’s often anti-conceptual handling—more like belittling—of the writer. Goldberg wisely explained that he knows his limits (he didn’t put it this way) by focusing on prose writing. McGreevy had said something similar.
Everything Tod Goldberg said, and he is enormously successful, and, not coincidentally, decent, kind and gracious in person, tracks to not letting the pain of pursuing a livelihood in writing go too deep down into your soul. In his own introverted way, McGreevy, too, let the audience know how to let off steam and cope with adversity in the potentially ruinous page to screen process, alluding to horror stories while delivering a blistering breakdown of the term “showrunner” as a total lie. McGreevy, who explicitly embraced writing’s solitude and said that he really doesn’t like spending a lot of time with people, explained that he studied the creative process from a primarily different orientation—that of the perspective of those titans of the technology industry. He said he read many of their books on being productive and gained real value. He also encouraged writers to take breaks often to give detachment and distance to the material (my writing class students may recognize this particular writing lesson).
Parker shot down the moderator’s attempt to credit her acting with any meaningful tie-in to her writing, crediting her own reading of great works of horror literature, from Mary Shelley’s Frankenstein and Bram Stoker’s Dracula to more recent novels and, finally, her decision to mimic the structure and approach of Daphne Du Maurier (Rebecca, Jamaica Inn). She derided the box office bomb movie version starring Johnny Depp as Barnabas Collins (“Tim Burton is not interested in story”, she said) and, having played a villainess, the witch, she pointed out that the franchise Dark Shadows is a supernatural thriller rooted in serious, universal themes of life and death through gothic romanticism. Asked by Rayner after she griped about having to deliver bad lines as an actress to name the worst line, Parker fingered The Six Million Dollar Man on ABC, in which she played Col. Steve Austin’s love interest who told him at the end of the weekly episode that: “There will always be a candle buring for you in the window, Steve.” To which Mr. Goldberg deadpanned, a moment after audience laughter subsided: “Was this during the Civil War?”
All of which only made this writer want to read their books.
Nestled in the hills of Los Angeles is a uniquely compact and inviting home where I first met Dion Neutra. I had spoken with and interviewed the noted architect, who studied and worked with his father, the late Richard Neutra, a few times for articles about modern architecture. The prospect of an extensive interview had previously been discussed though it hadn’t been conducted. This time, when Dion Neutra suggested that we meet for an interview, it was promptly scheduled. I drove to LA’s Silver Lake neighborhood, parked and climbed the steep stairs. I soon met the man who made with his father some of America’s most distinctive and iconic homes and buildings. We sat in a dining room and talked for over an hour. Days later, we would toast to his 90th birthday and, later, talk again about a campaign to restore one of his father’s signature buildings, the Eagle Rock Clubhouse. During our exchange, we managed to cover a lifetime of memories, thoughts and details of his father, meeting Ayn Rand, Frank Lloyd Wright, the Kun house, World Trade Center, Neutra’s Gettysburg Cyclorama and his childhood trauma in Silver Lake. I knew from previous talks that Neutra’s son and heir could be both eccentric and exhausting. This conversation is no exception. Read my exclusive interview with Dion Neutra.
Jim Brown, Ayn Rand Institute CEO
Another inheritance-themed opportunity for an exclusive talk recently presented itself when the Ayn Rand Institute (ARI) named a new CEO. His name is Jim Brown and his background is in business, financial analysis and military leadership. Qualifications alone merited my interest and I immediately welcomed him to the ARI and asked for an interview, which he kindly granted at his Irvine office. Though days into the job, he discussed plans, management philosophy and his favorite Leonard Peikoff works. As an Objectivist who first visited the ARI as a teen when I took the bus to its office on Washington Boulevard in Los Angeles, who has worked and studied with the ARI, I want my readers to read the interview and consider supporting the ARI under Jim’s new management. An edited transcript of my conversation with the center for Objectivism’s chief executive officer—Jim Brown’s first interview as ARI’s chief executive officer—appears on Capitalism Magazine (postscript: read a shorter version in the Los Angeles Times here).
And I am delighted that my favorite filmmaker—director Lasse Hallström—granted to me his only interview about his successful motion picture, A Dog’s Purpose, before returning to making Disney’s adaptation of the beloved Christmas ballet The Nutcracker. I am often enchanted by Mr. Hallström’s work. I always anticipate whatever he chooses to make. And I am privileged to have interviewed Lasse Hallström before. This time was particularly rewarding.
Lightness in his pictures is perhaps the most indelible quality. Think of the French village in Chocolat or Venetian escapades in Casanova. The way he guides an ensemble cast to perfect union for an exalted or higher cinematic goal—around foodmaking in The Hundred-Foot Journey, liberation in What’s Eating Gilbert Grape, serenity in An Unfinished Life, healing in The Shipping News, and the power of a dog to align man to what’s here and now in A Dog’s Purpose—should also be known. All of his movies, which began with his film about ABBA, are wonderfully musical including A Dog’s Purpose. But what, besides unity, love and lightness, is more pressing and relevant now than the seriousness with which he films his stories? This unique blend by a Swede who lives in America is often mistaken strictly as sweetness, which one should expect in a circus culture of cynics, celebrities and smears. The interview with Lasse Hallström, the artist who to me best expresses in today’s movies the American sense of life, is one I know I’ve earned and deserve.
I did not plan the pieces as a thematic trifecta, though it occurs to me that these three interviews explore man’s mastery of living in accordance with nature, man’s mastery of advancing the ideal and man’s mastery of recreating both in movies. Read, think and enjoy.
A movie about exceptionalism overcoming racism at an agency of the government, an effort to restore a building and a forthcoming book about accounting for an entire arts genre give me fuel this winter.
Top U.S. film
America’s top movie at the box office is Hidden Figures, which centers upon three individuals of ability in the Jim Crow-era South, when racist laws infected even an aeronautics U.S. agency charged with launching an American into outer space. It’s a wonderful film, really, which doesn’t surprise me because it’s written and directed by the same individual who wrote and directed 2014’s St. Vincent, which is also very good. His name is Theodore Melfi and he recently talked with me about writing and directing the talented cast, which includes Empire‘s Cookie, Taraji P. Henson, his thoughts on racism, storytelling and what he’d do differently and having his movie screened at the White House. Read my exclusive interview with Melfi about the nation’s number one motion picture here.
Eagle Rock Clubhouse by Neutra
Speaking of exclusive interviews, I’ve recently had the pleasure of interviewing architect Dion Neutra at his home and office designed by his father, the late modern architect Richard Neutra, whose legacy I explore in an article about a campaign to restore one of Neutra’s signature buildings (read the story on LATimes.com here). I’ve been covering this effort by an architect and a realtor who say they want to restore the Los Angeles clubhouse to its original splendor, and finally met and interviewed them at Neutra’s building for a detailed restoration tour. The building, a parks and recreational center in northeast Los Angeles, opened in the 1950s with a stage that plays to both interior and exterior audiences, a kitchen with a window for selling concessions, an athletic court, reflecting pool and sloping landscapes—all in glass, brick and Neutra’s favored metal, steel—with a director’s office overlooking gymnastics, trails, pine trees, playgrounds, tennis courts and with retractable walls to let the air and spectators or audiences inside. The two gents are in talks with Dion Neutra as I write this.
New book this March
A forthcoming book features new and interesting data about the words and works by William Faulkner, Sinclair Lewis, Stephen King, Agatha Christie and Ayn Rand among other literary greats. It’s titled Nabokov’s Favorite Word is Mauve (Simon & Schuster, March 14, 2017) and the author covers detailed statistical analyses of these and other writers in a solid narrative. Among the newly mined data are authors’ ‘favorite’ words, how sexes write differently—Rand rates as “masculine”—and use of adverbs, exclamation points and novels’ opening lines. Mine is the book’s first non-trade review. Read my article here.
The newest Writing Boot Camp starts up next month (seats are still left in the 10-week course, so register here), moving to Tuesday nights, the day after my all-new course on social media (register here). These courses evolved from career camp workshops I was asked to teach several years ago. I subsequently taught a series of nine media and production workshops for Mood U, online, economic development, expo and public library presentations and developed the writing and media classes into full courses a few years ago for adult education in LA. They’re works in progress yet past students give positive and constructive feedback, so I’ve created Facebook groups for past students. Stand by for details and more on the upcoming courses.
Meanwhile, thank you for your readership, support and trade. I read every piece of correspondence, though I’m sometimes slow to respond, sent through the site and social media. This year, I plan to remake my website and I am working on other projects, from stories in manuscripts and screenplays to my cultural fellowship, new partnerships and a new media enterprise. For now, I want you to read, share and gain value from these articles about inspecting works of art and making, or mining, something good.
Enrollment in my writing course for adults doubled this semester, so I’ve been invited to teach a summer course. The weekly Thursday night class in general writing begins in June and runs through mid-July. I also teach a summer course on social media.
I will add summer registration links. In the meantime, both courses this spring have been enhanced to include new readings, demonstrations and material. In the writing course, I’ve incorporated study of writings by Rudyard Kipling, Shirley Jackson, William Ernest Henley, Ray Bradbury and O. Henry. Students read their work aloud in class this week and next week’s class features a lesson on resources, including books about writing based on lectures by my favorite writer, Ayn Rand, who wrote bestselling fiction and non-fiction for stage, screen, print, broadcasting and literature. Rand additionally wrote for journals, newspapers and for certain editions of books by Leonard Peikoff and Victor Hugo.
Ayn Rand’s lectures on writing were adapted for two outstanding volumes, The Art of Fictionand The Art of Non-Fiction. For motivation, I suggest reading screenwriter Brian Koppelman’s 202 Practical Writing Tips, which are excellent. Proper writing practices are also addressed in All About Social Media, which offers an essential guide to creating, using and maximizing Twitter, Facebook and LinkedIn (contact me if you have any questions). These general courses are for personal enrichment and students represent a range of personal and professional interests. This semester includes the usual mixture of musicians, actors, writers and entrepreneurs and also an engineer, an attorney, a chiropractor and a studio executive, so the environment is relaxed, studious and inclusive. Classrooms have free wifi and courses include my visual presentations. The campus is located near Bob Hope Airport.
This spring’s Festival of Books at University of Southern California’s campus is on my agenda this week and, later this month, I plan to attend an event in Santa Monica featuring Objectivist co-author Don Watkins on his new book. I’m reading a novel by the late John O’Hara that Robert Benton recommended to me and I look forward to reading a new book by Georgetown University scholar Randy Barnett on the Constitution (for HarperCollins with a foreword by George Will). I finished filmmaker Mike Binder‘s exciting first novel, a political thriller set in London (for Macmillan’s Henry Holt and Company). I plan to post a review.
Besides my contract work, I’m entering stories in competitions and studying, developing and exploring new projects, which takes time. I plan to return to Turner Classic Movies’ Classic Film Festival in Hollywood this month for new insights and interviews on motion pictures. I’ve recently enjoyed several movies with good scripts—Zootopia‘s the best film in theaters and I recommend the new movie about Hank Williams, I Saw the Light, Jean-Marc Vallee’s Demolition (expanding soon) and The Weinstein Company’s wonderful musically-themed 80s film Sing Street, opening soon—and I look forward to the new Jungle Book picture by Jon Favreau based on Kipling’s tales. A sneak preview I saw at Disneyland last week looks terrific.