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1. To Howard Dean: It is 2009, not 1965

Elvin Lim is Assistant Professor of Government at Wesleyan University and author of The Anti-intellectual Presidency, which draws on interviews with more than 40 presidential speechwriters to investigate this relentless qualitative decline, over the course of 200 years, in our presidents’ ability to communicate with the public. He also blogs at www.elvinlim.com. In the article below he looks at Howard Dean. See Lim’s previous OUPblogs here.

The year is 1964, the high watermark of Liberalism. Lyndon Johnson takes 61.1 percent of the popular vote in his election contest against Barry Goldwater, an electoral feat that was bigger than Franklin Roosevelt’s 60.8 percent in 1936 and one that has not been surpassed in the years since. The Democratic tsunami sweeps down Pennsylvania Avenue to the Capitol, where Democrats would out-number Republicans two to one in the 89th Congress, and in the Senate they take 68 seats – the biggest supermajority held by any party to this day. The era of Liberalism had entered its Golden Age.

Unified by the inspiring memory of John Kennedy, Democrats were able to enact health-care legislation that even Franklin Roosevelt, the father of modern Liberalism did not have the stomach to attempt as part of his New Deal. It would be Lyndon Johnson, not Harry Truman, not FDR, and not his counsin, Theodore Roosevelt (running as the Progressive Party candidate in 1912) who would enact the single biggest health-care legislation in US history, offering single-payer, comprehensive health-care benefits to seniors over the age of 65 (Medicare) and an option for states to finance the health-care of the indigent (Medicaid) in the Social Security Act of 1965.

We remember the New Deal, and perhaps the Fair Deal, but it is the Great Society that is the apotheosis of 20th century Liberalism. And if 1965 is Liberalism’s high water-mark, then those who would stymie health-care reform today because of the lack of a robust (or indeed, any) public option have gravely gotten their decades mixed up.

There was a time when Liberals did not have to call themselves “Progressives.” That was four decades ago, when Lyndon Johnson attacked Barry Goldwater for wanting to roll back social security and openly campaigned for a further expansion of the welfare state. Times have changed. Today’s Progressives must cagily wrap their Liberal agenda with talk of choice, competition, and bending cost curves. And if the era of Liberalism as FDR and Johnson knew it is over, The Age of Reagan lingers on in the Tea Party Movement. Despite his aspiration to build an even Greater Society than Johnson, Barack Obama’s electoral mandate is 18 percent short of what Johnson possessed in 1965; the Democratic majority is the House is much smaller; and, despite the new cloture rules post-1975 in the Senate which has reduced the fraction of votes needed to end debate from 2/3 to 3/5, Joe Lieberman et al remind us every day that the Senate is anything but filibuster-proof.

To Governor Dean and his compatriots, it is 2009, not 1965.

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2. MICHAEL REISMAN: "What Hollywood Wants With Your Book"



MICHAEL REISMAN: "What Hollywood Wants With Your Book"

(Pictured above: Michael preps for his lecture by providing not one, not two, but THREE handouts!)

Michael Reisman, author of the bestselling SIMON BLOOM middle grade novel series, discussed the behind-the-scenes tips on why and how Hollywood options books, based on his own experience for more than ten years as a story analyst for movie studios and television networks, including Nickelodeon. His own SIMON BLOOM book was recently optioned as a movie.

He provided three handouts that were extremely helpful. They were:

-- A sample of "script coverage" on Lisa Yee's novel, MILLICENT MIN, GIRL GENIUS. This showed Michael's synopsis and analysis of her novel and whether or not he considered potential movie/TV material. He wrote "CONSIDER," which means "Worth a serious look; needs varying degrees of changes."

-- A handout explaining what points story analysts consider while reading and covering book properties. (Examples include "Characterization: Asks how realistic and multi-dimensional the characters are. Will audiences identify with them? Will they care about them?")

-- A handout explaining coverage "jargon." ("CONSIDER" was just defined above, but another example includes: "CONSIDER CONCEPT: Too many problems to adapt directly, but may be worth purchase for core ideas or key elements" and "RECOMMEND: Buy; needs no or almost no changing.")

Some highlights from Michael's extremely informative talk:

-- "Don't write what will make a movie deal. Write what makes a good book." He emphasized how different these genres are and you should simply concentrate on writing the best book possible, period.

-- Retain your movie and TV rights. "I'm a happier man because of my movie deal" given that he retained his own rights.

-- Get a movie agent or manager to help navigate through the Hollywood world.

Overall, Michael delivered a very thorough lecture on how Hollywood approaches book properties and why they option or do not option books. But the information he provided in the handouts and in his advice/examples during the lecture were both applicable not only to published authors interested in trying to get their works optioned but also for aspiring writers because the points brought up about how Hollywood story analysts critique premise, dialogue, storyline and premise ideas was very helpful. Another example of the excellent informative lectures provided for writers at SCBWI's national conference!

Posted by Paula Yoo

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