![]() And two, there’s no way in hell you’re going to write this.)īut a cool idea is just a wisp of a concept. (If you’ve ever been approached by a non-writer at a party or family function, they often say: “I have this cool idea for a book – you write it, and we’ll split the profits!” As the idea spews forth, we usually realize that one, it’s not a cool idea – and it’s really not a story. People pop up with cool ideas constantly. Now, if you look at both of these statements, you’ll see that there’s a fatal flaw in the first one. “My next book is going to be about a woman who contacts her college ex, who is now a powerful attorney, for his help because she’s being framed for murder… only he’s starting to think she might somehow be involved, and that she’s developed this Count of Monte Cristo plan to get revenge on him.” “My next book is going to be about a girl who was cloned from a holy relic.” Let’s say I have two clients, who have both emailed me that they want help with their next projects. ![]() ![]() If there were an Olympic event, I would medal. ![]() ![]() (At the risk of sounding immodest, I am a champion brainstormer. I do a lot of brainstorming with writing clients. ![]()
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![]() ![]() There are definite echoes of Daphne Du Maurier’s Rebecca in the sense that Rósa feels haunted by her new husbands first wife and the atmospheric feel to the book but it in no way feels like it’s been done before. The author slowly builds a real sense of unease and threat through her lyrical prose. The story follows Rósa, a young woman who moves across Iceland to marry a wealthy man she barely knows. ![]() It is just so beautifully written from start to finish. I have to say I went into this book fully expecting to like it but it actually surpassed my high expectations. The Glass Woman makes full use of this great setting and instantly transported me to the unforgiving landscape of 17th century Iceland. I think it’s the rich folklore the country has which together with the extreme climate makes for an endlessly fascinating setting. I am always drawn to books set in Iceland, particularly historical ones, since reading the brilliant Burial Rites by Hannah Kent a few years ago. Is it her husband, the villagers – or the land itself?Īlone and far from home, Rósa sees the darkness coming. There is an evil here – Rósa can feel it. Her husband buried his first wife alone in the dead of night. Here, the villagers are wary of outsiders.īut Rósa harbours her own suspicions. īetrothed unexpectedly to Jón Eiríksson, Rósa is sent to join her new husband in the remote village of Stykkishólmur. ![]() An isolated, windswept land haunted by witch trials and steeped in the ancient sagas. ![]() ![]() ![]() Search for other works by this author on. She is also the author of Killer Tapes and Shattered Screens: Video Spectatorship from VHS to File Sharing (2013) and Remote Control (2015). This book examines the roles that six different material cultures have played in film and television culture since the 1970s-including video marketing, branded merchandise, drugs and alcohol, and even gun violence-and shows how objects considered peripheral to film and television culture are in fact central to its past and future. Caetlin Benson-Allott is Provosts Distinguished Associate Professor of English and Film & Media Studies at Georgetown University and editor of JCMS. ![]() Focusing on material cultures of film and television reception, The Stuff of Spectatorship argues that the things we share space with and consume as we consume television and film influence the meaning we gather from them. The material culture around film and television changes how we make sense of their content, not to mention the very concepts of the mediums. Think of the last time you watched a movie: the chair you sat in, the snacks you ate, the people around you, maybe the beer or joint you consumed to help you unwind-all this stuff shaped your experience of media and its influence on you. Film and television create worlds, but they are also of a world, a world that is made up of stuff, to which humans attach meaning. ![]() |