and when you can expect to read it, thanks for your continued
interest. I'm pretty sure you'll be able to read it in a year or two.
Because of several extreme life events, ANIMATED had to be put
aside for quite a while, but this week I opened the dusty file,
rediscovered the squabbling characters and now my days are
once again filled with brain-bruising-thought, much cursing and
frantic use of the delete key.
The only agent to read the opening chapters of ANIMATED said: “You are a strong writer but I am not sure that a novel focused on animation is enough to sustain tension.” Actually, one of the reasons I wrote this novel was precisely to expose the dramatic tensions in the animation industry. Especially at crunch time and more especially in 2006 when
CGI crashed onto the scene, destroying jobs and careers in traditional animation. Also, too many people wrongly think that because animation is fun to watch, it’s also fun to produce in a laughing-joking-colored-crayons-childish-art-form sort of way.
This may have to do with the fact that animation is a medium
used for children’s films but is often mistaken for a childish
and simplistic film genre.
While animators enjoy the challenge of producing technically
and artistically demanding work to a deadline, the stress of
doing so while juggling the complications of daily life with
months of insanely long crunch time hours, cutthroat studio
politics, deadlines, sabotage, theft, injury, harassment
and cream pie fights, is very conducive to drama.
I’m quite confident that animation has all the tension and
conflict necessary to sustain readers’ interest.
ANIMATED may inspire you to watch something animated,
animate something yourself or, at the very least, not to think
of animation as a medium for children’s films only but as a
fully-fledged means of cinematic expression in its own right.
If it doesn’t, I’ll eat my pencil.
See you soon in bookshops and the Kindle store.
ANIMATION, CGI, DISNEY, DREAMWORKS, TEXAVERY,
LOTTEREINIGER, EMILECOHL, MAX FLEISCHER