Last spring, I finally got around to watching the second season of Joss Whedon's Dollhouse on Netflix streaming, while I was also watching the fourth season of Chuck in real time. I really enjoy both shows, but this experience of watching them together drew my attention to something that I'm not sure I would have noticed otherwise.
The main characters of both shows, Chuck and Echo, both flash.
For many, Roald Dahl's books are some of their favorites from childhood.
James and the Giant Peach.
And perhaps most well-loved, Charlie and the Chocolate Factory.
Dahl's books bring together fantasy, everyday reality, and humor into a mix that is irresistable, and this week, we're excited about the relase of the Penguin Deluxe edition of the novel, complete with cover art by Ivan Brunetti and an introduction by Lev Grossman.
Yesterday, a former student of mine who now works at Orbit sent me a link to a trailer that she had worked on for Brent Weeks' The Black Prism. It's pretty cool.
The idea of having a trailer for a book is an interesting one--part of me likes how it creates excitement for the book, but part of me also wonders about using visual images to promote a text-based narrative. Does using these images somehow take away from the ability of the book to stand on its own?
For me, the ideal book trailer is one that creates excitement for the book without showing the characters or the events of the story, so that the book has the first crack at creating these images in the reader's mind. The trailer for the Spanish version of Pat Rothfuss's Wise Man's Fear is a great example of this--it sets the mood, but lets the book stand on its own.
What do you think? Are there other fantasy book trailers that are available and worth watching? Let us know your thoughts in the comments!
Here are some other fun odds and ends to help you ease into the weekend:
I never knew that fantasy writing conventions existed until I landed a literary agent. We met in his office one crisp, fall day in New York City, and during a lovely lunch, he said, “you’ll have to go on the con circuit, of course.” The what? As an academic, my life had been shadowed by literature conferences that I barely, if ever, attended. I only remember that everyone wore black or some other dark clothing, and no one smiled. Don’t get me wrong, lovely, wonderful people attend academic conferences, but it wasn’t until I attended my first fantasy convention that I found my writing family. CONDFW was held in Dallas, which was less than two hours away and a super cheap plan ticket. I didn’t know what to wear or how to network. I only knew that I had cool, gothic-looking business cards made up especially for the occasion.
I came across the work of Sam Valentino as a result of our "magician's week" here at Fantasy Matters--Lev Grossman had posted a link on his blog to a picture that Sam had done of the Watcherwoman's clocktrees in Fillory, and like Lev, I was impressed by how well Sam conveyed the connection of The Magicians with The Chronicles of Narnia by imitating Pauline Baynes's style. So I headed over to Sam's blog to see what else he has done--and what I found was artwork that is wonderfully fun and lighthearted, but grounded in personal connections that makes it very real.