Tagged: Del Close

Stephen Colbert, we have your writer for “The Chronicles of Amber”!

You may have seen the piece in Variety that America’s leading fanboy with a late night talk show Stephen Colbert is joining the team that is adapting Roger Zelazny’s “The Chronicles of Amber” for television as an executive producer of the potential series under his Spartina production banner, joining with Skybound Entertainment and Vincent Newman Entertainment. “The Chronicles of Amber” follows the story of Corwin, a prince who awakens on Earth with no memory who soon discovers that he is a member of a royal family that has the ability to travel through different dimensions of reality and rules over the one true world, Amber.

The Variety article also notes: “The search is currently on for a writer to tackle the adaptation.” The story of Amber is complex and requires a writer who can navigate different worlds, characters, and timelines.

Stephen, bubullah, we have just the guy for you: John Ostrander.

If you don’t know John (and for the purposes of this column, we’ll say you don’t) he’s a highly accomplished and popular writer who has made significant contributions to the world of comics and fantasy literature (as well as contributions to this website) with particular advantages that make him just the guy for this job.

First and foremost, Ostrander knows his heroic fiction. He’s written for DC, Marvel, Star Wars, and is the creator of “The Suicide Squad,” the cult classic comic that has been adapted into two feature films and a television series. The series follows a group of supervillains who are recruited by the government to carry out dangerous missions in exchange for reduced sentences. This showcases Ostrander’s ability to create compelling and complex characters, a skill that would be invaluable in adapting “The Chronicles of Amber.”

In addition to “The Suicide Squad,” Ostrander also created the character GrimJack, a hard-boiled private investigator who operates in a dystopian interdimensional crossroads. GrimJack was so beloved by Roger Zelazny that Zelazny not only wrote the introduction to the GrimJack graphic novel Demon Knight (reprinted in GrimJack Omnibus 5, ahem), Zelazny bodily lifted GrimJack and included him in the seventh book of the Chronicles of Amber, Blood of Amber, as “Old John”, an emissary of the Crown of Amber who worked for both Random and Oberon. This shows Ostrander’s ability to create a character that resonates with fantasy audiences, and Zelazny’s stamp of approval is a testament to his talent.

Another reason Colbert should consider hiring Ostrander is his relationship with Del Close, who also happened to be Colbert’s improv teacher and director at Second City Chicago. Ostrander and Close were writing partners, and their collaboration resulted in the graphic horror anthology Wasteland for DC Comics and several installments of the “Munden’s Bar” backup feature in GrimJack. This connection not only highlights Ostrander’s versatility as a writer but also his ability to work well with others, which is essential in a collaborative medium like television.

In conclusion, Stephen, it should be obvious that you should hire John Ostrander for the adaptation of “The Chronicles of Amber” for television. His experience in writing media-friendly high fantasy, creating complex characters, and his connections to Zelazny and your former teacher make him an ideal candidate for you. Give him a call.

John Ostrander: You/Not You

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One of the interesting facets of talking about writing is the contradictions you find in the craft. For example: All your characters are you. All your characters are not you.

All of your characters are you.

Every character you write must have some of you in it. All of them. Not just the ones you like to identify with. All of them. The large and the small, the good and the bad, male and female, no matter what age, race, or nationality. If you’re going to write honestly about the character, you must be in the mix.

This can get uncomfortable. Once, when I was writing a white supremacist  in an early issue of Suicide Squad, I had to look into myself and ask, “What in me is like this man?” Look, I’m an aging white guy; there’s going to be something there. No matter how much I’ve worked at freeing myself from that, and I have, there’s going to be something there.

I found it. It’s not enough to understand such a character’s point of view; it’s necessary to find what is in you that is like that. However much I dislike that aspect of myself, it is there to some degree and it can be used. It was.

We all have multitudes within us. We are slightly different people depending on who we are with; with our parents we’re slightly different than we are with our siblings than we are with our friends than we are with our lovers and partners. Each of them know a slightly different aspect of us. That’s one of the purposes of supporting characters; they bring out different aspects of the protagonist.

We play so many different parts in our own lives on a daily basis, we should be able to find some aspect of ourselves – good or bad, laudable or disreputable – that will allow us to identify, to be, the character that we are writing.

I’ve often said that writing dialogue between several characters is the writer having conversations with his/herself. We are all our characters.

All of your characters are not you.

You have to have some perspective on the characters that you write and that requires some distance. The differences are important.

There is, mostly in fandom, a form of criticism pertaining to a “Mary Sue” (among female characters) or a “Larry Stu” (among male). Generally, it means a character is an idealized and unrealistic version of the author. For the most part I dislike the term; it’s too easy, too lazy, and too pat a critique. The person using it generally only has to accuse the author of either having a Mary Sue or Larry Stu and that’s it; no further discussion is needed or, often, allowed. The accusation is made. End of story.

However, as with most stereotypes and clichés, there is a germ of truth. A good character can be very seductive. Few people believe themselves to be evil; even Shakespeare’s Richard III, who describes himself as a villain, believes he has a right to do what he is doing. I met someone once who believed that if he could take something that you thought was yours, he was within his rights to do so. “You only have a right to what you can hold onto,” he would claim. Not someone I wanted to spend any time with, but an interesting idea for a character.

I saw a TV interview with a guy who was doing time because he was a hired killer for the Mob. Coldest son of a bitch I’ve ever seen. Literally would just as soon kill you as look at you. “My life doesn’t matter to me, so why should yours?” was what he said. Again, not a person I would ever want to meet, but it became part of my core concept for my version of Deadshot in the Squad. Lawton doesn’t have a death wish; he just doesn’t care if he dies – or if you do.

The whole “You are your character/you are not your character” thing is a dichotomy and that’s fine by me. I think that most often you find the truth in contradictions. It’s what Del Close taught in his Second City and iO improv classes. Del held this contradiction as a rule: it’s not either/or; it’s and/both.

Finally, don’t try to reconcile or explain the contradictions. State them and trust to your reader to dope it out. Do your job right and the reader will think that the character is them… and not them.

John Ostrander: Back to the Beginning

Warp Play PosterWhen I get asked by earnest neophytes how to break into comics, my pat answer is “With a pick and a crowbar through the roof in the middle of a moonless night.”

Somewhat less than helpful, I know.

The truth is that I don’t know how to break into comics. I don’t think most of you can go the path I took. I had an old friend – Mike Gold, who you may have seen hereabouts – and he knew I loved comics and he had liked something I had written for the stage and offered me a chance. When Mike had first gone to NYC to work for DC Comics, I pressed on him a sample script I had written for Green Lantern. He dutifully did but the script didn’t go anywhere and it shouldn’t have. I was very keen but very raw in those days (although I did use elements of it eventually; writers are forever cannibalizing themselves).

Fast forward a few years. Mike left DC to return to Chicago and eventually co-found First Comics with Rick Obadiah. The first comic that First Comics was going to print was an adaptation of the play Warp!, produced by the legendary Organic Theater of Chicago. The play trilogy described itself as “the world’s first science fiction epic-adventure play in serial form”. The director and co-writer, Stuart Gordon, freely acknowledged that he was very influenced by Marvel Comics. (We’re talking late 60s, early 70s Marvel. The primo stuff.)

I was – and am – a huge fan of Warp! Heck, I was a huge comic book geek at the time as well. Peter B. Gillis was hired to adapt the play but I got a call one day from Mike (who was now supreme editor and High Poohbah of First Comics) asking me if I would like to try my hand at writing an eight page back-up story.

Of course, I said yes.

And so began the process of picking one of the characters from Warp!, figuring out a story, working out the plot, breaking it down into page and panels, doing it and re-doing it, learning the tricks of the trade as I went. I had written plays which are similar to comic-book scripts but comic book writing has its own practices and demands. I’d write it up, Mike would give me notes, I’d re-write it, I’d get more notes and so on until one day Mike finally called me and congratulated me – they were going to use my story as the back-up feature in the first issue of Warp! which was going to be the first comic published by First Comics.

“Oh,” I replied, “great. Uh … do I get paid for this?”

“Of course, you sap,” Mike replied and gave me the page rate.

As a side note, I’ll mention that at that point I hadn’t written anything for a year or more. I felt I had a bad case of writer’s block. I discovered that there’s nothing like getting a paycheck to dissolve a writer’s block.

I went on from there to write more back-ups. Then I got Mike Grell’s Starslayer as a regular assignment and from there I originated GrimJack thus creating my career or sealing my fate, whichever you prefer.

The fact that I have a career is largely Mike Gold’s doing. As my first editor, he taught me not only the tricks of the trade but how to be a good writer. When Mike returned to DC, he brought me with him. Thanks to Mike, I got the job plotting Legends which was the first big DC crossover following Crisis On Infinite Earths. It may not sound like so much in these days of constant company wide crossover events but it was big back then. (Len Wein did the dialoguing and John Byrne did the pencils.) At Mike’s suggestion, we debuted Suicide Squad in the pages of Legends.

Mike also famously drafted me into doing Wasteland (we brought Del Close along). It was Mike’s idea and I wasn’t sure about it or at least my doing it at first. However, Mike is persuasive and I’ve learned when Mike has an idea to just say yes; at the very least, it will be interesting and potentially it will be some of my best work (as with Wasteland).

Mike has also been a very old, very loyal, and very good friend.

It boils down to this – if you like what I’ve done with my career, hey it’s all due to me.

If you don’t like what I’ve done, blame Mike.

John Ostrander: Origins

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As I mentioned in a previous column, I’ve been on a Rex Stout/Nero Wolfe reading/re-reading jag as of late and have been enjoying it greatly. As other commentators have noted, the pleasure in the Nero Wolfe novels is not so much the plots, which have been noted as serviceable, but in the characters, especially the rotund and eccentric genius, Nero Wolfe, and his wise cracking legman and assistant, Archie Goodwin.

(Sidenote: when I first met the late and great comic book writer/editor, Also Archie Goodwin, I meant to ask him about Wolfe but decidedly, I think prudently, that he had probably gotten enough of that in his life. End digression.)

Stout had written 33 novels and 39 short stories on the pair between 1934 and his death in 1975. After his death, his estate authorized further Wolfe and Goodwin adventures by Robert Goldsborough who has written ten books, one of which was Archie Meets Nero Wolfe, a prequel to the Nero Wolfe stories telling the tale of how the two first met.

That’s a story Rex Stout had never told and I’m enough of a fan to have wondered in the past about it so, of course, I ordered the book.

Pastiches can be hit and miss; the author is trying not only for the style of the original author but for the voice of the characters. There’s been a lot of different pastiches over the years for different literary creations; Sherlock Holmes has them, there are Conan the Barbarian pastiches, and more recently Robert B. Parker’s characters have come back to life with various writers of different abilities.

I read Archie Meets Nero Wolfe and it wasn’t bad. It wasn’t Stout but it wasn’t bad. It hit all the clues about the characters’ backgrounds that Stout had sprinkled through the Wolfe canon. Goldsborough has caught Wolfe’s “voice” pretty well although I felt his Archie was a bit spotty. However, my biggest reaction after reading the book was “Why?”

Rex Stout never gave a full “origin” of the Wolfe/Goodwin partnership. Do we really need one? Yes, I bought the book because I was curious but I didn’t learn anything new about the characters. It got me to thinking: do we always need an origin?

When I started writing my GrimJack series, we joined John (GrimJack) Gaunt in the middle of his doing something. Sometime later, we did an “origin” which the late columnist and critic Don Thompson said was his second favorite origin story of all time, next to Superman’s. In it, Gordon, the bartender of Munden’s Bar which Gaunt owns and is his hang-out, offers to share Gaunt’s “secret origin” with a patron. It goes like this: Papa Gaunt. Mama Gaunt. A bottle of hootch. Wucka wucka wucka. Nine months later – Baby Gaunt.

The point of it was that Gaunt was born and everything that had happened to him since then is what makes him into GrimJack. I differentiate between “origins” and “backstory”.

An origin is the starting point from which everything else flows. Backstory fills in and explains different aspects of a given character. Sometimes there may not be any single starting point.

I wrote some stories with Del Close, the legend who directed and taught at Chicago’s Second City for many many years and then went to form the ImprovOlympics (now simply called “I/O”). I took some of his improv classes at Second City myself; they were extremely valuable to me as a writer and very liberating. One of Del’s rule was to start in the middle of the story and go on past the end. He used to say, “I get bored with all that exposition shit. Get on with it.” If it was a fairy tale, he wanted to know what happened beyond the “happily ever after”. For him, that was what was really interesting in the story.

One of the big questions Del made me ask myself was “Just how necessary – really necessary – was all that exposition?” What was the minimum that reader had to know in order to follow the story? The answer usually is: a lot less than you think. A writer may want to be clear about everything so s/he may overexplain.

I remember one of the first Spider-Man stories I ever read began with Spidey in the middle of a pitched battle on a New York street with the Rhino. I didn’t know anything about either character but the writer, Stan Lee, assured us in a narrative caption: “Don’t worry, effendi. We’ll catch you up as we go.” And damned if he didn’t. That also taught me a lot.

One of the rules that has been devised for comics is that Every Comic Is Someone’s First Issue. Therefore, it was obligatory to be absolutely clear about it all. Someone’s rule was that within the first five pages, the main character’s name had to be said, the powers demonstrated, and what’s at stake made clear. That’s important for the writer to know, certainly, but how much does the reader need to know? Usually, less than you think.

With GrimJack, Timothy Truman (the book’s first artist and designated co-creator) and I knew a lot about John Gaunt’s backstory but we decided to only tell it when it was pertinent to a given story. The reader sensed that there was more story than we were telling and that created some mystery about him but, at the same time, there was trust that we knew what we were doing.

The writer also has to trust the reader and to assume they are intelligent enough to fill in some blanks. It doesn’t all need to be spelled out. You can imply a lot and trust the reader to get it. That trust creates a bond between creator and reader and that’s when magic happens.

For me, that was the main problem with Archie Meets Nero Wolfe. It gave me the incidents of how the two met, the what, but not the why. How did that relationship start? Was there a chemistry from the start? The book was very prosaic but it needed a touch of poetry; there needed to be something between the lines. There needed to be a touch of mystery because in all the Rex Stout stories about the pair, that was there. The biggest mystery in every Nero Wolfe story, the one that is never solved but always there, is the relationship between Wolfe and Archie. That’s what keeps me coming back. Over and over.

John Ostrander: Five Things You Need To Get Your Reader’s Attention

flash-163-1623119The toughest part of the story, inevitably, is the beginning. How do you get the narrative ball rolling? How do you get somebody’s attention so that they want, maybe need, to hear what happens next?

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Review: ‘Monty Python’s Tunisian Holiday’

51hrrisu-nl-sl500-aa2401-3018019Well as careers go, here’s a good one. Start off writing a fanzine and wind up working with and for Del Close and Monty Python and, specifically, John Cleese. Then you get to write all kinds of books about your labors.

Long-time comics journalist and frequent ComicMix commenter Kim Howard Johnson has a new book out called Monty Python’s Tunisian Holiday. It’s a misnomer; Monty Python was in Tunisia to work. They were making a movie. Monty [[[Python’s Life of Brian]]], to be exact. But few would buy a book called [[[Kim Howard Johnson’s Tunisian Holiday]]] unless it had a lot of sex in it, so the title choice is obvious. So are the contents: it’s Howard’s account of his time with the Pythons in Tunisia filming [[[The Life of Brian]]] and touches on his time on-stage with the group at the famed Hollywood Bowl concerts (Howard’s a professional, trained by no less than Del Close).

This is less of a companion volume to his [[[The First 200 Years of Monty Python]]],[[[ And Now For Something Completely Trivial]]],[[[ Life Before (and After) Monty Python]]], and [[[The First 280 Years of Monty Python]]] than it is Howard’s story chronicling his experiences as both a performer in the movie and a journalist covering the shoot. As such, it’s more of a companion volume to Michael Palin’s recently released autobiography Diaries 1969-1979: The Python Years (I highly recommend the audiobook version, read by Palin). It’s witty, it’s thorough, and if you’re a Python fan or a movie nut, it’s completely vital. 

By the way, Howard’s got prefaces from Michael Palin, Terry Jones, Eric Idle, and his former boss and collaborator ([[[Superman: True Brit]]]), John Cleese. It’s nice to know people.

O.K. Cool, Howard. Great job. Now go do that biography of the Bonzo Dog Band I’ve been wanting so desperately.  Ummm… after you finish that [[[Munden’s Bar]]] story you’re doing with…

John Ostrander’s ‘Bloody Bess’ Retakes The Stage

bloody20bess20website20art-2634988Way back in the dark ages, Stuart Gordon directed a play for his Organic Theater written by ComicMix’s own John Ostrander and our pal William J. Norris called Bloody Bess. It starred Dennis Franz, Joe Mantegna and Meshach Taylor along with writer Norris – writer Ostrander was pressed into service once when he wasn’t performing at the Goodman Theater with Del Close. The play was about this lady pirate’s revenge on her kidnappers and had lots of swashbuckling and mystery and terror. I saw it only about nine times.

It toured all over the world, but eventually, like all stage plays, it faded. And like all good stage plays, Bloody Bess is making its triumphant return.

Between June 13 and July 20, Chicago’s BackStage Theater Company will be presenting Bloody Bess at The Storefront Theatre Gallery 37, 66 East Randolph Street, downtown near Lake Mighigan. It stars Eva Swan, Ron Kuzava and Scott Graham. They work on Thursdays, Fridays and Saturdays at 7:30 pm and on Sundays at 3 pm.

Hmmm… This will be going on during Wizard World Chicago. If you’re around, check it out. 

I’m Dreaming of a Celluloid Christmas, Part 1, by John Ostrander

  • News
  • December 6, 2007

carolcollage-4099928Having learned nothing from my last list of favorite films other than how to start a few fights, I’ve decided to go at it again, this time with a list of my favorite Christmas films. T’is the season to really annoy people, after all.

A few words as I begin. This is my list of favorite films. I’m not saying they are the best. Well, some of them are. They just may not be your favorites. Omission of a certain film doesn’t mean I don’t know it or don’t like it. It’s just not on my list. Anyone attempting to see more into the list will be drowned in eggnog and buried with a stake of mistletoe through the heart. Hostile? Sure. T’is the season.

Here we go.

A Christmas Carol – I’m something of A Christmas Carol-aholic. It’s an inspired combination – Dickens creates a ghost story not for Halloween but for Christmas. Brilliant!

I read the story as a boy, the scene around the Cratchit family table was read at my house every Christmas Eve when I was growing up, and it was the last play I performed (where I played such vital roles as Mr. Round, Fred’s friend #3, Dancing Man, and Ensemble) before giving up my sputtering acting career. So I have very definite ideas of what the movie version should be. I own three different versions on DVD – all of which I will have seen before Christmas Day this year.

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Happy 32nd birthday, Saturday Night Live!

  • News
  • October 11, 2007

Thirty-two years ago, at 11:30 PM Eastern Time, the National Broadcasting Company aired this live:

…and with that, a revolution was born. NBC’s Saturday Night premiered with George Carlin as the host, Janis Ian and Billy Preston as musical guests, Jim Henson’s Muppets, and Not Ready For Prime Time Players Dan Aykroyd, John Belushi, Chevy Chase, George Coe (remember him?), Jane Curtin, Garrett Morris, Laraine Newman, Michael O’Donoghue, and Gilda Radner. A few years later, it would be renamed to what we know it as today, Saturday Night Live.

Del Close, subject of last Friday’s Munden’s Bar story, was acting coach and rehearsal director of SNL in 1981 and 1982.

Thank God It’s Munden’s

  • News
  • September 24, 2007

munders-small-pg-8-5109731Lots of people think their neighborhood bar is a place where anything can happen. Well, at Munden’s Bar, anything can happen – and does, frequently. It’s located in Cynosure, the city that serves as the intersection for every dimension, real or unreal, magical, demonic, scientific, holy or a mixture of all. Munden’s is the kind of place where the regulars can include gladiators, gunslingers, wizards, aliens, dancing girls, and a watchlizard named Bob.

Munden’s was created as part of the award-winning GrimJack series by John Ostrander and developed in tandem with legendary director Del Close. Nearly every story was self contained. The main writers, early on, were Ostrander and the legendary Close who had been director and teacher at Chicago’s Second City Improv group for twenty years and worked with his students who graduated to Saturday Night Live and The Daily Show. Del was fascinated by the potential of comics and, together with Ostrander, devised some strange and wonderful stories.

Each weekly story (starting Fridays on ComicMix.com) will be drawn by a different artist, and will run the gauntlet from unsettling drama to broad satire to hilarious slapstick.

Now we’re bringing it back. Del is no longer available, having died a few years back (he willed his skull to the Goodman Theater and, supposedly, there it rests although there has been some questioning of late as to whether or not it is actually Del’s skull). Our first story, however, is a tribute to Del and will be drawn by legendary Chicago underground artist, Skip Williamson. It involves the skull of the great sorcerer, the Amazing Del, that is sitting on the Bar as part of its latest farewell tour. The visit, however, is interrupted by the Reality Police who find the Bar in violation of several laws of reality (as defined by the Reality Police) and try to arrest the skull as well for not actually being the skull of the Amazing Del. Mayhem. . . and comedy. . .ensues.

So pull up a stool while we ask John Ostrander about what’s going on at Munden’s.

JO: We’re doing new Munden’s Bar stories – eight page short stories set in the bar that GrimJack calls home. Stories originally showed up in the back of the book and we had a great compilation of guest writers and artists, including the immortal Del Close who, at the time, was the director and teacher at Chicago’s famed Second City and had been guru to a great many comic minds in the latter part of the last century. The new set of stories will be just as wild, strange, and funny. I seem to recall that a newbie named Martha Thomases is doing one. I’m really looking forward to hers.

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