P.37: My Submissions, a Year in Review

Time for my yearly retrospective.

This past year, I sent out 33 submissions, 7 of which were new stories, with another extensive rewrite. I have another 3 finished drafts that aren’t quite ready, and about 3-4 stories at various different stages of I’m Working On That.

And that’s in addition to the 50,000+ words I wrote for my NaNo space opera mosaic novel, and some work on my first novel.

Assuming all my current submissions from 2016 are declined, I made it 33% of the way toward some of the best writing advice I’ve read during the whole year: aiming for 100 rejections. Honestly, I’ll take that.

I didn’t sell any stories, but I got 2 rewrite offers,  2 honorable mentions for Writers of the Future, 7 personal rejections and published one of my shorts (which I think came out fantastic) with my writer’s group. I’m getting close to that first elusive story winning the Submission Hunger Games.

All that said, I’ve been feeling like this was a bit of a step back from last year — and in many ways, the numbers bear that out. I wrote 12 more stories last year, and sent out 17 more submissions. That was a very productive year. Even more disappointing to me, personally, is the fact that I almost never missed deadlines on submissions I targeted last year, and this year I missed 3…. in December alone.

That said, the quality of my stories have definitely improved: both in my new stories and in improving some of my stories from last year.

In 2015, I had 3 personal rejections in 50 submissions and no honorable mentions at Writers of the Future. In 2016, I more than doubled my personal rejections and have two HMs in my past 3 tries at WotF (and feel really good about my current submission).

I’m big on the school of glass half full. I didn’t write (or edit) as much as I’d have liked in 2016, but I still wrote quite a bit. Writing is tough and life gets in the way, but I’m getting better — and, most importantly of all, not giving up.

P.35: Deathly Hallows Part 1, a Retrospective

Spoilers, of course.

It’s weird. Right from when I heard that Warner Bros. was rereleasing the Harry Potter movies — all on IMAX — the movie I was most excited about seeing again was Harry Potter and the Deathly Hallows: Part 1.  I may be in the minority, but it’s by far my favorite in the film series.

For starters, the movie is fantastic. The acting, the direction, the cinematography, the score — everything delivers.

A lot of people at the time scoffed at the idea of separating the last book of a popular franchise into two different movies (me included!) — and it certainly set a bad industry standard — but unlike so many of the others that have followed, the two Deathly Hallows films are really well thought out.

Each part is almost the diametric opposite of the other, and yet they fit together so well. It makes the two films resonant — if Part 2 has all the action, Part 1 has all the feeling. And feeling wins for me.

But, of course, Part 2 doesn’t really have all the action. Part 1 has action in spades, maybe even more action sequences than any other Harry Potter film other than the Deathly Hallows Part 2. We get everything from a broomstick getaway to a diner shootout. There are two major heists, a blown-up house, a wedding raid, a battle with a Big-Bad-Wolf-esque snake in human clothing. There’s a magic-dueling chase, a prison break and a homicidal necklace drowning scene.

And all of them effect our heroes, and often the world around them, in very personal ways — for good or bad. A character doesn’t just die, but is cried over and buried. A wand isn’t just broken, but is used as a symbol of the need to not dwell on the bad in times of crisis. Our heroes don’t just save random strangers, but get to know them just well enough to make viewers care that they were saved at all.

Almost nothing is glossed over — even outright victory has consequences, as when Hermione had to compromise her morals and erase the memories of Voldemort’s snatchers, to keep the trio safe. Winning the fight, for Hermione, was the easy part. The results aren’t always predictable, and the film usually takes the time to let the impacts sink in.

Further, this film oozes character and relationship growth, hitting so many different emotional notes. By taking viewers out of Hogwarts completely, it gives us the chance to see Hermione, Harry and Ron stand on their own — and Emma Watson, Daniel Radcliffe and Rupert Grint deliver.

Another point in its favor? This is a Big Blockbuster that’s not afraid of taking chances. For example, it has all these beautiful settings and lingers on them, chewing on the scenery and moment, not afraid to stop and breathe. It creates this beautiful message — that even in the worst of times, the world is a beautiful place and there can be moments of peace.

It also puts the geeky Wizarding World lore at the focus. To beat the bad guy, the characters have to — for the first time — understand the world. They need to know how wands really work, something even Voldemort didn’t quite get. And for a franchise that never really tried to establish a detailed or rigid magic system before, wand lore adds surprising depth — depth the film wasn’t afraid to dig into.

Further, while the Harry Potter movies have always given us a great world, the Deathly Hallows gives us great stories. And those stories are important to the film itself. The Tale of the Three Brothers hits so many notes for me, from the film’s ridiculously gorgeous animated sequence (which was a huge risk!) to the way the story itself serves as a perfect pastiche of all the old European folktales.

But the really important thing is what the Three Brothers represents. If the Harry Potter universe were a mystery cult, it’s basically the outer and inner mysteries of the entire Wizarding World. In Harry’s world, there’s those who (like him, in Philosopher’s Stone) know nothing and are completely new to or unaware of the Wizarding World. They’ve never even heard of the Three Brothers, much less read it. Then there are those initiated into the outer ring — those who are well versed in wizarding culture, who understands the world in the same way most anyone would understands the one we live in. These are the people who’ve read the Three Brothers, or at least know the story.

But then there’s the people fully initiated — who not only understand the world, but how it came to be. They know what’s really going on. For Harry, Ron and Hermione, they’re just entering the “real” Wizarding World here, as they’ve come to know about (and believe in) the Deathly Hallows. It brings a greater depth to the story, and sets our characters in an almost Arthurian quest narrative, where they (like many others before them) have quested to find the elusive Grail Elder Wand, and its Deathly Hallow companions.

Of course, the book did many of these things, too, and it did them all first. We shouldn’t forget that, or how much JK Rowling rocks. But think of how easy it would have been for these scenes to have been written out or truncated in the translation to film. Or how easily Warner Bros could have forced David Yates to manufacture a bunch of different, plot-centric scenes to dumb this thing down and strip away all the character beats.

Did anyone read the first half of Harry Potter and the Deathly Hallows and expect all those scenes of Hermione, Harry and Ron wandering the English countryside to somehow all make it in the final movies? I sure didn’t, and yet they all made this movie so good.

So, wow, was seeing this film again a real treat. It’s one of the rare times I’ve gone to see something on the big big screen and thought, “I wouldn’t want to see that any other way.” In fact, I often don’t like IMAX for the simple reason that it can be too much. But not this one. That’s for sure. It really made this great, unique and emotive movie a perfect movie-going experience — sort of the fine wine of the Harry Potter movie franchise — and I didn’t even have any popcorn.