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Arts & Entertainment
February 28, 2013 Page 11
Alumnus’ novel focuses on artists and alcohol Alumni Spotlight By Jennifer Pastore Contributor
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arcus Gorman (’05) proves success after graduation can be a possibility, as he holds the titles of playwright, screenwriter, freelance journalist and, most recently, novelist. Gorman graduated from LMU in 2005, where he majored in film and television production and minored in English. During his years at LMU, the writer worked tech for the Del Rey Players and had a one-act play produced. Gorman was even a Loyolan staffer, where he wrote and was the A&E editor from 2003-2005. Currently, Gorman is pursuing his career in writing, as he recently published his novel “Triceratops.” He also maintains his own blog, “10 Years Ago: Films in Retrospective,” and contributes to Los Angeles’ KCET TV station by writing episode recaps and interviews. The Loyolan sat down with Gorman to learn more about his book, how LMU helped shape his career and the advice he gives students who wish to write a book of their own. Jennifer Pastore (JP): Tell me a little about the premise of your novel. Marcus Gorman (MG): “Triceratops” is about musicians, writers, painters and alcoholics. It’s a darkly comic story about Henry and Charlotte, two Seattleites who, two years after undergoing a catastrophic night together, both happen to be in New York City. Charlotte has moved there, hoping to put her troubled past behind her, but when her lover does something drastic, she has to pick up the pieces and figure out how to survive in her newly ad-
opted city. Henry, meanwhile, is a struggling writer, hoping a three-week vacation experiencing New York’s literary and musical history will give him the inspiration he so desperately needs. By sheer coincidence, the two run into each other on the streets of Greenwich Village, the last thing either of them expected. Coming together once again, they venture forth and get caught up in the characters, cultures and chaos of NYC. JP: What inspired you to start writing this story? MG: I wanted to tell a relatable, readable narrative about the people who fascinate me – strange, verbose, bohemian types who are courageous enough to reject what we might call “normal society” in order to endlessly pursue their artistic endeavors, sometimes to a fault. … It’s a novel obsessed with sitcoms, underground art, Beat authors, classic Hollywood cinema and a damn good variety of music. … I wanted to write something that was intensely personal, therapeutic and something that I thought was generally missing from the literary world – a middle ground among the films I like. I also just really needed to tell a story about New York – the personalities, the culture, the hustle and bustle, its vital place in American history. It’s a remarkable town with 8 million stories to tell. JP: You’re a graduate of LMU. Did you know during your college years you’d be a novelist? MG: Never. While I always intended to use my interest in writing as an advantage, I came to LMU for the film production program, hoping to become a director. Through my studies, I quickly noticed that I was far more interested in
the storytelling aspects of art as opposed to the technical aspects. I added a minor in English, joined the Loyolan staff … and expanded my horizons. JP: How did LMU prepare you for your writing career? MG: By taking courses in dramatic literature, classic novels, television production and screenwriting, I was able to discover what I found powerful and advantageous about each genre of writing. ... Working at the Loyolan helped me focus my themes and my minimalist-leaning style, because in a newspaper you only have so much space. However, I still have a tendency to overwrite, but journalism taught
me that each and every one of those extra words has to count. JP: Did your writing style develop while you were studying English in college? MG: Absolutely, although not nearly as much as it did afterwards. No amount of coursework can prepare you for how others receive your writing. Writing doesn’t happen in a vacuum, so how you spend your post-college years – the evolution of your interests, the new people you meet, the crappy jobs you sometimes have to take – is just as vital as the time you spend sitting in a classroom learning the nuts and bolts of storytelling. After graduation, no matter what career obsta-
Los Angeles, giving focus to the racial prejudices and tensions that commonly plagued communities of its kind. The film showcased the struggles of a black family unit, desperate in its aim for creating stability and earning redemption amid the chaos of its environment, eventually leading to tragic consequences. Also highlighted in the film was the culture of rebellion of the time period, connecting various characters with the controversial, yet influential Black Panther movement. Footage reels of rallies and protests of the civil
rights movement and beyond integrated the movie, serving as a way to inject as much authenticity and backstory into the storyline as possible. Joining the audience was writer and director Tanya Hamilton, a distinguished Jamaican-born filmmaker who presented her film with the intention of challenging her audiences. It was during the Q & A session immediately following the screening in which Hamilton got the opportunity to bring to attention several key factors that helped shape the finished product. One particular factor
was her desire to project the utmost realism into her characters and storyline, something she believes is scarce among contemporary directors of color. “To try to find a way to draw the most complicated and messy character – I think it’s something we don’t allow ourselves to do,” Hamilton said. Several of the LMU students in attendance expressed words of praise for Hamilton’s work. “I was impressed by how realistic the characters were. … It’s so often we have onedimensional characters, and I felt she did a great job showing us as people,” said Ebony Gilbert, a freshman screenwriting major. Asha Flowers, a junior women’s studies major, also found herself affected by Hamilton’s work. “I didn’t know much about her before, but after seeing the Q & A, I would really like to see more of her work. The movie was visually captivating,” she said. Charles Swanson, professor of cinematography and chair of the production department, commended Hamilton, as well. “The acting ability for her to sustain the story was a great accomplishment,” he said. Swanson mentioned his own family’s history and affiliation with the civil rights movement, yet remained distant from the Black Panther movement. “To see them portrayed in such a realistic, objective way, I appreciated a great deal. I think it had a lot to
Marcus Gorman
LMU alum and former Loyolan A&E Editor Marcus Gorman (’05) recently released a new novel, “Triceratops,” that explores the worlds of musicians, writers and painters, as well as their relation to alcohol. cles you encounter, you need to write, write, write, even if it’s not very good. If that’s the case, keep at it until it becomes good. College provides the tools, and post-college is about figuring out what to do with those tools. JP: Do you have any advice for current LMU students who hope to one day write a book? MG: There’s no one way to write a book. Find what works for you, obsess over your own interests, start up a Word document, and see what happens. For an extended version of the interview, including where to find Marcus Gorman’s book, “Triceratops,” visit laloyolan.com.
Director discusses civil rights at screening Screening Recap By Pamela Rios Staff Writer
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ome may consider film to be the only way to understand certain controversial movements. Continuing their celebration of Black History Month, LMU students, faculty and guests arrived at the Mayer Theater Monday night for a screening of the 2010 independent feature film “Night Catches Us.” The film, starring Kerry Washington, takes its audience back to 1970s inner-city
Magnolia Pictures
“Night Catches Us” writer-director Tanya Hamilton attended a Q&A following the screening of her film. do with her being an immigrant, while she was able to see things that I think a lot of ways an AfricanAmerican person would want to protect too much.” According to Hamilton, the most important purpose for this project was to create a film in which her target audience could easily see itself. Unfortunately, this was something she said she believes was not fully accomplished, citing the relatively small number of African-Americans who managed to see the film.