Happy Holidays everyone!
Now, I'm introducing a new running feature on this blog: a monthly update on all my reviews, articles and other tidbits that aren't my creative projects. This will help ensure a regularity of content, as well as an easy list to access for finding certain works.
As always, you can also keep up with my Official Facebook, for even more news and updates as they happen relating to projects:
https://www.facebook.com/abeldiazwrites/
So,
onto my newest pieces and reviews. First off, I've started reviewing
novels on Blasting News UK. Specifically, Sherlock Holmes books. First,
the South African tale of diamonds and murder, 'Murder at Sorrow's
Crown':
http://uk.blastingnews.com/opinion/2016/11/murder-at-sorrow-s-crown-review-a-superb-sherlock-debut-00126846http://savagescribe.deviantart.com/journal/?edit5.html
Next, an American tale involving a Holmes imposter in 'The Counterfeit Detective':
http://uk.blastingnews.com/opinion/2016/11/the-counterfeit-detective-review-an-american-sherlock-adventure-001285835.html
And finally, Sherlock and Tarzan meet in the very jokey 'The Peerless Peer' from sci-fi legend Philip Jose Farmer:
http://uk.blastingnews.com/opinion/2016/12/the-peerless-peer-review-a-sherlock-and-tarzan-team-up-001301955.html
Now, for a new first, I do a trailer reaction and review for 'Spider-Man Homecoming':
http://uk.blastingnews.com/opinion/2016/12/spider-man-homecoming-trailer-reaction-and-review-001319191.html
Over on ThirdActFilm, I review the 2001 thriller 'The Pledge', starring Jack Nicholson:
http://thirdactfilm.com/throwback-review-the-pledge-2001/
An article on The Sweatbox, a documentary about Sting and the troubled production of Disney's 'The Emperor's New Groove':
http://thirdactfilm.com/the-sweatbox-the-documentary-disney-tried-bury/
An article on Doctor Who's future under Chris Chibnall, in light of recent news:
http://thirdactfilm.com/doctor-whos-future-under-chris-chibnall/
And lastly, I review the 1998 thriller spoof 'Wrongfully Accused', starring Leslie Nielsen:
http://thirdactfilm.com/throwback-review-wrongfully-accused-1998/
It's
been a long and trying year, but I'm always looking ahead and building
myself up. Enjoy and, once again, have a very, very Happy Christmas.
Sunday, 11 December 2016
Saturday, 19 November 2016
Murder at Sorrow´s Crown - My first Novel Review published by a News Outlet (19/11/16)
Another first for me: a book review on a news outlet. I review one of
the newer Sherlock Holmes novels for Blasting News UK. Plus, it's from a Torchwood and Primeval writer,
no less.
http://uk.blastingnews.com/opinion/2016/11/murder-at-sorrow-s-crown-review-a-superb-sherlock-debut-001268465.html
http://uk.blastingnews.com/opinion/2016/11/murder-at-sorrow-s-crown-review-a-superb-sherlock-debut-001268465.html
Sunday, 13 November 2016
Doctor Strange - My first Film Review published by a News Outlet (13/11/16)
So recently, I joined up with international news website Blasting News as an article/content writer. While I am not their official film critic, they do allow for reviews to be published. Taking the initiative, I decided to review Marvel's latest effort, the mind bending fantasy Doctor Strange (co-written, ironically, by one of my influences, C. Robert Cargill of Spill.com fame).
It tighter and leaner than what many will be used, in contrast to my Youtube and ThirdAct material, but I feel confident in what I produced:
http://uk.blastingnews.com/opinion/2016/11/doctor-strange-review-triptastic-fun-001254073.html
It tighter and leaner than what many will be used, in contrast to my Youtube and ThirdAct material, but I feel confident in what I produced:
http://uk.blastingnews.com/opinion/2016/11/doctor-strange-review-triptastic-fun-001254073.html
Sunday, 17 July 2016
Doctor Who: Time Shadows - An interview with me (17/7/16)
Thanks to all those who have bought a copy of Time Shadows. I'm very proud of the hard work put into it and hope you are enjoying reading it as much as I and the everyone else enjoyed writing it.
Recently, the guys at Pseudoscopic did interviews with their writers. Here's mine:
http://pseudoscopepublishing.com/timeshadows/2016/06/28/writer-interviews-part-2/
Recently, the guys at Pseudoscopic did interviews with their writers. Here's mine:
http://pseudoscopepublishing.com/timeshadows/2016/06/28/writer-interviews-part-2/
Tuesday, 14 June 2016
Doctor Who: Time Shadows - Charity Anthology On Sale Now! (14/6/16)
After several months of hard work, delays and personal to-dos, Time Shadows, the unofficial, unauthorized Doctor Who short-story anthology for the benefit of the Enable Community Foundation,
is now available for order! Enjoy a collection of 25 fun, dark or wild
tales with all twelve Doctors, from a variety of veteran and new authors
to the franchise (including Daleks' mainstay John Peel and myself, Abel
Diaz), all connected by an over arcing story giving the anthology its
name, starring Twelve and Clara. It also comes with a foreword from Gary
Russell, an accomplished Who author (Scales of Injustice, Divided Loyalties)and script editor during the Davies era.
My own story is a fun little sci-fi western called Iron Joe, starring temperamental old Six and his steadfast American companion, Peri. Naturally I won't spoil much, just give you the little blurb:
The Sixth Doctor and Peri are aboard the recently inaugurated Transcontinental Railroad in 1869. However, the train is soon assailed by bandits, including one whose legend has spread all over the west. An unstoppable man of metal known only as “Iron Joe”.
Get your copy here and support a really good cause for the physically impaired and disabled. Every penny counts and we are beyond grateful for it and the lives you help make a difference to:
http://www.lulu.com/shop/matt-grady-and-samuel-gibb/time-shadows/paperback/product-22750801.html
Thanks again and hope you enjoy our collective labour's fruits,
Sincerely,
Abel.
My own story is a fun little sci-fi western called Iron Joe, starring temperamental old Six and his steadfast American companion, Peri. Naturally I won't spoil much, just give you the little blurb:
The Sixth Doctor and Peri are aboard the recently inaugurated Transcontinental Railroad in 1869. However, the train is soon assailed by bandits, including one whose legend has spread all over the west. An unstoppable man of metal known only as “Iron Joe”.
Get your copy here and support a really good cause for the physically impaired and disabled. Every penny counts and we are beyond grateful for it and the lives you help make a difference to:
http://www.lulu.com/shop/matt-grady-and-samuel-gibb/time-shadows/paperback/product-22750801.html
Thanks again and hope you enjoy our collective labour's fruits,
Sincerely,
Abel.
Friday, 22 April 2016
Writing For Musicals - A Workshop By A.C. Smith (17/4/16)
So on Sunday, finding not much of anything to occupy myself with, decided to attend a workshop dedicated to the craft of book and lyric writing at the Theatre Delicatessen in Farringdon. The session was taught by theatre veteran A.C. (Ali) Smith, who has worked on a number of shows with hr biggest credit being a co-book writer on the West End production of the hit comedy musical Dirty Rotten Scoundrels, based on the much loved Frank Oz film.
The workshop was broken in two halves: first half was on the book/libretto, which is the backbone of the show that ties the songs together in a narrative. A book writer differs from a playwright, despite both working on the stage, in that musicals are a collaborative effort over the singular vision of a normal play, and thus a writer has to be conscious of far more elements and people than they would if they were writing a regular piece. It can also be a thankless job, as most praise for musicals tend to go on the songs and performances moreso than the libretto (shows like CATS and We Will Rock You have often had their narratives questioned, yet are still very popular because of the music.). The upside is that it encourages a writer to be much tighter in their plotting and pacing, getting from song to song while creating stakes and a journey worth going on with our characters (usually one or two, as multiple characters tend to lean towards revues).
An effective book, Smith explained, was divided into two main lists: the 'keys' and the 'stages', both self explanatory. Five keys in fact:
Structures can vary, though the standard (from a writer's perspective), are a three (covered this one many times before in the blog, so I won't reiterate) and a five act (i.e., something like tragedy, where the first two setup our lead, his/her wants and how he 'gets' what he/she wants, while the last three show his fall). But wait, you say, most musicals are played in two! That's more for commercial reasons instead of narrative ones, and just means you may get a break at the end of 'Act One' i.e. act two in a three, or act two/three in a five, depending on your story.
The second half was devoted to lyrics which, believe it or not, don't necessarily require you to be a musician nor are they poetry with music. Lyrics are something that can be very infuriating at first, but as you get used to them and find your voice and style, they can become a second nature, and coupled with the many different types of 'texture' and 'flavours' words can have, there really is no wrong answer other than keeping it true to the character who is singing it (you wouldn't have a comedy relief singing something really profound and complicated) and not to cheat/go overboard with rhyming. It is important not to confuse rhyming with what is called 'Identity' i.e. Shaped/Shape, Fuse/Confused, where the words almost but do not sound similar. You can also create connections with vowels and even just the melodies of a song.
As with books, Smith outlined six rules of lyrics:
And with that, our time sadly drew to a close. I must say, this was rather fun and a most welcome change of pace! Great atmosphere, friendly people and plenty of helpful tips. The fact is, I have loved musicals all of my life, from the Disney Renaissance gems like Aladdin and Lion King, to many beloved screen and stage classics like Singin' In The Rain and Victor Victoria. I just love the ability of music, especially musical theatre, to inform, inspire and of course, create laughter. I enjoy the sight of a smiling audience, engrossed in whatever my work happens to be, and I had long been interested into expanding int musicals. I even tried to make my last University short film a musical! I felt the workshop was thorough and most helpful, though I lament we didn't get to do exercises in lyric writing as I would've liked to try and out what we had learnt to use. Oh well.
The workshop was broken in two halves: first half was on the book/libretto, which is the backbone of the show that ties the songs together in a narrative. A book writer differs from a playwright, despite both working on the stage, in that musicals are a collaborative effort over the singular vision of a normal play, and thus a writer has to be conscious of far more elements and people than they would if they were writing a regular piece. It can also be a thankless job, as most praise for musicals tend to go on the songs and performances moreso than the libretto (shows like CATS and We Will Rock You have often had their narratives questioned, yet are still very popular because of the music.). The upside is that it encourages a writer to be much tighter in their plotting and pacing, getting from song to song while creating stakes and a journey worth going on with our characters (usually one or two, as multiple characters tend to lean towards revues).
An effective book, Smith explained, was divided into two main lists: the 'keys' and the 'stages', both self explanatory. Five keys in fact:
- Vivid, charismatic characters worth following. Who are they and what do they want?
- Tighter plotting.
- Dramatic action with weight and purpose. Songs play an important role here, propelling narrative and characters forward.
- Imaginative world building, transporting an audience.
- Elements of comedy and drama/light and shadow to create balance.
- Outline
- Expand
- Condense
Structures can vary, though the standard (from a writer's perspective), are a three (covered this one many times before in the blog, so I won't reiterate) and a five act (i.e., something like tragedy, where the first two setup our lead, his/her wants and how he 'gets' what he/she wants, while the last three show his fall). But wait, you say, most musicals are played in two! That's more for commercial reasons instead of narrative ones, and just means you may get a break at the end of 'Act One' i.e. act two in a three, or act two/three in a five, depending on your story.
The second half was devoted to lyrics which, believe it or not, don't necessarily require you to be a musician nor are they poetry with music. Lyrics are something that can be very infuriating at first, but as you get used to them and find your voice and style, they can become a second nature, and coupled with the many different types of 'texture' and 'flavours' words can have, there really is no wrong answer other than keeping it true to the character who is singing it (you wouldn't have a comedy relief singing something really profound and complicated) and not to cheat/go overboard with rhyming. It is important not to confuse rhyming with what is called 'Identity' i.e. Shaped/Shape, Fuse/Confused, where the words almost but do not sound similar. You can also create connections with vowels and even just the melodies of a song.
As with books, Smith outlined six rules of lyrics:
- Character first: it has to fit them, as stated above.
- Hook/motif: What is the heart of the song/unites it, and what makes it catchy?
- Structure: How does its shape affect its meaning? A standard formula goes A, A, B, A, which translates to Introduction, Expansion, Contrast and Return.
- Rhyme: Usually, second and fourth line. Good to consult rhyming dictionaries and thesauruses if ever in trouble.
- Scansion: words set the way one would speak them so as to flow better in song.
- Singability: don't give a singer an impossible chore to sing. Simplicity is key, and complexity must be used sparingly and for a purpose.
And with that, our time sadly drew to a close. I must say, this was rather fun and a most welcome change of pace! Great atmosphere, friendly people and plenty of helpful tips. The fact is, I have loved musicals all of my life, from the Disney Renaissance gems like Aladdin and Lion King, to many beloved screen and stage classics like Singin' In The Rain and Victor Victoria. I just love the ability of music, especially musical theatre, to inform, inspire and of course, create laughter. I enjoy the sight of a smiling audience, engrossed in whatever my work happens to be, and I had long been interested into expanding int musicals. I even tried to make my last University short film a musical! I felt the workshop was thorough and most helpful, though I lament we didn't get to do exercises in lyric writing as I would've liked to try and out what we had learnt to use. Oh well.
Saturday, 27 February 2016
Remembering Keith Matthews - Support His Works (27/2/16)
Now normally I don't do plugs or tell my followers or the average punter
online to do this or buy that, but this is something very special and
something very close to me that I feel the need to share it with anyone
who will listen, and who wants to laugh.
Keith Matthews was the manager of the Oxfam charity bookstore I work at, and was a vastly talented actor, musician, theatre director, and writer in various mediums. He performed in many shows over 45 years, as well as being an expert on the UK radio game show Just a Minute (on which he contributed to two published books as a consultant with his almost encyclopedic knowledge). In the midst of all this and acting as a carer for his frail mother, he found the time to write a ridiculously large number of plays, poems, short stories and novel length works. He was a friendly, welcoming and trusting man who always had your back and would help you anyway he can. Be it practical advice or even cracking a joke, Keith could work wonders and even meeting the likes of Peter O'Toole, Kenneth Williams and Paul Merton didn't go to his head.
Sadly, Keith passed away at the still youthful and lively age of 55 in June of last year. He had just finished helping out on the most recent Just A Minute book, and his spirits were never higher. As his coffin passed into the incinerator, accompanied to the tune of Somewhere Over The Rainbow from his favourite film, I thought that was the end of it. Keith's amazing talents and gifts would be remembered by a select few, but ultimately be forgotten to history.
But then, life had other plans: during the twilight of last year, his close friend and fellow thespian Richard Taylor managed to compile Keith's various manuscripts and through Amazon's CreateSpace, finally got Keith's life works published in a series of volumes. Click on the link to go to the special Amazon UK page which lists the following:
- Abel Diaz,
writer and friend.
Keith Matthews was the manager of the Oxfam charity bookstore I work at, and was a vastly talented actor, musician, theatre director, and writer in various mediums. He performed in many shows over 45 years, as well as being an expert on the UK radio game show Just a Minute (on which he contributed to two published books as a consultant with his almost encyclopedic knowledge). In the midst of all this and acting as a carer for his frail mother, he found the time to write a ridiculously large number of plays, poems, short stories and novel length works. He was a friendly, welcoming and trusting man who always had your back and would help you anyway he can. Be it practical advice or even cracking a joke, Keith could work wonders and even meeting the likes of Peter O'Toole, Kenneth Williams and Paul Merton didn't go to his head.
Sadly, Keith passed away at the still youthful and lively age of 55 in June of last year. He had just finished helping out on the most recent Just A Minute book, and his spirits were never higher. As his coffin passed into the incinerator, accompanied to the tune of Somewhere Over The Rainbow from his favourite film, I thought that was the end of it. Keith's amazing talents and gifts would be remembered by a select few, but ultimately be forgotten to history.
But then, life had other plans: during the twilight of last year, his close friend and fellow thespian Richard Taylor managed to compile Keith's various manuscripts and through Amazon's CreateSpace, finally got Keith's life works published in a series of volumes. Click on the link to go to the special Amazon UK page which lists the following:
- Poems, Stories and Song Lyrics: A collection of just that, including the very touching Real Life Dreams, which was read at his funeral.
- Fiction and Fact: 11 Short Stories and Novelettes: another self-explanatory collection, offering a mixtures of thinkers, shockers and knee slappers.
- All Three Volumes of S.O.S (Save Our Souls): Probably Keith's pride and joy, S.O.S is a semi-autobiographical sitcom series of plays that tells of the hijinks at a charity store. He had performed it before, many years back with a full cast at the Oxfam, and had even gotten talking to a producer at BBC Radio (3, if memory serves) about going one step further. Needlessly to say, the audience lapped it up and Keith took great pleasure in the series' power to make them laugh.
- Abel Diaz,
writer and friend.
Labels:
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