In December, I posted here that I was going to begin working on a My Soul to Keep screenplay (with husband and collaborator Steven Barnes). Today, we’re on page 73.
Progress hasn’t been easy. But as Cosby Chair in the Humanities at Spelman College, I’ve been inspired by teaching talented students, guest speakers like director Ava DuVernay, and an Octavia E. Butler Celebration in March that featured a Black Science Fiction Short Film Festival and shorts like Pumzi, Wake, and The Abandon. I’ve also had interest and input from directors and producers.
But since My Soul to Keep was in development at Samuel Goldwyn Productions and Fox Searchlight in past years, I understand that there is a long road between a producer’s query and a movie. I have lost author friends who never lived to see it: Octavia, L.A. (Leslie) Banks, E. Lynn Harris.
Several other screenwriters have written drafts of My Soul to Keep in development, but Steve and I had never written our take. I realized that emotional factors were blocking my writing progress. It was so difficult to coax my Muse out to play when I couldn’t promise that the writing would be anything except a long exercise toward disappointment. As a screenwriter on other projects, I’d been down that road before.
Then Steve and I decided to co-produce our first short film, Danger Word: 15 minutes on a shoestring budget. We’re flying to the rural New York location to begin the shoot in two days–and it has already changed everything. Taking control of my creative process in the film world has coaxed my Muse out again. (To learn more about Danger Word and how you can support this film, CLICK HERE. Fundraising is underway.)
The idea to do a short film came out of the blue. In the wake of the Octavia E. Butler Celebration, other filmmakers were also inspired to pursue funding for their projects: M. Asli Dukan, who is in post-production for her groundbreaking black science fiction documentary Invisible Universe; and Atlanta writers/filmmakers Milton Davis and Balogun Ojetade, who recently launched an Indiegogo campaign for their steamfunk short film Rite of Passage: Initiation. (Trailers for both were screened at the Celebration.)
Suddenly, we believed. We had an audience. We could do it.
You can do it. Sometimes artists forget those four simple words; the very words that propel our art. But between HD video and crowd funding, the film landscape has become more accessible. It isn’t easy by any means, but it is easier. (Our preproduction campaign in progress, for example, has been powered by social media, primarily Facebook.)
Enter Danger Word. That was the first piece of prose I ever wrote in collaboration with Steve, so it’s only fitting that it will be our first film together. Originally published in the Brandon Massey’s 2004 Dark Dreams anthology and re-imagined as an episode in our 2012 YA horror novel Devil’s Wake, it’s the story of a young girl and her grandfather who have survived the zombie plague in his wooded cabin–and how an outing goes terribly wrong. Rural location. Two main characters. My friend Luchina Fisher had just directed a short film in 2011, Death in the Family, and she was excited about directing Danger Word. The first day I floated the idea on Facebook, a prospective cast member wanted to see a script.
And in the midst of the duties of a producer–everything from fundraising to helping with decisions about casting to the makeup/FX artist–Steve and I have steadily been working on My Soul to Keep. We will finish our first full draft soon.
If you haven’t read it, My Soul to Keep is the 1997 supernatural thriller that launched my African Immortals series: it’s about a 500-year-old immortal, Dawit, who breaks away from his secret brotherhood to find love with his daughter and wife, Jessica. It’s a thriller with a love story at its core.
Why has Danger Word helped so much in the creation process for My Soul to Keep?
Because as a novelist who took up screenwriting later in my career, I struggled with the notion of spending weeks or months on a project that might never see the light of day. Sure, I wrote drawers of unpublished fiction when I was learning my craft, but I’d been spoiled by book contracts and the certainty that someone would read my work. Since most screenplays are never produced, period, screenwriters don’t have the luxury of that certainty–or even that likelihood. Twelve drafts later, a project might die in film development–and that’s if you’re lucky enough to get twelve drafts.
And screenwriters of color face obstacles that make a tough industry even tougher.
But watching Danger Word come to life–hiring a veteran actor like Frankie Faison to star in it, watching an excellent team assemble around a story about a girl and her grandfather–has convinced me that I can make a film.
And if I can make a short film, I can make a longer film. If I can make a longer film, I can make My Soul to Keep one day.
My Muse likes that idea just fine.
Learn more about Tananarive Due at www.tananarivedue.com
To see the panel of authors at Spelman College’s Octavia E. Butler Celebration of the Fantastic Arts on March 21, 2013, CLICK HERE for the YouTube video. (Panelists included Tananarive Due, Steven Barnes, Samuel R. Delany, Nalo Hopkinson, Nisi Shawl, Sheree R. Thomas, Brandon Massey and Jewelle Gomez.)