Transcript: Imprint season 12 episode 5 | Oct 25, 2000

Tina Srebotnjak stands in a studio with pieces of art in red and orange hanging in the background.
She’s in her late thirties, with short chestnut hair and bangs. She’s wearing a gray blazer over a white cotton shirt.

She says HELLO THERE I'M TINA.
TONIGHT ON “IMPRINT” PRINT
THE LURE OF THE THRILLER.
WHY DO READERS LOVE TO GET
SCARED OUT OF THEIR WITS?

Piano music plays.
In animation, the title “Imprint” appears against a waving background in orange hues.
Then, a clip shows a woman reading “Wild Justice” by Phillip Margolin.

In a snippet from an interview, Phillip says
WHAT THE THE THRILLER
DOES, LIKE GOING TO THE ZOO.
YOU GO TO THE ZOO YOU CAN
STAND RIGHT NEXT TO A
PANTHER OR A LION, AND NOT
WORRY ABOUT BEING EATEN.

The book “Killing the shadows” appears briefly.

Tina says KILLING THE SHADOWS A
SERIAL KILLER TARGETS CRIME
WRITE ERS.
THE LATEST BOOK FROM VAL McDERMOTT.

In a clip from her interview, Val says YOU'VE CREATED THIS
HIDIOUS CRIME IN FICTIONAL
TERMS AND THEN SUDDENLY
YOU'RE CONFRONTED WITH THE
NOTION THAT THIS IS GOING TO
HAPPEN TO YOU.
AND THEN YOU KNOW EXACTLY
WHAT'S COMING UP NEXT AND I
CAN'T THINK OF ANYTHING THAT
WILL SCARE YOU THE MOST.

Now a clip shows a book signing.

Tina says AND SPEAKING OF SCARY
GUESS WHY AMERICAN WRITER
DAVID SEDARIS MOVED TO
PARIS.

Sedaris addresses an audience and says
I MOVED THERE, I JUST
MOVED THERE FOR THE SMOKING
AND YOU CAN SMOKE WHEREVER
YOU WANT.

The audience laughs.

Theme music plays as the opening sequence rolls.
Fast clips show books and maps in hues of orange and red.

Then Tina reappears and says
WE BEGIN WITH DAVID SEDARIS.
HE'S ONE OF AMERICA'S MOST
DELICIOUS YOUNG COMIC TALENT,
says THE “WASHINGTON POST.”
HIS WORK IS ORIGINAL, ACID
AND WILD GUSHES THE “LOS
ANGELES TIMES.”
ALL THIS PRAISE MAKES DAVID
SEDARIS JUST A LITTLE BIT
NERVOUS.
THE HUMILITY IS HALL ABLE IN
HIS LATEST COLLECTION OF ESSAYS.

A book appears briefly. The cover features a picture of a chalkboard with childish writing that reads “Me talk pretty one day. David Sedars.”

Tina continues ABOUT THE WRITER'S ATTEMPTS
TO LEARN FRENCH IN PARIS
AMONG OTHER THINGS.
DAVID SPOKE TO A TORONTO
CROWD AND TO IMPRINT'S
GERALD L'ECUYER.

Now a clip shows David addressing a few dozen people at a hotel. He stands behind a podium that reads “Le Royal Meridien.”
David is in his forties, clean-shaven, with short brown hair. He’s wearing rounded glasses, a pink shirt, and a gray tie.

He says IT'S A PLEASURE TO BE
HERE WITH REAL WRITERS WHO I
HAVE A LOT OF RESPECT FOR.
I'M JUST A HAPPEN WITH A
TYPEWRITER.
I WANTED TO BE A VISUAL
ARTIST AND I HAVE NO TALENT
WHATSOEVER AND THEN I TRIED
TO BE AN ACTOR AND I HAVE NO
TALENT, AND WRITING WAS NEXT
ON THE LIST.
BEFORE INTERPRETIVE DANCE,
AND I GIST STARTED DOING IT
ONE DAY.
AND I MOVED TO PARIS TWO
YEARS AGO.
AND I DON'T CARE ABOUT THAT
WHOLE ROMANTIC NOTION OF
PARIS, AND SITTING IN A
CAFE.
I DON'T CARE WHERE HEMINGWAY
DRANK OR ALICE HAD HER
MUSTACHE TRIMMED.
I DON'T CARE.
I JUST MOVED THERE BECAUSE
IN MY OPINION FRANCE IS JUST
ONE GIANT ASHTRAY AND I
MOVED THERE, I JUST MOVED
THERE FOR THE SMOKING AND
YOU CAN --.

[LAUGHTER]

David continues AND YOU CAN SMOKE
WHEREVER YOU WANT.
I'VE NEVER SET FOOT IN THE
LOUVRE OR NOTRE DAME, WHY GO
TO THE ONE PLACE WHERE YOU
CAN'T SMOKE.
IT DOESN'T MAKE ANY SENSE TO ME.

Now Gerald L’Ecuyer interviews David.
Gerald is in his thirties, clean-shaven, with short brown hair.

He says SO YOU LIVE IN FRANCE NOW.
LET'S TALK ABOUT THAT.
WHAT'S THAT LIKE?
I MEAN TWO YEARS INTO IT DO
YOU THINK YOU'LL EVER MAKE
THE ADJUSTMENT OR DO EVER
WANT TO MAKE THE ADJUSTMENT.

A caption appears on screen. It reads "David Sedaris. Me talk pretty one day."

David says NOT REALLY, I LIKE BEING
A FOREIGNER.
I LIKE NOT UNDERSTANDING ALL
OF THE TIME.
I LIKE NOT VOTING.
JUST BEING INVISIBLE,
BASICALLY.
AND SOMETIMES, YOU KNOW, I
DON'T UNDERSTAND EVERYTHING
THAT'S SAID TO ME, AND I
DON'T REALLY HAVE ANY
FRIENDS, BUT, I CAN SMOKE
WHEREVER I WANT TO AND
THAT'S THE TRADEOFF.
AND PEOPLE CAN SPIT AT ME,
SPIT ON ME, BUT IF THEY GIVE
ME AN ASHTRAY, I'LL SAY,
OKAY, I'LL HOLD STILL.
I'LL GIVE THEM A BETTER
TARGET.

In his conference, he says
I WAS TOLD IF YOU WANT TO
BE A WRITER YOU WRITE
EVERYDAY AND SOMEBODY WILL
CALL AND SAY CAN WE PUBLISH
YOUR BOOK AND THAT'S WHAT
HAPPENED.
AND THEY CALLED AND HEARD ME
ON THE RADIO, CAN WE PUBLISH
YOUR BOOK, AND I SAID SURE,
AND I OPENED THE DRAWER AND
I GAVE IT TO THEM.
AND THEN I SIGNED A CONTRACT
THEN OPENED THAT DRAWER AND
THERE WAS NOTHING THERE, SO
I HAD TO WRITE ANOTHER BOOK
WHICH IS AWFUL IF YOU HAVE
TO WRITE A BOOK.
BECAUSE THEN YOU THINK, OH,
I HAVE THREE PAGES AND THREE
PAGES IS NOTHING.
AND ONCE IT'S TYPESET IT'S
ONLY LIKE A PAGE AND A HALF,
AND YOU HAVE SO I KEPT
THINKING, SICKNESS.
SO I WROTE A SECOND BOOK AND
I EXPLOITED MY FAMILY IN
EVERY POSSIBLE WAY IN THAT
SECOND BOOK.
AND AFTER THAT BOOK NOBODY
TELLS ME ANYTHING ANYMORE.
NOBODY TELLS ME ANYTHING.
WHEN EVER I WALK INTO A ROOM
PEOPLE ARE LIKE HE'S HERE.
AND THEY STOP TALKING.

Back in the interview, Gerald says THE LAST STORY IN THIS
COLLECTION, IS A VERY LOVING
PORTRAIT OF YOUR FATHER, I
THOUGHT IT WAS PRETTY LOVING
AND YOU WRITE VERY SOMETIMES
BRUTALLY HONESTLY ABOUT YOUR
FAMILY.
AND AT FIRST DID THAT TAKE
NERVE?
DID YOU HAVE TO GO, YOU KNOW,
I'VE GOT TO DO THIS, I DON'T
KNOW HOW THEY'RE GOING TO
REACT BUT I'M GOING TO JUST
DO THIS?

David says NO, IN MY FAMILY THERE'S
NO SUCH THING AS BAD
ATTENTION.

Gerald says THEY ALL LOVE IT.

David says THEY DON'T READ IT BUT
THEY DON'T MIND THAT I'M
THEY DON'T MIND AT ALL THAT
I'M WRITING ABOUT THEM.
I TRY TO EXPLAIN TO MY DAD
ONE TIME, I SAID IT'S NOT
YOU.
HE LOOKS LIKE YOU, HE LIVES
IN YOUR HOUSE.
HE SAYS EVERYTHING EXACT
VERBATIM THAT YOU SAY BUT
IT'S NOT REALLY YOU.
AND LE SAID, YEAH, I
GUESS YOU'RE RIGHT.
AND THEN I THOUGHT, MAN,
SOMEBODY NEEDS TO SEND HIM
TO A NURSING HOME.
HE'S OUT OF HIS MIND, HE
BELIEVED ME.

Back at the lecture, David says IF YOU EVER RUN OUT OF
MATERIAL YOU JUST NEED TO GO
ON A BOOK TOUR.
I STARTED THIS ONE A FEW
WEEKS AGO AND I HAD A
INTERVIEW THE OTHER DAY AND
THOUGHT GUY DIDN'T LOOK AT
ME WHEN I WENT IN, I THOUGHT
HE DOESN'T LIKE ME AND WE'LL
GET THROUGH THAT, IT'S A
LIVE RADIO INTERVIEW AND
IT'S FIVE, FOUR, THREE, TWO,
ONE AND PICKS UP MY BOOK AND
says MY GUEST TODAY IS DAVID
SEDARIS AND I'VE SEEN YOU'VE
WRITTEN A BOOK HERE.
FEELS LIKE A MEDIUM-SIZED
BOOK.
WHAT IS IT A WESTERN?
A THRILLER?
AND SO SOMETIMES YOU HAVE
THINGS LIKE THAT THAT ARE
REALLY FUN.

Now clips show David signing books.

He looks at one man and says ARE YOU A BREAKFAST EATER?

The man, in his sixties, says NOT REALLY.
BUT THAT ISN'T THE REASON WE COME.

A woman in her late thirties says VERY, VERY ENTERTAINING
AND MADE ME WANT TO GUY BOOK.
I READ A REVIEW ON THIS ONE
A COUPLE DAYS AGO, ACTUALLY
AND FOUND IT VERY
INTERESTING.
ACTUALLY IN A BRITISH
MAGAZINE THAT I READ THE
REVIEW, AND IT WAS JUST
COINCIDENTAL BECAUSE
SOMEBODY BOUGHT ME A TICKET,
THAT HE WAS THERE.
I GAVE HIM MY NAME AND HE
SAID SO NICE TO FINALLY MEET
YOU.

David greets a young woman and says THANK YOU.
PAY NO ATTENTION.
ALL OVER YOUR HEAD.
WHO SHALL I MAKE THIS TO?

A female voice says SUZANNE.

Now Gerald interviews a man in his early thirties and says DAVID SEDARIS.

The man says FRIENDS OF MINE HAVE READ
HIS BOOK AND SAID IT WAS GREAT.
AFTER LISTENING TO HIM SPEAK
HE'S LIKE A COMEDIAN SO I
THOUGHT THE BOOK SHOULD BE
FUN.

Gerald says WHAT DID HE SAY.

The man says WELL YOU KNOW IT'S VERY
INTERESTING BECAUSE YOU WERE
INTERVIEWING MY FRIEND A
SECOND AGO, HE SAID
SOMETHING NICE HER BOOK, IN
MINE HE SAID GOOD LUCK WITH
THE RAPE CHARGE.

Gerald says IT'S AN EXCERPT FROM THE BOOK.

The man says OH, IS IT.

Back at the interview, Gerald says DO YOUR FRIENDS TELL YOU
YOU'RE HARD ON YOURSELF.
DO YOU FIND THAT, DO YOU
FIND YOU ARE?

David says I OFTEN WONDER ABILITY
OTHER SOMEBODY ASKED A
QUESTION LAST NIGHT, IT WAS
THIS BOOK READING AND I WAS
SO SURPRISED BY IT, BY THE
QUESTION WHICH WAS ABOUT I
DON'T KNOW, YOU KNOW THE
BOOK IS IT'S LIKE NUMBER
FOUR ON THE NEW YORK TIMES
BEST SELLER LIST.
I SUPPOSE THIS MAN WAS
THINKING I HAD TO BE THE
HAPPIEST PERSON IN THE WORLD
AND I HAD NOTHING TO
COMPLAIN ABOUT AND BLAH,
BLAH, BLAH.
AND I WISH THAT I WAS THAT
PERSON.
BECAUSE INSTEAD, IF IT'S
NUMBER FOUR ON THE “THE NEW
YORK TIMES” BEST SELLER LIST,
OH, IT'S TRUE.
ALL BOOKS ON THE THE
BEST-SELLER LIST ARE CRAP.
THAT'S WHY ON THE NEW
YORK TIMES LIST.
AND THEN I JUST HATE MYSELF
FOR THAT WITHIN REASON.
BUT IN ANY NO I JUST CAN'T
YEAH, I THINK I AM PRETTY
HARD ON MYSELF.
BUT EVEN AS HARD AS I AM IT
DOESN'T SEEM HARD ENOUGH.
IT ALSO IS WORKS OUT FOR ME
FOR WRITING, BECAUSE IF YOU
SIT DOWN AND YOU WRITE ABOUT
WHAT AN IDIOT EVERYONE ELSE
IS, PEOPLE ARE GOING TO SAY,
WELL, WHO ARE YOU.
WHAT ABOUT YOU.
BUT IF YOU'RE A BIGGER IDIOT
THAN ANYBODY ELSE, THEN I
THINK IT’S EASIER TO SAY THOSE THINGS.

Now David reads his book and says
WHEN TIME I'M LIKE THE
GUY STILL PINING FOR HIS
8-TRACK TAPE, I SAY, YOU
HAVE 8-TRACKS, WHERE?
IN REALITY I KNOW NOTHING
ABOUT THEM BUT IMPORTANT TO
EXPRESS SOLIDARITY WITH
OTHERS WHO HAVE HAD THE RUG
PULLED OUT OF THEM FROM
BENEATH THEM.
I DON'T CARE IF I CAN COUNT
WORDS OR REARRANGE
PARAGRAPHS AT THE PUSH OF A
BUTTON.
I DON'T WANT A COMPUTER.
UNLIKE THE FAINT SCURRY
RAISED BY FINGERS AGAINST
THE PLASTIC COMPUTER
KEYBOARD THE CLATTER AFTER
TYPEWRITER SUGGEST HAS THE
YOU'RE ACTUALLY BUILDING
SOMETHING.
AT THE END OF A MISERABLE
DAY, INSTEAD OF GRIEVE I MY
NOTHING I CAN LOOK AT MY
LOADED WASTE PAPER BASKET
AND TELL MYSELF IF I FAILED,
AT LEAST I TOOK A FEW TREES
DOWN WITH ME.

Back at the interview, Gerald says
SO YOU DON'T ACTUALLY SEE
THAT YOU HAVE A PARTICULAR GIFT.

David says I DON'T.
I KNOW HOW TO TYPE.
BUT JUST WITH ONE FINGER.
I'M FAST WITH ONE FINGER,
BUT THAT'S ALL I CAN TYPE
WITH ONE FINGER.
NO, I DON'T.
I DON'T.
I HAVE IF I CAN HAVE A BOOK,
ANYBODY CAN HAVE A BOOK.
ANYBODY.

In the Studio, Tina says ME TALK PRETTY ONE DAY BY
DAVID SEDARIS IS PUBLISHED
BY LITTLE BROWN.

Now an animated book sitting on a table in a bookstore reveals a clip of a writer speaking, followed by a picture of the book “Killing the shadows.”

Tina says LATER NICHOLAS SPARKS A
WRITER WHO IS MAKING A
KILLING IN PUBLISHING.
AND NEXT KILLER THRILLERS.
SO, WHY DO READERS LOVE
THRILLERS?
WHAT'S THE APPEAL IN THOSE
GRUESOME DETAILS ABOUT
SERIAL KILLERS.
HERE'S WHAT SOME CRIME
WRITERS HAVE TO SAY ABOUT THAT.

A clip shows Phillip Margolin speaking.
A caption reads “Phillip Margolin. Wild Justice.”
Phillip is in his fifties, clean-shaven, with short salt and pepper hair. He’s wearing glasses, a black suit, blue shirt, and checked yellow tie.

He says I THINK MOST CITIZENS ARE
VERY LAW-ABIDING AND DECENT
PEOPLE, AND THEY DO THE
RIGHT THINGS, THEY THEY WORK,
THEY SUPPORT THEIR FAMILIES,
AND THEY'RE FASCINATED WITH
OUTLAWS.
THEY'RE FASCINATED WITH
PEOPLE WHO DON'T DO THE
RIGHT THING.
HOW COULD SOMEBODY KILL
SOMETHING.
HOW COULD YOU DO THAT, SO,
WHAT THE THRILLER DOES, LIKE
GOING TO THE ZOO.
YOU GO TO THE ZOO, YOU CAN
STAND RIGHT NEXT TO A
PANTHER OR LION, AN NOT
WORRY ABOUT BEING EATEN.

The caption changes to "Kenneth Oppel. The Devil’s cure."
Kenneth is in his twenties, clean-shaven, with short curly brown hair.

He says I THINK THRILLERS ABOVE
ALL HAVE TO HAVE AN AMAZING
STORY THAT KEEPING PEOPLE
TURNING THE PAGES AND REALLY
WANTING TO KNOW WHAT HAPPENS
NEXT.

The caption changes to "Gail Bowen. Burying Ariel."
Gail is in her fifties, with brown hair in a short bob and bangs.

She says PEOPLE ALWAYS LOOK FOR, I
MEAN, IN MY BOOKS I GUESS
THEY LOOK FOR A REFLECTION
OF SOME OF THE THING HAS THE
ARE GOING ON IN THEIR OWN
LIVES.
IT WAS A SERIAL KILLERS AND
ALL THAT PERHAPS THEY LOOK
FOR THE KINDS OF THING HAS
THE WE ALL FEAR.
THE THING HAS THE GO BUMP IN
THE NIGHT THAT IS THE BASIS
FOR SO MANY MYSTERY BOOK.

The caption changes to "K.G.E. Konkel. Evil Never Sleeps."
K.G.E. is in his late fifties, clean-shaven, with short white hair.

He says YOU TAKE SOMEONE WHO HAS
A VERY HARD DAY AT THE
OFFICE.
OR AT SCHOOL, OR WHEREVER
THEY ARE, AND YOU SAY LOOK I
WANT TO CAPTURE YOU FOR A
FEW HOURS.
I KNOW YOU'RE BUSY, BUT I
WANT TO GIVE YOU A PLOT.
I WANT TO TAKE YOU OUTSIDE
YOURSELF, SIT YOU DOWN AND
AFTER A PERIOD OF TIME I
WANT YOU TO WANTED TO STAY
UP UNTIL 4:00 IN THE
MORNING.
NOT GO TO SLEEP AND GO TO
WORK AND TELLEER PEOPLE
ABOUT THIS WONDERFUL THING
WHICH HAS CAPTURED YOUR
IMAGINATION AND THAT'S THE
THING THRILLERS SHOULD DO,
CAPTURE YOUR IMAGINATION.

Back in the studio, Tina says NOW A WRITER WHO NEVER
FAILS TO CAPTURE THE
READER'S IMAGINATION.
VALUE McDERMID, TOOK UP
THRILLER WRITING AFTER A
LONG CAREER IN JOURNALISM.
WRITTEN 17 BACKS TO DATE.
MANY VERY GRAPHIC, THE
LATEST “KILLING THE SHADOWS.”
CASTS CRIME WRITERS IN THE
ROLE OF THE UNFORTUNATE
VICTIMS.

A clip plays of the interview. Val and Tina sit at a restaurant table. Val is in her fifties, with short white hair, and wears a beige coat over a black shirt.

a says HELLO, WELCOME TO IMPRINT.

s says THANK YOU FOR HAVING ME.

a says NOW WHY KNOCK OFF CRIME WRITERS.

A caption appears on screen. It reads "Val McDermid. Killing the Shadows."

S says WELL, APART FROM THE
OBVIOUS VERSION OF GETTING
MY OWN BOOK.
I THINK ONE OF THE THINGS
THAT'S INTERESTED ME FOR
SOME TIME NOW IS THE NOTION
OF WRITERS HAVING SOME KIND
OF MORAL RESPONSIBILITY.
WHAT IS OUR RESPONSIBILITY
IN TERMS OF OUR READERS, IN
TERMS OF THE SOCIETY AND
SEEMED TO ME PARTICULARLY IN
THE EARLY 1990S, THERE WAS A
SLEW OF SERIAL KILLER NOVELS,
WHERE THE VICTIMS AND THEY
WERE USUALLY WOMEN, WERE
SIMPLY DISPOSABLE PEOPLE.
THEY WERE ONLY THERE TO BE
KILLED, THEY HAD NO FUNCTION
ECK SCENT TO BE RAPED MUTE
RATED DISMEMBERED.
STREWN ACROSS THE FREEWAYS
OF AMERICA.
AND IT WORRIED ME AS A
READER AND AS A WRITER TO
SEE THE THE NOTION OF HUMAN
SUFFERING, VIOLENCE BEING
TREATED IN SUCH A CASUAL WAY
THIS, KIND OF GLAMOURIZING
ALMOST OF VIOLENCE.

a says THAT'S SO INTERESTING YOU
SAY THAT, BECAUSE READING
YOUR BOOK, I FOUND THERE WAS
A LOT OF GRAPHIC VIOLENCE IN
IT.
FOR INSTANCE ONE OF THE
VICTIMS IS YOU KNOW TORTURED,
HIS BLOOD IS DRAINED, THE
KILLER THEN PAINTS THE
BATHROOM WITH HIS BLOOD
WHILE THE GUY IS CHAINED TO
THE TOILET.
THAT IS PRETTY GRUESOME STUFF.

s says YEAH.
BUT IN THE CONTEXT OF THE
BOOK, IT'S THEIR FUNCTIONAL.
IT HAS A PURPOSE.
THE THE CHARACTER TO WHOM
THAT HAPPENS HAS ALREADY
WRITTEN A NOVEL IN WHICH
THAT HAPPENS TO THE VICTIMS.
SO, THE PEOPLE WHO DIE IN
THIS BOOK ARE MURDERED IN
THE WAY OF THEIR OWN
IMAGINING.
THEY HAVE TO FACE THE
CONSEQUENCES OF THEIR OWN
IMAGINE.

a says OF COURSE THEY KNOW
WHAT'S GOING TO THE HAPPEN.
BECAUSE THEY'VE WRITTEN IT.

s says I MEAN I THINK THAT'S AN
WRITER'S WORST NIGHTMARE.
YOU'VE created THIS HIDEOUS
CRIME AND THEN SUDDENLY
YOU'RE CONFRONTED WITH THE
NOTION THAT THIS IS GOING TO
HAPPEN TO YOU.
UNLESS YOU SAY YOU KNOW
EXACTLY WHAT'S COMING NEXT
AND I CAN'T THINK OF
ANYTHING MORE SCARY THAN
THAT.

a says NOW, I THINK YOU HAVE
DISTINGUISHED YOUR BOOK
THROUGH THE VIOLENCE IN YOUR
BOOKS IN THE PAST THAT YOU
MAKE A DISTINCTION BETWEEN
WHAT YOU WRITE AND WHAT YOU
CALL.
THE POST-TARANTINO EXTREME
VIOLENCE.

s says IT GOES BACK TO WHAT I
WAS SAYING BEFORE, A KIND OF
GLAMIZATION OF VIOLENCE AND
MOSTLY PERPETRATED IN FILM I
THINK THAN IN BOOKS BY THE
KIND OF YOUNG TO MIDDLE-AGED
GUYS WHO WOULD WET
THEMSELVES IF THEY WERE EVER
CON FROKTED BY DIRECT
VIOLENCE.
THEY HAVE NO CONCEPT OF
VIOLENCE.
NO ONE AND SHOWS IN THEIR
WORK.
THEY HAVE NOVICE RAL FEELING
FOR WHAT VIOLENCE DOES TO
THE THE PERPETRATOR OR TO
THE VICTIM OR TO THE
SURVIVORS.
I WAS ONCE BEATEN UP WHEN I
WAS A JOURNALIST, AND IT
CHANGED MY VIEW OF MYSELF,
IT CHANGED MY VIEW OF THE
WORLD.
I HAD YOU KNOW I WOULD BE
ONE OF THESE POSTFEMINIST
WOMEN WHO THOUGHT I WAS
STRONG.
IKTED GO ANYWHERE.
I CAN DO ANYTHING.
I COULD BE ANYONE AND WHEN I
GOT BEATEN UP ON THE JOB IT
CHANGED EVERYTHING ABOUT THE
WAY I LOOK AT THE WORLD.
I REALIZED I WASN'T
INVINCIBLE.
I WASN'T THESE THINGS I
THOUGHT I WAS.
MY PLACE IN THE WORLD WASN'T
WHAT I THOUGHT THE.
I DIDN'T COME OUT OF THE
CORNER OF WANTING TO GET MY
OWN BACK ON THIS GUY.
I WANTED TO PULL THE COVERS
OVER MY HEAD AND NEVER COME
OUT AGAIN.

a says WHY DID YOU GET BEATEN UP.

s says I DON'T KNOW, I WENT TO
DO A STORY ON THIS GUY WHO
WAS A PROFESSIONAL WRESTLER.
AND I KNOCKED ON THE THE
DOOR AND SAID WHO I WAS AND
HE CAME AT ME WITH, I THINK
I GOT I THINK HE HAD
JOURNALISTS KNOCKING ON HIS
DOOR ALL WEEK.
I WAS THE LAST STRONG.
VIOLENCE ISN'T SOMETHING
CHOREOGRAPHED.
NOT SOMETHING GRITCY.

a says A DOMINO EFFECT ALMOST
AS A SPECIAL EFFECT.
NOW IN THE BOOK, SHE SAYS
THAT SOCIETIES GET THE
CRIMINALS THEY DESERVE.
WHAT DO YOU MEAN BY THAT?

s says WELL, I THINK IT'S
SOMETHING ALONG THE THE
LINES OF THE YOU HAVE A SIDE
THAT IS CARING, AND IS
SUPPORTIVE AND LOOKS AFTER
ITS CHILDREN WELL, AND
BRINGS THEM UP PROPERLY AND
EDUCATES THEM PROPERLY, THEN
YOU WILL GET A FAR LOWER
CRIME RATE ON A FAR LEGS
NASTY CRIME RATE THAN IF YOU
TREAT PEOPLE, IF YOU DON'T
CARE ABOUT EDUCATING THEM.
IF YOU DON'T CARE ABOUT
CLOTHING THEM.
A MEASURE OF SOCIETY IS LIKE
BOTH ENDS OF THE SPECTRUM.
HOW WE TREAT OUR CHILDREN
AND HOW WE TREAT OUR
ELDERLY.
AND IF YOU HAVE A CIVILIZED
SOCIETY YOU PROBABLY HAVE
MUCH LESS NASTY CRIME THAN
YOU DO IF YOU TREAT THOSE
GROUPS OF CITIZENS WITH
DISDAIN AND MENTAL CARE.
I THINK NONSENSE IF THE
OTHER SOCIETY WHO DOESN'T
TREAT ITS MEMBERS WELL YOU
WILL GET THE KIND OF CRIME
YOU DESERVE.

a says YOU MENTIONED THAT YOU'D
WORKED AS A JOURNALIST.
IN FACT YOU WERE A
JOURNALIST FOR MANY YEARS,
16 YEAR BEFORE YOU TURNED TO
NOVEL WRITING.
HOW WERE YOU BRAVE ENOUGH TO
TAKE THE PLUNGE.

s says WELL IN A FUNNY WAY,
ALMOST THE OTHER WAY AROUND.
I REALLY BECAME A JOURNALIST
BECAUSE EVERYONE KEPT
TELLING ME YOU COULDN'T
SUPPORT YOURSELF AS A WRITER.
YEAH, SO I THOUGHT I'LL DO
THIS FOR WHILE UNTIL I REACH
A PLACE WHERE I'M MAKING
ENOUGH MONEY OUT OF WRITING.
TOOK LONGER THAN I HAD
INITIALLY PLANNED.
BUT, IT WAS WHAT I ALWAYS
WANTED TO DO AND I'D BECOME
DISENCHANTED WITH BRITISH
TABLOID JOURNALISM IN THE
MID TO LATE 80s.

a says YOU WROTE FOR A TABLOID.

s says YEAH, WHEN I STARTED OFF
IN TABLOID JOURNALISM IN THE
UK IT WAS STILL A
RESPECTABLE PROFESSION IF
YOU LIKE.
WE DID A LOT OF HARD
INVESTIGATIVE REPORTING,
WITH A LOT OF HUMAN INTEREST
STORIES.
WE WERE NOT OBSESSED WITH
SOAP STARS AND THE SEX LIVES
OF THE ROCK STARS AND
RUBBISH THAT FILLS THE PAGES
THESE DAYS.
I STARTED OFF WORKING IN
TABLOIDS.
WORKING CLASS PEOPLE DESERVE
NEWSPAPER HAS THE WOULD
INFORM THEM AS WELL AS
ENTERTAIN THEM.
BY THE MID 80s IT WAS NOT
HAPPENING BEFORE.
AND I REALLY DIDN'T WANT TO
BE DOING THIS FOR A LIVING
ANYMORE.

a says YOU WERE FROM A SCOTTISH MINING TOWN.
IS THAT RIGHT?
YOU'VE BEEN YOU CAN HEAR THE
BEAUTIFUL TONES OF YOUR
VOICE STILL BUT I GATHER
WHEN YOU WERE 17 YOU WERE A
REMARKABLE STUDENT YOU WENT
OFF TO OXFORD.
I WONDER WHAT THAT WAS LIKE
COMING FROM A SMALL TOWN.

s says IT WAS A COMPLETE CULTURE SHOCK.
I HAVE TO SAY.
YES, THIS WAS ENTIRELY
DIFFERENT ENVIRONMENT, I
MEAN EVERYTHING WAS
DIFFERENT.
THEY SPOKE DIFFERENTLY EVEN
THE THE VEGETABLES WERE
DIFFERENT.
I SAW THINGS ON THE PLATE
I'D NEVER SEEN BEFORE.
BUT I THINK I HAD THE HUGE
ADVANTAGE OF GROWING UP IN
SCOTLAND IN THE THE CENTRAL
BELT OF SCOTLAND AT THE
TIME THERE WAS A REAL SORT
OF GUT SOCIALISM AROUND.
YOU SORT OF ENVIBE THIS FROM
THE AIR AND A REAL SENSE THE
WAY YOU GO OUT WITH THE
WORKING WAS YOUR EDUCATED
YOURSELF.
SO I WENT OFF WITH OXFORD
WITH THIS CONVICTION THESE
PEOPLE WERE NO BETTER THAN
ME, THEY WERE JUST
DIFFERENT.
AND I THINK THAT GAVE ME A
TRISELF-CONFIDENCE TO DEAL
WITH THIS VERY STRANGE
ENVIRONMENT WHERE INITIALLY
PEOPLE COULDN'T UNDERSTAND A
WORLD I SAID BECAUSE COMING,
WE SPEAK REALLY FAST.
PEOPLE CAN'T UNDERSTAND WHAT
YOU'RE SAYING.
I HAD TREMENDOUS
DIFFICULTIES.
I REMEMBER MY VERY FIRST
TUTORIAL, FIVE MINUTES
READING OUT MY ESSAY BEING
STOPPED BY MY TUTOR SAYING
I'M TERRIBLY SORRY, COULD
YOU START AGAIN AND PERHAPS
THIS TIME A LITTLE SLOWER.

Tina laughs and says IT MUST HAVE BEEN A GREAT
EXPERIENCE AND WHAT AN
EXCITING TIME IN ONE'S LIFE
TO BE 17 AND HAVING A NEW
LIFE LIKE THAT.

s says I KIND OF TOOK THE THE
VIEW, THESE PEOPLE HAVE THE
KEYS TO THE KINGDOM AND I
WAS NOT LEADING UNTIL THEY'D
HANDED THEM OVER.

a says ABSOLUTELY.
DO YOU THINK THERE'S
SOMETHING UNIQUE ABOUT
SCOTTISH FICTION.
IN READING ABOUT YOU I CAME
ACROSS THIS TERM, IS THERE A
KIND OF SCOTTISH AGAIN ARE
OF CRIME FICTION.

s says I THINK THERE HAVE GROWN
UP IN RECENT YEARS, A
SCOTTISH SUBGENERAL ARE IF
YOU LIKE AND I WOULD SAY
IT'S CHARACTERIZED BY A
DICHOTOMY IN THE SCOTTISH
CHARACTER BETWEEN THIS
DARKNESS, THIS DARKNESS, AND
THE SORT OF BLACK HUMOUR
THAT KEEPS US GOING THROUGH
GRIMIST OF TIMES.
WE'VE BEEN AN OCCUPIED FOR
300 YEARS.
YOU'VE GOT TO HAVE A SENSE
OF HUMOUR.
IF WE DIDN'T HATE THE
ENGLISH, WHO WOULD WE BE,
AND THAT'S THE INTERESTING
POINT YOU SEE BECAUSE NOW WE
HAVE A PARLIAMENT.
I DON'T THINK IT'S ANY
COINCIDENCE THAT SCOTTISH
CRIME FICTION BURST FORTH AT
A TIME AS A NATION AGAIN.
THE CRIME NOVEL PLACED TO
WRITE ABOUT SOCIETY ON A
WIDER CONTEXT.

a says THAT'S INTERESTING THOUGH,
BECAUSE YOU KNOW, I THINK
THAT MOST PEOPLE WOULD SAY
JUST TO USE THE TERM
LITERARY NOVEL TO
DISTINGUISH IT FROM CRIME
NOVEL.
MOST PEOPLE WOULD SAY THE
UNIVERSAL TRUTHS ARE IN THE
LITERARY NOVEL.
THAT'S WHERE YOU FIND OUT
WHAT THE HUMAN CONDITION BUT
TONGUE CRIME NOVEL DOES THAT.

s says I THINK THERE HAS BAN
SHIFT IN THE LITERARY NOVEL
IN RECENT YEAR.
A LOT OF LITERARY WRITERS
HAVE BEEN THAN THEY ARE IN
NARRATIVE.
AND I THINK HUMAN BEINGS ARE
HARD WIRE NOR NARRATIVE.
WE WERE TELLING STORIES
BEFORE WE HAD LANGUAGE.
LOOK AT THOSE PAINTINGS IN
FRANCE AN THEY TELL YOU A
STORY.
AND THERE'S US CHASING IT
AND BRING IT DOWN THERE
THAT'S KILLING IT.
THERE'S THAT SENSE OF A
BEGINNING A MIDDLE AND AN
END.
AND I THINK THAT WRITERS
WALK AWAY FROM THAT AT THEIR
PEARL, AND IT'S INTERESTING
THAT AT THE TIME, THAT HAS
HAPPENED WITH LITERARY
NOVEL.
CRIME NOVEL IN BRITAIN HAS
BECOME A VERY MUCH A SOCIAL
REALIST KIND OF NOVEL, THE
TAPESTRY AND BACKGROUND OF
THE BOOK HAS BECOME MUCH
MORE VIVID, MORE REALISTIC,
MORE CLOSELY ALIGNED TO THE
REALITY OF LIFE IN
CONTEMPORARY BRITAIN AND I
THINK IT'S NOT A SURPRISE
THAT SCOTLAND IS
REASSESSING ITS POLITICAL
IDENTITY THIS GREAT WAVE OF
SCOTTISH CRIME WRITING
SUDDENLY BURST ON THE SHORE.
APPARENTLY OUT OF NOWHERE.
AND IT'S REALLY EXCITING AND
I'M THRILLED TO BE PART OF
IT.

a says OUR WONDERFUL WRITER.
IT'S BEEN A PLEASURE TALKING
TO YOU.

s says IT'S MY PLEASURE.
THANK FOR HAVING ME.

Back in the studio, Val says
KILLING THE SHADOWS BY
VALUE McDERMID IS PUBLISHED
BY VIKINGS.
WE FINISH TONIGHT WITH
NICHOLAS STARK SPARKS.
HE WROTE MESSAGE IN A BOTTLE
AND THE NOTEBOOK.
THIS IS A GUY WHOSE BOOK SIT
ON THE THE BEST-SELLER LIST
FOREVER.
WE CAUGHT UP WITH MR. SPARKS
AT HIS LATEST STOP ON A
WHIRLWIND TOUR.

A clip shows the Indigo bookstore. A sign outside reads “Tonight, Nicholas Sparks!”

Nicholas appears talking in the bookstore. He’s in his early thirties, clean-shaven, with short brown hair. He wears a gray sweater.

He says BECOMING A SUCCESSFUL
WRITER IS LITS LIKE WINNING
THE LOTTERY.
IF YOU'RE GOING TO MAKE A
LIVING THIS IS A VERY RARE
THING TO REACH A HIGH LEVEL.

Now he addresses a small audience and says
SINCE I HAVE NOT BEEN THE TO
CANADA BEFORE I THOUGHT I
WOULD TELL YOU A LITTLE BIT,
ABOUT ME, ABOUT MY BOOKS.
REAL BRIEFLY.
WE'RE NOT GOING TO TALK LONG
AND BELIEVE ME IT'S ACTUALLY
I'M ACTUALLY NOT ALL THAT
BORING.
SOMETIMES I AM BUT I WON'T
BE TONIGHT.
TONIGHT I CAN FEEL THE LOVE
IN THE AUDIENCE.
AND I THINK THAT'S GOING TO
PROPEL ME THROUGH TO
STAGGERING YOU MIGHT SAY.

Back in the interview, he says
I AM HERE IN THE MIDDLE OF A
BOOK TOUR AND TORONTO IS A
STOP NUMBER EIGHT IN A LARGE TOUR.

A caption reads “Nicholas Sparks. The Rescue.”

Back in the conference, he says I WILL TALK FOR A LITTLE
BIT, AND THEN I'M GOING TO
OF COURSE TAKE SOME
QUESTIONS AND ANSWERS AND
THEN I OF COURSE WILL SIGN
YOUR BOOKS.
AND THEN I WILL HEAD ON TO
MY NEXT STOP.

Back in the interview, he says I NEVER THOUGHT I WOULD
BECOME A WRITER.
THE MOST IMPORTANT THING
LIFE THROUGH MY HIGH SCHOOL
YEARS WAS TRACK AND FIELD
AND I WAS A VERY ACTIVE IN
THAT I WAS A FULL
SCHOLARSHIP ATHLETE AT MY
UNIVERSITY.
AND ACTUALLY STILL HOLD A
RECORD THERE, SO I WAS VERY
ACTIVE IN THAT BUT I GOT
INJURED, AND I COULD NOT RUN
ONE SUMMER BECAUSE OF THE
INJURY JUST NEEDED TIME TO HEAL.
AND I WAS JUST GOING CRAZY
AROUND THE HOUSE.
BECAUSE THIS IS WHAT I LOVE
MOST IN THE WORLD AND I
COULDN'T DO IT AND MY MOM
GOT TIRED OF IT AND JUST
SAID, JUST POUT, DO
SOMETHING.
WHAT, I DON'T KNOW, WRITE A
BOOK SO, YES.
I HAD NOTHING ELSE TO DO SO
I WROTE A BOOK.

Back in the conference, he says I FIGURED IF I WENT TO A
BOOK SIGNING, AS OPPOSED TO
JUST LISTENING TO HIM READ
SOMETHING BORING SO THAT'S
WHAT I'M GOING TO DO AND
SINCE I'M THE BOSS I'LL DO THAT.

In the interview, he says AT 28 WHEN I DECIDED I
WAS GOING TO GIVE WRITING A
REAL SHOT, WHAT DO I WHERE.
THERE WAS THIS NICE STORY
ABOUT THE GRANDPARENTS AND
THOUGHT, WELL, I'LL CUT MY
TEETH ON THAT STORY GET
WARMED UP INTO WRITING
BEFORE MY REAL NOVEL.
THAT ONE WENT HUGE AND,
BECAUSE THAT ONE WENT BIG
THEY SAY YOU'VE GOT TO WRITE
ANOTHER LOVE STORY, OKAY, SO
I WROTE ONE THEN I HAD TO
WRITE A THIRD AND FOURTH ONE.
THE NOTEBOOK HAD NOT BEEN
BIG, I DON'T KNOW WHAT I
WOULD BE WRITING.

Back in the conference, he says YOU'RE LOOKING AT A STORY
ABOUT EVER LASTING
UNCONDITIONAL LOVE WHICH IS
A SWEET AND TENDER STORY.
IDEAL FOR CHRISTMAS PRESENTS.

In the interview, he says I GET ALL MY IDEAS FROM MY
NOVELS COME FROM MY FAMILY
IN ONE SHAPE MATTER OR FORM.
I GENERALLY START WITH A
THEME AND NOVEL THAT I I
WANT TO EXPLORE LET'S SAY
EVERLASTING LOVE AND I'LL
REMEMBER.
I'LL THINK ABOUT THE GRAND
PARENTS BECAUSE THAT'S WHAT
THEY HAD AND I'LL CHANGE
THEIR STORY, FADE INTO IT
NOVEL FORM, FIX THINGS
BECAUSE I WRITE NOVELS NOT MEMOIRS.

Now fast clips show him signing books.

He says THANK YOU VERY MUCH.

A woman says I HAVE ALL YOUR BOOKS
WITH ME.

In the interview, he says I'M VERY HAPPY WRITING.
LOVE STORIES.
IT'S CHALLENGING AND THEY
FAY BILLS SO I'M HAPPY WITH THAT.

A woman in her thirties says IT'S VERY MOVING AND
TOUCHES YOUR HEART.
IT STIRS SOMETHING INSIDE YOU.

A woman in her late twenties says NOW THAT I'VE HEARD HIM
SPEAK, YOU CAN REALLY SEE
THAT THEY COME FROM DEEP
DOWN I GUESS IN HIS HEART.

A woman in her mid-twenties says HE'S A GREAT WRITER.
HE REALLY IS, AND IT'S VERY
CLOSE TO HOME.
AND THEY'RE VERY MUCH
PERSONALIZED.

In the interview, Nicholas says THE AUDIENCE ARE ALL THE
INTELLIGENT PEOPLE IN THE WORLD.

He laughs.

Now Tina reappears and says AND THAT INTELLIGENT
READERS IS THE END OF OUR SHOW.
COME BACK NEXT WEEK FOR AN
IMPRINT EXCLUSIVE.
AS YOU KNOW J.K. ROWELING
AUTHOR OF THE HARRY POTTER
SERIES WAS IN TORONTO
YESTERDAY, READING AT THE
SKYDOME.
WE CAUGHT UP WITH MISS
ROWLING AT A 500 DOLLARS A
PLATE FUND RAISER AT THE LIBRARY.

A clip shows J.K. addressing a large audience.

She says I HAD WHO INTRODUCED ME
BY SAYING THE THAT THE THE
PUBLICATION OF THE GOBLET OF
FIRE WAS THE THE BIGGEST
EVENT EVER IN PUBLISHING, I
SAID WE'RE FEEDING THE
RELIGIOUS RITE AMMUNITION HERE.
SURELY THAT WAS THE BIBLE.

Tina says THAT'S J.K. ROWLING NEXT WEEK.

Theme music plays as the end credits roll.

Special thanks, 7 West, Indigo Books and Music, Le Royal Meridien King Edward.

Imprint. C/O TVOntario. P.O. Box 200. Station Q, Toronto, Ontario. M4T 2T1.

Fax: 416-484-2780.

E-mail: imprint@tvo.org.

Website: www.tvo.org/imprint

A production of TVOntario. Copyright 2000, The Ontario Educational Communications Authority.

Watch: Imprint season 12 episode 5