100 Books Like The Cripple of Inishmaan

I’m a playwright who loves not only writing plays but also teaching dramatic writing workshops – mostly through my San Francisco program and Chicago Dramatists where I’m a Resident Playwright. My plays have received many awards and honors, including three selections for the National Playwrights Conference at the Eugene O’Neill Theatre Center, and have been presented in Europe, Russia, and Australia as well as the U.S. Meanwhile my workshops and script consultations have given me the opportunity to work with thousands of writers over the past 35 years. This led me to begin writing books for writers, starting with The Dramatic Writer’s Companion, now in its Second Edition.

I’m a playwright who loves not only writing plays but also teaching dramatic writing workshops – mostly through my San Francisco program and Chicago Dramatists where I’m a Resident Playwright. My plays have received many awards and honors, including three selections for the National Playwrights Conference at the Eugene O’Neill Theatre Center, and have been presented in Europe, Russia, and Australia as well as the U.S. Meanwhile my workshops and script consultations have given me the opportunity to work with thousands of writers over the past 35 years. This led me to begin writing books for writers, starting with The Dramatic Writer’s Companion, now in its Second Edition.

I’m a playwright who loves not only writing plays but also teaching dramatic writing workshops – mostly through my San Francisco program and Chicago Dramatists where I’m a Resident Playwright. My plays have received many awards and honors, including three selections for the National Playwrights Conference at the Eugene O’Neill Theatre Center, and have been presented in Europe, Russia, and Australia as well as the U.S. Meanwhile my workshops and script consultations have given me the opportunity to work with thousands of writers over the past 35 years. This led me to begin writing books for writers, starting with The Dramatic Writer’s Companion, now in its Second Edition.

I’m a playwright who loves not only writing plays but also teaching dramatic writing workshops – mostly through my San Francisco program and Chicago Dramatists where I’m a Resident Playwright. My plays have received many awards and honors, including three selections for the National Playwrights Conference at the Eugene O’Neill Theatre Center, and have been presented in Europe, Russia, and Australia as well as the U.S. Meanwhile my workshops and script consultations have given me the opportunity to work with thousands of writers over the past 35 years. This led me to begin writing books for writers, starting with The Dramatic Writer’s Companion, now in its Second Edition.

I was old (or young) enough to have only seen two Kubrick films in the cinema: Full Metal Jacket and Eyes Wide Shut. I began teaching film studies and Hollywood in 1998, and I have been teaching and researching Kubrick intensively since 2007, visiting his archive in London on numerous occasions. At one point, I held the record for the researcher who had spent the most hours in the Archive. I also met Christiane and Jan and spoke to many others who knew and worked with Kubrick. Having been familiar with Robert Kolker’s work, it became clear that collaborating with an international authority on film was a necessity as well as a pleasure.

I am a professor of pop culture, so I know personally that talking about race can be so incredibly awkward at times – but it does not always have to be! Often, many restrict themselves from fully participating in these necessary dialogues only because of a profound fear of “saying the wrong thing.” As individuals responsible for preparing a new generation of thinkers prepared to innovate improved solutions for the society we share, inevitably, the topic of race must not only be broached, but broached productively. I write to provide tools to help make such difficult conversations less difficult.

20 years ago a software company I founded had been acquired and my life should have been good. Instead, it was a Herculean mess. I had just been fired by a billionaire whom I had accused of crimes, and now I was out of work and broke. It would still be four more years before Bernie Ebbers was sentenced to 25 years in federal prison (where he became blind and demented and died) for the world’s largest fraud. But when I was writing the first words of Paper Targets, the executives who had pulled me into their world of the “Lie” were freely strutting on the World Stage of Greed. 

I am the child of screenwriters who lived through the Hollywood Blacklist. They were never, so far as they knew, blacklisted. There were times when they just didn’t get work. It might have been the usual inconvenience of a freelance career. It might have been something else. Maybe someone had mentioned them, maybe their names were similar to someone’s, maybe anything. Then they got work again, and didn’t ask, because you couldn’t ask.

Are You Now or Have You Ever Been? is set in that world, although its characters are fictional. The four nonfiction books listed here are my favorites of those I read during my research.

I am the child of screenwriters who lived through the Hollywood Blacklist. They were never, so far as they knew, blacklisted. There were times when they just didn’t get work. It might have been the usual inconvenience of a freelance career. It might have been something else. Maybe someone had mentioned them, maybe their names were similar to someone’s, maybe anything. Then they got work again, and didn’t ask, because you couldn’t ask.

Are You Now or Have You Ever Been? is set in that world, although its characters are fictional. The four nonfiction books listed here are my favorites of those I read during my research.

I have always been drawn to stories of miserable rich people, especially tales of how old money contorts lineage into something rotten. I grew up in Northern California, and while my family was comfortable, we weren’t part of the tennis club and yachting elite. During my childhood, we spent a lot of time exploring abandoned properties. It was a passion that I kept when I moved to Los Angeles as an adult and started to explore forgotten parts of Hollywood’s past. Los Angeles has always fascinated me because it embodies extreme wealth and extreme poverty: like the American dream itself, it straddles both extremes and promises everything while guaranteeing nothing.