I was deeply saddened to find out late last night that Marinke Slump - better known as Wink, the woman responsible for a creative being - took her own life this past weekend. Wink was an inspiration to many in the crochet community, particularly as the creator of last years Scheepjes CAL.
I wish I had more words, especially as someone suffering from my own mental health issues, but I don't. This is such a tragic loss of someone so bright and creative. Like Wink, crochet (and knitting) has been a lifeline for me.
Kathryn Vercillo - blogger at Crochet Concupiscence and author of Crochet Saved My Life, which Wink contributed to - has started a collaborative crochet art project called #MandalasForMarinke to celebrate Wink's life. To participate, crochet one of Wink's mandala patterns (preferrable brightly!) and mail it through to Kathryn. All details are on her blog.
Similarly, ACCROchet is asking for people to crochet one of Wink's mandalas and then share across social media with the tag #MandalasForWink.
If you don't want to (or aren't able) crochet a mandala, consider wearing a flower in your hair on 2nd July and share a photo of it with the tag #wearingflowersinmyhairformarinke. Details are at the bottom of Kathryn's blog.
There is also a memorial page for Wink at MuchLoved.
MEDIA MONDAYS: SEVEN DEADLY FICTION SINS.
My brain has been so distracted lately and coupled with my difficulties tracking and seeing rivers (no, I'm not dyslexic, I have poor eyesight), I haven't been reading much. So when I finally managed to pick up a book only to discover there are lots of little things to nitpick about it, the kinds of things that drag you out of a story and make you roll your eyes, I was disappointed.
The following isn't all specific to that book (which I'm not going to identify because I'm not quite finished), just a collection of reactions I've had while reading over the years.
Sin #1: Phlebotinum
You know that feeling when there are less than 100 pages left so one of two things are going to happening - sequel or magical intervention. Phlebotinum is a term coined by Joss Whedon to describe a magical spell, talisman, weapon, whatever that appears at the last point to save the day! In television, I can forgive it. In a book? There are no limits so there is no excuse.
Punishment: Beaten to death by heavy volumes with titles like, "Magyck" and "Spellz".
Sin #2: Learn your rules (or invent some)
Following on from #1, magic needs rules, limitations, to stop it feeling as though it could just solve all of mankind's issues and create utopia. When you let your magical characters do whatever they want with magic, it usually creates more plot holes than it solves. Hell, there are plenty of well-established systems already in place -steal borrow appropriate one of those. However, don't change actual facts (real world or popular fiction) without a damn good reason!
Punishment: You'll be eaten in your sleep - obviously.
Sin #3: What year is this?
Period pieces are a genre of their own. They tend to be pretty blatant - the language, the setting, the date cited at the top of the first chapter - and there's usually a pretty good reason for it. Then you get books that throw in pop culture references because... it seemed like a good idea? They might be from present day, they might be from 1998, but they always stand out. Don't have a reason to be here and don't want your book to feel horribly dated in ten years time? Don't reference Deadmau5.
Unless juxtaposition is the point, obviously.
Punishment: Drowned in media from your chosen year.
Sin #4: We get it - you're a teenager/detective/computer hacker!
Jargon is one thing. Tropes are another. If your tech guy is cute but super awkward, constantly says things the other characters don't understand and can hack anything under the sun, I'm gonna roll my eyes. If your teens are angst with a side of angsty angst, full of pop culture references and a total outsider, I'm gonna roll my eyes (also if they're too worldly and articulate). There are literally tonnes of these and I don't think I've ever met someone who wouldn't prefer a three dimensional character.
Punishment: You may only communicate with the language of your trope.
Sin #5: Who are you and why am I here?
Hang on a minute - who is this person? I've never seen this name before! Am I supposed to know who this is? That's right - that character who makes you flip back through the entire book just to check you didn't miss something only to find you're still scratching your head. You read on and find they don't even serve a purpose that couldn't have been fulfilled by somebody who was already there.
Punishment: Forever walking down a street filled with people you know you know but you just can't place.
Sin #6: Siege mode!
This tends to go hand in hand with second-book-itis, particularly in a trilogy. Ever read a book, love it so much you cannot go on until you've read the sequel and then nothing actually happens? If you're lucky, there'll be some character development but it's much more likely you'll encounter some tension, some more tension and a whole lot of planning. I know sometimes you need to set the scene but if your second book is a drag to read, maybe just condense the whole thing into one book.
Punishment: Nothing. Forever. Nothing forever except more friction. Enjoy.
Sin #7: Repetition-ition-ition-ition.
Even if you haven't read Fifty Shades of Grey yourself, I'm sure you're aware of a few phrases from it. "Inner Goddess", perhaps. "Jeez", maybe. You might know that Ana is the type of girl who flushes or blushes a lot. If I feel bad for writing the same word twice in a blog post, you should definitely feel bad when people are counting the number of times you use the same stupid phrase.
Punishment: Imagine Groundhog Day, but with words.
What about you? Are there any little (or big!) things authors do that drive you up the wall?
Sin #1: Phlebotinum
You know that feeling when there are less than 100 pages left so one of two things are going to happening - sequel or magical intervention. Phlebotinum is a term coined by Joss Whedon to describe a magical spell, talisman, weapon, whatever that appears at the last point to save the day! In television, I can forgive it. In a book? There are no limits so there is no excuse.
Punishment: Beaten to death by heavy volumes with titles like, "Magyck" and "Spellz".
Following on from #1, magic needs rules, limitations, to stop it feeling as though it could just solve all of mankind's issues and create utopia. When you let your magical characters do whatever they want with magic, it usually creates more plot holes than it solves. Hell, there are plenty of well-established systems already in place -
Punishment: You'll be eaten in your sleep - obviously.
Period pieces are a genre of their own. They tend to be pretty blatant - the language, the setting, the date cited at the top of the first chapter - and there's usually a pretty good reason for it. Then you get books that throw in pop culture references because... it seemed like a good idea? They might be from present day, they might be from 1998, but they always stand out. Don't have a reason to be here and don't want your book to feel horribly dated in ten years time? Don't reference Deadmau5.
Unless juxtaposition is the point, obviously.
Punishment: Drowned in media from your chosen year.
Jargon is one thing. Tropes are another. If your tech guy is cute but super awkward, constantly says things the other characters don't understand and can hack anything under the sun, I'm gonna roll my eyes. If your teens are angst with a side of angsty angst, full of pop culture references and a total outsider, I'm gonna roll my eyes (also if they're too worldly and articulate). There are literally tonnes of these and I don't think I've ever met someone who wouldn't prefer a three dimensional character.
Punishment: You may only communicate with the language of your trope.
Hang on a minute - who is this person? I've never seen this name before! Am I supposed to know who this is? That's right - that character who makes you flip back through the entire book just to check you didn't miss something only to find you're still scratching your head. You read on and find they don't even serve a purpose that couldn't have been fulfilled by somebody who was already there.
Punishment: Forever walking down a street filled with people you know you know but you just can't place.
Sin #6: Siege mode!
This tends to go hand in hand with second-book-itis, particularly in a trilogy. Ever read a book, love it so much you cannot go on until you've read the sequel and then nothing actually happens? If you're lucky, there'll be some character development but it's much more likely you'll encounter some tension, some more tension and a whole lot of planning. I know sometimes you need to set the scene but if your second book is a drag to read, maybe just condense the whole thing into one book.
Punishment: Nothing. Forever. Nothing forever except more friction. Enjoy.
Even if you haven't read Fifty Shades of Grey yourself, I'm sure you're aware of a few phrases from it. "Inner Goddess", perhaps. "Jeez", maybe. You might know that Ana is the type of girl who flushes or blushes a lot. If I feel bad for writing the same word twice in a blog post, you should definitely feel bad when people are counting the number of times you use the same stupid phrase.
Punishment: Imagine Groundhog Day, but with words.
RECENT PINTEREST AND POCKET FAVES.
Good things are happening for fans of 90s women of rock. If you aren't up to date, this article from SALON should be enough to catch you up. Then jump over to EW for the premiere of the music video for Veruca Salt's LAUGHING IN THE SUGAR BOWL.
Thanks to a friend for linking me to this Buzzfeed article (I know, I know) of the 26 IDEAS FOR THROWING THE BOOZY TEA PARTY OF YOUR DREAMS. That gin and tonic tea set will be mine!
If you've been working on Sophie's Universe like I have and are interested in hearing more from designer Dedris Uys, she just did an interview with KEEP CALM AND CROCHET ON UK all about her design process, inspiration and future plans.
Don't already read Clarissa Explains F*** All? What are you doing with your time!? The girls offer some great feminist commentary on pop culture, including this article on 7 THINGS I LEARNT FROM WATCHING THE FIRST 20 MINUTES OF PITCH PERFECT. #5 hit pretty close to home.
Right, time for some of my recent Pins!
Don't already have a Pocket account? It's great for articles and posts you want to read later!
Don't forget to follow me on Pinterest.
MEDIA MONDAYS: REMEMBER ME.
When Remember Me came out, I had my usual excitement for a bigger release with a female protagonist. Then when reviews were lacklustre and the game was overshadowed by the release of Beyond: Two Souls and the Tomb Raider reboot (how dare we have multiple female leads in one year!) I put it to the back of my mind... until it was disgustingly cheap on the Steam store a few weeks ago.
Remember Me opens with a bright, airy "advertisement" for Sensen. Emotional people talking about their life-changing experiences with the product. It's a very intriguing and interesting way to open a game before cutting to Nilin being tested and then lead to her doom. Here you experience a brief tutorial of the basic game mechanics. I'm starting to wonder why developers give you a difficulty option if they're then going to show you how to walk. After escaping the compound, there's a combat tutorial that explains the combo lab - where you combine attacks or "Pressens" to create chain attacks - then doesn't tell you what your attack buttons are. Do you want to hold my hand or not, tutorial?Mild irritation aside, I did enjoy the combat style. There are four types of Pressens - regenerative, power, chain and cooldown - and tailoring them to your needs and fighting style has an interesting learning curve. It seems silly at first but as you slowly learn more Pressens, bigger combos and S-Pressens (special attacks that allow you to stun enemies, corrupt robots to fight for you or attack enemies with greater speed) the combo lab starts to make more sense. You can't just button mash your way through combat, you need to time the attacks, dodge and keep an eye on the cooldown of your S-Pressens. You also have a projectile weapon which can be used against robot enemies and to open doors - functionality!
The varied enemies mean you also have to adapt your fight style - not all of them can just be beaten to death. They range from basic leapers - citizens who have become so addicted to Sensen they've lost their minds - that jump around almost as much as you do, to invisible leapers or ones that feed on lesser enemies to make them almost indestructible, a range of guards including ones that do you damage if you hit them and a range of robot enemies. While the difficulty does slowly increase, most of the challenge comes from sheer numbers and having to assess your priorities. Boss fights tend to be dodge and attack until their health bar is depleted and a quick-time event is made available.
Pretty early in the game you're shown why Nilin is integral to the Errorist cause - with the aid of her Sensen Glove, she has the ability to not only steal other people's memories or Remembranes (an ability you use to re-live private conversations or break into facilities) but alter them altogether. You rewind and fast-forward through memories, looking for "glitches", seemingly meaningless things you can manipulate to your advantage. It might be the movement of a bottle or turning off the safety on the gun. Manipulating different glitches yield different results, you just need to find the right combination. It's a thrilling and interesting piece of gameplay and the outcomes do give you pause. Sadly you only get to use Nilin's skill a handful of times.
Neo-Paris is a beautiful backdrop for the game - from the depressing and dirty slums to the homes and offices of the social elite. The little bits of technology, like text that pops up as you walk by, are well integrated without feeling like a forced futuristic environment. The graphics do feel a little dated for a game that is barely two years old and I'm always bothered by a game that basically forces me to follow a linear path to my destination when I want to see what's behind this door or that railing (we're a little spoilt nowadays) but it's still a pleasure to look at. Some of the platforming also stinks of classic problems I had hoped we'd gotten past - camera angles that confuse Nilin's direction or restrict your field of view. It's basic stuff that pulls you out of the game and makes you want to punch your monitor a little.
Nilin is a welcome protagonist - she never stops questioning her "partner" Edge's motives, or her own choices for that matter. There are cutscenes between each chapter of Nilin walking through her shattered memories, trying to piece together her past and why she would take up the Errorist cause in the first place. Refreshingly she isn't even the only strong female character in the game - though most of your basic enemies such as guards and leapers are male, a good percentage of your more important targets are women with interesting stories of their own. And the men you interact with? Not a romantic sub-plot in sight. Edge is like a brother - never anything more - and though one minor character has a crush on Nilin, it's more admiration of her skill than sheer interest in dat booty.
COMPLETED PROJECT: SOPHIE'S UNIVERSE CAL.
Sophie's easily the biggest project I've ever completed. She's substantially larger than the biggest blanket I've ever made - this Noah's Ark baby blanket that was supposed to be a gift and I had previously referred to Monstro as being my white whale but neither compares to the intricacies nor the sheer size of Sophie. Despite meaning to be 1.4m across as per the instructions for DK (8ply) yarn with a 4mm hook, the final measurement was 1.8m - the size for worsted yarn with a 5.5mm hook. I have no idea how that happened but I'm pleased that it did.
It does mean is that I probably won't be "growing" my Sophie as per the pattern suggestions with either the squares or the additional border. Probably not, anyway. At its current size it's more than enough to curl up in (it has been pretty cold here lately) and it's definitely got some heft to it. It isn't uncomfortably heavy to sit on top of you but folded up it's certainly weighty. I'm not the biggest fan of granny squares so adding them to this continuous style blanket doesn't hold a lot of appeal for me. Nevermind that towards to end there, even without frogging rounds were taking up to an hour each to complete.
For those wishing to complete the CAL: we have been assured by creator Dedri multiple times that the project pages will be kept live. If I have any recommendations, write out each round in point form. I know why Dedri has written the instructions as they are, but if you're an experienced crocheter like me a lot of the notes about counting and stitch placement just mean you'll just lose your place.
Highlights: watching the flowers come together was a thrill, especially the bigger ones in the corners. Completing millions of popcorn stitches was tedious but those tulips are just darling and despite not being a fan of actual roses, the roses are possibly my favourite part of the whole project!
Sections to dread: if you look carefully, you'll notice that the sides surrounding the larger purple flower are made up of literally hundreds of single crochet stitches. I can't tell if that or everything from the blue butterfly band onwards (which is mostly double crochet stitches) were more painful. It all comes together in the end though!
MEDIA MONDAYS: HOW BIG, HOW BLUE, HOW BEAUTIFUL, INDEED.
When Florence + The Machine's Ceremonials was released in 2011, I bit back disappointment. Their brand of mystical pop seemed to have been abandoned for a more baroque, gospel formula, bigger and sweepingly orchestral. Welch's vocals, reminiscent of those goddesses of bygone eras such as Stevie Nicks and Grace Slick, were simply overshadowed by fantastical musical scores. There seemed to be more confidence in "The Machine" than in Florence herself. Ceremonials felt grand, melodramatic and almost pompous while removing the joy and heart that I had come to know and to love. Most importantly, I couldn't sing along. I couldn't connect, an immediate shut down for me. Though the sales wouldn't indicate it, I definitely felt that sophomore effort slump.
I'm loathe to write off any musician that I once liked - I can count the albums I like without "skippable" tracks on one hand and look at how many times artists like PJ Harvey have changed tact - but I was nervous for F+TM's third effort, How Big, How Blue, How Beautiful. Fortunately lead single, What Kind Of Man, has exactly the layered guitars, atmospheric backing vocals and bluesy frustration that would drag me back for more. While I'm not exactly a Taylor Swift fan, I can't be more grateful to her for advising Welch to write about her feelings. The track seethes resentment and hits its mark.
The opening track, Ship To Wreck, is immediately more upbeat and reminiscent of early Florence, with whimsical imagery and a soft, folk rock feel. Queen Of Peace feels like it belongs in a period piece (with faeries) before detailing the pains of a one-sided relationship with a strong beat. The fall away in Various Storms and Saints as images of the heartache in the first four tracks are laid bare. Delilah and Third Eye are danceable and thoroughly enjoyable. Long and Lost has a strangely dark, almost trip-hop feel, standing out from the rest of the album, The soft emotion and simplicity of Caught and St Jude will speak to anybody who has been through a reluctant breakup.
It isn't perfect - the closing track Mother feels weak compared to the rest of the album and some tracks are certainly less memorable than others. Overall How Big, How Blue, How Beautiful is still classic Florence + The Machine theatrics and metaphors, filled with religious iconography that might give the impression that Welch has a bit of an ego. But it's more introspective, a different kind of vulnerability and soulful joy, and sorrow, without being dark and melodramatic. The sound is smaller, making way for Welch's soaring vocals (that sound as magnificent live as they do on any recording) and emotional depth to explore wonder, joy and regret.
Must listens: What Kind Of Man, Various Storms & Saints, Queen of Peace
Rating: 4
I'm loathe to write off any musician that I once liked - I can count the albums I like without "skippable" tracks on one hand and look at how many times artists like PJ Harvey have changed tact - but I was nervous for F+TM's third effort, How Big, How Blue, How Beautiful. Fortunately lead single, What Kind Of Man, has exactly the layered guitars, atmospheric backing vocals and bluesy frustration that would drag me back for more. While I'm not exactly a Taylor Swift fan, I can't be more grateful to her for advising Welch to write about her feelings. The track seethes resentment and hits its mark.
What are we gonna do / We've opened the door
And now it's all coming through
It's that self-awareness that is present throughout HBHBHB. The album ditches the love of the grandiose and theatrics of Ceremonials for something more tangible, more personal and far less abstract. Don't be mistaken, the band is by no means suddenly minimalist, or even a standard four-piece band. These are powerhouse tracks and there's still the signature harps, horns and melodic backing vocals, lead by Welch herself. It just isn't taking centre stage anymore, allowing for something for organic and accessible while remaining true to the band's art-rock roots.
The opening track, Ship To Wreck, is immediately more upbeat and reminiscent of early Florence, with whimsical imagery and a soft, folk rock feel. Queen Of Peace feels like it belongs in a period piece (with faeries) before detailing the pains of a one-sided relationship with a strong beat. The fall away in Various Storms and Saints as images of the heartache in the first four tracks are laid bare. Delilah and Third Eye are danceable and thoroughly enjoyable. Long and Lost has a strangely dark, almost trip-hop feel, standing out from the rest of the album, The soft emotion and simplicity of Caught and St Jude will speak to anybody who has been through a reluctant breakup.
Like an atmosphere around me / I’m happy you’re beside me
What are we gonna do?
It isn't perfect - the closing track Mother feels weak compared to the rest of the album and some tracks are certainly less memorable than others. Overall How Big, How Blue, How Beautiful is still classic Florence + The Machine theatrics and metaphors, filled with religious iconography that might give the impression that Welch has a bit of an ego. But it's more introspective, a different kind of vulnerability and soulful joy, and sorrow, without being dark and melodramatic. The sound is smaller, making way for Welch's soaring vocals (that sound as magnificent live as they do on any recording) and emotional depth to explore wonder, joy and regret.
Must listens: What Kind Of Man, Various Storms & Saints, Queen of Peace
Rating: 4
TUTORIAL: SLEEP BAND TO MASK MODIFICATION.
I was disappointed to realise the band is designed to be worn as a headband, not a mask (but I want darkness AND relaxing music!) so it's just too tight to cover your eyes and ears. I did try sleep in it (and I'm fortunately not alone) and both times awoke after a few hours with a throbbing headache. So what's a crafty girl to do? Modify it, of course! I considered tearing open the seam and simply adding more fabric but decided that using elastic would have better give.
SLEEP HEADBAND to SLEEP MASK MODIFICATION
Difficulty: Intermediate
Materials:
Sleep headband
Thick elastic
Sewing machine
Cotton thread
Scissors
Seam ripper
Measuring tape
Notes and tips at bottom of the post.
Directions:
1. First things first, remove the headphones! You don't want to accidentally snip them when you undo the seam or trim any threads.
2. Unpick the original seam, being careful not to create any holes in the fabric or to unpick further than necessary as the seam travels around the edge of the whole mask.
5. Pin the elastic about 1cm inside of the mask but only to the front of the band (see photos!). Repeat on the opposite side then pin both sides closed. Make sure all of your elastic is reasonably even and level.
6. Test the measurement around your head - make sure your pins are on the outside of the band so you don't accidentally stab yourself! It should be snug but not uncomfortable and keep in mind the elastic will stretch a little over time. Adjust if necessary.
If you find that you wear your mask a little low, where your head starts to curve towards your neck, you might prefer to slowly decrease the amount of elastic that is visible. This is totally up to you and you might find it bunches a little, but it will be more secure in your sleep.
7. Remove the pins that are holding the flap closed (you might find it easier to pin the flap out of the way for now), and sew the elastic in place. Remember to work slowly and if you're worried, tack in place before sewing (see notes/tips). Repeat on the opposite side and test around your head again.
8. Pin the original seam back in place then machine sew, leaving as small a seam as possible. Do not sew the entire seam closed. Leave enough space at the bottom so that you can still insert/remove the headphones (see photos). If you prefer, you can leave a gap in the middle as per the original design.
This gap is what makes the mask washable. If for some reason you aren't terribly worried about washing your mask (if you suffer from even mild acne though, you should be as pillows and sleep masks can contribute) you can always insert the headphones and very carefully "trap" them inside by sewing the seam almost completely closed. Again, I don't recommend it for hygiene reasons and if your headphones ever break it will be a pain to replace them.
Notes/Tips:
*Both flannel and elastic can be difficult to work with. My best advice is to go slowly and if you're not feeling confident, tack in place before you run it through the machine.
*While you don't want to undo the entire seam, unstitching a little more than necessary can make it easier to manoeuvre.
*If you don't have the best eye for measurements, mark your elastic and the band so you know exactly where it needs to go.
*If you're having trouble with the original seam unrolling, try pressing or tacking it in place.
*Pinning the "flap" of the mask down can help with visibility and mobility.
*If your exposed piece of elastic (where the headphone gap is) is moving around too much, you can always hand sew the edges to hold it down.
Live outside of Australia and don't want to pay for delivery from Typo? You can buy SleepPhones here or at ThinkGeek. They aren't as cute as the ones from Typo but they're available in a few colours so get creative! Add some ears and facial features!
MEDIA MONDAYS: OUTLANDER & SCREEN ADAPTATIONS
On Saturday night the finale of Starz adaptation of Outlander aired. I read Outlander two years ago, as part of the Vaginal Fantasy book club, and have slowly been making my way through the rest of the series. Due to its sheer size, it isn't the sort of book that I've reread multiple times or am able to recall every small detail about, but I love the story and like many other fans, I met the author-approved television adaptation with cautious excitement: like most readers, I'd been burned before.
 |
| Ah, young love. |
And Scotland, oh Scotland, its beauty speaks for itself.
 |
| Definitely one for the bucket list. |
 |
| We were all thinking the same thing. |
Then last year we watched the Game of Thrones panel at San Diego Comic-Con on YouTube, which included writer George RR Martin who has served as co-executive producer and written for the TV series. It's no secret that many book loyalists have been disappointed many times as the writers have deviated from the source material. During that panel, GRRM said something that really hit me as a book purist:
The question of 'so you can experience the story in it's true form' is kind of a loaded one, you know, I've said a couple of times in posts the riddle 'how many children does Scarlett O'Hara have?'. Scarlett O'Hara has three children in Margaret Mitchell's novel. Scarlett O'Hara has one child in the classic movie of Gone With The Wind. How many children does Scarlett O'Hara have? What's the true story? Of course the true story is Scarlett O'Hara has no children because she never existed. She is a fictional character and there are two wonderful classic ways of telling story and you know that may be the situation, that is the situation with the show is the show when the book is the book, you know. Who did Robb Stark marry? Did she [sic], did he... she marry a woman from Voltanis named Talisa who died at the Red Wedding or did she marry, did he marry a woman named Jeyne Westerling who's still alive and will be seen in the prologue of Winds of Winter? Is one true, is one not true? Well, you know, how many children did Scarlett O'Hara have?He isn't the only author to make such statements. Prior to the airing of the Outlander finale, author Diana Gabaldon took to Facebook to ask that book readers, "Put. The. Book. Down. Really, I mean it. If you watch this part with the book in your hand, expecting this, that, and the other thing…you will be disappointed, I guarantee it.", reminding fans that there is no way to include everything and to enjoy it for what it is. Some authors love adaptations of their work, others loathe them. Others such as Anne Rice have been in both situations.
Alan Moore, author of Watchmen, once highlighted the issue perfectly: "There are things that we did with Watchmen that could only work in a comic, and were indeed designed to show off things that other media can't.". Since Buffy the Vampire Slayer finished airing in 2003 and continued in comic form, many of the storylines are ideas that simply could not have happened on screen. Of scenes in the Outlander finale, which are somewhat surreal in the book, showrunner Ronald D. Moore has stated that he feared the scenes, "would take [the viewer] of the story". Some things just don't work on screen. Usually there isn't enough time or money in the world.
More importantly perhaps is the fact that most people, perhaps disappointingly, won't have read the book. In some cases, who can blame them? The Outlander series is an investment, as is Game of Thrones. Many lifelong readers aren't willing to devote that much time to a single series, much less people who (I shudder to mention) don't read at all. Should they miss out on being part of the story altogether simply because they aren't willing, or able, to join the secret universe that you and I share?
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