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Carey Corp and Lorie Langdon talk about Destined for Doon and what it’s like writing together.

Destined for Doon is a battle of passions. Does Mckenna go back to Chicago to pursue her dream of being an actress, or does she stay in Doon to pursue her dream of a divinely chosen soulmate? But if Doon is completely destroyed by an ancient curse sweeping the lands, none of that might even matter. Read our review.

Interview with Carey Corp and Lorie Langdon

Tell us five random facts about yourselves.

Lorie:
a. My first job out of college was selling cars. It wasn’t my first choice, but my student loans were due and I learned a ton!
b. My first literary crush was Dallas Winston from The Outsiders by S.E. Hinton
c. My current literary crush is Will Herondale from Cassandra Clare’s Infernal Devices series. (Guess I’ve always had a thing for tortured, complex heroes.)
d. I’m a very visual writer – Pinterest is one of my favorite apps! (Waste way too much time here.)
e. I have Crohn’s disease. Yes, it sucks, but I don’t let it stop me.

Carey:
a. I didn’t start watching Supernatural until after the first Doon book came out and then I binge watched the first eight seasons. I am completely addicted!!! It’s a problem, just ask Lorie.
b. I am also addicted to ABC family! Switched at Birth, The Fosters, PLL – I love ‘em.
c. My favorite book of all times is Victor Hugo’s Les Miserables. (I did a college paper on the contrasting spiritual symbolism of Jean Valjean and Javert.)
d. After high school, I toured with a repertory theater company for five years before college. I spent most of my time in England and Italy. (Fact: The Rosettis are based on a family I often stayed with in Torino.)
e. I am a total theatre nerd. I just watched the full PBS Broadcast of Oklahoma with Hugh Jackman online. I also spent the better part of a recent afternoon watching YouTube clips of Rent at the Hollywood Bowl (2010). I started watching for Aaron Tveit (my fav) as Roger but got blown away Skylar Astin’s (Pitch Perfect) Mark Cohen.

Doon Cover Feature

How did you two meet and what made you want to write together?

Lorie: We met at a local writer’s meeting and became friends almost instantly! We’d just finished editing our respective solo projects and were discussing what we each wanted to write next, when I mentioned my idea of doing a retelling of Brigadoon. Coincidentally, Carey had just completed her second young adult novel, so I was picking her brain on voice and technique when somewhere along the way our conversation took a detour. Our ideas for the mythical kingdom of Doon sparked an explosion of evil witches, magic spells, daring adventures, two unique best friends, and heroic princes in kilts … soon it became clear that this story was bigger than the both of us, but that together we could make it amazing. So we jumped in with both feet and Doon was born!

What was it like putting a modern twist on such an old and fabled legend?

Lorie: The original story of Brigadoon is about a small village that only appears to the modern world once every hundred years. But one thing always bothered me about the original – during the hundred years that the portal to the kingdom is closed, the people in Brigadoon sleep. Really? They sleep! So it was a blast not only filling up those hundred years, but turning the sleepy village into a Camelot type kingdom.

Carey: I really liked the blending of fantasy and reality. I love “based on true events” type stories. As a result, there’s lots of actual Scottish history seeded into the series as well as real settings such as Bainbridge, Indiana and The Poet’s Corner Coffeehouse in Alloway, Scotland.

Do you relate more to Kenna or Veronica?

Lorie: I think there are always parts of ourselves in the characters we write. Doon is unique in that Carey and I each write a main character. I write Veronica and Carey writes Mackenna. But there are bits of each of us in these two vastly different, but best friends. Like Vee, I’m tenacious when I set my mind to something and I’m a ‘smile while your world is falling apart’ kind of person. But Vee’s more analytical side comes from Carey. And Carey is theater obsessed and has a flare for the dramatic like Kenna. But Kenna’s goofy sense of humor is a bit more like me.

Carey: I do have to add, that while Kenna is also a theatre nerd her favorite Broadway shows differ from mine. We agree on Sondheim, but she loves Rodgers & Hammerstein and my tastes tend to be less mainstream.

Did you approach Destined for Doon in a different way than you approached Doon?

Destined for Doon Cover

Carey: From a structural standpoint, no. There are things about Doon that will hold true for the entire series, such as Kenna and Vee needing to work together to face a series of challenges that comprise their destiny. From a writing standpoint, yes. D4Doon is more Kenna-centric. It’s like the picture negative of the first book.

Was there pressure to make the destruction of Doon even bigger and more terrifying than the first?

Carey: No. I think when you’re constantly trying to one-up the last book, you inevitably reach that tipping point where the plot become less climactic. You can’t out-do yourself forever. Before Lorie and I finished the first book, we plotted out the witch’s actions/reactions based on her end game, much like predicting your opponent’s moves in a chess match. There is a purpose to every bit of mayhem Addie inflicts and she initiates the external plot until the final showdown in the series.

What’s easier to write, the first line or the last line?

Lorie: Typically, the first is easier for me. I almost always know what the first line will be before I even start writing a new book (Doon was an exception to this rule – long story). I agonize over that last line and usually have to rewrite it over and over before I get it right. I want to leave the reader with the perfect last impression.

Carey: The last. The first line engages the reader and if it sucks (pardon my language) then you lose readers. After spending months in the story, I’ve had oodles of time to think about the end and the last lines come very organically for me.

Which YA novel do you wish you had when you were a teen?

Lorie: The Throne of Glass series by Sarah J. Maas or Siege and Storm by Leigh Bardugo or any fantasy story with a strong female lead!

Carey: Cassandra Clare’s Mortal Instruments and Infernal Devices series, The Fault in Our Stars (or anything else by John Green), and Eleanor & Park.

That cliffhanger at the end was so intense. How in the world do you expect us to survive until book 3?

L & C: LOL! Sorry about that, but it’s a necessary evil at this point in the series.

Speaking of book 3, is there anything you can tease us with?

L & C: In the third book, we’ll be revisiting some characters and settings from the first book. We’ll check in on Bainbridge, Indiana and maybe even get a glimpse of Vee’s father.

About the authors

Carey Corp

Carey Corp wrote her first book, a brilliant retelling of Star Wars, at the prodigious age of seven. Since then, her love affair of reinvention has continued to run amuck. Writing both literary fiction and stories for young adults, she begins each morning consuming copious amounts of coffee while weaving stories that capture her exhaustive imagination. She harbors a voracious passion (in no consistent order) for mohawks, Italy, musical theater, chocolate, and Jane Austen. Her debut novel for teens, The Halo Chronicles: The Guardian, earned her national recognition as 2010 Golden Heart finalist for best young adult fiction.

Twitter | Pinterest | Facebook | Goodreads

Lorie Langdon

A few years ago, Lorie Langdon left her thriving corporate career with a Fortune 500 company to satisfy the voices in her head. Now as a full-time author and stay-at-home mom, she spends her summers editing poolside while dodging automatic water-gun fire, and the rest of the year tucked into her cozy office, Havanese puppy by her side, working to translate her effusive imagination into the written word.

Twitter | Pinterest | Facebook | Goodreads

You can find Destined for Doon at the series’ website, and on Pinterest, Facebook, YouTube, and Tumblr.

 

Destined for Doon hits shelves on September 2. Add it to your Goodreads list, or purchase it from Amazon or IndieBound.

Here are the 2017 Oscars winners and losers

8:25 pm EST, February 26, 2017

The 2017 Oscars took place Sunday night in Hollywood and found La La Land cleaning up with six wins. Here are the Academy Award winners!

ABC’s Jimmy Kimmel hosted the 2017 Oscars, which took place at the Dolby Theater. The event featured live performances of all five Oscar-nominated songs.

2017 Oscar winners list

Read full article

The 2017 Oscars took place Sunday night in Hollywood and found La La Land cleaning up with six wins. Here are the Academy Award winners!

ABC’s Jimmy Kimmel hosted the 2017 Oscars, which took place at the Dolby Theater. The event featured live performances of all five Oscar-nominated songs.

2017 Oscar winners list

Related: We asked our parents to describe the 2017 Oscar nominees

Below is a complete list of Oscar winner and losers.

2017 Oscar winner list

Note: The final winner of the night was originally announced to be La La Land, but the announcement was actually an error — Moonlight won Best Picture. Awkward.

Best Picture:
Arrival
Fences
Hacksaw Ridge
Hell or High Water
Hidden Figures
La La Land

Lion
Manchester By the Sea
Moonlight

Best Actress:
Isabelle Huppert – Elle
Ruth Negga – Loving
Natalie Portman – Jackie
Emma Stone – La La Land
Meryl Streep – Florence Foster Jenkins

Best Actor:
Casey Affleck – Manchester By the Sea
Andrew Garfield – Hacksaw Ridge
Ryan Gosling – La La Land
Viggo Mortensen – Captain Fantastic
Denzel Washington – Fences

Best Director:
Damien Chazelle – La La Land
Mel Gibson – Hacksaw Ridge
Barry Jenkins – Moonlight
Kenneth Lonergan – Manchester By the Sea
Denis Villeneuve – Arrival

Best Adapted Screenplay:
Arrival – Eric Heisserer
Fences – August Wilson
Hidden Figures – Allison Schroeder, Theodore Melfi
Lion – Luke Davies
Moonlight – Barry Jenkins

Best Original Screenplay:
20th Century Women – Mike Mills
Hell or High Water – Taylor Sheridan
La La Land – Damien Chazelle
The Lobster – Yorgos Lanthimos, Efthymis Filippou
Manchester By the Sea – Kenneth Lonergan

Best Original Song:
“Audition” – La La Land
“Can’t Stop the Feeling” – Trolls
“City of Stars” – La La Land
“The Empty Chair” – Jim: The James Foley Story
“How Far I’ll Go” – Moana

Best Score:
Jackie
La La Land
Lion
Moonlight
Passengers

Best Cinematography:
Bradford Young – Arrival
Linus Sandgren – La La Land
Grieg Fraser – Lion
James Laxton – Moonlight
Rodrigo Prieto – Silence

Best Live Action Short Film
Timecode
Sing
Silent Nights
Ennemis Interieurs
La Femme et le TGV

Best Documentary, Short Subject:
4.1 Miles
Extremis
Joe’s Violin
Watani: My Homeland
The White Helmets

Best Editing:
Arrival
Hacksaw Ridge
Hell or High Water
La La Land
Moonlight

Best Visual Effects:
Deepwater Horizon
Doctor Strange
The Jungle Book
Kubo and the Two Strings
Rogue One: A Star Wars Story

Best Production Design:
Arrival
Hail, Caesar!
La La Land
Passengers
Fantastic Beasts and Where to Find Them

Best Animated Feature:
Kubo and the Two Strings
Moana
My Life as a Zucchini
The Red Turtle
Zootopia

Best Animated Short:
Blind Vaysha
Borrowed Time
Pear Cider and Cigarettes
Pearl
Piper

Best Foreign Language Film:
Land of Mine, Denmark
The Salesman, Iran
A Man Called Ove, Sweden
Tanna, Australia
Toni Erdmann, Germany

Best Supporting Actress:
Viola Davis – Fences
Naomie Harris – Moonlight
Nicole Kidman – Lion
Octavia Spencer – Hidden Figures
Michelle Williams – Manchester By the Sea

Best Sound Mixing:
Arrival
Hacksaw Ridge
La La Land
Rogue One: A Star Wars Story
13 Hours

Best Sound Editing:
Arrival
Deepwater Horizon
Hacksaw Ridge
La La Land
Sully

Best Documentary Feature:
Fire at Sea
I Am Not Your Negro
Life Animated
O.J.: Made in America
13th

Best Costume Design:
Allied
Fantastic Beasts and Where to Find Them
Florence Foster Jenkins
Jackie
La La Land

Best Makeup and Hairstyling
Star Trek Beyond
Suicide Squad
A Man Called Ove

Best Supporting Actor:
Mahershala Ali – Moonlight
Jeff Bridges – Hell or High Water
Lucas Hedges – Manchester by the Sea
Dev Patel – Lion
Michael Shannon – Nocturnal Animals

Tags: 2017 Oscars

Arrival has been nominated for Best Picture in this year’s Oscars, but it’s Jóhann Jóhannsson’s exceptional score that might earn it a win.

Stepping off from the common trope of ‘aliens arriving on Earth,’ Arrival takes all our human expectations, examines them closely, and then subverts them with remarkable simplicity. Ultimately, it’s a story about choice: the choice to make sacrifices, to trust, to stand united.

It’s an important subject, and a timely one. Amy Adams’ portrayal of Louise Banks, a linguist called to do the ultimate translation job, is breathtaking in its realism and its vulnerability. The cinematography is stunning, and the pacing of the story takes us on a journey that, although walking the much-treaded road of sci-fi, manages to make us feel as if we are exploring entirely new territory.

Read full article

Arrival has been nominated for Best Picture in this year’s Oscars, but it’s Jóhann Jóhannsson’s exceptional score that might earn it a win.

Stepping off from the common trope of ‘aliens arriving on Earth,’ Arrival takes all our human expectations, examines them closely, and then subverts them with remarkable simplicity. Ultimately, it’s a story about choice: the choice to make sacrifices, to trust, to stand united.

It’s an important subject, and a timely one. Amy Adams’ portrayal of Louise Banks, a linguist called to do the ultimate translation job, is breathtaking in its realism and its vulnerability. The cinematography is stunning, and the pacing of the story takes us on a journey that, although walking the much-treaded road of sci-fi, manages to make us feel as if we are exploring entirely new territory.

It should come as no surprise that Arrival is being considered for Best Picture in the upcoming Academy Awards. Director Denis Villeneuve has made a name for himself with movies such as Prisoners and Sicario, known for combining raw humanity with breakneck intensity. But although Villeneuve is an extremely talented director, and is accompanied by an excellent cast, it’s Arrival’s score that succeeds in bringing all the delicate pieces of the film together in one cohesive whole… and drawing the audience in.

Jóhann Jóhannsson is an Icelandic composer that has collaborated with Villeneuve repeatedly, and received Academy Award nominations for his work on movies such as The Theory of Everything and Sicario. Unfortunately, Arrival’s score, although arguably his best work yet, is not eligible for nomination this year. In an exclusive report, Variety explained:

“The Academy’s music branch ruled unanimously that voters would be influenced by the use of borrowed material in determining the value of Johann Jóhannsson’s original contributions to Denis Villeneuve’s alien invasion psychodrama.

“Per Rule 15 II E of the Academy’s rules and eligibility guidelines, a score ‘shall not be eligible if it has been diluted by the use of pre-existing music, or it has been diminished in impact by the predominant use of songs or any music not composed specifically for the film by the submitting composer’”

With the director choosing to place Max Richter’s “On the Nature of Daylight” in the beginning and ending sequences of the film (a song which was also a part of Shutter Island’s score), Jóhannsson’s work sadly lost its chance at an Oscar nomination. According to Variety, “it was determined that there would be no way for the audience to distinguish those cues, which bookend the film, from Jóhannsson’s score cues.”

In an interview with Slash Film, Jóhannsson said that he initially wrote his own alternative to the track, while knowing that Villaneuve was considering “On the Nature of Daylight” as well, although it was very different, as he didn’t “really want to do a knock-off of the music.” Ultimately, Jóhannsson says that he supports the choice, because it “works beautifully and it supplies a very strong contrast to the rest of the score.” But it’s a pity that artistic decisions like this one can cost an exceptional composer an Oscar.

For Arrival, his ability to grip the listener with only a few sounds and rhythms, gradually building up to something of massive proportions, was perfectly harnessed once again to create something truly new. The composer told the Guardian: “People are hungry for new sounds, and for the experience of listening to unfamiliar music that you don’t hear on commercials and in every TV show.”

Composers for sci-fi movies tend to favor epic soundtracks to draw audiences into the scene and make them feel the full blow of the story’s emotions. Jóhannsson, however, entirely avoided using orchestras and sounds in the way that we’re familiar with. His quiet buildup is much more powerful. The track “First Encounter,” for example, is mysterious, ominous, and ultimately overwhelming when the sound suddenly comes to life.

“In mainstream cinema, there’s usually too much music,” he said. “In Arrival, the use of space and silence is extremely important. When music is needed, it’s really there and it serves a purpose.”

The music fits in so well that it becomes hard to know when you’re listening to the score, and when you’re listening to the scene. Both elements mesh so well together that they become nearly indistinguishable. And the quietness that is the underlying current of most tracks is a marvelous replica of human emotion — in the case of First Encounter, of what a mind in shock feels like when faced with an experience it can’t understand.

To achieve the unfamiliar sounds that surround Arrival’s alien ships and their mysterious passengers, Jóhannsson brought together vocalists and choirs, to experiment with what could be done with voices, and combining them with cellos, horns, and wood sounds. He explained to Slash Film:

“The reason I wanted voices was really motivated by the script and the story. It’s a story about communication. It’s a story about language. It’s a story about communicating with an alien species. How do we communicate with an intelligent species with who we have no common point of reference? It was this anthropological aspect, this linguistic aspect, that really influences my choice of orchestration and instrumentation.”

It makes for a truly fascinating combination of sounds. Jóhannsson somehow manages to make simple vocal exercises into music that can be anywhere between heartbreaking and heart-wrenchingly hopeful, turning vocal harmony into something almost tangible, and shedding a small ray of light into the mystery of achieving unity in diversity.

This isn’t a horror-movie score — it’s something transporting, yet ambiguous; a difficult task to achieve nowadays. With decades of listening to scores with similar patterns, it takes a lot to leave audience members in the dark about what is about to happen. We’ve become used to screeching violins meaning impending terror, to drums meaning action scenes, to lengthy orchestra pieces surrounding the climax of the film.

We’re used to hearing Hans Zimmer and John William’s epic orchestras, and while beloved and immortalized for their loveliness, they are no longer as revolutionary. We know the swelling sound of strings and the beating of drums, and we have learned to associate certain sounds with victory, and other sounds with fear.

With Jóhannsson, on the other hand, we don’t know what to expect — is the thrumming noise and the horns in the distance leading us to a scene of horror and destruction, or are we about to discover something beautiful? The score leads us into the ship itself, into the arrival, and poses the same questions with music that the movie does with words and breathtaking cinematography.

And yet, despite the unfamiliarity and ambiguity, the result is still something that feels inherently personal. It’s an emotional experience, even in the silences — a difficult task to achieve with such a minimalist style as Jóhannsson’s — and it’s marvelously memorable. It manages to do exactly what Arrival did for us as a film: draw us in with the promise of alien appearances on Earth, and then steal our hearts with the uniquely human experience of choice, trust, love and death.

Interstellar has tried to do this before — melding human vulnerability with world-defining stakes — but critics are split on whether or not it was a success. With Arrival, however, there’s no doubt that the balance between the intimate and the epic was perfectly reached; and it was because of Johann Jóhannsson.

Arrival has been nominated for Best Sound Mixing and Best Sound Mixing – the closest we’ll get to a soundtrack Academy Award — as well as Best Picture, and many others.

Jóhannsson is currently working on the score for Blade Runner 2049 (also directed by Villeneuve), which is expected to premiere this October.

Doctor Who season 10 finally has an air date and not only that, so does its spinoff, Class!

It’s time to celebrate because we finally know when we’ll see Peter Capaldi back in the T.A.R.D.I.S. as the Doctor! BBC America will premiere Doctor Who season 10 on Saturday, April 15 at 9/8c. Check out the brand new trailer promoting the series, narrated by the brand new companion, Bill:

Read full article

Doctor Who season 10 finally has an air date and not only that, so does its spinoff, Class!

It’s time to celebrate because we finally know when we’ll see Peter Capaldi back in the T.A.R.D.I.S. as the Doctor! BBC America will premiere Doctor Who season 10 on Saturday, April 15 at 9/8c. Check out the brand new trailer promoting the series, narrated by the brand new companion, Bill:

No word on if the U.K. will be seeing the same air date but it’s more than likely they will since it’s been like that in years past.

This will be Peter Capaldi’s last season as the Doctor, along with Steven Moffat’s last season running the show. After this we’ll be seeing Chris Chibnall taking the reins with a clean slate, and we’re so curious about how the series will go. How will the Doctor regenerate? Will this be Bill’s first and last season on the show as well? Who’s going to be the next Doctor? We’ve got so many questions! But they’ll all be answered in due time… we hope.

And that’s not all! Fans in the U.K. have already had the chance to enjoy the brand new spinoff series, Class, and after Doctor Who premieres on April 15 Americans will finally witness it as well.

Set to air directly after Doctor Who at 10/9c, Class is helmed by award-winning YA writer and executive producer, Patrick Ness. The series follows a group of students at Coal Hill School as they deal aliens, invasions and awkward social dilemmas.

Having seen Class in its entirety we can tell you that it’s got the perfect Doctor Who vibe and should fit in perfectly after you watch the season 10 premiere. Although not everyone loved the premiere, the series as whole definitely grows on you. You’ll just have to check it out for yourself!

Are you excited for ‘Doctor Who’ season 10?