When Entertainers Enter Novels

The French author Colette (1873-1954).

Among the memorable characters in literature are entertainers: actors, actresses, singers, musicians, etc.

Many dramatic possibilities with these fictional “show biz” people — including creative highs and lows, how they handle fame or lack of fame, how they handle wealth (if wealthy), how they deal with loneliness on the road, and so on. These characters might be flamboyant, charismatic, egotistic, shallow, surprisingly decent, beloved, wedded to their work at the expense of relationships…

I thought about all that last week as I read The Parasites, a lesser-known novel by Daphne du Maurier. The absorbing 1949 book focuses on three siblings – intermittently depicted as kids and as adults – whose self-centered parents were acclaimed stage performers. Two of those siblings become performers themselves (one’s an actress and the other is a pianist who composes fluffy, very popular songs) and they are spoiled/often-irresponsible sights to behold.

More novels I’ve read with performers at the center or as notable supporting characters? One of them is Colette’s semi-autobiographical The Vagabond (1910), about an independent-minded divorcee who becomes a music-hall dancer to support herself. I’ve read most of Colette’s novels, and I think this is her best.

Also semi-autobiographical is Charles Bukowski’s Hollywood (1989), a fictionalized/satirical version of the author’s experiences as a screenwriter for the 1987 film Barfly starring Mickey Rourke and Faye Dunaway.

Then there’s The Song of the Lark (1915), a poignant Willa Cather novel about an ambitious young woman from a small town who becomes a famous opera singer — and the joys and sacrifices that went along with that.

Ann Patchett’s Bel Canto features an opera singer, too. In the 2001 novel, that singer and others are taken hostage during a private concert she’s giving for bigwigs.

A significant supporting player in Jonathan Franzen’s Freedom (2010) is a rock musician who was a college friend of one of the novel’s two main characters and later has a brief affair with that friend’s wife (the book’s other co-star).

Also in the secondary character realm is the teen Hollywood actress who becomes infatuated with the married male protagonist in F. Scott Fitzgerald’s Tender Is the Night (1934). Another semi-autobiographical novel.

The protagonist in Tom Perrotta’s The Wishbones (1997) is a musician in a New Jersey wedding band trying to decide between being with a fairly conventional New Jersey woman or a more “hip”/edgy New York City woman.

Wilkie Collins’ 1862 novel No Name includes a character whose acting skills from her theatrical career come in handy when navigating an unusual family crisis.

While the main character in Walker Percy’s The Moviegoer (1961) is a film-watching stockbroker rather than an entertainer, I feel that novel deserves an honorable mention here.

I’ll add that some writers of novels have been actors/actresses or worked in other parts of the entertainment world — including Fannie Flagg, Thomas Tryon, Steve Martin, and David Duchovny, to name four.

Thoughts about, and examples of, today’s theme?

Misty the cat says: “Here’s where ‘Singin’ in the Rain’ was filmed, but I didn’t hear any singing.”

My comedic 2024 book — the part-factual/part-fictional/not-a-children’s-work Misty the Cat…Unleashed — is described and can be purchased on Amazon in paperback or on Kindle. It’s feline-narrated! (And Amazon reviews are welcome. 🙂 )

This 90-second promo video for the book features a talking cat: 🙂

I’m also the author of a 2017 literary-trivia book

…and a 2012 memoir that focuses on cartooning and more, including many encounters with celebrities.

In addition to this weekly blog, I write the 2003-started/award-winning “Montclairvoyant” topical-humor column every Thursday for Montclair Local. The latest piece — which comments on a not-needed name change for a future park, my town’s hopeful divestment from a bank helping to fund cruel federal immigration detention centers, and another hiring of a high-paid administrator in a school district (mine) where teachers have been laid off — is here.

Observe the Learning Curve

Sometimes, authors dazzle with their debut novels. Mary Shelley and Frankenstein. Emily Bronte and Wuthering Heights. Carson McCullers and The Heart Is a Lonely Hunter. Ralph Ellison and Invisible Man. Arundhati Roy and The God of Small Things. Zadie Smith and White Teeth. Etc.

But more frequently there’s somewhat of a learning curve for authors, which is totally natural — and totally the topic of this post.

I came to this topic via the work of Stephenie Meyer, three of whose novels I recently read in reverse order: first The Chemist (2016), then The Host (2008), and then Twilight (2005). Twilight was of course Meyer’s mega-bestselling debut featuring a teen human and teen vampire who fall in love. An interesting take on the vampire genre that held my interest even as it was too often written in a pedestrian way. Published three years later, The Host turned out to be a fascinating sci-fi story — and more skillfully crafted. Finally, The Chemist thriller about a hunted female ex-government agent was full of superb prose and dialogue. Meyer’s wordsmithing arc was impressive.

It all reminded me a bit of J.K. Rowling’s progression. The first Harry Potter novel was compelling and tons of fun as the author did her world-building, even as the writing itself was not super-scintillating. But Rowling’s prose and dialogue got better and better as her next six wizard-realm books emerged, and continued in that direction with the skillfully written The Casual Vacancy and the riveting crime series starring private investigators Cormoran Strike and Robin Ellacott.

Both Rowling and Meyer can be rather long and wordy in their more recent offerings, but I’m here for it.

Going much further back in time, I liked the feminist idea of Jack London’s early novel A Daughter of the Snows, but the dialogue was laughable and the prose clunky. One year later, London’s pitch-perfect The Call of the Wild was released. I don’t know what writing elixir the author imbibed during those 12 months, but I want it. 🙂

F. Scott Fitzgerald’s college-set debut novel This Side of Paradise is quite uneven, only hinting at the greatness of The Great Gatsby published just five years later.

John Steinbeck’s debut novel Cup of Gold was an okay, rather conventional pirate novel before much of his later fiction became light years better — including, of course, his masterpiece The Grapes of Wrath.

Willa Cather’s first two novels — Alexander’s Bridge and O Pioneers! — exhibited some authorial growing pains before they were followed by her absorbing The Song of the Lark and then the masterful My Antonia.

Dan Brown’s early-career novel The Da Vinci Code was VERY popular and quite ingenious in its way but even more awkwardly written than Stephenie Meyer’s Twilight. I never read Brown again, but I assume his writing improved?

Any comments about, or examples of, this theme?

Misty the cat asks: “How am I supposed to shovel this stuff without opposable thumbs?”

My comedic 2024 book — the part-factual/part-fictional/not-a-children’s-work Misty the Cat…Unleashed — is described and can be purchased on Amazon in paperback or on Kindle. It’s feline-narrated! (And Amazon reviews are welcome. 🙂 )

This 90-second promo video for the book features a talking cat: 🙂

I’m also the author of a 2017 literary-trivia book

…and a 2012 memoir that focuses on cartooning and more, including many encounters with celebrities.

In addition to this weekly blog, I write the 2003-started/award-winning “Montclairvoyant” topical-humor column every Thursday for Montclair Local. The latest piece — which has “no appeal” appeal — is here.