『Fat Vampire & The Artisan Author with Johnny B. Truant』のカバーアート

Fat Vampire & The Artisan Author with Johnny B. Truant

Fat Vampire & The Artisan Author with Johnny B. Truant

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The video of our chat is HERE.What’s my number one goal? To sell IP to film and television.You know who’s done it?Johnny B. Truant Imagine my delight when I was contacted by my favorite horror writer in Canada, Mark Leslie Lefebvre and asked if I was interested in interviewing Johnny B. Truant about his upcoming Kickstarter.Ummm.HELL YES.Ps. Here is his Kickstarter if you want the fanciest edition of Fat Vampire (on it’s thirteenth birthday) EVER. https://www.kickstarter.com/projects/johnnybtruant/fat-vampire-10th-anniversary-special-edition-2-volume-setHere is his bio in his own voice:I’m the author of Fat Vampire (which became SyFy’s Reginald the Vampire), plus 100+ books across most genres. My books are layered, intelligent, and often funny. I love what I do, never cut corners, and would rather earn 10 true fans than sell 10,000 copies.AF: Let’s talk about Fat Vampire. You’ve had the book adapted into the TV series Reginald the Vampire. How did that actually happen?J.B.T: People say, “How do you make that happen?” I say:“I didn’t make that happen. I did nothing to make that happen.”The book existed in the world, and a producer who worked for the BBC, of all places, was getting on a plane and needed something to read. He found it on Apple Books.Then he told two of his friends, Jeremiah Chechik and Harley Peyton, “Hey, I think this is up your alley.” And then they read it and contacted me, and then they made the TV show.(Authorial note: I didn’t know those two guys, so… here you go: Jeremiah S. Chechik is a Canadian film and television director and photographer. His feature work includes National Lampoon's Christmas Vacation, Benny & Joon, Diabolique and The Avengers. Harley Peyton is an American screenwriter and television producer.[1] He worked in both capacities on Twin Peaks and was nominated for the 1990 Primetime Emmy Award for Outstanding Writing in a Drama Series for his work on the series' third episode.)But that circumstance could never have been engineered. Even if I had pitched Harley and Jeremiah—which I didn’t—they had to be between shows, not working on something right now, actively looking. There’s just—everything ends up being luck at some point.But you can’t get lucky unless you have something to spawn that luck. Like having books in the world.AF: Did Reginald the Vampire translate into a big increase in your book sales?J.B.T: No. I would say that it’s good as cred. I got a good payday for the show and I got to go and be on it and everything.But has it made a huge difference in book sales? Not directly. It gives me a reference. It gives me social proof to be able to say that it’s a TV show, and that sort of thing is useful.It’s become kind of a keystone thing in that people do know it. It’s not like there was a big bump when it showed up. But maybe if the show had been bigger, then it would have been.AF: What was your experience like working with the production?J.B.T: The production was very gracious with me, and it’s no surprise. It’s Canadian production. Like, you’re just nicer up there.(Authorial note: Thank you! Sorry, I think we are very nice.)I was told that from end to end, the whole production was kind of a unicorn in that everybody was kind of nice. There wasn’t that kind of cutthroat culture that you hear about sometimes.AF: You were also quite involved in the TV show, weren’t you?J.B.T: I don’t think my experience was typical. I got to sit in the writers’ room a couple of times. I don’t think most authors get to do that, but I wasn’t precious.They’d ask about things, and I basically said, “I don’t care what you do. It’s your IP now.”It’s collaborative. It’s a different medium. It’s budget constrained.There were a bunch of decisions that they made because they had to make them because of budget. And I don’t have to worry about budget when I’m writing.I wish that more writers would understand that TV or movies and their books are a fundamentally different thing.AF: What changed?J.B.T: My Fat Vampire novels are third-person limited. So if Reginald, the main character, isn’t there and doesn’t hear it and see it, then you don’t know it.That doesn’t really work on TV.So they had to create all these other characters and all these POVs, and they needed to be able to shift from an A story to a B story. And that’s not the way books are written.You can’t adapt them one-to-one. Just because the audiovisual version is not the same as the book does not mean that it is screwed up inherently.They used the same premise to create something that worked for that medium.AF: You were part of a companion podcast for the TV show, weren’t you?https://johnnybtruant.substack.com/podcastJ.B.T: Yeah. When I pitched this originally, it was maybe a month, maybe even less, before the first season of the TV show came out.I said, “I can do a companion podcast.”And so if it’s coming out every week ...
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