>Question: Recently, Dan, you have been changing your focus away from cli fi novels and their acceptance in the literary world to a new focus on the power of cli fi to impact Hollywood movies and therefore impact the world. Can you explain this change in focus?
Dan Bloom: Yes, glad to. It seems that the entrenched powers in the literary world controlled by book editors and book reviewers at such publications as Publishers Weekly (Jim Milliot), The Washington Post Bookworld (Ron Charles), The Los Angeles Times Book Section (Carolyn Kellogg, Hector Tobar, David Ulin), the New York Times (Pamela Paul, Dwight Garner, Peter Lattman, Alexandra Alter), the Guardian (Claire Armitstead, Alison Flood) and the Financial Times (Pilita Clark) simply are not interested in the rise of the cli fi genre term among novelists and short story writers and seem to be bent on keeping the cli fi term out of their pages altogether. I am not sure why, but maybe it has to do with literary critics and book section editors feeling that literature is a sacred calling and only these editors -- as gatekeepers -- can decide what's real and what's not in the literary world. So be it. They are the gatekeepers and they are apparently not interersted in the rise of cli fi as a literary genre term.-------------------
Dan Bloom: So the more I thought about it with my PR team, in terms of our PR efforts as climate activists promoting cli fi as a wake up call genre, not a mere literary genre to pick apart and debate, the more I began to realize that the print novel is basically dead [in the rising waters of AGW] and has nt power anymore to influence people or impact society. It's just a bunch of gatekeepers and the gatekeepers don't care. They have their own agendas. Like being cool and trendy and avantgarde and the like. Climate change is not on the menu at the hip restaurants where they dine.
So I feel that in fact the real power of cli fi to change the world, to wake people up lies in Hollywood and world cinema, indie cinema as well. And Hollywood and the media covering Hollywood, much more than the entrenched literary world gatekeepers in New York and London and Washington and Los Angeles, are getting the cli fi message much better and much more directly than the print media gatekeepers.
Hollywood and the media covering Hollywood has really embraced cli fi and that is where the real power now lies I feel.
Novels about climate change still will have a place in our culture but a very limited one, and one getting smaller day by day in this digital world of 500 channels and multiple distractions. Speculative fiction and eco-fiction still find readers. Look at Margaret Atwood! Look at Nat Rich! Like at Ian McEwan! Look at Barbara Kingsolver.
So I noticed that in fact Hollywood was much more with it, in terms of "getting" the cli fi message. When TIME magazine did a big cli fi spread on summer cli fi movies in its May 19, 2014 issue what went worldwide with its readership, I noticed a sea change in the way the media was handling the new, mushrooming cli fi genre. After the TIME article by Lily Rothman, who took the time to interview me for her story by telephone from New York, the New York Times Room for Debate picked up the Hollywood angle for cli fi movies, talking about films such as SNOWPIERCER and INTO THE STORM, GODZILLA and NOAH and INTERSTELLAR. So I came to realize that Hollywood is where cli fi can have its biggest impact, since print novels are dead in the water (see above) and the few that do get published by the major publishers are reviewed only by the gatekeepers at the Times and the Post and the LAT and the Guardian.
Gatekeepers working for their own ''gatekeepers''. That is to say their paymasters.
QUESTION: Do you think the future of cli fi lies in Hollywood?
DAN BLOOM: Yes, definitely. From Mashable's Andrew Freedman to the New York Post's PAGE SIX gossip column, there was more ink about Hollywood and cli fi than anywhere else.
The print novels industry is blind to cli fi. Books are dying. Few people read anymore, on a large scale. Novels have little impact anymore. Movies reign supreme, and this is where I want to take the cli fi genre now: Hollywood. Hollywood players get it, Hollywood media gets it, and even print media gets that books are dead and movies rule the day now.
So I am following my gut instinct and my media radar and moving the cli fi genre into the realm of Hollywood film directors and producers and writers. There is a future for cli fi in Hollywood. There is no future for cli fi in novels. The gatekeepers won't let it in, and the gatekeepers don't want to be social activists or God forbid, climate acitivists!
Movie directors get it and they want to change the world. So that's where cli fi has found its true home. And it's good, this is a good development. I plan now to focus my PR campaigns for cli fi in the film world, and not just in the USA and but worldwide too. Cinema has the power to impact the world over important issues of climate change and global warming. Novels have no such power anymore. Sad, but true.
And with the gatekeepers busy gatekeeping, speculative fiction novels and eco-fiction novels still have a place there, though, and good novelists will find readers in those genres. They won't find readers in the cli fi literary genre because the gatekeepers won't let them in. So Hollywood is where it's at.
QUESTION: You're serious, aren't you?
Dan Bloom: Very serious. You know me, I take the cli fi genre very seriously, and I am committed to finding the best home for it. Hollywood is where cli fi belongs. The literary world does not care, and won't let the people in who do care. Do the math: movies reach millions. Novels reach 3000 people, if that many. And the liteary gatekeepers make sure that nobody gets in they don't approve of first.
Question: Thanks for your time and thoughts here, Dan.
Dan Bloom: Thank you for seeing where all this is leading.