SARA-ELLA OZBEK Freelance Writer

[email protected] +447968593906 Literary Agent: [email protected]

Services:

 Copywriting  Ghost writing (novels, short stories or blogs)  Video scripting  Journalism  Newsletters  Proof reading and editing  Newsletters  Script or novel coverage reports  Film & TV treatments  Social media management

References available upon request. This petrol blue dress is designed to be both sophisticated and alluring.

The neckline sweeps fluidly over the collarbone, giving the impression of modesty until the low-cut open back is revealed. The dress is gathered at the waist seams for a luxurious texture and features a coordinating draped panel down the back of the skirt, which is certain to turns heads.

Made from a lightweight jersey that hugs the body and flares gently at the hem, it is supple, elegant and perfect for dancing.

A modern party dress that is both fun and flattering, the eclipse mini can be carried across the seasons.

It is cut low at the bust with a textured jersey halter-neck to provide the ultimate support. The matte crepe skirt falls from an elegant knot at the centre of the bust, leaving a tantalizing gap at the ribs.

Dress up with black accessories for a modern monochrome effect, or keep it clean and simple. Either way this is the perfect dress to have fun in. NEW RESTAURANT OPENING: UPSTAIRS, BRIXTON

Upstairs is an avant-garde social hotpot, set to redefine the way London does ‘exclusive’ hospitality. Located in the newly-refurbished Department Store, Upstairs is a rooftop bar and restaurant boasting creative modern cuisine, spectacular views and a vibrant, friendly atmosphere.

For months, the South London grapevine has been permeated with whispers about this elusive new hospitality concept. Ever since the rumours began, locals have been elbowing one another for access. A cutting-edge destination, Upstairs is the closest thing to a member’s club without the high prices, or affected exclusivity – that’s to say, it welcomes everyone! It is located on the top floor of the remarkable Department Store building, in Brixton, which was designed by award-winning architects Squire & Partners, and is the apex to their ground-breaking office space. Upstairs is a rooftop bar and restaurant, which has been running for 6 months, as an invitation only venture, offering friends, family, S&P co-workers and other creative experts a unique space to eat, drink and socialise, overlooking the bustling streets of Brixton.

With spring around the corner, S&P have decided to cater to demand and open Upstairs to anyone who wishes to come, as long as they register themselves as a member beforehand. Those who are keen to visit this new hotspot, can do so for an annual fee of £50. After registration, members can bring 10 guests at a time, on a pre-book only basis. If you’re wondering why all the fuss, this system ensures that the team at Upstairs can get to know their clients personally, making for a hospitable, family-like atmosphere, as opposed to long queues, annoying waiting times and stressed staff ferrying guests off of tables for the next batch. It also means that the menu prices are far from extortionate – look forward to a succulent Sunday roast starting at £14! Lastly, the exclusivity of the venue, being above the S&P offices, requires it to be a trust-worthy camp, as they are, essentially, welcoming guests into their very impressive and buzzing home.

History

The Bon Marche department store was built in 1876 by James Smith, a local, who won £80,000, when his racehorse, Roseberry (now the name of the private dining room), won an inconceivable double at Newmarket. Inspired by the opulence of Paris’ original Bon Marche, Smith created an unsurpassable shopping destination, which was also the first steel-framed building in the UK. It survived almost 50 years as a retail destination and acted as a bomb shelter during World War II. When the building became abandoned, squatters moved in and left a legacy in the form of street-inspired artwork. During the refurbishment, S&P stripped the building back to its origins, unearthing decayed grandeur and an extraordinary display of craftsmanship.

Bar & Restaurant

Led by consulting chef, Olivia Reeves, Upstairs promises innovative taste sensations, while guests mingle against the exciting landscape of South London. With an epic roof-terrace, it is set to be one of the most desirable spots in London, particularly when the summer comes around.

The 5,000-square foot 4th floor offers a bar, lounge area and dining space, as well as a landscaped roof-terrace. Flanked with untreated pewter, copper skirting and oak wood, the Scandinavian inspired décor makes for a cosy atmosphere, amongst the grandeur of the Edwardian building. The bar was created in collaboration with Benchmark and offers both food and beverages, that can be happily consumed on high solid oak tables and black timber Ercol barstools. The lounge area is punctuated by a floor to ceiling copper wall, housing a wood burner and a large L-shaped Freeman sofa by Minotti. Table football and ping-pong, both inside and out, encourage a fun and frivolous experience at Upstairs. The dining space is a mixture of pale green leather banquettes and smoked oak chairs around black ply topped tables, as well as a display of curious objects from projects undertaken by S&P. The copper punched window recesses act as frames, for diners to view the South London cityscape. For private dining, there are two options: The Roseberry Room – a salute to Smith’s racehorse – a large rooftop meeting room, which can also be used for dining. This seats up to (XXX) people. For smaller scale events, there is The Dome, an exquisite circular room made of steel and bespoke glass, which seats up 15 people and offers a breath-taking view of the night stars. Non- members can use the Roseberry Room, when pre-booked, for events and the entirety of Upstairs is available for exclusive hire on Mondays.

Supported by a team of hard working female chefs, Olivia Reeves has conceived a menu of dynamic sharing dishes, split into five sections: Garden, Sea, Land, Sky and Signature Dishes. Star dishes include Fig & Camembert Tart, Burrata with Heritage Carrots & Dill, Braised Lamb Shank with White Bean Cassoulet & Chorizo and Lavender Infused Mascarpone Cheesecake with Honey & Thyme Crumble.

Olivia is renowned for her experimentation with colour and flavour, creating dishes that are a spoil to both vision and taste. She is passionate about using fresh seasonal ingredients and sources them from London’s best suppliers. In 2013, she launched Kaboola Catering & Events. Since then she has created bespoke menus for weddings, parties and events of all sizes, including Pennard Hill Farm at Glastonbury Festival and The Design Club at Chelsea Harbour. In 2017, she opened Kaboola Kitchen, a café and deli, which is also located in The Department Store building.

Olivia says, “I like to bring a modern twist to dishes that are packed with flavour but are also exciting and innovative. Presentation is key. I am constantly researching new combinations of food and techniques to experiment with old and new ingredients. Living in London helps enormously as there is such a vibrant culinary scene, with an amazing array of restaurants and chefs.”

The team at Upstairs look forward to welcoming you all into their innovative, fun and welcoming establishment.

Upstairs will be open to the public from the (date). PRESS RELEASE

SASSY CIDRE POP-UP @ ST. PANCRAS RENAISSANCE

Sassy Cidre Pop-Up is set to be London’s most exciting summer haunt, combining the best features of a sophisticated cocktail club with those of a brewery. Promising delicious beverage creations, a stunning floral aesthetic and a friendly, vibrant atmosphere, Sassy Cidre Pop-Up will redefine the way we enjoy cider!

Sassy Cidre is a French premium cider brand like no other. This summer, the masterminds behind it will be inviting Londoners into their unique and magical world of handcrafted cider, by popping up London’s first ever cider bar!

If you think you’ve enjoyed quality cider in your life, think again (unless it was Sassy). Created in Normandy, Sassy Cidre beverages are made up of complex aromas. Crafted from freshly-squeezed, handpicked apples they are not only mouthwateringly delicious, but 100% natural and gluten free! There are three flavours. The signature is the perfect balance between the dry taste of a traditional cidre brut and the fruitfulness of a semi-dry – full bodied, bitter and round. The delicate rosé is made from red-fleshed apples, smooth, elegant, fruity and slightly acidic, with lasting finesse. The Virtuous is their most delicate and refined cider, a little sharp and slightly tannic, with a soft finish – the perfect aperitif!

But if you’re not a cider enthusiast, fear not. Sassy Cidre Pop-Up will be partnering with three different alcohol brands to create original cocktails. They’ll be kicking off with a creation using Suze & Lillet, followed by a surge of St. Germain and going out with a Belvedere bang. And if that’s not enough to get excited about, they’ve got loads lined up to entertain you and your friends. Look forward to live performances from budding French musicians, as well as masterclasses in flower arranging, cocktail making and other key life skills.

But high-quality beverages aren’t their only selling point. Anyone who’s sick of London’s grey skies, can rest assured that this haunt will make you feel like you’re in the French countryside, whatever the weather! The London Floral School have designed a flora-heavy entrance fit for a secret garden. There are whispers of two full apple trees at either side of the marble bar. A particularly attractive aspect of this summer hangout will be the alfresco seating for up to thirty guests – you’ll feel miles away from the motors of King’s Cross!

Sassy Cidre bottles have graced the restaurants of Michelin star chefs, Ducasse and Robuchon, as well as those of Gordon Ramsay. They’ve also been served at events for top fashion houses including Karl Lagerfeld, Chanel and Alexander Wang. They’ve been enjoyed everywhere from The Rosewood Hotel, to Selfridges, to famous London cocktail bars, such as Nightjar, Opium Chinatown and Experimental Cocktail Club. Now the founders have decided that it’s time to show the boozers of London, what drinking cider is really about!

Sassy Cidre Pop-Up will be open from June to August 2018. They look forward to welcoming all Londoners to their fun, friendly and unique hotspot, to experience the new way to drink cider. FILMS TO INSPIRE YOUR TRAVELS

Words by CONTRIBUTOR : SARA-ELLA OZBEK Home • Travel • Stories • Current Article

Stock up on popcorn and then get on Skyscanner because these around-the-world films will leave you with seriously itchy feet. The Darjeeling Limited: Northern ’s 2007 masterpiece will give you the urge to fly out to India and board the Darjeeling Himalayan Railway immediately. The film follows the dysfunctional relationship of brothers Francis (), Peter () and Jack (Jason Swartzman) as they cross the country’s northern states. Though their route is somewhat ambiguous, the majority of the film was shot in Jodhpur, , while the scenes of the Himalayas were actually filmed in Udaipur. The most captivating element is the vibrant colours and varied landscapes as the group journey through deserts, farmlands, temples, juxtaposed with the quirky setting of the train. True to this imagery, India is a dynamic colour palette and a real spoil to the senses. The real-life Darjeeling Limited, also known as the “toy train”, actually travels the eight-hour distance through the mountainous lands from Darjeeling to Siliguri, while Rajasthan is packed with temples, palaces and the famous Blue City. Vicky Cristina Barcelona: Barcelona Woody Allen’s heart-warming portrayal of love and friendship is as enticing as lively Barcelona itself. Spending the summer there are best friends, Vicky (Rebecca Hall) and Cristina (Scarlett Johannsen). Both women fall for a sensual artist, Juan Antonio (Javier Bardem), and are soon introduced to his hot-blooded ex-wife Maria Elena (Penelope Cruz) – one of the most captivating female characters ever written. The film shows both the affluent and bohemian sides of the Catalan city, flipping between scenes of wealthy American ex-pats and local creatives. The camera gives a rich architectural tour of Barca and you’re treated to visuals of Joan Miro’s ceramic mural, the Gaudí fountain and the evocative spires of La Sagrada Familia. A cinematic excursion through the bustling streets of Las Ramblas shows the city’s infectious energy, overflowing with restaurants, nightlife, art and culture. Breakfast at Tiffany’s: New York There’s nothing like watching Audrey Hepburn waft about New York in a strand of pearls to make you want to hit up the city yourself. The film’s heroine, Holly Golightly, is a whimsical socialite who feels her most comfortable at Tiffany’s. She befriends and eventually falls in love with Paul Varjak (George Peppard), though he does not fulfil her dreams of a glittering lifestyle. New York is shown at its most romantic in this 1961 film, directed by Blake Edwards, and oozes an utterly seductive glamour throughout. The famous Tiffany flagship store shown in the film opened in 1940 and is located on the corner of Fifth Avenue and 57th Street. Holly lives on the Upper East Side, which is still a lovely place to shop, pick up fresh pastries and stroll through Central Park. Her little brownstone walk will leave you thinking that a shoebox apartment in the city is nothing short of magical. Notting Hill: London Richard Curtis’ 90s rom-com is a love letter to London. Will Thacker (Hugh Grant) – a floppy, affable chap who lives on Portobello Road and owns a local bookshop – falls in love with famous actress Anna Scott (Julia Roberts), taking her on a romantic excursion into a West London garden square and for dinner at Nobu. Other London spots that appear in the film are The Ritz, The Savoy and Kenwood House in Hampstead, which is well worth a visit. Will’s famous blue front door can be found on Westbourne Park Road, while Portobello Market is as effervescent in reality, packed with antiques, jewellery and food stalls – the perfect place to while away the weekend. Pretty Woman: Los Angeles Countless films are set in LA, but none of them turn a gritty reality into a fairytale quite like Pretty Woman does. On Hollywood Boulevard’s Walk of Fame, businessman Edward Lewis (Richard Gere) picks up Vivian Ward (Julia Roberts), the loveliest of all prostitutes. The majority of the film is set in Beverley Hills, displaying the high-life side of the golden coast. Edward and Vivien fall in love over a long weekend at the Beverly Wilshire Hotel, where her lavish shopping trip on Rodeo Drive will make you hungry for some retail therapy. The city has hardly changed since the film was made in 1990, with the Boulevard remaining wonderfully retro and an ideal mix of beach and city, sun and parties. The Talented Mr Ripley: Southern Italy One of the most stylish films ever made, this tale of deception shows a racy and seductive side to Italy in the 60s. Tom Ripley (Matt Damon), a lost young man from New York, is sent to Italy to bring home rich playboy Dickie Greenleaf (Jude law). The town in which they meet, Mongibello, is a fictional place but the scenes were filmed in Procida and on the volcanic island of Ischia just off the coast of Naples, both of which make for a wonderful reminder that nothing beats a Euro summer holiday. Evoking Positano and Portofino throughout, with snippets of Sicily in there too, the beach on which Tom first meets Dickie and his girlfriend Marge (Gwyneth Paltrow) showcases all the elegance of the Italian seaside – and will have you booking a road trip in no time. The Thomas Crown Affair: The Caribbean Although the majority of the film is set in New York, the most unforgettable scenes of romance take place on the island of Martinique. This tropical interlude in the otherwise American heist story gives the film an exotic twist as wealthy businessman Thomas Crown (Pierce Brosnan) pursues Catherine Banning (Rene Russo), a woman investigating him for the theft of a Monet. They arrive in Martinique on a private jet and get straight into an open-topped vintage Ford Mustang. An aerial shot of the island shows them driving through palm-tree-lined streets, past a classic Carribean funicular and eventually up a long, winding road to a secluded little blue and white house overlooking the ocean. An early morning shot of Catherine topless on a private beach brings yet another overwhelming surge of lifestyle envy. Martinique is part of the Lesser Antillies and is one of The Caribbean’s more rugged islands, while others in the group include Saint Martin, Saint Kitts and the exquisite Mustique. Midnight in Paris: Paris Another Woody Allen number, this story of nostalgia will make you yearn for fantasy Paris of the 1920s – and fortunately, it’s one of the few cities that still embodies days gone by. The film follows creatively dissatisfied screenwriter Gil Pender (Owen Wilson) on a journey through the past, where he meets the city’s deceased intelligentsia including Ernest Hemmingway (Corey Stoll), Gertrude Stein (Kathy Bates) and Salvador Dalí (Adrien Brody). In present-day Paris, the camera paints an artistic view of the city as the characters move through Monet’s Garden in Giverny, the Rodin Museum, L’Orangerie and along the River Seine. Gil and his uptight wife (Rachael McAdams) stay in a room at the luxurious Hotel Bristol – always a treat. The famous Café de Flore makes an appearance and is a quintessentially charming place for a vintage taste of Paris on your own weekend trip. STORY

Frockdrop sell gently worn garments and accessories by luxury, high-end Designer brands, for a fraction of their original price. With garments sourced from top catwalk models and celebrities, Frockdrop houses an impressive selection of items, from the incredibly modern to the vintage rarities. 8 WAYS TO TIE YOUR NAPKIN THIS AUTUMN 13th October 2017 Even if you do nothing else to your table, an interesting presentation of napkins can really liven it up. Here are eight ideas I found. Time to get creative!

BERRY CLEVER Peachy berries against a stone-grey napkin, with a nice neat bow – what could be easier? Don’t use red berries, because they scream Christmas!

CINNAMON STICKS This is so simple. All you need is a stick of cinnamon, a sprig of greenery and a piece of string. Make sure to use the string generously and combine with a neutral linen napkin for this effect. ENVELOPE EFFECT You’ll have to get out your origami book for this one, but the envelope effect is very sleek and perfect for a table leaning towards the formal side. Add a bit of greenery for charm!

PUMPKIN PLACE CARDS Pumpkins are the go-to for Autumn. Baby ones are especially useful and are great for name settings. You can use a felt tip pen or acrylic paint to write the names. Place them on top of your napkin to hold it down. WHEAT FOLDS This is such a simple but effective way to bring autumn to your table. There’s something very cosy about the muted green and beige napkins, rolled so neatly to hold the wheat. BROWN PAPER PACKAGES TIED UP WITH STRING What could be more standard than a brown paper bag? But, somehow, this looks so fresh and original. It’s also very functional – it’ll hold your napkin and cutlery and serve as a name setting, whilst looking fabulous! KITSCH KITCHEN Autumn always makes me nostalgic for being at home with family, as a child. I grew up in the 80’s and these bow-tied napkins struck a chord with me, because they couldn’t be more 80’s if they tried!

NEWSROOM STYLE Even in the digital age, everyone has the odd newspaper lying around. Don’t they? Why not fold up a piece of newspaper to write your name settings and combine with greenery and string to tie your napkin. THE RUM RUNNER Press Release

· Mixing top quality cocktails, Sam Paget Steavenson is revolutionizing the bar culture of ordinary events.

· London’s most innovative mixologist, Sam Paget Steavenson, is committed to creating cocktails that are both delicious and aesthetically pleasing, no matter the scale of the event.

The Rum Runner is a unique and exciting company that creates bespoke cocktails and provides impeccable bar service at any event. It was founded in 2013 by Sam Paget Steavenson and was born from a desire to enhance the quality of cocktails at ordinary events. Whether it’s a wedding, a work party, a pop up or a Salsa night, The Rum Runner will customise both cocktails and bar design to suit the occasion. Though Sam has worked hard to devise a system for producing cocktails on a large scale, every one of them is made from freshly picked ingredients and is of five-star quality.

“So often you’ll go to an event and while the food is outstanding, the cocktails are treated as an afterthought,” said the 30-year-old entrepreneur. “I started The Rum Runner because I wanted to prove that this didn’t have to be the case.”

Sam began his career as a mixologist at Tramp, an elite member’s club in Central London. He recalls it as a time when he couldn’t tell the difference between a Negroni and a Mai Tai, but eventually he discovered a world of flavours and saw the possibilities. He started to experiment and became increasingly inventive with his combinations.

In addition to creating delicious cocktails, The Rum Runner sources props and decorations to fit the theme of the event and can even build a bespoke bar. Previous creations include an enchanted forest, an herbal apothecary and a Cuban inspired bar. However, The Rum Runner’s signature stage is a newly renovated, 24 foot, 1961 air streamer, which has graced the likes of Blenheim Palace, Goodwood and Epsom.

It is a salute to Sam’s talent that he’s worked as a consultant for the much-accredited restaurant Kricket and has served cocktails at events hosted by Vogue, Ralph Lauren and Paul Smith, to name a few. With a trusted sidekick, Jack, and a handful of personally trained staff, Sam is dedicated to making sure that no corners are cut. In his spare time, Sam loves experimenting with unusual ingredients, such as purple corn, garden peas & Alexandra seeds.

If you’d like to get involved in this movement towards well-curated drink service, The Rum Runner is currently welcoming commissions.

Contact

For enquiries and bookings, contact Sam on: +44 (0) 7876 563172 or email [email protected]

For press enquiries, please contact Eliza Winwood at: [email protected]

J E N N I F E R P O W E L L I N C

Jennifer Powell Inc is a talent management and consultancy agency, dedicated to the sphere of social media influencers and digital marketing.

We offer 360-degree management to individuals with a large social media presence, as well as support to other management companies looking to devise social media strategy for their own talent. We also consult for brands who want to engage with social media influencers, providing expert guidance from beginning to end on any project.

Our roster boasts an array of upper echelon influencers, primarily in the fashion and lifestyle arenas. Our aim is to build every talent we represent into a brand of their own, out of which sustainable new businesses can grow. We believe it’s important to look at the bigger picture and always focus on long term strategy, by carefully curating everything from appearances, to editorial work, to collaborations and endorsements.

With over 20 years of experience in talent management, founder Jennifer Powell, was one of the first industry insiders to recognize a need to expand talent management into the digital platform. Whilst working at Next Model Management, she witnessed the industry’s mega shift towards social media marketing and created a unique division representing influencers. Jennifer started her own company in 2017, to allow her passion for change and innovation to flourish. She and her team work collaboratively with clients, focusing on each of them like they are a small business, in the ever-changing digital world.

Single Women Literature: Light at the end of the hazy tunnel

It’s hard not to despair over a subgenre that compartmentalizes society as crassly as ‘single women literature’ does. Indeed, it is responsible for spawning the stereotype of the single woman as a haphazard, calorie-counting, chain-smoking boozer. But my biggest objection has always been that it would, in most cases, be more appropriately categorized as ‘conscious coupling literature’ – in other words, it doesn’t do what it says on the tin. Yet recently, only very recently, I’ve felt some hope rising for this fallaciously titled subgenre.

Let’s go back to where it all began. Unmarried female characters have existed for centuries, but this ultra-specific offshoot of ‘chick lit’ really came about in 1996, when two rocks were thrown into the barely rippling pool of women’s literature: Bridget Jones’ Diary by Helen Fielding and Sex and The City by Candace Bushnell. A fictitious British woman’s diary and a New York columnist’s memoir, both publications were a roaring success, which went on to become heavily quoted screen sensations that have shaped an entire generation of women.

And there’s no reason they didn’t deserve this reverence because, in 1996, they were pioneering. Bridget Jones was the most honest female character ever handed to us and the fact that she went on to be so widely adored, foibles and all, brought about the realization that flawed women were, in fact, lovable. Bushnell spoke openly about female erotic desire and precipitated the creation of the TV character, Samantha Jones, who became an anti slut-shaming icon before the term was even a thing. Both writers championed female friendship, and yes, both of our heroines are career women. In fact, I could write an entire analysis on these books without mentioning the word ‘single’, not least because neither heroines are single for long. Far from being on a quest to settle happily into singledom, they are actively looking for love. Their calendars are crowded with tumultuous dates, kinky weekend getaways, lover’s punch ups, Mr. Rights, Mr. Wrongs and Mr. Bigs – far more action than the average single woman encounters in a lifetime – and both stories come to an end when our heroines find their one.

Fast forward to 2014, nearly twenty years on, when we’ve just entered something called ‘Fourth-Wave Feminism’. Flying off the shelves of W.H. Smith and Waterstone’s alike is The Wrong Knickers, a memoir by Bryony Gordon, best known for her ‘Single Girl About Town’ column in The Telegraph. Chronicling her twenties, a self-proclaimed “decade of chaos”, the book is a recollection of drug-fueled one-night-stands, an infatuation with cheap white wine and Malboro lights, the horror of wedding season and bitter accounts of dinner parties with smug-almost-married Sensible Sally’s (she actually names a friend, Sally).

Don’t get me wrong, I mean not to throw shade at the party girls, the sexual libertines, or the untamed shrews. On the contrary, I applaud the rise of she who shuns traditional feminine behaviour in favour of recklessness, hedonism and independence. But Gordon seems to be unpicking this woman, even bringing her to shame. Rather than owning her unruliness, or embracing it, she blames her behaviour on low self-esteem, which is rooted in the fact that she has no boyfriend. Her success as a journalist is barely mentioned. It’s mostly a spiral of misery and embarrassment, until she hits rock bottom having been dumped by a married man, after which, lo and behold, she falls in love, moves to Clapham and has her ‘happy’ ending. I don’t blame Gordon for any of this. She’s an intelligent woman who wanted a book deal so she could sustain her middle- class life and she knew how to get it. I only mention her to demonstrate that in almost two decades, this subgenre barely moved an inch, compared to, say, ‘single man literature’. Oh, wait, that’s not a thing. A few years after the success of The Wrong Knickers, came a healing antidote of a memoir, Everything I Know About Love by Dolly Alderton. Incidentally, Alderton’s twenties were no less chaotic than Gordon’s, but she takes full responsibility, hurtling through the years with laughter and self-awareness, admitting that, “Some of the memories I have are joyful, some of them are sad and that was the reality.” The overall message of the book is far more uplifting, too. Despite the first chapter ending on the sentence, “When I have a boyfriend, little else will matter,” Alderton’s journey brings her to the realization that this far from the truth and that her greatest relationship is with herself. That said, she doesn’t quite dispel the single woman cliché. Whilst her tales of a two-hundred pound taxi ride for a snog and strings of disastrous Tinder dates are amusing, they still conjure up that old image of the single woman as someone to laugh, sigh and roll your eyes at.

A few days after finishing Alderton’s memoir, as I was charging through Central London, probably on a walk-of-shame with a bottle of Blossom Hill hanging from my neck and a Malboro burning down between my teeth (because that’s what single women do), I tripped into a bookshop and landed by Jami Attenberg’s latest novel, All Grown Up. I’d love to say that I almost walked away, but alas, I’m forever yoked the partnerless heroine. Yet, this time was different. This time, I had found an elevated portrayal of one.

Attenberg goes about writing the single woman novel on her own terms, just as her narrator, Andrea, goes about single life on hers. It is not a memoir, or a diary of, but a series of vignettes jumping back and forth in time, each focussing on someone who has affected the internal development of our multilayered heroine, be it a parent, friend of parent, mentor, colleague, or sexual partner. Andrea is riddled with issues, more than your average single literary heroine. Of herself, she says, "I'm alone. I'm a drinker. I'm a former artist. I'm a shrieker in bed. I'm the captain of the sinking ship that is my flesh." But the difference between Andrea and her literary predecessors is that her complexities have nothing to do with her relationship status and the idea of romance is by no means a pacifier on a pedestal. Andrea’s journey, like Alderton’s, is about growing up, which Attenberg makes clear has nothing to do with marriage, babies or mortgages. Andrea is looking for many things. Creative outlet, a sense of connection, a place in the world, but she is not looking for a boyfriend. Of marriage and babies, she writes, elegantly in the second person, “It’s not that you want a baby, or want to get married, or any of it. It’s not your bag. You just feel (…) Tired of the world. Tired of trying to fit in where you don’t (…) There are men also, in your bed, but you are less interested in them than in muffling the voice in your head that says you are doing nothing with your life”. Thus, she recognizes there is something missing, but never is there a moment of, “All would be fixed if I had a boyfriend”. Instead, her spiritual regeneration comes when she forgives her parents and takes responsibility for herself.

The novel does not completely deviate from the conventions of its genre. It’s set in New York. Andrea uses drugs and alcohol to “scratch the itch”. She loses a best female friend to marriage and parenthood. But she’s not a victim of bourgeois suburban dissatisfaction, or a calorie-counter, or a class clown, or a nice girl who just keeps picking the wrong guy. Rather, she’s a product of 1980’s New York City bohemian parenting, whose personal chagrin is that she stopped making art. And she’s not an easy character to swallow. She’s incapable of emotionally supporting her brother and sister- in-law whose baby is dying. When her mother moves from the city to help them, Andrea’s first thought is, “what about me?” She hates children. She engages in self- destructive, self-serving and often vulgar sex, without apology. In fact, a lot of women whom I’ve forced this upon really dislike Andrea. For them, she is – dare I say it – too human. But chapter by chapter, we piece together the puzzle of Andrea’s emotional makeup and understand, along with her, how she came to be the way she is. She’s a woman who watched her father die by heroin overdose to jazz music. She suffered a sexual assault, in her own home, at the hands of her female rights activist mother’s male friend. Her niece is dying of a congenital heart disease. So, personally, I forgive her for not being perfect.

Perhaps, in a future wave of feminism, literature will not be labelled by its heroine’s relationship status, but for now, at least, there are female writers who are utilizing the subgenre for good. These books (and their screen adaptations) have an important role to play in convincing society that it’s fine to be single. And as Andrea says, to her therapist, “Why is being single the only thing people think when they think of me. I’m other things too.” We all are. SCRIPT COVERAGE

Title: COMPLEX Form: Feature script Length: 93 pages Writer: Anonymous Genre: Drama Sub-Genre(s): Tragedy Setting: Utah/New York Period: Present day Budget: Medium Verdict: Pass Date Covered: 4.06.18

Logline: A troubled actor playing Hamlet makes a shocking discovery about the woman he’s fallen in love with.

Evaluation: This is a cleverly handled retelling of Oedipus Rex. Strong visuals and sharp dialogue move the story forward effectively but this is undermined by a confusing and slow set up and a script that is sloppy in places.

EXCELLENT GOOD FAIR POOR

IDEA X

PLOT X

CHARACTERIZATIO X N

DIALOGUE X

PACE X

SETTING X SYNOPSIS

A tragic mix up in a hospital results in baby ED being taken from his mother, JOANNA, and given to the dysfunctional LIONEL & JOANNA KANE. At the age of 17, Ed gets in trouble with the police and he runs away from home, with dreams of becoming an actor. He floats along unhappily for a while, then he sets off to Utah. He tries to hitch a lift with a DRIVER but the man rudely refuses him. Ed loses his temper and brutally beats up the driver, eventually killing him. He goes on the run again, managing to get a lift to New York, but Detective DEWITT is already after him.

In New York, Ed takes up residence at the Salvation Army and auditions for the part of Hamlet at the Lyceum. The director is blown away by his performance which is full of emotion, and gives him the part. Ed is beguiled by the actress playing his mother, Joanna, who he doesn’t know is actually his biological mother!

Meanwhile, Dewitt finds his way to New York and runs into Ed at the Salvation Army. At first he doesn’t realize it’s him, but eventually it becomes obvious and Ed flees. After a car chase, in which he manages to evade Dewitt, Ed hides in the apartment of one of his co-stars.

Ed bonds with Joanna who tells him about the death of her baby, whose father, JULIUS, was her lover. Ed finds a picture of Julius and it turns out that he was the driver he killed. This causes him to pull away from Joanna, who he is close to getting intimate with. Eventually, he tells her the truth, which horrifies her. However, when Dewitt shows up at her door looking for information, she gives nothing away. She fast forgives Ed and the two of them, already deeply in love, start a romantic relationship.

Joanne falls pregnant and she and Ed marry. Due to their status as theatre stars, their wedding photo ends up in the newspaper, which Dewitt sees. Meanwhile, Ed’s mother turns up at the theatre and reveals to both him and Joanne that she’s not his biological mother. She hands him a polaroid that was taken in the hospital and Joanne suddenly realizes that she took that polaroid and that she is married to her son! She passes out from the shock of it and goes into labour.

Dewitt hunts down Ed, and once again, he runs, this time to the hospital. When he arrives he is horrified to find Joanne dead. He learns from seeing the polaroid, next to an identical one of her and her allegedly dead baby, that she is his mother. He is then arrested by Dewitt. The script ends on the image that it started: a desolate looking Ed staring blankly at a TV screen.

COMMENTS

This is a modern retelling of a famous tragedy much like MY OWN PRIVATE IDAHO and O (based on Shakespeare’s Henry IV and Othello). It is set in New York, which is not original for the tale of an actor striving to make it. The voiceover starts off as a very effective device. It is humourous and vibrant and give us an insight to Ed’s character. But as the script goes on it becomes superfluous, and feels like it’s there to move the story along hastily. The set-up is confusing, not least because the Kane’s are referred to as the King’s. I would suggest giving Joanna and Lionel Kane a proper introduction, by name, when we first meet them. Another problem with the set-up is that we don’t really know who or what we’re rooting for. Ed’s leaving home and starting his journey comes on page 20 which is late considering this is only a 93 page script.

We open on a desolate Ed and we wonder how he got there. However, by the time he’s 17 he’s already a bit of a mess and it doesn’t seem so intriguing anymore. It would be more effective if we witness him at 17, as a young man full of potential and then we really will wonder how he became such a state. I would also suggest cutting the conversation between the two Joanna’s and jump straight to a shot of the babies already born. I would also cut the dialogue between the nurses, as the purpose of this sequence is purely for background.

Ed is a flawed and believable character, but at the moment I’m finding him too unlikable to sympathise with. Many viewers will be lost at the beginning when he kicks a dog, but a bigger problem than that is the murder of Julius. For an audience to sympathize with a murder it has to be self-defence, a terrible accident, or the a detestable victim. In this case, our hero brutally kills someone who has done nothing to him except refuse him a lift. Additionally, Joanna forgives Ed rather easily considering the violent way he killed her lover.

Having Ed on the run from the cops is a great choice in this story. It creates tension and a sense of dread. However, it seems that a lot of time passes where we aren’t sure what Dewitt is up to or why he hasn’t caught Ed yet. Also, his offering so much information up to Ed at the Salvation Army feels unrealistic and is verging on expositional.

The story of Oedipus is cleverly mirrored. The newspaper article headline is a great moment. That said, the fact that the man Ed killed is his father seems like one coincidence too many in this story. A way around that would be having the incident happen in New York, rather than in Utah. Personally, I think that Julius Hobbs’ ghost showing up in place of Hamlet’s father’s feels too obvious and comes across trite.

Overall, this is a very engaging script, particularly in the last 20 pages, and a solid concept, but it is not there yet. The plot and characters lack sufficient set up and likeability and there are some creases in the story that need ironing out to make it believable. With a rigorous rewrite this could become a consider.