Earlier this week, I blogged about a series of [Big Fish-inspired artwork](http://johnaugust.com/2011/artwork-inspired-by-big-fish).
Turns out Daniel Wallace’s novel is getting a new cover as well:
The new jacket comes out in March.
Big Fish
Artwork inspired by Big Fish
The Silver Screen Society chose Big Fish as their December project, asking designers to come up with concept art rather than traditional one-sheets. [The results](http://silverscreensociety.com/#2397435/Big-Fish) are pretty great.
[Brad Woodward’s](http://www.bradwoodarddesign.com/) illustration does a particularly nice job tracking Edward’s journey in the movie, including two visits to Spectre:
Thanks to Matt Salisbury for the link.
Writing and decision fatigue
This past weekend consisted of three long days of meetings and work sessions for the Big Fish musical; Sunday went fourteen hours. I had a hunch that late in the day wasn’t the best time to introduce a new song, and now [science has my back](http://www.nytimes.com/2011/08/21/magazine/do-you-suffer-from-decision-fatigue.html?_r=3&pagewanted=all):
> No matter how rational and high-minded you try to be, you can’t make decision after decision without paying a biological price. It’s different from ordinary physical fatigue — you’re not consciously aware of being tired — but you’re low on mental energy. The more choices you make throughout the day, the harder each one becomes for your brain, and eventually it looks for shortcuts, usually in either of two very different ways. One shortcut is to become reckless: to act impulsively instead of expending the energy to first think through the consequences. (Sure, tweet that photo! What could go wrong?) The other shortcut is the ultimate energy saver: do nothing. Instead of agonizing over decisions, avoid any choice. Ducking a decision often creates bigger problems in the long run, but for the moment, it eases the mental strain.
Writing involves a dozen choices every sentence, a thousand every scene.
Discussing material with producers and a director means understanding and deciding between myriad possible options — and the more people in the conversation, the more choices to consider.
And casting? Exhausting. It feels like it should be one of the easiest parts of production — you’re not *doing* anything, just sitting there and listening — but it wears you out. I’ve been through casting on five projects, and each time I’m amazed how tough it is. You’re trying to compare the actor you just saw versus the actor you saw yesterday versus the actor who won’t audition.
The article explains that sugar (glucose) is one of the quickest ways to restock your willpower supply. That’s why writers get fat.
(link via [@mjeppsen](http://twitter.com/mjeppsen))
Big Fish, the musical
As [announced](http://www.playbill.com/news/article/151625-Producers-Reel-in-a-Whopper-for-Broadways-Big-Fish-Musical-Susan-Stroman) [today](http://artsbeat.blogs.nytimes.com/2011/06/08/susan-stroman-signs-on-to-direct-stage-musical-of-tim-burtons-big-fish/), we’re doing Big Fish as a Broadway musical, aiming for Spring 2012.
Susan Stroman is directing and choreographing. Andrew Lippa wrote music and lyrics. I wrote the book. Dan Jinks and Bruce Cohen are producing.
It’s based on Daniel Wallace’s novel and my script for the 2003 film.
This isn’t one of those announcements where some people had lunch and said, “Hey, maybe let’s try to do a show.” It’s written. Two acts. Amazing songs. We’ve read it and sung it forty times for lots of different people.
Studious readers of the blog and my Twitter feed may have noticed I’ve been in New York City a lot. This is why.
I’ve had to pass on writing and directing jobs because I’m unavailable — but couldn’t explain why. This is why.
I’ve learned how to sing passably. This is why.
I’ll have much more to write about the show in the weeks and months (and hopefully years) ahead. Broadway is a completely different world than Hollywood, a parallel universe in which many things are better for writers — but also more complicated.
All the hard work getting the show to this point will no doubt be eclipsed by the hard work getting it to the stage. I know I’m lucky to be working with veterans.
I’ve approached this whole experience — a six-year journey — as a fascinated newcomer. I’m excited to share what I’m learning.