Book Buzz: Television by Lauren Rothery
“I had what feels to me like a bizarre, non-linear experience in the movie business. I was never a part of any union, and worked all kinds of non-union assisting jobs to finance my own projects, which had small crews and shot on film in a very guerilla fashion. I didn’t go to film school, so everything I learned about telling stories in that way came from asking a lot of questions of crew members on various sets, watching a lot of movies and interviews, and making things up as I went along.”
― Lauren Rothery, Interview, LitHub
What booksellers are saying about Television
- A #metoo comedy? In the hands of Lauren Rothery, this debut novel can pull off the seemingly impossible, using acute observation (“She made a lot of four-hour friends”) to skewer everything from Hollywood to fame to podcast ads in a sprawling, yet somehow compact weave of texts and forms (conversations, screenplays, letters, etc). “Nobody walks in Los Angeles, but I liked to. It made me feel French.”
― Doron Klemer. Octavia Books in New Orleans, Louisiana | BUY
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A traipse through time and the relationship of a movie star and his best friend/lover/partner. Set in the glamor and depravity of Hollywood, Rothery turns modern feelings of appearances and sex, phones and art, love and grief into a timeless and impressionistic drama. With each unexpected turn and change of form, you’ll relate to each character more intrinsically. I couldn’t put this down!!!
― Ross Ramirez, E. Shaver, Bookseller in Savannah, Georgia | BUY
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Such a fresh, nimble novel, with so much depth. An LA book that brilliantly explores film, art, fame, and the limits of each. It’s a story about uncanny love and the inconvenience of celebrity, about restlessness and contentment and the ways we move between them. Comparisons to Didion will abound, but I think Rothery’s formidable voice is entirely her own.
― Kristen Iskandrian, Thank You Books in Birmingham, Alabama | BUY
About Lauren Rothery
Lauren Rothery was born in London and raised in San Diego. She spent her twenties writing and directing short films and music videos between New York and Los Angeles. In 2020, she moved to Europe and began writing fiction. Television is her first novel.
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“My dad never spoke much about his family growing up. I knew some basics. He had grown up in Hawaii. His Aunt Ruth lived in New York, and his parents had passed. So when he called me and said Aunt Ruth wants to meet you, do you want to go meet her? I was like, so excited. This was like finally a step into my father’s past. We drove to Charleston and went and met my Aunt Ruth and we walked in and she was just this sweet little old lady. We sat and had a great conversation. I was really enjoying getting to know her. And on the coffee table next to where she was sitting, I noticed this wedding picture, and I looked at it. And I’m like, Oh, are those my grandparents? And she nodded, Yes. And I was like, Can you tell me something about them? My father never speaks of them. And she just sat there and didn’t respond. [I asked] Can you tell me anything? How did they meet, when did they get married? And she cut me off and she said, You have a good life. Don’t ruin it with the past.”
“There were many moments when I wondered if I was making Margo too despicable. But I hoped that building out her backstory and giving her a wicked sense of humor would generate some empathy and induce readers to stick around. Because yeah, she does some horrible things and has some appalling views, but funny people are usually at least a solid hang! She’s also self-made, having come from humble, somewhat tragic beginnings, which I personally admire about her and hoped others would, too.
“I worked on a gubernatorial campaign in high school and fell hard for the drama and passion that surround elections. Nostalgic for shows like The West Wing and Scandal, I began weaving together an unlikely love story between opposing candidates forced to confront their past…This novel is about the experiences that bind us together and the differences that tear us apart as two people navigate the tension between love and ambition…To be loved is to be seen but for Tess and Grant, the person they love sees the world very differently.
“I’ve moved a lot, including back and forth across the country three times! When I moved to the Washington, DC, area, I learned about luna moths—beautiful and short-lived moths who can only be found on the eastern side of the country. This helped me realize that there would be special and unique things about my new home. Since so many kids deal with the difficult experience of moving, I thought this might be the beginning of a new story idea.”
“[It’s] often not what you get around stories that involve African Americans. Most of us cannot trace our histories all the way back to a slave ship or to a particular country in Africa because the records of the enslaved were not recorded in detail. So it’s incredible and very powerful that these descendants know the actual stories of their ancestors that came from Africa.
Last Chance LIVE’s premise was inspired by real-world death penalty reform efforts to raise the minimum age for capital punishment. Last Chance LIVE’s protagonist, Eternity Price, was inspired by a little girl I met during my undergraduate years at the University of Pennsylvania. While at Penn, I volunteered in Head Start classrooms in a West Philadelphia public school, and met a fouryear-old girl whose vivacious spirit deeply impacted me. I spent years contemplating how she was growing up in an impoverished neighborhood right next to an Ivy League university, but she would likely be unable to access most of its privileges and resources—and the trajectory of her life would likely be very different than the lives of most Penn students. To my knowledge, that little girl has not experienced or done anything like what Eternity has, but she and Eternity both grew up in the shadow of power and privilege. My hope for this young girl, and all children, is that they have what Eternity never did—confidence in who they are and what they are worth, and a community that reinforces this truth. I hope seeing America’s reflection in Last Chance LIVE! helps us ascribe more value to these children, and less value to “great television.” 
Those three years of sixth, seventh, and eighth grade are a time of learning who you are as a person. They’re still kids. They play kickball, pull pranks on each other. But they’re also having their first serious relationships, starting to drink or experiment with drugs, questioning their place in the larger world….I want to teach empathy. I want people to understand the viewpoints of others, and that we are better together than apart. I wouldn’t have been able to tell you that 10 years ago. It took me writing a few books—and coming to that theme every time, naturally, as a writer—to understand. 
I first saw a bog body in the British Museum, and I just thought, How amazing. This is a real person who lived and breathed 1000s of years ago, and I can still see him, and we can learn so much about him and his life, from his body and from studying him. And his people buried him in this place where I think they knew that he would be preserved, and I can imagine them, you know, hoping that maybe we would understand them. One day, I visited the bog where he was found. I really learned so much from that landscape, which today is quite degraded from its former state, but it’s still breathtaking to see, and there are spots of real biodiversity that could come back if protected properly. So I really got obsessed with bogs themselves and with the moss that creates the bogs, and the way it can operate as a colony, not as a single organism. And I really wanted in this book to talk about the non human world. I think that people tend to think that we always drive events on the earth, but there are many other organisms here that have huge impact on us, in our lives, and I really wanted to share that too. 
Cinderella and I had an odd relationship when I was a child. The fairy tale is stuffed full of iconic imagery–those glass slippers! That magical dress! The looming, thrilling deadline of Midnight! 
I wrote it in a month-long spurt, and sent it to the publisher. I didn’t do any research for the book, but I drew upon years of personal experience, and the history of disabled people that I studied at university helped me, too. I was conscious that it was special in the sense that I knew Shaka was a protagonist of a kind that hadn’t been written before.”
There are books whose urgency barely needs to be articulated because it’s so evident within the work itself, and Hunchback seemed to me like one of those: it burns itself right into the mind of the reader. It’s a cinematic work, that conjures up a dense and vivid world with very little, so the language needed a lot of honing, to make sure that it was hitting all of those imagistic notes in the way that they needed to. I’d say the principal narrative voice came to me quite quickly and intuitively, but there are lots of shifts of register within the span of the book, which took quite a lot of time and attention to capture. ”
Queer fandom was “one of the first fault lines, I suppose you could say, of me beginning to question all the things that I had been taught,” says Sen, who came to realize that they were nonbinary through the material, which felt as eye-opening as it did illicit. “I was not supposed to be there,” Sen remembers with a laugh, “and every time my dad found out, he would block the website and I would have to go and find another one.”
I’ve always considered myself a pragmatic optimist, and part of that is my day job. My career has been in government. And I think you kind of have to be a bit of an optimist to sort of throw your entire life into that, because if you don’t believe that the world can be better, then what are you doing? What are you doing with your life? So I like to say that working in government is sort of trying to think about what the world should be, and science fiction is sort of like thinking about what the world could be. And so there’s sort of an interesting intersection between the two. So, yeah, no, I think I’m fundamentally an optimist, but obviously, it’s hard to be in this world and not see everything that’s going on and feel very concerned. And so I think that’s where the little bits of darkness come in.
What I really enjoy about writing love stories is the little moments that feel just as important as the big love declarations. I think it’s the acts of service, the little thoughtful things that each character will do for the other. In each of my books, there’s a moment that I can narrow down to, of consideration and thoughtfulness in a physical, tangible way. The way that Bo [Out on a Limb] goes about splitting their expenses. It’s not a grand declaration of love, but it’s respect, and it’s an understanding and communication, and it’s showing somebody who is really capable of having awkward conversations when wanting to take care of somebody. And wanting to look after someone with respect in mind. Or like Caleb in Out of the Woods, when Sarah is upset because they’re going camping and they don’t have any electricity. She doesn’t bring her Kindle, but he brings it, and he buys her a solar charger. It’s this little way of like letting someone know that they’re seen and their past influences matter
I’ve always been a writer who puts character first, and when I embarked on writing this novel, I was prepared for some deep character dives. But Buckeye is larger in scope and size than anything I’d ever attempted, and I had no idea of the depths that awaited me… What I learned–what I keep learning, as a writer–is that when you bring a lot of characters together, a story emerges, and it’s not always the story you thought you were going to write.
