Episode 175 with Jordan Harper, Renowned TV Writer, Primo Crime and Noir Writer, Chronicler of Moral Ambiguity, and Writer of the Exciting, Profound, Stunningly-Good Everybody Knows

Episode 175 Notes and Links to Jordan Harper’s Work

 

    On Episode 175 of The Chills at Will Podcast, Pete welcomes Jordan Harper, and the two discuss, among other things, his early reading and writing, his forays into journalism and creative writing, a pivotal screenwriting opportunity, his work writing for the small screen and lessons learned in this world regarding writing style and appropriate behaviors; additionally, his recent book, Everybody Knows, gets the spotlight, with discussions of the importance of LA as setting, the worlds of Hollywood and politics as representative of so many larger parts of society, writing genre (or not), the book’s links to police corruption and deputy gangs, and the moral ambiguity that reigns in the book.

 

Jordan Harper is the Edgar-Award winning author of EVERYBODY KNOWS, SHE RIDES SHOTGUN and LOVE AND OTHER WOUNDS. Born and educated in Missouri, he now lives in Los Angeles, where he works as a writer and producer for television.

 

Buy Everybody Knows

 

Jordan Harper's Substack

 

Maureen Corrigan Reviews Everybody Knows for NPR’s Fresh Air

 

Jim Ruland Reviews Everybody Knows for The Los Angeles Times

At about 6:50, Jordan talks about growing up in Jefferson City, MO, and his reading habits in his childhood and adolescence 

 

At about 9:25, Jordan talks about his fandom of Hunter S. Thompson and how he was inspired to take creative writing and journalism due to Thompson’s influence

 

At about 12:10, Jordan gives background on a pivotal Warner Bros program that helped him get a writing job with The Mentalist after being moved by directors like Michael Mann, Tarantino, Scorcese, 

 

At about 14:25, Jordan responds to Pete’s questions about finding his place in the writer’s room, and Jordan narrates a summary of his television writing career, including a lot of work with Bruno Heller and Monica Cutter

 

At about 18:50, Jordan talks about the benefits of the sometimes-formulaic writing style for the screen

 

At about 20:30, Jordan responds to Pete’s question about if he watches TV differently now that he is a TV writer 

 

At about 23:10, Pete asks Jordan about his thoughts on labels-”crime writer, etc.”- for literary genres, and Jordan and Pete shout out top-tier writers like Steph Cha, Megan Abbott, and Tod Goldberg

 

At about 25:25, Pete wonders what fiction provides for Jordan, writing in this style versus nonfiction

 

At about 29:10, Jordan ruminates on the ways in which Hollywood particularly has systems in place like those for which Mae from Everybody Knows works

 

At about 31:40, Pete defines “noir” and Jordan connects this to the book’s moral ambiguity and darkness and ending

 

At about 32:50, Jordan discusses the research process for this book and his other work 

 

At about 35:35, Pete lays out the book’s opening and outlines the narrator, Mae’s, job and personality

 

At about 36:25, Pete shares a stirring quote from the book’s Hannah Heard that is resonant 

 

At about 37:35, Jordan describes Mae’s company and the idea of real-life PR firms and spokespeople, including what inspired the book’s title 

 

At about 41:55, Jordan describes a truism of much of society’s ideas of performance versus action 

 

At about 43:05, The two discuss ideas of acculturation in any industry with power and “bending to the powers”; **Good Fellas and A Bronx Tale references!

 

At about 45:25, Pete references a powerful and memorable scene involving the Los Angeles Sheriffs’ Department, and Jordan explains a change in wording in policy and legal standards 

 

At about 46:55, Mae’s childhood is described, as well as discussion of how much of her personality and mantras were “nature,” and how much were “nurture”

 

At about 48:55, Jordan talks about how when high-pressure and morally ambiguous 

 

At about 51:35, Jordan gives some cool inside info on characters on tv and in movies and their physical progress through filming

 

At about 53:00, Pete notes the importance of the “unsaid” in the book and Pete and Jordan ruminate on ideas of silences in society

 

At about 55:35, Jordan reflects on ideas of moral ambiguity and “soft nihilism” in his work and in the world

 

At about 57:00, Pete shouts out some incredibly skillful dialogue in the book

 

At about 58:25, Jordan talks about the important quote from Hannah Heard and shines a light on Corey Feldman’s allegations, for one, as emblematic of much of the world of Hollywood power

 

At about 1:01:25, Pete asks Jordan’s about real-life connections to BlackGuard from the book and describes the draw of main character Chris

 

At about 1:03:55, Jordan points out Winnie M. Li’s Complicit as an example of those who have written eloquently about The “Me Too” Movement in saying that he 

 

At about 1:05:10, Pete brings up a moving and honest scene involving main character Chris, and Jordan talks about why he chose to “zoom out” in this scene

 

At about 1:06:55, The two discuss a telling scene and anecdote about a French style of eating the whole bird, and Jordan and Pete note the sweeping symbolism of the napkin

 

At about 1:08:45, The two discuss the differences between power and visibility and power and responsibility, especially with regard to how Mae and her company work

 

At about 1:09:45, The passive voice is discussed (hehe-get it?) with regard to public statements from PR firms and spokespeople 

 

At about 1:11:30, Pete highlights the ways in which Mae and Chris thrive on action, and Jordan notes how they often don’t think about the why and how this affects their often willful ignorance of what they do on a daily basis

 

At about 1:13:45, Pete reflects on Chris and Mae pursuing “The Life,” and Jordan comments on how the two live lies together 

 

At about 1:15:10, Pete asks Jordan about the book’s setting, and Jordan reflects on Los Angeles as “América writ large”

 

At about 1:17:35, Pete remarks on Jordan’s precision with CalGangs in the book with John Montez, and Jordan talks about the real-life police ridealong that inspired this part

 

At about 1:19:45, Pete highlights a resonant line that is emblematic of the greatness of the book and Jordan gives background on its usage; Pete connects the quote to Parker, the highly unethical politician in the book

 

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  Please tune in for Episode 176 with Raegan Pietrucha. She writes, edits, and consults on professional and creative bases. Head of a Gorgon is her debut full-length poetry collection. Her debut poetry chapbook, An Animal I Can't Name, won the 2015 Two of Cups Press competition. 

   The episode will air on April 4.