From Publishers Weekly
This low-key Hollywood version of All About Eve (without the multiple points of view) portrays the rise to power of Jonathan Prince, as narrated by 39-year-old screenwriter Frankie Jordan. Riffing on Jewish Hollywood's WASP envyAWASPs as role models, WASPs as ideal on-screen characters, WASPs as an alien raceAauthor and ex-screenwriter Carter pieces together an amusing, if occasionally wearing and sour, satire. Frankie (n?e Francine Fingerman) first meets Jonathan in 1989; he's the new secretary for her agent, Freyda Wong. Separated from screenwriter husband and ur-WASP Hart, Frankie latches onto Jonathan, a 24-year-old social climber and aggressively secular Jew, as a friendly voice in an otherwise hostile worldAor presumably because in Hollywood, any human connection (even a possibly faked one) is better than loneliness. Herschel, a struggling middle-aged screenwriter, and his bubbly wife, Miriam, are good friends in need, too, and they rent Frankie a small house in their backyard. When Frankie finally sells her screenplayAthe 40-year chronicle of a woman named Ivy and her gay cousin ArthurAit seems things are looking up. The Jewish producers hire her to do a rewrite, mainly to tone down the Jewish ethnicity of the script, and Jonathan signs on as Frankie's secretary. Before Frankie's very eyes, however, Jonathan undergoes an unpleasant transformation, working, cajoling and maneuvering his way to power and status. The culmination of his efforts as a junior mover and shaker is a glossily tasteful Christmas (not Hanukkah) party he hosts at his apartment. Carter leaches her tale of suspense by having Frankie admit up front and in retrospect that she is only a minor story writer, but the details of day-to-day, dog-eat-dog life in lower-echelon Hollywood carry the tale. Still, when Frankie says about Jonathan, "I wonder how I ever could have liked him," readers will likely agree. Major ad/promo, regional author appearances. (July)
Copyright 2000 Reed Business Information, Inc.
From Library Journal
Writing for the screen requires telling the directors, producers, and actors what to show the audience. Conversely, as countless undergraduate writing instructors remind new students, good narrative fiction should showAnot tellAreaders the story. Carter's debut novel about what goes on in the movie business among writers, agents, and producers is, unfortunately, long on telling. Frankie Jordan, recently separated from her more successful Gentile husband, re-enters the cannibalistic world of Hollywood, trying to provoke interest in her new screenplay. Frankie is sympathetic and gullible, more easily manipulated by power-hungry agent-trainee Jonathan Prince than the reader is. We listen to Frankie's depressingAif realisticAaccount of her travels through the offices of unresponsive agents, misguided producers, and incompetent rewriters, a downward spiral Carter almost balances with convenient subplots, including the predicaments of Frankie's gramma and her best friends, a teacher's aide and a playwright. There are lots of well-argued observations about the relationship of American Jews to the movie industry and vice versa, but as fiction this is disappointingly flat.AFrancisca Goldsmith, Berkeley P.L., CA
Copyright 2000 Reed Business Information, Inc.