Unveiling The Mind Of An Award-Winning Author
David Boito discusses his writing process, inspirations, and how his background in film shapes his novels, including Bee Conspiracy and Valley Fliers.
David Boito is a remarkable writer whose talent spans both the worlds of film and literature. An award-winning screenwriter and novelist, Boito has crafted a unique blend of gripping narratives that captivate audiences across mediums. From his debut novel Valley Fliers, which earned the Literary Titan Silver Award, to the eco-thriller Bee Conspiracy, Boito has consistently demonstrated his ability to explore complex themes with depth and accessibility.
His work in Bee Conspiracy is particularly striking, combining environmental concerns with a compelling narrative about the collapse of bee colonies and their effect on the food chain. The novel has been hailed as a “seriously fun ecothriller” by Kirkus Reviews, a testament to Boito’s skill in fusing entertainment with timely, thought-provoking content. Meanwhile, his screenwriting experience with major studios such as Warner Bros Television and Revolution Studios has undoubtedly influenced his narrative style, adding a cinematic quality to his novels that keeps readers on the edge of their seats.
Boito’s unique perspective as both a filmmaker and novelist gives his work a dynamic quality, blending the visual with the emotional, ensuring that his stories resonate deeply with audiences. His transition from screenwriting to novel-writing, while challenging, has proven to be a successful one, with each project unveiling new facets of his storytelling ability. His works not only entertain but also engage with important social and environmental issues, making him a writer to watch.
In this exclusive interview, we dive deeper into the mind of David Boito, exploring his inspirations, the creative process behind his novels, and what drives him as both a writer and a storyteller.
David Boito crafts compelling narratives, blending cinematic visuals with deep storytelling that captivates readers and explores important societal issues.
What inspired you to write ‘Bee Conspiracy’, and how did your background in film and creative writing influence its development?
I was inspired to write “Bee Conspiracy” after learning of the consequences of bee die-offs. Bees are sick and dying in massive numbers, especially wild bees. Colony collapse disorder is a syndrome where the worker bees in a hive simply disappear leaving only the queen alive. It is concerning and creates many issues within the food chain. There are orchards in certain parts of the world where humans must hand pollinate trees in order to have a crop. This year the almond harvest in central California is expected to be smaller due to a shortage of bees. Years ago I wrote a screenplay about a forensic entomologist and a cop so I borrowed those characters and incorporated them in the story which is this novel.
Could you elaborate on the central themes of ‘Bee Conspiracy’ and how they reflect current environmental concerns?
As I mentioned, “Bee Conspiracy” was borne out of a desire to explore the world of bees and their impact on the ecosystem, particularly in regards to the food supply. Certainly pesticide exposure and neonicotinoid use is considered one of the primary causes of colony collapse. I tried to address that in the book. Additionally I drew from childhood memories of helicopters spraying malathion over suburban Los Angeles to control the Medfly infestation of that time. I also wanted to touch on the fear of bees that pop culture has created. Bees have been unjustly portrayed in movies as horrific when in fact they are creatures of light and beauty.
How did your experience writing screenplays for Warner Bros Television and Revolution Studios shape your approach to novel writing?
Screenplays are inherently a very visual medium and a screenwriter is encouraged to use brevity in both dialogue and description. Editors sometimes tell me I have not described what characters are thinking in my novels. This is a result of my screenwriting background – there is no “thinking” in a film script. So to a degree I have had to unlearn some screenwriting habits. But it is really quite liberating, to be able to spend paragraphs or pages describing a character’s thoughts.
That being said, I am frequently drawing upon my experience as a screenwriter in using tools of story structure, which apply to both mediums. I also find a certain satisfaction in writing directly for a reader who is reading for pleasure. When writing a screenplay, one is typically writing for a middle person, either a studio reader, a producer, etc. looking for their next project. They have certain needs and preconceptions – not that there is anything wrong with that. But it is just quite refreshing to write something for a reader who will consume a story for no other reason than to open their Kindle and be entertained.
In ‘Valley Fliers’, you explore the world of remote-control model aviation. What drew you to this niche, and how did you conduct your research?
There is a small miniature airfield near my home in the San Fernando Valley where hobbyists congregate to fly their remote controlled planes. I have been a spectator there and always left feeling inspired. It is such a cinematic experience watching these miniature air shows and I thought it would make a great Spielberg type of film. I wrote a screenplay after interviewing and watching various remote aviation pilots. The script received some accolades but ultimately has not yet been produced so I decided to write a novel, fleshing out the story a bit more.
‘Valley Fliers’ received the Literary Titan Silver Award. How did this recognition impact your writing career and your subsequent projects?
I am grateful to the kind people at Literary Titan for noting the book as worthy. The recognition certainly helped generate more sales and attracted more online eyeballs to the story. Certainly it helped create more interest in “Bee Conspiracy” as well.
As a writer with a background in both film and literature, how do you balance visual storytelling with narrative depth in your novels?
When I put on my prose-writing hat I focus more on character POV and making sure that I am not changing POV midstream. In screenwriting one doesn’t concern oneself with POV, since the camera can be pretty much anywhere. In a novel one needs to make sure the reader is firmly grounded in the character who is seeing the action, whether or not one is writing in the first person or third person.
What challenges did you face while writing ‘Bee Conspiracy’, and how did you overcome them?
I think first drafts are always a challenge. A blank page can be quite daunting. I typically try to turn off the internal censor on a first draft and just get words on the page. Then push through to the end without going back and rewriting. Once you have a draft it’s so much easier to confront going in and making revisions, even if extensive.
What advice would you offer to aspiring authors looking to transition from screenwriting to novel writing?
Screenwriters should delve into the world of novels and work that “prose muscle.” It makes you more keenly aware of story and gives you the opportunity to really explore characters in a way that you can’t with a screenplay. Once done there are many ways you can get your book out to readers. Independent publishing has never been better than it is today.
“Screenwriters should delve into the world of novels and work that ‘prose muscle.’” – David Boito
