Kara Alloway
I always wanted to write a book examining female friendships. I find them fascinating. I went to private girls’ school and knew my first book would be about women. I believe
Phyllis Chessler’s Woman’s Inhumanity to Woman ought to be required reading for every young female. I was waiting literally years for the right inspiration and then when I did the Toronto franchise of Housewives I knew I had found it. At the same time, what I experienced as a participant on reality television, was very personal and to a large degree there were things I wanted to get off my chest. I knew it had to be fiction because it was most important to me that my book be entertaining as opposed to a calculated tell-all.
Writing as someone who had lived and still lives in this world, as a participant and now as a producer, I want the reader to rethink everything they thought they knew about reality television.
I sought to explore the idea that reality television is an oxymoron because it requires so much manipulation. And while it’s distractive nature may find critics disqualifying it as purposeful art in the purest sense, it goes a long way to both comfort and satisfy and to that end, there’s a rationale for its existence. I remain a fan of the genre.
I also wanted to explore the role of women as producers and participants in female-centric reality television shows. It’s a necessary, albeit controversial, commentary on the ways women can be emotionally abusive to each other, even in this #metoo time. There’s a tension that exists therein that’s at the same time baffling and relatable for any woman who has been betrayed or disliked by another woman.
Finally, I wanted to create characters that might mimic the polarization, allegiance and passion we see on a social media response to these reality television shows. For that to happen, as with a good reality TV casting, there needs to be conflict, drama and some very strong personalities coming from distinct points of view.
Phyllis Chessler’s Woman’s Inhumanity to Woman ought to be required reading for every young female. I was waiting literally years for the right inspiration and then when I did the Toronto franchise of Housewives I knew I had found it. At the same time, what I experienced as a participant on reality television, was very personal and to a large degree there were things I wanted to get off my chest. I knew it had to be fiction because it was most important to me that my book be entertaining as opposed to a calculated tell-all.
Writing as someone who had lived and still lives in this world, as a participant and now as a producer, I want the reader to rethink everything they thought they knew about reality television.
I sought to explore the idea that reality television is an oxymoron because it requires so much manipulation. And while it’s distractive nature may find critics disqualifying it as purposeful art in the purest sense, it goes a long way to both comfort and satisfy and to that end, there’s a rationale for its existence. I remain a fan of the genre.
I also wanted to explore the role of women as producers and participants in female-centric reality television shows. It’s a necessary, albeit controversial, commentary on the ways women can be emotionally abusive to each other, even in this #metoo time. There’s a tension that exists therein that’s at the same time baffling and relatable for any woman who has been betrayed or disliked by another woman.
Finally, I wanted to create characters that might mimic the polarization, allegiance and passion we see on a social media response to these reality television shows. For that to happen, as with a good reality TV casting, there needs to be conflict, drama and some very strong personalities coming from distinct points of view.
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