Q&A with K R Levin, author of Great Exploitations

Q&A with K R Levin, author of Great Exploitations

After four decades behind the scenes as a property master, what inspired you to step into the spotlight with this novel? Was there a particular moment that triggered Great Exploitations?
I’ve been writing extensively since the mid-90s. When I was in between shows, I used to ghostwrite and write byline articles for trade press magazines. There wasn’t a particular moment, but when I started working on Wizards of Waverly Place, I germinated the seed that eventually grew into GE. 

Charlotte DeBlane’s journey from being fired to becoming a showrunner feels deeply personal. How much of her story reflects your own experiences in Hollywood?
The cliché ‘That’s Hollywood’ is the go-to for every bad thing that happens in Hollywood. I have never been outright fired. I have not been asked back, I’ve had major screw ups, and I did take the job very personally because I always went the extra mile. 

The Oak Desk becomes a symbolic force in Charlotte’s life. Is it inspired by a real piece from your past, or is it purely fictional?
Oak desk is purely fictional, but it highlights a recurring sub-theme throughout the novel—humans’ relationship with inanimate objects. As a property master, inanimate objects are never inanimate. They live and breathe in us, as that’s what our jobs are all about. When we get to create something that matches or exceeds the writer/producer’s vision, that’s our drug.  

The novel offers a sharp critique of ageism, studio politics, and diversity “algorithms.” How have you seen these themes evolve—or stagnate—through your career?
 I think it’s something that has definitely changed. I started in the eighties when seniority in the union was very strong. More recently, I know for a fact that I’ve lost work because of DEI. Experience and seniority have taken a back seat. It can be summed up like this: Producers will tell you one thing and say it’s business, when in fact it’s politics, and everyone knows politicians lie.

You portray Fable Studios as both a dream factory and a soul-crushing machine. As someone who’s worked inside the machine, was it liberating to expose that duality through fiction?
Yes! Fable Studios is really a conglomeration of all studios, which is also one reason it is a fable and a parody. I wanted to tell a different story from the others that most below-the-line people tell, which are mostly about their wonderful careers in the business. I needed the freedom to tell my story without the threat of lawsuits. I also have lots of other stories to write. 

Charlotte’s relationship with Milary is layered with admiration and unease. What were you hoping to explore with this dynamic between a seasoned creator and a rising star?
Having spent a few decades watching young actors and starlets churn through the system gave me a unique insight. There isn’t a young actor who’s cast in a show that doesn’t start out naïve. Milary had to be way smarter than the average teen star. I watched Selena Gomez’s stardom rise during the run of WOWP, and it was fascinating. I also watched her interactions with the showrunners and how that evolved.       

There’s a surreal, almost satirical flair to parts of the book—like the AI-like studio bots and “elevator experiences.” Is this exaggeration, or is Hollywood really that over-the-top?
No, Hollywood is not that over the top. The corporation had to be powerfully evil to the point of mass manipulation. Fable Studios has weaponized the willing suspension of disbelief: it’s not just a concept to them. 

You’ve created a vivid satire of corporate creativity, especially with things like the ‘Logarithmic Diversification Algorithm.’ Did you ever witness similar systems in action during your time on set?
No. I added that to make a broad point, but I do think it happens, only it’s unspoken.

From your technical background, did your time as a prop master influence how you constructed scenes or visual moments in the book?
It influenced everything in the book. The custard machine gag was derived from an actual event, but I made it much larger. So was forging passes to the Fresh Teen Youth Awards. Property masters are highly skilled, diverse individuals. We are required to fool the audience. We can duplicate any document, any badge, any ID. We can be really powerful, manipulative, and exploitive when our talents are used to their fullest. We are often tasked with producing extraordinary props, with no time and never enough money. Sometimes it’s better to ask for forgiveness than permission, as failure is never an option. Yet, that’s why we love it.     

Now that you've written a novel, are you itching to write another? What’s next for you—more fiction, a memoir, or something entirely unexpected?
Something entirely unexpected. I have two other novels outlined and have begun one of them. They are completely outside this genre. If pressed, however, I could fashion another story with these characters, but I think this is a one-er.