Writing is Rewriting

My writing ritual is simple. I do my best writing from 8 pm-2 am…and I usually start my day at 10 or 11 am by rewriting what i did the day before. When that is done, I start writing “the new stuff.” I repeat that process until the book is done.

I’m a big believer that writing is rewriting…and that it’s always easier to rewrite crap than it is to fill an empty page…

Get. Something. On. The. Page.

That is my writing mantra.

But that often means that what I end up with at the end of the day is terrible or just the broad strokes of what I am going for. I know I will go back, sharpen the dialogue and color between the lines, adding the character or details left out in my eagerness get something down. Or it can go the other way…I’ve written endless reams of exposition and dialogue that I need to trim with an ax. Ten pages of blather becomes three pages of tight, lean writing. If what I’ve written doesn’t further the plot and reveal character then it has to go. I am also very aware the beat of my story, the pace…it’s almost like tapping my foot to music. If i lose that beat, cuts or revisions need to be made to move things along.

I typically go through the pages with an eye toward cutting all the exposition that I possibly can,all the unnecessary details that slow the pace, and taking whatever clever lines I come across in prose seeing if I can put them into my characters’ mouths instead. I strike out any cliche phrases, which were left as place-holders for actual writing that I’d do in the revisions.

I will often rewrite a scene four, five or six times before a book is finished. So when I complete my first draft, it’s pretty close to done. Anything I do at that point, before turning it in, is more about tweaking and polishing.

PS – I should also mention that I always work from an outline, I never just wing it. I need to know where I am going so that when I’m writing I’m concentrating on writing, not plotting. My plot may change (and often does) as I write, and when that happens, I revise my outline. That is a continual process. I usually finish my outline, which I call a living outline, about a week before I finish the book.

(This post was originally written for  April’s The Big Thrill Roundtable)

TV Book Reviews: Mr. Novak and Movies of the Week

I love TV and I have a secret addiction (okay, not so secret if you are reading this blog) to TV reference books and books about individual, often obscure TV shows. Here are reviews of two recent books that fit the bill.

Mr. Novak by Chuck HarterMR. NOVAK: An Acclaimed Television Series by Chuck Harter (Bear Manor Media)  Chuck Harter’s MR. NOVAK is a terrific book on the making of a short-lived, little-known (because it’s hardly been rerun), but widely-acclaimed (in its time) TV series that starred James Franciscus as a teacher and Dean Jagger as his principal. MR. NOVAK followed the successful DR. KILDARE template, a series made by the same studio and developed by E. Jack Neuman, the writer/creator of this series, and it was undoubtedly an inspiration for the much-more sucessful ROOM 222, which came along years later. Harter’s book benefits enormously from his extensive research and numerous interviews with the key players of the show, both behind the camera and in front of it (some interviews were conducted personally, others gleaned from press reports and other sources). In many ways, MR. NOVAK is a story of opportunity lost — the series was a critical and popular hit in its first season, but then was sabotaged by financial and creative studio and network meddling in the second season, which included a misguided change in the writing and the loss of key cast members. You don’t have to be a fan of MR. NOVAK to enjoy this book — in fact, I’ve never seen a single frame of the program. But I found the book fascinating anyway. The book comes with a detailed episode guide and two great bonus features — E. Jack Neuman’s “bible” for writers on the series and the synopsis of a two-part cross-over episode with DR. KILDARE about VD that was nixed at the last second by skittish NBC (the synopsis is inexplicably titled “a novelization” by Harter, which it most certainly is not). There are a lot of valuable lessons that current TV professionals — writers, producers, and executives — could learn from reading this detailed examination/appreciation/history/post-mortem of what could have been a landmark series in TV history if not for its death from self-inflicted wounds.

Note: This is a minor quibble, but two errors jumped out at me. In discussing the post-NOVAK career of James Franciscus, Harter says that LONGSTREET ran for two seasons and that HUNTER, an episionage series co-starring Linda Evans, ran for 13 episodes on SyFy. In fact, LONGSTREET only ran for one season and HUNTER aired on CBS for eight episodes (13 were shot, five never aired) in 1977…decades before SyFy channel even existed.

Are You In the House Alone coverARE YOU IN THE HOUSE ALONE? A TV Movie Compendium 1964-1999, Edited by Amanda Reyes (Headpress)   This book is a lot of fun and wonderfully captures the cheesy delight of the 1970s TV movies (the “scary Zuni fetish doll” from the classic movie-of-the-week Trilogy of Terror is mentioned four times in just the first 16 pages of the book!).

But the MOWs, as they were called, were more than just the TV equivalent of “grindhouse”/ “exploitation” movies. They were also a vivid reflection of our society at the time. Sadly, these often terrific movies are very hard to find, rarely showing up either on DVD or in syndication, and are very underappreciated. And that’s a shame, because as editor (and Made for TV Mayhem blogger) Amanda Reyes notes, “the seventies are considered the heyday of the made for television movie…the phenomenon of the television movie, while fairly well known, still struggles for recognition and remains one of the most overlooked mediums.” MOWs were also, as she observes, “a welcoming place for classic actors hoping to make a fast buck” and for “TV actors to break the mold of a long-running series in which they were often trapped.” Those of us of a certain age still remember the delight of seeing wholesome Andy Griffith become a baddie in the classic MOW Pray for the Wildcats or the spectacle of a faded big screen star like Bette Davis in the awful Madame Sin

Are You in the House Alone? is essentially a collection of hit-or-miss essays leading into a large section of reviews of some of the most memorable TV movies. The best essays are those focusing on the heyday of MOWs, the 1970s, and some of the thematic issues they tackled. The essays on “World War III in Television Movies” and “The Plight of the Small Screen Superhero” feel more like blogposts that the authors didn’t bother to flesh out for the book. And the section on mini-series (this is a book about TV movies, isn’t it?) and the TV films of Wes Craven read like filler.

Perhaps the best portion of this 338-page paperback is devoted to movie reviews, even if some of the choices are rather perplexing. I can see why Reyes included reviews of MOWs that were failed pilots for TV series (like Look What’s Happened to Rosemary’s Baby, Baffled, or Men of the Dragon), but I don’t get why include they also included a few that became series (like the MOW pilots for HAWAII FIVE-O, COLUMBO and HARRY O)? I would have preferred to see reviews of more obscure, unjustly forgotten MOWs. My other quibble with the reviews is that they all list the director and principal cast — but not the screenwriter. That strikes me as a major oversight (though, in some cases, the screenwriter was mentioned in the course of the review).

That said, this book was a giddy delight (a feeling clearly shared by many of the authors towards the movies),  thought-provoking….and a welcome bit of nostalgia. It had the same effect on me as hearing Burt Bacharach’s ABC Movie of the Week theme has on Reyes… “it brings back more than just the movies…it brings back a time, a place and a moment when your television set turned into a bonafide movie theater and anything was possible.”

 

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My Favorite One-Star Reviews of My Books

I like praise as much as anybody else, but I also get twisted enjoyment sometimes out of reading reviews that trash my books. Here are some of my favorite one-star reviews of my work:

Quite possibly the worst book I have ever read. Skimmed through it so to save my brain cells from the most tabloid trash movie script effort of writing. My desperate need for a book still does not justify me actually turning the pages. Read the comics, you will be much better off and not have my need to flay myself for reading such trash.

Anytime it takes me four days to read a book is a sign it’s not going good.

This is such juvenile junk! The author of this trash has a sick, degraded mind.

this book is not something you can read to your mom or grandmom. The sexual references, while not too graphic, are still too embarrassing to be read aloud.

The only book I have deleted from my Kindle. Only gave it one star because there was no lower rating

This could have been a pretty good book except the author had to ruin it with the “f” word dozens of times & even used God’s name in vein a few times. Shame on you!!!!

Depressing to know the author is so widely read.

He’s about as funny as an uninvited guest standing in a corner with a lampshade over his head.

Terrible read. Dialogue was among silliest ever possibly strung together in one book. Looking forward to read the sequel soon.

This could have been a pretty good story line but the writer needs more imagination and a whole lot more English lessons. If I could give it less than one star I would. If he cleans up his act and works a little harder he may get to be a good writer but for now it’s a “don’t bother”

Mind-numbingly bad. We read books to entertain and stimulate our brains. This written by the numbers drivel will put it to sleep, induce a coma and flush all rational thought from your mind forever. Read at your own risk. You’ve been warned.

While Lee Child, Micheal Connelly and Joseph Wambaugh will never win Nobel Prizes, trash like this shows what good and articulate craftsmen they are.

Shame on you Lee Goldberg. I am done with anything with your name on it .

I haven’t read it yet — hopefully it is good

Too Daisy Duke for me!

 

TRUE FICTION Videos Hit the Web

The first of many TRUE FICTION videos and trailers have hit the web (I shared some behind-the-scenes photos from the shoot a few weeks back). I really love this “movie style” trailer for the book:

And in this one, I personally invite you to read the book:

I can’t wait for the other videos to come out. They include short interviews and some embarrassing photos from my dark, mysterious past. They will be all over the web but I will be sure to share them here with you, too. I’ll also be sharing photos from my book tour, which begins April 14 at Mysterious Galaxy in San Diego.

TV Series Boxed Sets Review: Most Wanted, Raven, Lucan, The Master

I have a huge collection of  TV series boxed set DVDs. I am particularly fascinated by short-lived TV series… bombs like FUTURE COP, CHOPPER ONE, CORONET BLUE, THE OREGON TRAIL, THE MAGICIAN, THE YOUNG LAWYERS, and SPENCERS PILOTS are just a few of the failed series in my collection. Here are a few recent additions:

RAVEN: The Complete Series – This show is very much an artifact of its time and is heavily influenced by previous TV hits written, created & produced by Stephen J. Cannell (ROCKFORD, A-TEAM etc) and Glen A. Larson (MAGNUM PI, SWITCH)…which is no surprise, since RAVEN writer/creator Frank Lupo worked for them both for many years. Jeffrey Meek was a white ninja looking for his lost son and helping people in trouble in Hawaii. He was aided in his search, and his do-goodery, by his Army buddy “Ski,” played by Lee Majors. RAVEN is pure, escapist fun that doesn’t take itself too seriously (in fact, its much better than I remembered it). Majors pretty much stole the show from Meek, which wasn’t too hard. Meek was likeable, and a talented martial artist, but didn’t have much charisma. Nobody would mistake him for the next Tom Selleck, James Garner, or even Lee Majors (in his glory days). Even so, I’m surprised the series didn’t last longer…perhaps it was a matter of timing, hitting the scene just as this style of television was becoming dated and stale (at least for the time being). This was Meek’s second attempt at TV stardom (having previously starred in the short-lived latenight series THE EXILE) and would have one more failed shot (MORTAL COMBAT) before the networks gave up on him as a series lead. The kitschy main title sequence and Christopher Franke’s theme truly capture the flavor of the show.

MOST WANTED: The Complete Series – I had to buy this. I am a sucker for any series Quinn Martin produced, especially the really obscure ones (I can’t wait for A MAN CALLED SLOANE, CARIBE, BERT D’ANGELO: SUPERSTAR, and BANYON to come to DVD. How pathetic does that make me?). Robert Stack didn’t show a lot of range on television. He played the leader of an elite crime fighting force in three series (THE UNTOUCHABLES, MOST WANTED, and STRIKE FORCE) and a crime reporter in another (THE NAME OF THE GAME). MOST WANTED, which aired on ABC in 1975, is easily the worst of Stack’s four TV series and assembly-line Quinn Martin fare — in fact, the police station set is identical to the one in THE STREETS OF SAN FRANCISCO. By far the best thing about the show is Lalo Schifrin’s terrific theme…and the most interesting aspect of the show is how the main title sequence changed between the one used for first two episodes and the one used for the rest of the short-lived series — the action sequences in the first one were replaced by shots of Stack awkwardly attempting to smile. Still, as bad as the show is creatively (and perhaps explicitly because of it), I enjoyed the set, which says a lot, given how technically awful the transfers are.  I realize CBS isn’t going to spend the money to digitally remaster prints for a set like this, which appeals to a very narrow niche of customers. That said, I wish the studio would still put a little effort into it and find prints that weren’t run through sand paper before being transferred. The image clarity, color levels, and sound quality are wildly uneven/inconsistent from one episode to another. It’s as if they just slapped this together in an afternoon. The studio could have taken more care and produced a quality product. 

THE MASTER: The Complete Series – For some reason, I had fond memories of this show…which is why I bought the set. What was I thinking!? The show itself is absolutely awful by just about every measure. Lee Van Cleef doesn’t even bother to act, seemingly reading lines off some distant cue card and repeating the words as if English was his second, or perhaps third, language and doesn’t understand what he is saying. The scripts are terrible. The direction is perfunctory. The martial arts sequences are poorly staged and edited…it’s laughably obvious when Van Cleef steps out and the stunt man steps in. Bill Conti’s music is a rehash of his FOR YOUR EYES ONLY score. It’s easy to see why this show bombed. Oh, I forgot to mention the concept. Van Cleef is a white ninja searching for his long lost daughter. He is aided in his do-goodery by Max (Timothy Van Patten), wise cracking kid tooling around the country in what look like Scooby Doo’s van. The DVD set itself is exceptionally well-produced with pristine picture and sound. 

LUCAN: The Complete Series – I didn’t buy this set because I was LUCAN fan (though I did  fondly remember composer Fred Karlin’s theme, which was only used in the pilot and first episode. I had it on a cassette tape). It’s one of those wonderfully awful, totally deriviative series from the 1970s that inexplicably fascinate me. LUCAN only lasted for 13 sporadically aired episodes and, to my knowledge, has never been rerun. The pilot starred Kevin Brophy as a man who was raised by wolves…and ends with him setting off to wander the country in search of his parents and, spirtually, himself. Sort of ROUTE 66 meets TARZAN…and is every bit as awful as it sounds. That quickly changed…the concept, that is…and the show became steadily worse throughout its short run.  In fact, the most memorable thing about the show was how often the format changed. After the second episode, there’s a new theme by JJ Johnson and now authorities, concerned Lucan might “revert to wolf,” have hired a bounty hunter to track him down and imprison him. And four episodes later, the concept changed again...now the bounty hunter had inexplicably become a cop and Lucan was being pursued for a murder he didn’t commit. It became a poor man’s THE FUGITIVE with a touch of THE INCREDIBLE HULK thrown in (THE PHOENIX, HOT PURSUIT, STARMAN and a dozen other short-lived series of the 70s and 80s also had the same, basic premise and were just as awful). 

The Mail I Get – Grab Bag Edition

From the grab bag…here’s a bunch of recent mail that I’ve received and my replies:

I’d like you to adapt my unpublished novel XYZ for the screen or perhaps a TV series. It could also be multiple movies. It’s about XYZ. In the alternative, I hope you will refer me to a producer who might be interested.

I replied: I’m not interested in adapting your book and I can’t think of any screenwriter or producer who would be. Studios don’t buy ideas. They buy the execution of ideas (i.e. who is writing it, who is directing it, who is producing it etc). And they don’t buy books that aren’t huge bestsellers. Since you aren’t a brand-name author, or a first-time author with a bestselling book, there’s almost no chance in hell of anybody reading it or buying it. I don’t say that to be mean, but to give you a realistic view of your chances. Your best bet is to get the book published and hope it does well enough critically or commercially to attract Hollywood interest.

Here’s a question I got about MONK:

 I’m a teenager who has become a HUGE fan of Monk just 8 years too late!!  I grew up watching the show with my Dad. Not so long ago, I discovered that there was a BOOK SERIES. My heart quite literally jumped out of my chest!!  THE CHARACTERS WEREN’T DONE!! Over the next 2 days I went to the library and checked out 10 Monk books, and I can’t stop reading them!!  THEY ARE SO GOOD!! About 2-3 times every book I get teary-eyed because the characters you’ve described in the books are so heart-wrenching.  Why did you write the series from Natalie’s perspective?

If my “detecting skills” tell me anything, you probably chose to write the series from her perspective because the television series is already told form Monk’s perspective.  We get the chance to understand him thoroughly, so it only makes sense to write from the perspective of the closest person to him… literally of course.  

I replied: I wrote them from Natalie’s perspective because I think it humanizes Monk. It gives us a necessary distance and, at the same time, a perspective to frame what we’re seeing. In a way, Natalie’s eyes become the replacement for the TV screen that was between us and Adrian Monk. Also, a little Monk goes a long way. You can overdo the joke and all the obsessive/compulsive stuff. By telling the stories from Natalie’s point of view, we aren’t with him all the time. We get some space, a breather from his shtick, and I think that’s important. It’s also a conscious homage to Sherlock Holmes and Nero Wolfe, who were seen as well through the eyes of their assistants.

And, finally, here’s a question I got about screenwriting:

I stumbled across your post Diagnosis Murder & How to Plot a Mystery, while looking for information on adapting a low-budget, niche, middle grade, mystery book series into a TV script of what seems to be 22-25 pages for a 30 minute show? I found a good article on sitcoms, but not a good breakdown for a kids’ mystery series. Is there any chance you can direct me to a script/page-timing outline? Or any information on this specifically?

I replied: No offense intended, but if you are asking about script page/timing, that suggests to me you still have a lot to learn about the principles of screenwriting. There is far more involved than knowing whether a page of script translates to a minute or five minutes of action (it depends whether its a one camera or three camera show and what is on the page — how many locations/sets there are, what action is involved, and how fast characters speak. Page count is not the issue you should be concerned with. There are “hour long” shows with 45 page scripts and 69 page scripts — every series is different). I recommend Richard Walter’s ESSENTIALS OF SCREENWRITING, Pamela Douglas WRITING THE TV DRAMA SERIES, William Rabkin’s  terrific WRITING THE PILOT, Alex Epstein’s CRAFTY TV WRITING, and SUCCESSFUL TELEVISION WRITING by William Rabkin and yours truly.

She wrote back:

Thank you very much for your quick response. I know very little about television scripts. But will get the books you mentioned.

I’m Not Jack Reacher

True Fiction by Lee Goldberg

True Fiction by Lee GoldbergThere’s a great interview with me today in Publishers Weekly about my new book True Fiction, which comes out in just a few weeks. I just wish I hadn’t suggested that I’m celibate! 🙂

Ian Ludlow is me. I wanted to create a character with zero superskills. He’s not Jack Reacher or James Bond. He’s not Navy SEALs, Special Forces, or even a superlover. He’s a writer. He makes stuff up. He has to become a hero. Ludlow is out of shape and doesn’t have sex. He’s anything but the stereotypical super character. He faces danger and runs like hell—until he’s forced not to. The only person in the novel who has special powers is utterly insane.

The Mail I Get – Convicted Conman James Strauss Edition

You’d be stunned how any people have reached out to me to share their horror stories of being swindled or harassed by convicted conman & fake TV writer James Strauss… everybody from aspiring screenwriters to stiffed shopkeepers, from enraged military veterans to swindled conference organizers, from stiffed restaurants to stiffed Hawaii vacation-home renters. There’s been a surge in those emails in the last couple of weeks. I guess he’s stirring things up in Lake Geneva, Wisconsin, perhaps the only place on earth that hasn’t learned that he’s a total fraud. Here’s an excerpt from one of the many emails that I’ve received:

I live in Lake Geneva Wisconsin and today The Geneva Shore Report, which this James Strauss owns, told bold face lies […] saying [my] church and former pastors were in cahoots with the fire department where people were to vote.  His bold face lies and hurtful newspaper needs to stop. Please don’t use my name. But can you help my community?! And please hurry.

James Strauss’ mugshot, taken before he was sentenced to federal prison for fraud.

It’s YOUR community. YOU do something about it. If you, as a resident, don’t have the guts to stand-up against him, under your own name, and reveal him for what he is, how can you expect people who don’t live there, who have no stake or interest in what is going on, to do anything about it? Here’s an excerpt from a very lengthy email I received:

I am asking you to please not publish my name. Frankly, we cannot afford to feel the wrath of Mr. Strauss’s mean-spirited writings and video “reporting”. I am a long-time resident in the Geneva Lakes Area in Wisconsin. Sadly our lovely resort community is home to The Geneva Shore Report, a mean-spirited rag of a “newspaper” for which James Strauss is the creator and editor. He promotes his rag as “The most feared newspaper in America”.

I am writing to you because Mr. Strauss is damaging good people in our community. Mr. Strauss has made accusations via innuendo and flat out lies about our now retired pastors of Immanuel Evangelical Lutheran Church, the Chaplain on our Lake Geneva Fire Department, [and] slandered Karen Stein of KS Ministries who, out of her own pocketbook, invested a healthy half a million dollars in a clean and sober living house. What can I do to expose his con man lies? Please help!

I told him this: I’m sorry to hear that Strauss is continuing to ruin people’s lives…but there is nothing I can do about it. I’m not a journalist or a cop. The best advice I can give you is to spread the word that he is a convicted conman and fraud who spent years in a federal prison for swindling people. It’s information easily found on the Internet.

Outside of the Lake Geneva folks, I recently also got a desperate email from an aspiring filmmaker (he asked me not to quote his email on my blog) who was wary of doing free work for Strauss, who promised in return to use his contacts to help the kid break into Hollywood. This poor kid was shocked to learn that Strauss has zero legitimate Hollywood experience and asked me what he should do. My answer was simple: walk away. Strauss is a pathological liar and convicted felon who will screw you over.

It’s amazing to me that Strauss is still able to con people when the truth about him is so easily found in a google search. The way I look at it, anybody stupid enough to get into business with him deserves what they get.

S is for Sad

Fellow Kentucky Colonels Lee Goldberg & Sue Grafton

I’m so sad to hear about Sue Grafton‘s death. Not only was she incredibly talented, she was also a very nice woman.

I met her for the first time in the mid-1980s at the Santa Barbara Writers Conference…shortly after her first or second book came out. I had a long, thoroughly delightful lunch with her, my Mom, and Paul Lazarus…and then I think we did a panel together. She wasn’t a celebrity then, but she made a strong impression on me and Mom. We liked her instantly. After that, I ran into Sue often on the “book circuit” and she was always so gracious and nice to everyone…and never failed to ask how my Mom was doing.
 
A few years ago, she was a special guest at the Riverpark Center in Owensboro, KY…we did a panel together during the day and I was honored to interview her at a gala dinner. She was commissioned as a Kentucky Colonel during one of the events. As the Kentucky secretary of state or whomever it was told the audience all the reasons she deserved the honor, she leaned over & whispered in my ear: “This is the third or fourth time they’ve made me a Kentucky Colonel. You’d think they’d keep track of this stuff”. But she went up on stage, thanked the politician for his kind words, and said what an honor it was for her to receive it as a native Kentuckian.
In between, those events, I got together with her and her husband at Denny’s for some nice breakfasts together, where we talked shop.Those were the special times for me.
 
The last time I saw her was at Bouchercon in Albany, where we chatted for a while at the bar and I got to introduce her to some writer-friends of mine, who she immediately treated like old friends of hers, too. That’s the kind of lady she was.

 

Sue, me and Zev Buffman at the Angie Awards in Owensboro, KY
Kentucky Colonels Sue Grafton and Lee Goldberg at Bouchercon
I wish I could remember what I did to earn this delightful inscription! 🙂

Book Reviews: Thirtysomething and Petrocelli

After delivering my new novel to my editor, I treated myself to two non-fiction books about TV shows — THIRTYSOMETHING and PETROCELLI.

THIRTYSOMETHING AT THIRTY: AN ORAL HISTORY by Scott Ryan. This a fantastic book, full of insights into every aspect of the show, and told in a unique and truly compelling fashion: almost entirely in stand-alone, capsule quotes from actors, writers, directors and producers who made the series. The author acts more like a film editor, arranging the quotes in the best order to tell the story but also to maintain narrative tension. It’s brilliantly done…and is not only informative, but very entertaining, like listening in to a fascinating, Hollywood dinner party. The book tracks the show season by season, episode by episode, and goes into remarkable, behind-the-scenes detail. There’s a feast here for writers, directors, actors, producers and fans of the show to devour. Particularly fascinating and revealing for me was the story, told almost in a Rashomon fashion, behind the fifth season that the network and studio wanted…but that the showrunners didn’t…and all the emotions, creative conflicts, and politics that led to the series’ premature demise. The book even includes the script pages for the unshot, final scene of the final episode. The author clearly put enormous work into the book, engaging in hundreds of hours worth of interviews.  You don’t need to be a fan of Thirtysomething to learn something from this book…especially if you’re a student of TV history, or contemplating a career in TV, or are even an established writer/producer about to embark on running your own show. This is one of the best books I’ve ever read about a TV show and should be required reading in classes about writing and producing series television. The only drawback is that there’s no index…which isn’t a problem is you’ve got the ebook edition, but if you have a print copy, it’s definitely missed.

PETROCELLI: AN EPISODE GUIDE AND MUCH MORE by Sandra Grabman. The book is thin, a mere 129 pages, because it’s really not much more than a general episode guide, despite the subtitle “and so much more.” I really wish there was “so much more,” because I’m a huge fan of the series and was thrilled when it finally came out on DVD. There’s not much information here besides random quotes from articles about the show and broad synopses of the episodes. There’s very little about the development of the original theatrical movie, The Lawyer, or what prompted the studio, network or producers to adapt the only modestly successful film into a series four years after its release. Why did it take so long to happen? Did the idea to do a series originate with the studio? What network did they take it to first? Why did they shoot a pilot rather than use the movie as the pilot (given that they had the same star)? It’s also never explained why the writer & director of the movie seemingly weren’t involved in the pilot or series, nor why key cast members from film weren’t retained for the pilot (besides Barry Newman). There’s no discussion of how the pilot, entitled Night Games, was developed creatively, or how the showrunner was selected, or what elements they decided to keep and/or discard from the movie and why. Only perfunctory is attention is given to the writing and production of the TV series, which was shot on location in Tucson. Perhaps the lack of details is because many of the key production personnel have passed away…but that obstacle hasn’t stopped other authors from doing far more thorough and satisfying books about much older shows that this one. It would have been nice if the author sought out more of the writers, directors and actors for in-depth interviews and did a much more thorough job of exploring the nut-and-bolts of the series. There’s no mention, for instance, of Lalo Schifrin’s theme or his scoring of the series. Also, very little attention is given to the reasoning behind the show’s near cancellation after the first season, or the creative changes made in the second season, or what elements, besides ratings, factored into the show’s ultimate cancellation. Again, it would have been helpful if the author had talked to studio or network executives, assuming any of them are still with us, rather than just speculating. Overall, the book comes off as a very half-baked work…worthwhile only for the most ardent Petrocelli fan who merely wants a printed episode guide to refer to. This book was truly a missed opportunity.