The Writing Life

Blocking Out the Past

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Strange Lawrence Block has written a terrific piece for eFanzines.com – Earl Kemp: eI53 – e*I* Vol. 9 No. 6  about the thought-process behind his decision to release many of his obscure, long out-of-print paperbacks, many written under pen-names, in new, digital editions. He says, in part:

What other titles I decide to reissue will depend at least in part on what kind of money comes in from the ones I’ve already slated for e–publication.  If nobody’s interested in them, why inflict more upon the reading public?  But, if there turns out to be a genuine demand, well, hell, there’s more where those came from.

While I was writing the end notes for a Jill Emerson novel, A Madwoman’s Diary(originally Sensuous), I remembered that I’d based the plot on a case history from one of John Warren Wells’s books.  So I wound up writing at some length about my career as John Warren Wells and his psychosexual reportage.  And it occurred to me for the very first time that I might actually reissue those books as well.  Not all of them, I shouldn’t think, but one or two.  And if people like those—

“Greed is good,” Gordon Gekko famously informed us.  But why go all judgmental?  Greed, I’d say, is beyond good and evil.  It is what it is. 

Which might be said as well for the books I’m bringing back.  And, come to think of it, for their author.

(Hat-tip to Bill Crider for alerting me to this great post)

Getting Screwed Isn’t a Stepping Stone to Success

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I can't tell you how many times I have told aspiring writers not to pay a vanity press to "publish" their books, or not to pay an agent a "reading fee," or not to pay to enter a writing contest nobody has ever heard of, only to be told "Yeah, Lee, I know, but this is the only opportunity I have and you have to start somewhere."  My friend writer Mark Evanier has heard it, too, and thinks it's "brain dead stupid."

Imagine if your goal was to play for the Seattle Mariners…or maybe even to get on a professional baseball team. Imagine that some odorous homeless guy came up to you on the street and said, "Gimme a thousand dollars and I'll introduce you to their talent scout" and you forked over the cash and said, "Well, gee…it was the only offer I had."

Well, paying someone to submit your writing or to publish it or — the big new scam — entering a "contest" is even stupider than that.

It's getting harder and harder for me to have any sympathy for these suckers, especially when all it takes to discover the truth about most of these scams is a simple Google search and a molecule of common sense. Nobody I know, in publishing or television, became successful by emptying their bank accounts with fee-based "literary agents," vanity presses, and fly-by-night screenwriting and publishing contests. As Mark says:

First rule of professional writing: They pay you, you don't pay them.

I know times are tough. Believe me, I know times are tough. But there's never a good moment to let yourself be exploited by people who think you're so hungry, you'll work for promises…not until MasterCard accepts promises from scumbags as payment. 

Amen to that.

Another Ruthless Interrogation

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Hank Phillippi Ryan interrogates me today at the Sisters-in-Crime blog. Here's an excerpt of what she beat out of me:

HANK: When you watch TV now, or read a book—can you just relax and, maybe, enjoy? Or is your editor-writer brain always assessing? What do you see as the flaws and gaps and missteps? The successes?

LEE: With a mystery, no, I can't just read or watch. I am always very aware of the construction of the mystery.

But you're not supposed to be passively entertained by a mystery. You are expected to track the clues. Part of the fun is that the mystery is there to be solved, and if the author (or writer/producer) has played fairly, then you can and should participate along with the detective.

If a movie is really good, I can stop looking at the construction of *the story* and just be swept up in it. But if the movie is flawed, it pulls me out, and I start seeing the work/structure/component parts and then it's hard to be entertained by what I am watching. I begin to watch it like a producer watching a director's cut and thinking about what he's got to go into the editing room to fix…

 

Mysteries, Margaritas, and a Grilling

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There’s a long Q&A interview with me over at the Mysteries and Margaritas blog. Here’s an excerpt:

Mary: You write books and you write screenplays. I’ve heard they are completely different animals. Do you find it hard to do both? Or in your mind do they complement each other?

Lee: They do compliment each other. I was a reporter first… and that taught me how to write tightly, to say more with less, and to craft strong leads. It also trained me to meet deadlines and to be a ruthless editor. I became a screenwriter when one of my books was optioned for film and I got hired to write the script.

I think that being a screenwriter, particularly for TV, has made me a much better novelist. You have to write outlines for TV, so it has forced me to focus on plot before I start writing my books. I’m not figuring things out as I go along as some authors do. I know exactly where I am going…though I may change how I get there along the way.

Being a TV writer has also trained me to focus on a strong, narrative drive, to make sure that every line of dialogue either reveals character or advances the plot (or both), and to cut anything that’s extraneous or bogs the story down. I also suspect that being a TV writer has given my books a faster pace and more of a cinematic structure.

 

I also talk about what I wear in bed, so you really don’t want to miss it.

The Presumptuous Stranger

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A successful screenwriter I know recently shared with me an experience he had with a stranger that's becoming more and more common these days among my writer friends who have any kind of online presence…

A complete stranger sent me an email informing me of the glorious news that he's coming to LA to try to sell his book as a TV series, and that he wants me to have lunch with him to tell him how the business works. He presents this as something of a treat for me.

I want to be polite, so I told him that I will be out of town that weekend, but good luck.

He writes back and asks for an agent recommendation.

I told him the only agent I know is my own, and he is not even considering taking on new clients, but good luck.

So he writes back and asks me to read his spec pilot.

Now I feel like the Terminator, running down that list of appropriate responses, from "No, but thanks for asking" to "Which part of fuck off and die did you fail to understand?"

I have had this experience so many times myself  that I now believe that being polite to these presumptuous strangers is a mistake, that it's seen as an invitation to intrude even further. So now I am very blunt. I tell strangers the obvious — that I don't know them at all, that I am very busy, and that I have have no interest in meeting them or reading their work.  I get one of three responses: 1) a polite "thank you,"  2) a nasty diatribe about how I'm an ungrateful, self-centered, selfish, insecure prick or 3) no response at all.

But I do wonder what is going through the minds of these strangers. Do they really expect me to drop everything to meet someone I have never met before, online or otherwise? It would be different if we were "pen pals" and had established a relationship of some kind… but these are complete strangers I am talking about. Do they think just because we have websites, or blogs, or Facebook and Twitter accounts, that we are at their beck-and-call?

The House Name

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Author James Reasoner, the hardest working guy in publishing, talks about what it's like to have most of his work published under "house names" — author bylines owned by the publisher — like Tabor Evans, for instance. He says, in part:

At last count, novels and stories I’ve written have been published under at least 35 different names.[…]

In the past month I’ve worked on projects that will be published under four different names, none of them my own. People have asked me, “How can you write a book knowing that your name won’t be on it?” For years my standard answer was, “I don’t care as long as my name is on the check.” Of course that’s not completely true, now or then. Writing has been my job for more than three decades now, and getting paid is important. But most writers love to see a new book with their name on it, and I’m no different. If we didn’t have egos, it probably wouldn’t even occur to us that people might want to read what we write, would it? I’ve been blessed with the ability to put those feelings aside when I’m working, at least to a certain extent. When I’m sitting at the computer, the words appearing on the monitor are my words. The book I’m writing is mine. When it’s published, my name may not be anywhere on it, but that has no bearing on the writing itself. I know it’s good, and I feel a surge of pride when I see the books in the store and know that people are reading them and enjoying them. So when you come right down to it, the answer to the question “Who am I today?” is simple and always the same.

I’m a guy writing a book, spinning a yarn. That’s all I ever wanted to be.

The Kindle Isn’t A Short Cut for Authors

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There's a new interview with me up at the Kindle Author blog.  Here's an excerpt:

GOLDBERG_Iron_On_Badge_FINAL  DAVID WISEHART: You've had a successful TV writing career, and strong sales as a traditionally published mystery writer. Why publish on Kindle?

LEE GOLDBERG: I haven't published anything specifically for the Kindle yet—just my out-of-print work. So for me, it's a no-brainer. I'm making money on stuff I've already written and that wasn't earning for me any longer. But I have exhausted my back-list now…

Would I write something original for the Kindle? If I can't sell my next original novel to a major publisher, and it came down to a choice between going with a very small press or taking it to the Kindle myself, I would probably go with the Kindle, simply for financial reasons. I'm sure I could make a lot more money with Kindle publication over, say, the fine folks at Five Star, though it would mean losing some tangible benefits. Five Star books are respected, reviewed by major publications, stocked by libraries, and are eligible for all the big awards…while self-published books don't get much respect (often for very good reason), are not reviewed, are ineligible for major awards (something I understand and accept, having helped craft the eligibility rules for the Mystery Writers of America). All that said, I may test the Kindle waters with an original novella this fall.

DAVID WISEHART: What advice would you give to a first-time writer thinking of publishing on Kindle?

LEE GOLDBERG: Don't do it. I still think selling your book to a publisher, and getting wide distribution in brick-and-mortar stores, is the way to go…and will always be my first choice. You benefit from having an editor, a marketing team, a sales department, and nationwide visibility. I don't think self-publishing is a wise move for novice writers/aspiring novelists…for all kinds of reasons[…] Too many of them do it because they can't get their work published and, I hate to say it, in most cases there's a good reason for it—their books suck. They see self-publishing on the Kindle as a short-cut….or as a gold mine…and its neither. They look at success stories like Joe Konrath and Boyd Morrison and assume the same thing will happen to them. It probably won't.

I have sampled hundreds of self-published books on the Kindle… and 99.9% of them aren't just awful, they border on illiterate, as if they were written by people who never graduated high school. It's astonishing just how terrible the stuff is. Putting unprofessional, hideous crap on the Kindle *will* hurt your career. You only have one chance to make a first impression with readers, agents and publishers. That said, at least self-publishing on the Kindle doesn't cost you anything (if you don't count cover design, which you could do on your own, or hiring a professional editor) and cuts the vanity press scammers entirely out of the equation.

She Should Have Gone into the Furniture Business

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My grandfather owned a furniture store and wanted me to go into the business. I wanted to be a writer. His feeling was furniture was a solid career..that everybody needs to sit somewhere, they don't need to read a book. I argued that what they are doing while they are sitting in that comfy chairs is reading a book or watching TV. But he was right about one thing, it isn't easy making a living as a writer. As author Susanne Dunlap laments on her blog, it's still tough even if you've managed to get published by two major houses.  

my books are timed to come out roughly annually. Based on the advances I have been given for them, each book provides about a quarter of what I require to live on. Even if I gave up my Brooklyn residence and returned to Northampton, I would change that equation to about a third of what I require—which includes debt amassed while going to graduate school and simultaneously raising a family, helping my daughters through the rigors of adult life etc. etc.

So what is an author to do? She thought about putting some of her unpublished work, like the sequel to one of her published books, on the Kindle, but her agent scared her off of doing that.

I cruised around on my hard drive and flirted wistfully with the idea of e-publishing a few unwanted manuscripts, complete books that are very near to my heart but for one reason or another were not taken up by either my adult publisher, Simon & Schuster, or my YA publisher, Bloomsbury. Something held me back, though. And when I exchanged emails with my agent my doubts were confirmed. His advice was to trust that Bloomsbury is working to develop my career by bringing books out in a way that they will not compete with each other, and that self-publishing anything would undermine their sales and probably make me persona non grata.

Personally, I think her agent is full crap…and is wrong to counsel her, particularly in these tough economic times, not to take advantage of an opportunity to make more money off of her writing…especially if it costs her nothing.  He's being an ass.

Yes, it would hurt her career if she put a bad book on the Kindle. But if her books are at the same level as her published work, and will satisfy her readers (particularly if she's written an unpublished sequel to a previous book), the only downside is for him…and the commissions he won't be getting on her work. It will not make her "persona non grata" with publishers. That's just absurd. If her publishers wanted the books so bad, they could have published them. They can't hold it against her that she's found other markets for the work. Would she be "persona non grata" if she sold the books they passed on to another publisher?

I also think that his argument, that she should rely on a publisher to shape and craft her career, is ridiculous. It's her career…she's the one who should be deciding the course to take. They are only thinking of their own needs…not hers. He should know that.

My agent has no problem with me putting my out-of-print work on the Kindle. Sure, she wishes she had a percentage of those sales (and some agents are talking about adding such a clause into their agency contracts) but she sees it as a new revenue stream for books that were otherwise played out. 

I don't know how she'd feel if I decided to put my next book on the Kindle if she's unable to sell it. My guess is that if she believed in the book, and thought it was good, she wouldn't mind on a creative level…but might resent not sharing in the rewards of something she worked hard to sell but wasn't able to.

I’m Directing a Little Movie

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The Owensboro Kentucky Messenger Inquirer had a story on July 4 about the short film I'll be directing there over three days in September.The film is based on my short story Remaindered, which was published a few years back in Ellery Queen Mystery Magazine .

RiverPark Center officials are excited about the educational opportunities the film shoot will provide local students.

Roxi Witt, general manager of the RiverPark Center, said the film will give theater arts students the chance to participate in a project that they couldn't experience anywhere else.

"Lee is obviously very accomplished," Witt said. "He's also personable and easy to listen to. He's got some great stories, but has a lot of knowledge and is incredibly meticulous."

The movie's cast and crew will all be from Kentucky and there will be film students on the set watching the production…as well as working as grips and helping out with crowd control. I'll also be hosting a few seminars before, during and after production to give the students a glimpse into how TV shows are written, prepped, produced and edited. The finished film will be screened in October at the inaugural NDX Experience Film Festival in Owensboro. 

I owe this wonderful opportunity to my buddy David Breckman, who wrote, produced and directed a short film, Murder in Kentucky over four days during the International Mystery Writers Festival at the RiverPark Performing Arts Center in Owensboro last summer. He also used a local cast and crew. You can see David's movie here.

I had such a good time watching him and the crew at work that I was eager to try it myself, though without the pressure to do it all — write, produce, and screen it — in four days.  In my case, the script was written months in advance, we're taking a few weeks to cast and prep, and then we'll shoot over three days and take about three weeks to edit it.

The original intent was to shoot the movie and screen it at the Festival this summer. But state-funded Festival was postponed due to delays passing the state budget. 

However, thanks to the efforts of Festival organizers Zev Buffman and Roxi Witt, and their enthusiasm for the project, the film is going on anyway as part of a local theatre arts education program the RiverPark Performing Arts Center is involved with.
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I'll be using a lot of the same crew that David did…namely local producers Rodney Newton and PJ Stark…and actor Todd Reynolds, who played the cop in Murder in Kentucky and who will play the cop in mine, too. I think there should be a local ordinance requiring anyone who produces a crime film in Owensboro to hire Todd to play a detective.

I'll tell you more about Remaindered as the project progresses…

If you are interested in reading the short story that inspired the movie, it's in my collection Three Ways to Die, which is available on on the Kindle and it's on Smashwords, too, in every other e-format you can think of.

Freelancing

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Screenwriter Denis McGrath talks about his experience freelancing an episode of STARGATE: UNIVERSE.

While I was off over a month trying to generate my story, fixed in stone — all the other targets were moving, and moving rapidly. Earlier scripts were going through production drafts…characters were changing and evolving. Casting, and then shooting, revealed actors' strengths that meant that they got written to more. I had only the barest, fuzziest hold on some of the secondary characters. In a new show, things change rapidly in production, and when you're in the room you absorb those changes in small increments on a daily basis.

Eventually, I begged for more scripts, and got them, and being able to digest six or seven scripts, and see the characters on the page helped me writing my drafts.

It's hard to believe that freelancing was once the rule in TV, and still is in some places. It just packs more pressure on the one or two people who have to make all the stories line up. As a freelancer, my job with my SGU script was to get it to a point where somebody else could "take it over," and see it through production. The better I did, ideally the less they'd have to rewrite.

Except of course it never works out that way, especially in a show's first season. When you're three thousand miles out of the loop of the show that's developing on those soundstages, you just do the best you can, and hope that you don't cause somebody too much work.

It's always hard freelancing an episode of a brand new series, since nobody is entirely sure what the show is or who the characters are…not the showrunners, the studio, or the network. It's trying to hit a constantly moving target. I've done it a few times… on SLIDERS, PSYCH, and on an upcoming summer series I can't talk about yet. There's no question about it…freelancing is hard, but it's not that much easier writing a script for a show that's been on the air for a season or two. Yes, everyone knows the show (including you!)… but it's harder coming up with a story or character conflict that they haven't already done or have in development.

UPDATE: Here's another view on McGrath's freelance experience from the other side of the desk as SG:U producer Joseph Mallozzi saw it.