Booksigning Hell

My brother Tod, in this weeks Las Vegas Mercury, tells a few of his booksigning horror stories. Every authors has’em. I do, too. Here are a couple:

I did a signing in a now-defunct Laguna Beach bookstore. Not a single soul showed up. So the store clerk plopped herself down in the seat beside me.

“This is great,” she said.

“How so?” I replied.

“I can read you some of my erotic poetry,” she flipped open a thick notebook filled with illegible scrawl, and began to read. “Hello, He throbbed…”

I looked at my watch. I was scheduled to be there another hour-and-thirty minutes. And my wife had my car…

“My wife should be here any minute,” I said.

Her breasts swelled, waves of lust on a sea of passion…”

* * * * * *

Another signing, this one at a Waldenbooks in the South Bay, where I was stuck at a cardtable at the front of the store. Only one person even approached me. She wanted to know where the diet books were.

After two hours of boredom, I approached the manager and thanked her for having me. “Would you like me to sign the stock?” I asked.

She looked at me in horror. “No way!”

“Why not?” No one had ever said no to me signing stock before.

“None of our customers are going to buy a marred book!”

* * * * * *

I fictionalized one of my favorite bad booksignings for my short story REMAINDERED, which appeared in “Ellery Queen Mystery Magazine,” a few years back. Rather then tell it like it was, here’s a bit from the story instead…

The voice of a new generation sat at the end of aisle 14, where the house wares department ended and the book section began. He peered over the neat stack of paperbacks on the table in front of him and, once again, as politely as he could, told the irritable woman in the orange tank top and slouchy breasts that he had absolutely no idea where she could find wart remover.

“You’re not being much of a help,” she snapped, leaning one hand on her shopping cart, which was filled with disposable diapers, Weight Watchers Frozen Dinners, Captain Crunch, a sack of dry dog food, a box of snail poison and three rolls of paper towel. “Look at this, it’s doubled in size just this week.”

She thrust a finger in his face, making sure he got a good look at the huge wart on her knuckle.

“I don’t work here,” he replied.

“Then what are you doing sitting at a help desk?”

“This isn’t a help desk. I’m an author,” he said. “I’m autographing my book.”

She seemed to notice the books for the first time and picked one up. “What’s it about?”

He hated that question. That’s what book covers were for.

“It’s about an insomniac student who volunteers for a sleep study and falls into an erotic relationship with a female researcher that leads to murder.”

“Are there cats in it?” she asked, flipping through the pages.

“Why would there be a cat in it?”

“Because cats make great characters,” she dropped his book back on the stack, dismissing it and him with that one economical gesture. “Don’t you read books?”

“I do,” he replied. “I must have missed the ones with cats.”

“I like cat books, especially the ones where they solve murders. If you’re smart, you’ll write a cat book.” And with that, she adjusted her bra strap and rolled away in search of a potion to eradicate her warts.

Booksigning Hell

Any author who was published back in the pre-ebook days can tell you stories about some horrible booksignings. I did a signing years ago in a now-defunct Newport Beach bookstore. Not a single soul showed up. So the store clerk plopped herself down in the seat beside me.

“This is great,” she said.

“How so?” I replied.

“I can read you some of my erotic poetry,” she flipped open a thick notebook filled with illegible scrawl, and began to read. “Hello, He throbbed…”

I looked at my watch. I was scheduled to be there another hour-and-thirty minutes. And my wife had my car…

“My wife should be here any minute,” I said.

Her breasts swelled, waves of lust on a sea of passion…”

* * * * * *

Another signing, this one at a Waldenbooks in the South Bay, where I was stuck at a cardtable at the front of the store. Only one person even approached me. She wanted to know where the diet books were.

After two hours of boredom, I approached the manager and thanked her for having me.

“Would you like me to sign the stock?” I asked.

She looked at me in horror. “No way!”

“Why not?” No one had ever said no to me signing stock before.

“None our customers are going to buy a marred book!”

* * * * * *

I fictionalized one of my favorite bad booksignings for my short story REMAINDERED, which appeared in “Ellery Queen Mystery Magazine,” a few years back. Rather then tell it like it was, here’s a bit from the story instead…

The voice of a new generation sat at the end of aisle 14, where the house wares department ended and the book section began. He peered over the neat stack of paperbacks on the table in front of him and, once again, as politely as he could, told the irritable woman in the orange tank top and slouchy breasts that he had absolutely no idea where she could find wart remover.

“You’re not being much of a help,” she snapped, leaning one hand on her shopping cart, which was filled with disposable diapers, Weight Watchers Frozen Dinners, Captain Crunch, a sack of dry dog food, a box of snail poison and three rolls of paper towel. “Look at this, it’s doubled in size just this week.”

She thrust a finger in his face, making sure he got a good look at the huge wart on her knuckle.

“I don’t work here,” he replied.

“Then what are you doing sitting at a help desk?”

“This isn’t a help desk. I’m an author,” he said. “I’m autographing my book.”

She seemed to notice the books for the first time and picked one up. “What’s it about?”

He hated that question. That’s what book covers were for.

“It’s about an insomniac student who volunteers for a sleep study and falls into an erotic relationship with a female researcher that leads to murder.”

“Are there cats in it?” she asked, flipping through the pages.

“Why would there be a cat in it?”

“Because cats make great characters,” she dropped his book back on the stack, dismissing it and him with that one economical gesture. “Don’t you read books?”

“I do,” he replied. “I must have missed the ones with cats.”

“I like cat books, especially the ones where they solve murders. If you’re smart, you’ll write a cat book.” And with that, she adjusted her bra strap and rolled away in search of a potion to eradicate her warts.

Who Loves Ya, Baby?

USA Network does.

They’re so thrilled with the footage they’ve been seeing of Ving Rhames in their new KOJAK movie, that they’ve ordered a series. The episodes, which will be shot in Toronto, start airing in March.Vingrhames_240_001

This will be the third revival of KOJAK. Several years after the original series was canceled, Telly Savalas reprised his signature character in two exceptional TV movies for CBS (THE BELARUS FILE & THE PRICE OF JUSTICE) in the early 90s, then later in a series of not-so-good TV movies for ABC (in a mystery movie wheel that included COLUMBO, BJ STRYKER and GIDEON OLIVER). Andre Braugher, who would later break-out in HOMICIDE, played his assistant in the ABC films.

Detecting LA through Mystery Writing

The excellent blog LAObserved pointed me to this interesting book review by my friend Paula L. Woods, author of the Charlotte Justice mysteries.

For her first novel, “Summer of the Big Bachi,” Naomi Hirahara has chosen as her hero another iconographic albeit little-known figure in the Los Angeles landscape — the Japanese American gardener. [The hero] traverses the breadth of Japanese American Los Angeles, treating readers to snippets of the Japanese language in addition to well-drawn scenes in Crenshaw District homes still occupied by elderly Japanese, San Fernando Valley ramen shops, hostess bars on Sawtelle Boulevard that cater to Japanese businessmen, Gardena bowling alleys and illegal card games in Little Tokyo.

It’s not so much the book itself that struck me, but Paula’s observations about how some writers are using the mystery as a tool to examine LA from fresh perspectives.

The best Los Angeles crime fiction is distinguished by its ability to transport readers to unfamiliar corners in our multicultural metropolis. The house-proud black neighborhoods sleuthed by Walter Mosley’s midcentury detective Easy Rawlins, the gay and lesbian enclaves of Katherine V. Forrest’s Kate Delafield police procedurals, the Persian American elite and other diverse groups investigated by John Shannon’s P.I. Jack Liffey all leave readers more knowledgeable than they started about people seen only from a distance and lives imagined only in the broadest of outlines.

I’ve read Mosley, of course, but I’ll have to check those other authors out… as soon as I break out of my mystery reading funk.

Ashlee Simpson “Sings”

The whole brouhaha over the revelation that Ashlee Simpson was lip-synching her songs on SNL is hardly a surprise to anyone who has actually seen Ashlee Simpson “sing” (the only people fooled by her are the nine-year-olds who buy her albums). The real story is what this scandal says about SNL, the folks who used to expose and ridicule this kind of cheap fraud rather than committing it.

The real story was summed up very nicely in, of all places, a comment left on former-kid-actor-turned-author Wil Wheaton’s blog.

i missed the ASHLEE SIMPSON fiasco for many of the same reasons you and TONY PIERCE mentioned…it is hard to maintain your edge when you’ve been cutting with it for 35 years…when i think of SNL now…i think of bad television parodies…loud, senseless, time consuming sketches that that seem to have been made to order copies of all that have been played out on SNL before…the ASHLEE episode is the kind of pop SNL used to avoid…such candy coated pop was a favorite SNL target for derisive humor…now the humor is lost in the parody of itself that SNL has become…is this a sign post that SNL can look to as a signal that a change is needed…or will the irony of it all be lost to them…at some point you have to have different aspirations than to be the 7,462th man on the moon…too many trips to the same old place…there are other planets out there to explore…is anyone ready to make the trip?

Buffy Vets Slay TV

The TV biz won’t have Sarah Michelle Geller or Joss Whedon to kick around any more.

Geller’s movie THE GRUDGE was a surprise hit this weekend, pulling in $40 million. Anyone who can open a movie that big is officially a movie star. I doubt she’ll be considering any TV series offers now.

And BUFFY creator Joss Whedon, who is currently making a movie version of his short-lived Fox series FIREFLY, announced today that he is getting out of the TV series business.

“Twentieth Century Fox TV has approved Whedon’s request to halt his overall deal at the studio, effectively shuttering his Mutant Enemy production shingle. Besides wanting to focus on his feature career, Whedon said he decided to take a break from TV because, quite simply, he had run out of series ideas.

“I spent a lot of time trying to think what my next series would be,” Whedon said. “I couldn’t think of anything. When that happens, it generally means something is just not working. I didn’t feel like I could come up with anything that the networks would want.”

It’s not surprising that his decision to get out of the TV biz comes while he’s in the midst of writing/directing the movie version of FIREFLY, his only other TV series that wasn’t a BUFFY spin-off. It must be bringing back some unpleasant memories of his dealing with the Fox network. It was a troubled project from the start. The original pilot was scrapped, effectively changing the creative direction of the series…and the series never quite recovered, not that it was given much of a chance. Fox canceled the series after only a handful of episodes. I imagine that experience, as well as the WB’s surprising cancellation of ANGEL, undoubtably had an impact on his decision to stop toiling in TV for a while. That, and the current state of television…

“I have a bitter taste in my mouth with where TV has gone in the past five years,” said Whedon, who called TV’s reality trend “loathsome.”

Mystery Fatigue

I’ve been reading a lot of “vintage” fiction lately… Gold Medal paperback from the 50s & 60s by Harry Whittington, Charles Williams, Dan Marlowe and the like. I’ve also been devouring westerns by Elmer Kelton, AB Guthrie and Frederick Manfred, among others.

I’ve become burned out lately on private eye novels, police procedurals and thrillers. Maybe I’ve just read too many of them…and maybe they are just getting harder and harder to tell apart. I’m tired of seeing all the clues way ahead of the hero… and knowing who the murderer from the get-go. Maybe I just spend way too much time writing, watching and reading mysteries to get much of a thrill out of them these days. I’m even avoiding some of my favorite authors… buying books by Ian Rankin, Robert Parker and others and just sticking them on the shelf until my enthusiasm and interest returns.

As I wrote in a comment on Sarah Weinman’s blog

I’m so tired of the cliches common to police novels on both sides of the pond… the “ex-alcoholic” or nearly alcoholic cop who either has a bitchy ex-wife who doesn’t understand him or is incapable of sustaining a relationship because he brings home the job. I’m also tired of the rogue cop whose commanding officer is a constant obstacle and a police bureaucracy that does its best to undermine the hero at every turn. You’d think after Bosch and Rebus had proved their crime-solving brilliance half-a-dozen times, their superiors would begin to respect their skill and intuition. The constant repeating of that played-out conflict becomes numbing after a while.

There’s a real sameness after a while to the Bosch and Rebus books… mainly, because their characters and professional situations are almost identical. I’m a big fan of both authors but I had to take a break from Rebus for a few novels… and Michael Connelly, luckily for me, saved me the trouble by breaking with the format and making Bosch a PI for a time.

I’ve also OD’d on the wise-cracking, tough-guy PI with the Hawk-esque, violent sidekick. As if Spenser hadn’t been copied enough, Parker himself closed him character for the Sunny Randall books (her sidekick is gay, but just as Hawk-esque and violent).

Maybe I’m just buying the wrong books and need to break some of my bad habits…

But I sure am getting a charge out of those vintage paperbacks, particularly Harry Whittington’s work. There’s something fresh and new, oddly enough, about the older stuff. Most of what I’m reading, on the advice of Ed Gorman and Bill Crider, is also edgy, sexy, violent and surprising. Sure, there are a few cliches, dated references, and musty phrases… but by and large, I’m finding the books far more compelling the what’s hot in the genre today.

Stories from the Frontlines

My writing partner William Rabkin and I had just turned in the seventeenth draft of a screenplay based on .357 VIGILANTE, a novel I’d written under the pseudonym “Ian Ludlow” (so I’d be on the shelf next to Robert Ludlum). We were a few weeks away from pre-production on the movie. The producer called us in, saying he only had a few minor notes that would only take a few minutes on the computer.

“I just need a tiny polish,” he said. “Just a few little nips and tucks.”

”I’m ready,” I said, having already figured out where I was going to put the framed movie poster on my wall, and how I was going to spend my production bonus. 357coversmall

“I’d like you to flip Act Two and Act Three,” he said.

I laughed. He didn’t. “You are joking, right?”

“No,” he said. “It will be easy with your computer. Just flip the two acts, make Act Three Act Two, and make Act Two Act Three.”

“But you can’t do that,” I said.

“Why not?” He asked, genuinely perplexed.

I walked out and never came back, leaving Bill behind. I’m not sure he’s ever forgiven me for that, by the way. Other writers came in, including Michael Blake, who would later win an Oscar for “Dancing With Wolves”. Not surprisingly, the movie didn’t get made… though every few years the producer will call us up with some new scheme to resurrect it.

The Biz Behind THE 4400

USA Network has ordered a TV series based on the hit USA miniseries THE 4400. But it’s not as simple as it sounds. Behind that series order is an interesting business story, as reported at zap2it.com, of deal-making and awkward timing.

“The 4400” was caught in a business vortex not of its own making. Its studio, Viacom Productions, has been folded into Paramount Network Productions; and its broadcast outlet, USA Network, was involved in the recent merger between Universal and NBC.

There was, according to other press reports, protracted haggling between NBC, its broadcast partners USA and SciFi, and supplier Paramount. NBC reportedly wanted to retain some rebroadcast rights (ala MONK on ABC & USA, “Law and Order” on NBC and USA, etc.). There was even some question about which NBC/Universal network the series version of THE 4400 would actually air on.

Once that was all ironed out, more problems remained.

When “The 4400” finished its run, none of the producers or actors was retained on contract. The executive producer and show runner, Ira Steven Behr, has since gone on to CBS’ “dr. vegas,” while his predecessor, Rene Echevarria, is now working on NBC’s midseason drama “Medium.”

DR VEGAS isn’t exactly wowing audiences, and the rumor is the show is destined for cancellation. The folks behind THE 4400 are well aware of that… and have been hinting that showrunner Ira Behr may soon be free.

“Maira and I are going to talk about the possibility of having him come over,” says co-executive producer Scott Peters, “because we’re not going to be up and running until March in terms of shooting. This means we have to start writing earlier than that, but not tomorrow.”

Meaning, they can wait for DR. VEGAS to tank. The big hurdle now is getting the cast back for the series…

As the production team reassembles, a bigger challenge may be reassembling the large cast for the drama, in which 4,400 people returned mysteriously in a ball of light. Some had been missing a short time, some for decades. All hadn’t aged and didn’t remember where they had been. Some returned with extraordinary or even dangerous abilities.

The cast included Joel Gretsch (“Taken”) and Jacqueline McKenzie as federal agents dealing with the returnees, with Peter Coyote as their boss. Among those playing returnees were Mahershalalhashbaz Ali, Laura Allen, Patrick Flueger and Michael Moriarty. Mark Valley (“Keen Eddie”), currently a regular on ABC’s “Boston Legal,” joined midway through the run, as did Billy Campbell.

“We’re still negotiating with actors I want,” Peters says. “I want everybody back, because there’s a winning combination. Right now, Joel and Jackie are definitely coming back, which is good, because it would be an awfully difficult show to do without them. It would be hard to do it without any of them, as a matter of fact, because they’re all integral to the success of the show. We have to get Billy Campbell back. He’s tied up at the moment, but we’re going to try to figure out a way to get him back.