Lee Goldberg

Florida Sues Writers Literary Agency

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The Florida Sun Sentinel reports that the state attorney general has filed a lawsuit against Robert Fletcher, aka Writers Literary Agency, for defrauding authors:

The so-called Writer's Literary Agency used more than 20 websites and related companies to collect money from writers, who paid fees from $89 to $600 for critiques, editing and marketing of manuscripts, according to the Attorney General's Office.

The state's lawsuit says few books were ever sold as the result of company owner Robert Fletcher's efforts.

More than 175 complaints were filed from around the world about Fletcher, who admitted to having no background as a literary agent and to using at least 10 aliases in his businesses.

The lawsuit seeks to prevent Fletcher from future business ventures in the literary field, restitution for his victims and fines.

This is great news. You may recall that Fletcher unsuccessfully sued Writer Beware for exposing his activities. It would be nice if other state attorney generals were as aggressive about shutting down scam literary agents and vanity press "publishers." Even so, I'm hoping this will have a chilling affect on similar activities by others who prey on aspiring authors.

Bronson’s Loose!

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BronsonlooseYou don't have to be a DEATH WISH fan — and I'm not — to enjoy BRONSON'S LOOSE! THE MAKING OF THE DEATH WISH FILMS, a highly entertaining and informative book about the making of the cult classic Charles Bronson vigilante film and its lesser (and inevitable) sequels. Author Paul Talbot has done a remarkable job, interviewing all the major players behind the development and production of the DEATH WISH movies (including Brian Garfield, the author of the original novel), and delivering a tight little book that is packed solid with fascinating details and wonderful anecdotes. I strongly recommend it to anyone interested in screenwriting and movie-making. It's a lot of fun to read. 

This is not a new book — it was self-published by Talbot in 2007 through iUniverse. I don't know if that's because it was rejected by every publisher in NY, or if he opted from the get-go to do it himself. Either way, it's a shame it wasn't picked up by a major publisher, its a book that deserves a wide distribution and critical recognition.

Pondering the Ponderosa and Steve Cannell

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I've been reading a bunch of TV and movie reference books lately, most of which have been a disappointment. 

There's a great book to be written about the writing and production of BONANZA, something akin to the brilliant and comprehensive GUNSMOKE: A COMPLETE HISTORY. Sadly, A REFERENCE GUIDE TO BONANZA by Bruce Leiby and Linda F. Lieby, now out in paperback, isn't it. A scant eight pages — eight pages!– are given to the creation, writing and production of the show. The bulk of the book is a workman-like episode guide to the 14 seasons and brief synopses of the TV movies, hardly worth the price of purchase. The only thing interesting and worthwhile about the book are the appendices listing various BONANZA merchandise, books, comics, and records. However, I wish the effort the authors put into gathering so much pointless information — like listing all the shows available on video featuring Tim Matheson — had been focused instead on giving us the definitive history of the show. Consider this a lost opportunity.

The same can be said of STEPHEN J. CANNELL TELEVISION PRODUCTIONS: A HISTORY OF ALL SERIES & PILOTS by Jon Abbott. While the book is far more substantive and detailed than the BONANZA book, it draws entirely on previously published articles and books. The author, based in the UK, doesn't appear to have actually interviewed anyone himself, either at Cannell or at studios or the networks that Cannell worked for. The one person he should have talked to, and didn't, was Steve Cannell, the subject of his book. That is a glaring and crippling fault, obvious in every chapter. The author tries to make-up for that major weakness by relying heavily on his own ponderous and uinformed commentary (often repetitive, obvious and pointless), his critical overview (often meaningless and ridiculously fannish) and his interpretation of events (often dead wrong). That was a big mistake. What is especially irritating is the author's tendancy to make an assumption, and then afterwards treat it as fact. For example, in the RICHIE BROCKLEMAN chapter, he writes:

"The intention may have originally been to introduce the aggravating Brockleman into THE ROCKFORD FILES as a semi-regular partner for Rockford (to take some of the pressure off Garner's aching back). Fortunately, reason prevailed, and the character was instead written into the 1976 pilot film before surfacing in a double-length 1978 episode of ROCKFORD."

Most of the Cannell series, even from his days at Universal, are given full chapters and sketchy (to the point of almost being useless) episode guides…but after UNSUB, for reasons not explained, only passing reference is given to TOP OF THE HILL, BOOKER, BROKEN BADGES, 100 LIVES OF BLACK JACK SAVAGE, PALACE GUARD, MISSING PERSONS, THE LAST PRECINCT, COBRA, STREET JUSTICE, HAWKEYE, MARKER and three of his all-time biggest hits, RENEGADE, THE COMMISH and SILK STALKINGS. Perhaps the author just wasn't able to get video tapes of those shows from his circle of collectors, who he thanks in his acknowledgments, which noticeably doesn't include the names of any people associated with Stephen J. Cannell Productions or his shows. It begs the question — why didn't he actually talk to anybody? I know many of these writers, producers and directors, and I can tell you, they aren't hard to find or unwilling to share their experiences. Maybe he couldn't afford the long-distance phone calls. 

All that said, there is a lot of useful information in the book and, since the definitive book on Cannell has yet to be written, this is not a bad place-holder until somebody writes it (hopefully, Cannell himself will do it some day!). 

Pondering the Ponderosa

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I’ve been reading a bunch of TV and movie reference books lately, most of which have been a disappointment.

There’s a great book to be written about the writing and production of BONANZA, something akin to the brilliant and comprehensive GUNSMOKE: A COMPLETE HISTORY. Sadly, A REFERENCE GUIDE TO BONANZA by Bruce Leiby and Linda F. Lieby, now out in paperback, isn’t it. A scant eight pages — eight pages!– are given to the creation, writing and production of the show. The bulk of the book is a workman-like episode guide to the 14 seasons and brief synopses of the TV movies, hardly worth the price of purchase. The only thing interesting and worthwhile about the book are the appendices listing various BONANZA merchandise, books, comics, and records. However, I wish the effort the authors put into gathering so much pointless information — like listing all the shows available on video featuring Tim Matheson — had been focused instead on giving us the definitive history of the show. Consider this a lost opportunity.

The same can be said of STEPHEN J. CANNELL PRODUCTIONS.

The Angel’s Game

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Angels-game I read THE ANGEL'S GAME by Carlos Ruiz Zafon because my brother Tod gave it such a glowing review. And, at first, it seemed like the book more than deserved the praise.

The book starts out brilliantly, rich in a character, humor, and a powerful sense of place. I was utterly captivated. I couldn't wait to keep reading. I felt I was reading a truly great book, one I was certain would become a beloved favorite of mine.

I was so in love, that I was willing to overlook a nagging flaw — in a story where language and the craft of writing mean so much, where the writer himself aims a spotlight on authorial laziness ("Don Basilo […] subscribed to the theory that the liberal use of adverbs and adjectives was the mark of a pervert or someone with a vitamin deficiency"), I was astonished by the repeated reliance on cliche phrase like these:

"In this neck of the woods, one doesn't have to run very fast."

"The editorial board had opted to take the bull by the horns…"

"technically, it was my father who paid, but don't look a gift horse in the mouth"

"my father came back and found me alive and kicking…"

It was especially bewildering since the author is capable of amazing, vivid, and fresh prose.  How could he possibly let a cliche like "he let the cat out of the bag" get past the rough draft?

Since the book is a translation, I will give the author the benefit of the doubt and assume it's the translator's fault and not his (one need only look at The Girl with the Dragon Tattoo  for an example of that).

But the cliches would be a minor annoyance if the rest of the book matched the brilliance of the first half. Unfortunately, the book quickly devolves into relentlessly dull exposition, delivered by one-note characters with absolutely no motivation or reason to deliver the speeches to our hero besides the author's need to relay the information.

Worse, the plot totally collapses into an unintelligble, incoherent mess that isn't satisfying or entertaining. Nothing that was "planted" in the first half pays off in the second. For me, the book was a crushing disappointment.

You Can Become a Kindle Millionaire, Part 9

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My third month of Kindle sales has ended (click on the picture of the Amazon Royalty Report for a larger image). 

My out-of-print novel THE WALK , priced at $1.99, is my biggest selling Kindle title (not including my MONK books, of course). I sold 444 copies in June and 373 copies in July. This month, I sold about the same, 380 copies, earning me a royalty of $266.  I have sold 1197 copies of the Kindle edition so far.

Sales have actually ticked up a bit for my short story collection THREE WAYS TO DIE.  I sold 69 copies this month at 99 cents each, for a royalty of  $24… that's up from 40 copies in July and 54 copies in June. So sales of both of my "premiere" Kindle titles have remained more or less steady.

In mid-July, I added two more of my out-of-print novels and one non-fiction book to my list of Kindle editions.

My novel MY GUN HAS BULLETS, priced at $1.99,  sold 65 copies this month, earning me a royalty of $45.50. That's down from last month, when it sold 95 copies in 17 days earning me $65 in royalties. The sequel,  BEYOND THE BEYOND, is also down, selling 21 copies as compared to 29 copies in 14 days in July. 

TELEVISION SERIES REVIVALS was only out for two days in July, selling 17 copies at $2.39 each, earning me  $14.28. In its first full month of sales, however, it sold a mere 16 copies, earning me $13.44. That's a steep drop…and yet its consistently listed as the #1 bestselling TV reference book in several Amazon categories (History, Direction & Production, Guides & Reviews) on the Kindle. Clearly, that isn't saying much.

This month, I made several more of my out-of-print titles available in the Kindle format. 

I added Unsold TV Pilots: The Greatest Shows You Never Saw on August 2, priced at $2.39. I've sold 28 copies for  royalty of $24.36. Those sales are pretty weak…and yet that book is consistently listed as the #2 bestselling book in three categories:  TV reference, TV direction & production and TV Guides & Reviews.  TV reference books clearly don't sell well on the Kindle.

I added a Kindle edition of my out-of-print 1985 paperback .357 Vigilante: #2 Make Them Pay on Aug 5, priced at $2.99.  I've sold 25 copies for a royalty of $25.26 . On Aug 19, I added .357 Vigilante #1, also priced at $2.99. I've sold 21 copies for a royalty of $22.05

All together, I earned $436.45 in royalties on my out-of-print books in August, up from $375 in July. As I've said here many times before, that's found money on material that wasn't earning me a dime before, so I am very content with those figures.

I intend to add the two remaining books in the out-of-print  ".357 Vigilante" series to the Kindle in the next month or so, even though, as you can see, there really isn't much of a financial incentive to do so. 

I Am Looking Forward to “Dexter,” the reality series

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Variety reports that Showtime is bringing back THE L WORD…this time as a reality series.

Pay cabler has greenlit nine episodes of "The Real L Word: Los Angeles," from "L Word" creator Ilene Chaiken and reality producers Magical Elves ("Top Chef").
Show will follow six lesbians in Los Angeles as they go about their lives — a lesbian answer to Bravo's "Real Housewives" franchise. Project is dependent on casting, the net said; if all goes as planned, "The Real L Word" would debut sometime next year.

If this works, the reality versions of DEXTER and THE TUDORS should be fun.

I Hate The WGA Elections

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Writers-guild-of-america-west-logo I hate it when we're asked to vote for new WGA officers and board members. We get inundated with mails, each side attacking the other, and then we get that bulging election packet, with its candidate statements, candidate rebuttals, rebuttals of rebuttals, rebuttals of rebuttals of rebuttals, the non-candidate statements, the rebuttals of non-candidate statements, and the endorsement ads. Accusations, counter-accusations, and counter-counter-counter accusations.

I don't bother with most of that crap. I read nothing but the candidates statements and make my decisions based on that, my personal knowledge (if any) of the individual candidates, and my own take on where the industry stands and what I believe the direction of the Guild should be. I do not vote according to slates. I vote according to a candidate's principles, experience, ideas, and vision. But most important of all, I vote. 

If you are a WGA member, I urge you to vote as well.

For what it's worth, here is who I voted for:

President: Elias Davis

Vice-President: Tom Schulman

Secretary-Treasurer: Christopher Keyser

Board Members: Patric Verrone, Howard Rodman, Carleton Eastlake, Dan Wilcox, Ian Deitchman, Linda Burstyn, Chip Johannessen, and Luvh Rakhe.