World’s Best Michael Silverblatt Impersonation

A little known fact: my brother Tod does an incredible impersonation of Michael Silverblatt, host of NPR’s “Bookworm.” It’s better in person, but he recently replicated it on the blog Elegant Variations in a mock interview with himself on Bookworm:

Michael: Tod, in your transcendent novel “Living Dead Girl,” you stretch the boundaries of fiction in such a way that the world seems to lack…order…and love, like that poem by Rilke, becomes something like an infection of the soul, a commentary on the socio-economic role we all play in that God and money and danger and the all-encompassing nature of what I like to call “the bukakke” becomes almost a parable from the Bible; or a tone poem; or perhaps it’s like a song you hear on the day your dog dies and that song become synonymous with the death of your dog, until dog, becomes…God. Is that what you were trying to do?

Tod: Uh. Yes.

Chemo-sabe

I’m going to be in Palm Springs for the next couple of days… perhaps longer… giving my brother Tod a much-deserved break and taking care of my Mom during her next chemo treatment. I’ll also be working hard to finish “Diagnosis Murder #5: The Past Tense” before I go in for surgery on my right arm… and so I can meet the book’s delivery deadline of Nov. 30th. So don’t be surprised if I don’t post as much, or as frequently, on my blog for a little while…

“Lost” Rumors

The rumor around the TV biz today is that there’s been a big shake-up behind-the-scenes on ABC’s LOST… and that “Nash Bridges” creator/showrunner Carlton Cuse has been brought in to run the writing staff under exec-producer JJ Abrams.

Keep in mind, it’s just a rumor at this point…but if it’s true, it raises lots of questions about the surprise hit of the new season. What were the problems at LOST? Was Abrams unhappy with the creative direction of the show… or was it the network? What will the new creative direction be? And why bring pick Cuse, whose background is primarily cop shows?

I’m Glad This Isn’t MY Agent…

I got an email today from an agent who is having trouble selling his client’s crime thriller screenplay. Every development exec he submits the script to says they aren’t interested in the project unless there is “some talent attached.” The agent wanted to know “if you have any suggestions how to get around this” and also if I was interested in reading the script… and if I wasn’t, if I knew of any producers who were looking for great new material.

I was astounded. What kind of agent needs to ask another screenwriter the best way to get his client’s material to buyers? Here’s the advice I gave him:

By “talent,” they usually mean an actor, director, or major producer. But it’s just an excuse. No offense intented, but what they are really saying is they think the script is terrible, or it sounds terrible, or they aren’t interested in your client at all. The only way I know of to get around this is to have a kick-ass idea, a great script, a powerful agent, or as the development people have told you, a big name involved with the project. The bottom line is, whoever you’re talking to simply isn’t interested in what you have to sell. Russell Crowe would have to walk in the door with the script under his arm for them to give a damn.

What I didn’t say was if this agent was any good at his job, he’d have relationships with the right development people. He’d know what they were looking for and who the right people would be to send the script to. The development people would respect the agent, know the kind of writers the agent represented, and would decide whether or not to read the script based on that. The email I received tells me this is an agent who doesn’t have relationships, doesn’t have much experience, and shouldn’t be trying to sell anybody’s screenplay. But if that didn’t tell me, his next two questions did.

Are you interested in “a terrific feature screenplay?”

Only the ones that I write. I’m in the same position as your client. I don’t buy scripts, I try to sell my own! So that kind of answers your next question, too…

Maybe if you are not looking but know someone who is you can point us in that direction?

If I knew such a person, I would be sending them my script!

I wouldn’t want this guy representing me. The screenwriter would almost be better off with no agent at all, sending his script out on his own…

What do you think?

Don’t Save Our Show

That is is a first. Instead of a campaign to save their favorite show… fans of THE WEST WING are rallying NBC to cancel it. Who knows… twenty- five years from now, they might even take out full-page ads in Variety urging studios not to make a movie version with the original cast.

We’d Be Fools Not To

Sarah Weinman pointed me to this fascinating interview with Robert B. Parker. I have a lot of emotional attachment to the Spenser novels… I loved reading the early ones and my first job in television was writing an episode of “Spenser: For Hire.” (by the way, that’s a picture of me with Parker at the Edgars a few years back). Leeparkerop

The comment in the interview that sticks with me the most, and apparently Sarah as well, is:

Parker: I write 10 pages a day. When I’m done with it that day, it’s what you see on the printed page. Maybe the spelling is improved or the punctuation changed, but essentially you’re looking at my first draft. I don’t do a second draft.

That’s no surprise to anybody who has been reading him lately. I listened to four of his unabridged books-on-tape over a relatively short period… BAD BUSINESS, STONE COLD, GUNMAN’S RHAPSODY, and DOUBLE PLAY…and was struck by how much he repeats the same dialogue, observations, and situations over and over, particularly ending chapters with the hero, or his girl, saying “We’d be fools not to.” That said, I loved listening to all four books. His lean, snappy, dialogue-heavy writing style is perfectly suited to the audiobook medium…and his regular performers, Joe Mantegna (the Spensers) and Robert Forster (the Jesse Stones) in particular, are terrific.

I suspect if I’d read the latest Parker books, I wouldn’t have enjoyed them as much and the repeated dialogue and situations would have grated on me more. Somehow, you’re a lot more forgiving to an author when you’re a captive audience stuck in gridlocked traffic.

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.