More on Michael Gruber

It’s common knowledge now that Michael Gruber has been ghosting Robert Tanenbaum’s legal thirllers… because Gruber is telling everybody about it. This week, Gruber is interviewed in Publisher’s Weekly, the industry trade magazine, and discussing his ghosting days in detail.

Gruber and Tanenbaum’s mothers are sisters and raised their sons in New York
together. Tanenbaum went on to become a successful trial lawyer, and when one of
his cases became nationally famous, the publishing house Franklin Watts (now a
division of Scholastic) asked him to write a novel about his legal adventures.Hook1
Knowing his cousin could write, Tanenbaum contacted Gruber. "He called me up,"
Gruber remembers, "and said, ‘I’ve written a hundred pages. Would you have a
look at it?’ " Gruber hesitates before explaining his reaction to Tanenbaum’s
hundred pages. "It was the kind of novel by somebody who doesn’t know anything
about writing novels," he says diplomatically. "So I called him, and I said,
‘This is unsalvageable. It’s not a novel, it has no characters, no plot,
nothing.’ He said, ‘What should I do?’ I said, ‘Look, for half the advance, I’ll
write your novel.’ On the basis of that we got another contract, for a lot more
money. And so I went into business."

In the acknowledgements of Tanenbaum’s bestselling "Butch Karp" novels, he always thanked Gruber, who ghosted over a dozen novels for his cousin.  The partnership began to fall apart when Gruber tired of sharing the cash and not the credit.

The cousins became "somewhat estranged" when Gruber said he wanted to have a
relationship with Tanenbaum’s publisher (previously, Gruber didn’t interact at
all with any editor or publisher). This didn’t go over well with Tanenbaum, and
when, thanks to Gruber’s pressuring, Tanenbaum revised his contract so that it
would have Gruber’s name in it, Gruber had to agree that he wouldn’t make any
claim for copyright, and tensions increased.

"It’s very sad," Gruber laments. "You can imagine, being a writer, you write
all these books, but you never experience the life of a writer." He lays out one
scenario: "You’re at a party, and you say, ‘I’m a writer.’ Someone says, ‘Oh,
have you been published?’ ‘Yeah, I have seven million books in print.’ ‘Really?
What’s your name?’ ‘Oh, I don’t publish under my own name.’ "

Resolved, published in 2003, was the last Tanenbaum book Gruber was
involved in (though Tanenbaum continues to publish books, the most recent of
which, Hoax, received mostly tepid reviews). Their relationship now?
Gruber answers, "Zero."

Gruber’s first novel under his own name was TROPIC OF NIGHT, a thriller that has sold 300,000 copies in hardcover and paperback. His new novel VALLEY OF BONES is getting a big push from his publisher (hence the profile in PW and full page ad) and a 100,000 copy first printing. Alerting the fans of Tanenbaum’s books that they were actually written by Gruber can’t hurt his sales, either. Although the publisher decided not to refer to Gruber’s relationship with Tanenbaum in any of their publicity material, that didn’t stop Gruber from making sure word got out.

Personally, I think Gruber should have kept his mouth shut. He made a deal with Tanenbaum to ghost his books and was paid handsomely for  it… to reveal the arrangement now seems malicious, self-serving, and unprofessional to me.  Everybody loses… Tanenbaum, his readers, and Gruber, who comes off as a jerk.

I wonder who is writing Tanenbaum’s books now…. heard any rumors?

More of the Same

Publisher’s Weekly has given Adrian McKinty’s new novel HIDDEN RIVER a starred, rave review, describing it as:

… an
outstanding and complex crime novel that should appeal to fans of hard-boiled
Celtic scribes such as Ken Bruen and Ian Rankin.

No wonder, since the hero, Alexander Lawson, shares so many similiarities to Bruen’s Jack Taylor and Rankin’s John Rebus.  Two guesses what Lawson’s story is. He’s  "a
down-and-out ex-cop with a heroin habit,"  booted from the Belfast homicide squad for stealing heroin from an evidence locker.  I bet the police Captain is still out-to-get-him,  and that his personal relationships are a mess… and yet women still are inexplicably drawn to him. Of course, there’s more to this novel than just that…

This is not only an expertly crafted suspense novel but also a revealing
study of addiction.

Of course it is. I haven’t read the book, but I feel like I have already. Many, many times…

TV Themes R.I.P.

Once again, the press is declaring the death of tv themes.

Despite such attempts at revival, the theme song is dying. Once a siren’s call
that heralded the beginning of a show and drew people to the TV set from all
over the house, the theme song is fast going the way of Harbert’s cassette
tapes.

Network executives point to several causes of death: There are
more commercials per half hour of TV, leaving less time for programs. The first
thing to go is often the theme song. It’s costly to hire a good composer to
write a song and pay the residuals due with each airing. Viewers have shorter
attention spans and won’t sit through theme songs. And they can seem
unsophisticated in this era of savvy audiences.

But the loss is
significant. Anyone who has clapped along to the "Friends" theme or sat through
a middle school music class rendition of "The Greatest American Hero" song can
feel it. Good TV shows are made better by good theme songs and remembered more
fondly for them. Think of "Cheers" with its "Where Everybody Knows Your Name."
Or "The Golden Girls" and "Thank You for Being a Friend." Or the jazzy themes of
"Hill Street Blues" and "L.A. Law."

What I really think they mean is the death of TV theme songs, but even that isn’t true.
I’m a big TV theme fan and, while there are fewer memorable themes these days, there are certainly no shortage of  instrumental or vocal themes… just not as many as in days past, and not as many that are catchy enough to remember.

Recent shows with vocal themes include  Nip/Tuck, The Sopranos,  Missing, Monk,  Wild Card,  The O.C.  and Star Trek Enterprise.  (And that doesn’t include shows using pop songs for their themes, like the three CSI shows). Recent shows with memorable instrumental themes include Six Feet Under, Deadwood,  The West Wing,  and, dare I say it, Survivor.

I think networks and studios are making a mistake not recognizing the importance of a strong theme tune/song.  All it takes is a few notes of a memorable theme to create an immediate, emotional reaction in viewers, immediately evoking their affection for the show and its characters.

There’s a story, I don’t know if it’s true, that Scott Rudin wanted to ditch the finger-snapping Addams Family theme from the movie and its trailers. But when he saw the immediate reaction the first few notes had with preview audiences, he changed his mind. A strong theme is instant brand recognition…forever.

What makes the Mission Impossible movies, well, Mission Impossible is that classic Lalo Schifrin theme and the incidental score (which was also used in the film). Addams Family, Star Trek, Friends, Hawaii Five-O, Cheers, X-Files, Seinfeld, Law & Order… those are just a few of many, many TV themes that have become part of our shared culture, whether you’re a regular viewer of those shows or not.   

When studios buy the remake rights to old TV series, I would argue what they are really buying is the format and theme music/song.  What would Hawaii Five-O be without the Morton Stevens theme? What’s The Brady Bunch without the opening song and the incidental score? 

The importance of the theme music/song also extends to most movie franchises. A James Bond movie simply isn’t a 007 film without the James Bond theme (what Bond fan didn’t long for it in NEVER SAY NEVER AGAIN?).  What would the Man With No Name be without Ennio Morricone’s haunting score? What people remember most about Shaft isn’t the movie… it’s Isaac Hayes theme song.

The TV theme isn’t dead…it’s just not as appreciated as it should be by the very people, the networks and studios, who have the most to gain by supporting it. The problem is, the gains aren’t as immediately tangible as using the money that would have gone into the music budget on designer wardrobe, big-name guest stars, or a more elaborate action sequences…

CBS Comes of Age

Back when we were doing DIAGNOSIS MURDER for CBS, their big hit dramas were TOUCHED BY AN ANGEL, WALKER TEXAS RANGER, and JUDGING AMY. They were barely competitive on  Thursday nights with DIAGNOSIS MURDER and 48 HOURS… and nothing else they put on that night could survive. Their attempts to draw a younger demographic, like CENTRAL PARK WEST, were embarrassing failures.  It seemed there was nothing CBS could to do to draw younger audiences to their network.

Then along came CSI…which changed everything.  The stunning, unexpected, overnight success of CSI was followed by WITHOUT A TRACE, COLD CASE, NAVY NCIS, and the other CSIs. Now,  CBS has accomplished something nobody thought possible… today Variety reports they’re the number one network in number of viewers and demographics.

In what Leslie Moonves called a "watershed moment" for his network, CBS has scaled to the top of Demo Mountain, sweeping November in all key ratings categories.

The Eye remains the oldest-skewing of the networks, but its big-tent strategy of delivering programs that attract viewers of all ages — and in both red and blue states — has worked to perfection so far this fall, including the four-week sweep period that will wrap tonight.

Net has been pacing well ahead of its rivals for a couple of years in total viewers, but started making a demo push last season when it eked out a victory in adults 25-54 while placing third in adults 18-49.

Now it has become the net to beat in 18-49, the demographic that most closely correlates to advertising revenue.

"Way back when I took this job (in 1995), I said there was no way CBS will ever win in 18-49," Moonves said. "It was something we didn’t even dream about."

The Saviour Of Comedy: Joe Roth?

Day Three of Love in the Time Of Tod Goldberg…

Variety reports that movie producer Joe Roth has inked a deal to develop sitcoms for CBS:

"My sole purpose in starting this company is to quickly" work on launching comedies, Roth told Daily Variety. "That’s what’s missing from TV right now. The networks have plenty of dramas, and I couldn’t develop a reality show if my life depended on it.  I’ve always found the best strategy in business is to focus on one thing."

There are plenty of sitcoms on TV, just not enough funny ones.

The last movie I walked out of and actually asked for my money back on (vs. just sneaking into something else) was the Roth "laffer" Anger Management, which nominally starred Adam Sandler and Jack Nicholson. I say nominally because neither actually did a whit of acting in it. It was just drivel. Anyway, after walking out on the movie I became interested in finding out the root of my hatred of this film and found, to my surprise, that it might be Roth himself. Of all the movies I’ve walked out of in my 33 years, a total less than 30, Roth has at least five: Nightbreed,  Low Down Dirty Shame, The Jerky Boys, Daddy Day Care and the aforementioned Anger Management. On the upside, I did love Revenge of the Nerds II: Nerds In Paradise.

This Sounds Cool

Zap2it reports:

"Law & Order" is reaching back to its first season, signing veteran actor David Groh ("Rhoda," "General Hospital") to reprise a role he first played in 1990. In that episode, based on the 1987 Joel Steinberg case, Groh played a psychiatrist convicted of abusing and eventually killing his daughter. Steinberg was paroled earlier this year, leading the show’s writers to revisit the character.

What a great idea! I hope they use some footage from the original episode for flashbacks…that would give the episode an extra punch. Either way, I’m there.

It’s rare when a show revisits an old episode… and reunites the guest cast. As it happens, I watched an old episode of GUNSMOKE today entitled "Mannon" which they revisited nearly twenty years later (with Steve Forrest back as Mannon) for GUNSMOKE: RETURN TO DODGE. They did it again in GUNSMOKE: THE LAST APACHE… revisiting characters and events from the old episode "Matt’s Love Story." It really gives the story emotional resonance… and solidifies the sense that the characters live within an evolving universe… that past events (which we share with them as an audience) still ripple through their lives. It doesn’t happen in television often enough… on most non-serialized series, it’s as if past episodes never occurred.

We sort of did what LAW AND ORDER is doing  when we had private eye Joe Mannix (Mike Connors) on an episode of DIAGNOSIS MURDER. We took a MANNIX episode from 25 years earlier, reunited the guest cast (Pernell Roberts, Julie Adams, Beverly Garland) and continued the story… using the old footage for flashbacks. Boy, was it fun.

Bill Rabkin and I always try to reference past episodes — even if only in passing –in the series we write & produce. On MISSING, our characters have spoken of past events (ie episodes), acknowledging those events the way you would any life experiences.

I’m also trying to do it now in the DIAGNOSIS MURDER books… I often have the characters refer to events that happened on the series and in previous books, though not so much that it would alienate readers who have never seen the show or read the earlier tales.

The book I just finished… DIAGNOSIS MURDER: THE PAST TENSE… revolves around Dr. Mark Sloan’s first case in 1962… and I explain some events only hinted at in some of the TV episodes, particularly one we wrote guest-starring Jack Klugman entitled "Voices Carry."

I love that kind of stuff. It brings out the TV geek in me.

Exec Shuffle

Variety reports that Susan Lyne is stepping in to run Martha Stewart’s company.

Former ABC Entertainment prexy Susan Lyne is going from the Mouse House to Martha’s, effective today. Lyne was appointed president and CEO of Martha Stewart Living OmniMedia at a board meeting Thursday, replacing Sharon Patrick who informed the board she wished to resign. Appointment comes five months after Lyne joined MSO’s board and nearly seven months after she got the ax at ABC along with ABC Entertainment TV Group chair Lloyd Braun.

"I had the summer to really think about what I wanted to do next," Lyne told Daily Variety. "This is a company that has everything it needs to grow. It is a really strong brand and has a deep relationship with its core customers."

This news comes on the heels of Carole Black’s announcement that she’s leaving as head of Lifetime Television at the end of her contract this winter. How are these two stories related? Rumor was that Lyne was in the running to replace Black… or perhaps to fill the vacancy left by Barbara Fisher, who left as vp of programming six months ago. Now Lifetime finds itself looking for two high-powered female execs to fill two major posts at the network.

Of course, I have a personal interest in how the Lifetime exec hunt goes… they are the network that’s running MISSING, the series I’m working on…

Mel Gibson: TV Mogul

I’m not in the hospital yet… but William Rabkin, who will be blogging for me while I am,  offers this observation on today’s cancellation news:

Remember when Mel Gibson started shooting THE PASSION OF THE CHRIST? All the brilliant thinkers in the entertainment industry said he’d gone out of his mind — a religious tract in Aramaic would not only be a financial disaster, but would sink his career.
Well, once Gibson made several hundred million dollars on that folly, the brilliant thinkers had to change their minds. Now he was a genius, and everything he touched would be golden. Of course, everybody wanted to be in business with him, and suddenly the actor/producer/director sold two series to two networks — despite a complete lack of TV experience. And of course, they would have to become the huge hits of the season, because, well, he was the guy who made a religious tract in Aramaic.
So how’s he doing? Well, one of his two shows was cancelled today — CLUBHOUSE, the CBS drama about… a ballboy for a baseball team. (Yes, a concept that couldn’t have been less appealing if it had been in Aramaic.) The other, a sitcom called COMPLETE SAVAGES, was supposed to be this season’s breakout comedy, and it’s a complete disaster, with a tiny audience and nobody paying attention.
Of course, when these shows were picked up, it was all Mel all the time. But an entire article in Variety on the cancellation of CLUBHOUSE doesn’t mention Gibson once…

Strike Two

On the heels of canceling DR. VEGAS, Variety reports that CBS axed CLUBHOUSE. Two of the networks three new dramas this season… the only ones without CSI in the title… have failed.

With the exception of JOAN OF ARCADIA, the only shows that have clicked on CBS over the last season or two have been police procedurals in the style of CSI… like CSI MIAMI, CSI NEW YORK, NCIS, COLD CASE, and WITHOUT A TRACE.

Considering that, it’s probably very wise that CBS is going with another police procedural, NUMBERS, to take the place of DR. VEGAS.

Gil Mille

This has been a sad year in the world of television and film music — already we’ve lost Jerry Goldsmith, David Raksin, Fred Karlin and Elmer Bernstein. Now Variety reports that composer Gil Mille has died. Mille is perhaps best known for his TV scores for KOLCHAK: THE NIGHT STALKER, NIGHT GALLERY, THE SIX MILLION DOLLAR MAN, and THE QUESTOR TAPES as well as the feature film THE ANDROMEDA STRAIN, among others.

I’m a huge fan of TV and film music… I listen almost exclusively to soundtracks as I write. I’ve been listening to a lot of Goldsmith, Raksin, Karlin and Bernstein over the last few month…Mille never quite attained their legendary status and wide appeal, but his scores were powerful, ground-breaking and memorable. He will be missed.