On Other Blogs

Wasserman has Left the Building

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Mark Sarvas at The Elegant Variation talks about editor Steve Wasserman’s era at the LA Times Book Review…and where he went wrong.

The core problem with Steve Wasserman’s tenure as editor of the Los Angeles Times Book Review was writ large in his answer to a question I put to him at the recent Los Angeles Festival of Books. I used the occasion of the "Celebrating the Book Review" panel to inquire about LATBR’s propensity for tedious reviews. Wasserman
responded that tedium was in the eye of the beholder, and the piece
that he’d been proudest of running was a "6,000 word essay on the
Spanish Civil War untethered to any existing book."It
is unlikely that most readers of the Book Review – a rapidly
diminishing pool, if my anecdotal evidence is any guide – shared his
delight.

The rest of Mark’s ruminations are worth reading…especially for any candidates up for Wasserman’s job.

Is Richard Wheeler Killing The Western?

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…well, Richard Wheeler thinks so.

So, here I am, writing stories that wreck the genre. Can anyone doubt
it? Soon after I published my first novels at Doubleday, its western
line expired. Soon after I published my novels at Walker and Company,
its western line died. Soon after I published my westerns with M. Evans
and Company, its western line faded away. Soon after I published my
novels with Fawcett and then Ballantine, their western lines croaked.
Soon after I published my sole novel with Bantam, its western line
(except for L’Amour) faded into the sunset. Soon after I published the
last of my novels with NAL, its western line began to wind down. I
understand that soon after my last Pinnacle novel is published, its
western line will be planted in a grave. That leaves only Forge, and
its line is fading fast.

He says he’s done it by writing what the readers don’t want.

My publishers have responded by plastering a cowboy with blazing
sixguns on the covers of many of my novels to conceal the heresies
within the covers, but it did little good. My loose literary ways
trumped the orthodoxies of the western genre, and eventually laid the
genre in its grave, though there is still some residual western fiction
showing up.

His lengthy essay on Ed Gorman’s blog will make you want to go out and read all of his westerns.

Website as Pitching Tool

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A number of people have alerted me to this news: a guy created a website to pitch his movie… and it worked. LAObserved has the story.

Screenwriter Eric Heisserer set up a
website called The Dionaea House
last year and posted a series of correspondence between characters in his horror
screenplay. After all, if the Internet is there, why not exploit it to create
some buzz? The site got a ton of hits. Tomorrow’s Hollywood
Reporter says the website helped "build the mythology" of the project — and
Warner Bros. Pictures picked it up for David Heyman to produce at Heyday Films.

Blog Blowback for Lori Prokop

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I’m not the only one amused by Lori Prokop and her ridiculous BookMillionaire reality show scam. Other blogs are having fun with it, too. For example,  Richard Cobbett took a look at the requirements to be one of the "contestants" on the informercial:

Onephoto_1You can apply if you meet any one of the following criteria:

You don’t need to have written your book or manuscript but you have an idea you feel would be a good book, or…

You may have been told by people that you should write a book, or…

You have a desire to become published and to live the incredible lifestyle of a rich, famous author, or…

You may have started writing your book, but it is not completed yet, or…

You may have your book written. It is completed but not published, or…

You may have published your book, but it has not sold like you wanted.

In
other words, you don’t need to write, you don’t need to have written,
you don’t need to know what you’d like to write, and a pulse would seem
entirely optional. According to the infamous host Lori Prokop – whose
name is an anagram of OIL PORK PRO – only about 5% of writing involves
writing, while the other 95% is buying her self-help books-oops, sorry,
business and marketing.

Applying to be a contestant also gets you on Lori’s coveted email list, as SeaWhyspers says.

Then you’ll be subscribed (forever) to the newsletter
which will solve ALL of your problems with writing: Become Best Seller
(does anyone else already feel nauseous over the pathetic grammer used
on this site?). I can’t say ANY of those bulleted items sounds remotely
like writing to me (scamming, sure), but what do I know? I’m not a Best
Seller, and I’m absolutely SURE it’s because I’m not getting this
newsletter.

 

For someone who thinks of herself as a marketing genius, she sure screwed up this campaign. Perhaps she’d have better luck targeting chiropractors again instead of writers.  If you’d like to add Lori to your own "Get Rich Quick" mailing list, her  oh-so-subtle, loaded-with-integrity, email address is: Cash@megabestseller.com.

(Click here and scroll down the page to hear  Lori pitch some of her get-rich-quick schemes as a tease for her presentation at the "Internet Gravy Train to Riches" conference that was held in 2003.)

Weep for the Scammer

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Get-rich-quick huckster Lori Prokop is "saddened" that aspiring writers,  whose desperation for publication makes them easy prey, aren’t falling for her transparent BookMillionare Reality Show scam. She writes:

We
are building both a television show, television viewing audience and
online community to highlight the writing community. To see this
slammed by members of the writing community is a sad situation.

It certainly is for her…and probably a real shocker, too.  She was counting on the proven gullibility of aspiring writers.  But I had no idea that all Lori, whose personal email address is Cash@megabestseller.com, really wanted to do was help the community of writers and promote world peace. I feel so guilty.

This
type of slamming saddens me as I can see people who write and
communicate in this manner are hurt, frustrated and need help healing
past wounds. My heart goes out to them but I also request they refrain
from further slams and instead speak directly to me to receive the
facts.

Translation:  "Stop talking about my scam in public, you’re scaring away all the suckers!"

Good-Riddance to Star Trek

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It’s about time STAR TREK was cancelled, or so says bestselling science fiction author Orson Scott Card in the Los Angeles Times. He was no fan of the original series, either.

The original "Star Trek," created by Gene Roddenberry, was, with a few
exceptions, bad in every way that a science fiction television show
could be bad.

Yikes, is he in for it from "The Fen. " And he takes a shot at them, too.

And then the madness really got underway. They started making
costumes and wearing pointy ears. They wrote messages in Klingon, they
wrote their own stories about the characters, filling in what was left
out — including, in one truly specialized subgenre, the "Kirk-Spock"
stories in which their relationship was not as platonic and emotionless
as the TV show depicted it.

He’s certainly one author who isn’t afraid to express a controversial opinion that could, uh,  alienate his readers.

Flying Without a Pilot

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TV Writer Paul Guyot tells all about the demise of his TNT pilot THE DARK, which he wrote and produced with Stephen J. Cannell and that was directed by Walter Hill. So what went wrong?

Who knows what happened – you can speculate and Monday morning
quarterback forever – but the bottom line was once the thing was shot,
edited and presented to the network, the original script and story just
wasn’t there. The first thing the network said when they saw the cut was "Where’s the script we bought?"

Now, I’m not saying it was awful. I don’t love the finished product,
but I will say that, overall, I’m happy with about 70% of it. These
days that’s not a bad percentage. But it was that other third that
killed us.

A few years ago, we shot a two-hour, back-door pilot on DIAGNOSIS MURDER starring Fred Dryer as the Chief of Police of Los Angeles. The co-star was an unknown actor named Neal McDonough, who has since gone on to star in BAND OF BROTHERS, BOOMTOWN and MEDICAL INVESTIGATIONS (as well as a three-episode arc on MARTIAL LAW for us). The pilot was called THE CHIEF.

Since DIAGNOSIS MURDER was, itself, a spin-off of JAKE AND THE FATMAN (which itself was a spin-off of MATLOCK), Fred Silverman demanded that we do at least one pilot per season imbedded in an episode of the show. 

ChiefopThis is a cheap way to make a pilot and allows the studio an opportunity to recoup their costs in syndication. You also go straight to film without all the intermediate steps in the development process. The other advantage is that the pilot will air and the ratings, if they are high enough, can be a valuable sales tool.

The downside is that backdoor pilots-as-episodes have a much harder time being taken seriously at the network because they usually aren’t developed through the usual channels and, therefore, there’s no one championing them internally at the network.  (Of course lots of pilot-as-episodes have sold… CSI:MIAMI and MORK AND MINDY are a few such examples, my book UNSOLD TELEVISION PILOTS is littered with others that haven’t, like ASSIGNMENT EARTH from STAR TREK and LUTHOR GILLIS form MAGNUM PI)

THE CHIEF had a lot going for it. For one thing, we had Fred Dryer, a proven star with HUNTER and this role was absolutely perfect for him (and I have to say, he was great in it). For another, the two-hour pilot aired during sweeps and got fantastic ratings, ranking something like #14 for the week, a tremendous accomplishment for us. And finally, we tested the show with audiences at ASI and the scores were amazing, among the best our partner Fred Silverman (former head of ABC, CBS and NBC) had ever seen. We were sure we had a slam-dunk sale at CBS…and if they were foolish enough to pass on it, we definitely land at another next network. Little did we know…

We met with Les Moonves at CBS…and he passed. He didn’t want to work with Fred Dryer. We met with Jaime Tarses at ABC. She didn’t want to work with Dryer. We met with Dean Valentine at UPN. He didn’t want to work with Dryer.  And so it went at every network. What killed us wasn’t the execution,  the concept, the acting, the ratings, or the testing. What killed us was bad blood between Dryer and execs he’d worked with before on other projects.  Basically, we were victims of the burned bridges Dryer had left in his wake.  The television audience loved Fred Dryer, but the major network execs didn’t. Had we known that going in, we would have cast someone else as THE CHIEF. Then again, we might not have enjoyed the same terrific ratings and sky-high testing…not that they did us any good in the end.  (Ironically, CBS ended up doing a similar show with Craig T. Nelson
called THE DISTRICT. And from what I hear, Nelson was no picnic)

I’ve since had another experience like that with another star which is why, from now on, we call around about the actors we’re thinking about working with so we aren’t derailed from the get-go by burned bridges or a history of "difficult behavior on the set.

(You can read the two-part pilot script here and here or watch a five minute sales presentation culled from the two-hour movie here, just go to THE CHIEF logo and click on it). 

Hot Sex and Gory Violence

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Graham at My Boog Pages has unearthed my sleazy past of Hot Sex and Gory Violence,  which I wrote about in Newsweek.

[The article]  detailed Lee’s work on a timelessly classic men’s adventure series, .357 Vigilante." I’d only read a few lines when I was shocked to realize that I had read this piece when it came out.  21 years ago.

Holy.
Fucking.
Shit.

I
was a big fan of the Mack Bolan, "The Executioner" series back then,
and when I stumbled across the article in a doctor’s office waiting
room I read it. At that time Lee was a disaffected college student who,
instead of partying or dating, spent his time writing about a man with
a large, loaded, concealed weapon.

At the time, I liked to think of myself as a man with a large, loaded, concealed weapon. Sometimes I still do.

The Bottom Line

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A reader alerted me to this "blowback" from my Hot Buttons post from last week. Vera, on her blog, thinks an interesting issue got lost in the 164 comments about fanfic the post generated.

He was reporting on a mystery writer’s knees-up and wrote some stuff
about controversial yet unspoken opinions among mystery writers such as
the inappropriately open membership of MWA (Mystery Writers of
America?) and how many mystery writers objected to fan fiction but were
too scared to ever say this to fans. What followed in comments was
mostly the expected back and forth between a reasonable pro-fan-fiction
writer and a crazy-arse anti-fan-fiction writer with some side comments
from other people.

But what interested me most of all was that no-one – NO-ONE – addressed
the issue of why the mystery writers weren’t going to bring the subject
up with fans they met at cons and signings and things. These pro
writers Lee references behave as though they believe that the people
who are writing the fan fiction are the people who buy their books, and
all the associated merchandise should they be so successful to justify
it, and that to alienate those fans is to kiss good-bye to income.  When it comes down to the line, it’s the bottom line.

So, what do you think?  Are authors afraid to speak their minds on controversial issues for fear of losing readers or awkward encounters with fans?