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Mr. Monk and the Two Great Reviews

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MR MONK on the Road (1)

MR. MONK ON THE ROAD has been out for a couple of days and the reviews are starting to come in. The Gumshoe Review liked it a lot and said, among other things:

With each new Monk novel that author Lee Goldberg gives us, plot becomes less and less important, and the characters and their interactions with one another become more important. Mr. Monk on the Road cannot boast of having an actual plot. The book is comprised of a series of vignettes that are loosely tied together through the device of the motor home and the improbable road trip. But this fact will not greatly trouble readers of the previous Monk books. The joy of this narrative is derived from observing Mr. Monk as he effortlessly spots the subtle clues and unravels the baffling complexities of each crime scene. And further pleasure is derived from the continuing evolution of the relationships between Monk, Natalie Teeger, brother Ambrose, and SFPD Captain Stottlemeyer.

Readers of Monk will enjoy Mr. Monk on the Road as much as or more than any of the Monk books that have preceded it. Heartily recommended.

And my friend Bill Crider also found a lot to like in this one. He said, in part:

The jokes are funny. The human relationships are serious and treated with dignity and respect, and the mystery aspect is . . . solidly there. I can say no more. Okay, that's a lie. I can say that this is another fine entry in a spin-off series that's taken on a life of its own. In fact, this book is the first one that picks up after the end of the TV series. I'm looking forward to keeping up with the adventures of Monk and Natalie for a long time to come. While the TV show is in endless reruns, those two characters will be living out their lives in ways that are bound to be well worth reading about

Thank you both for the great reviews!

UPDATE: I don't know how I missed it before, but Gumshoe Review also gave a rave to MR. MONK IS CLEANED OUT. They said, in part:

Mr. Monk is Cleaned Out may well be the finest entry to date in the Mr. Monk series, although it took me awhile to put my finger on the precise reasons that I liked this book so much. One major reason, I finally realized, is that this story resonated on some very sympathetic levels. The descriptions of small businesses gone bankrupt, police officers and others who have lost their jobs due to budget cuts, and people fearful of losing their homes to foreclosure struck a definite chord. So many of us these days find ourselves walking an economic tightrope, and this book's frank portrayal of that condition seemed to create a sort of brotherhood–a brotherhood comprised of both the readers and the characters. A kind of, "We're all in this together" spirit of dismal camaraderie.

Speaking of characters, throughout the Mr. Monk series author Lee Goldberg has always kept a firm grasp on exactly who his characters are, and he is able to expertly play them against one another to the best dramatic and comic advantage. If anything, Goldberg's use of his characters, dialogue and dramatic pacing has with time gotten better yet. From Natalie Teeger's inner dialogues that reflect the uncertainties of a single mother (and single woman) in today's uncertain world, to the lovable, but usually clueless and banal ideas that fall from the lips of police detective Randy Disher, to the extreme obsessive-compulsive manias that beset Mr. Monk on a daily basis, the idiosyncrasies and resulting interplay of these characters is a delight to the reader.

Mr. Monk is Cleaned Out is a first rate comic crime novel, but more so it is a celebration of all things Monk. A celebration that any fan of Mr. Monk will revel in. I heartily recommend this book.

 

Tod is Reformed

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My brother Tod reveals the inside scoop today on the writing of his latest BURN NOTICE book, THE REFORMED. Here's an excerpt:

 Julia Pistell, whose name appears in this book as a person who has had their identity stolen, went to graduate school with me and is one of the best humans alive. She happened to be visiting Wendy and me last January, when I was in the middle of the book, but didn't have a title yet. However, the fine people at Penguin needed a title and needed it right now, except that right now happened to be while Julia, Wendy and I were eating lunch at a deli in Palm Desert. So I said to Wendy and Julia, hey, anyone got a title? And Julia came up with The Reformed. (This was after The Godfather was rejected.)

Writing Your Way Out of a Mid-Life Crisis

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Vint5 My friend Paul Levine reveals in an interview at Top Suspense that he became a novelist by writing what he knew…and wasn't so wild about anymore.

 I was practicing law in Miami and woke up one day to discover I didn't like my cases, my clients, and even my partners. There were some judges I wasn't too fond of, either. At the time, I was an avid windsurfer. On a vacation to Maui, I got injured so I took out a legal pad and started writing my first novel. Somewhere, I still have the pad, smeared with suntan oil and speckled with sand. I didn't know it at the time, but writing the book was my therapy. Instead of seeing a shrink to talk about my mid-life crisis, I created Jake Lassiter, the linebacker-turned-lawyer, a tough guy with a tender heart. He could do things I couldn't — like get in a fistfight with a witness and gladly go to jail for contempt.

He's been thriving as novelist ever since. He even wears shirts now. His newest book. LASSITER, comes out in the fall. But in the meantime, the entire "Lassiter" backlist are now available on the Kindle, the Nook, and your e-reader of choice.

Tag Team Suspense

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The founding writers of Top Suspense — Max Allan Collins, Vicki Hendricks, Ed Gorman, Bill Crider, Harry Shannon and Dave Zeltserman — have tag-teamed a short story that will play out for the next twelve days on the group's blog. Top Suspense is offering free books to the first five readers who can match each segment of the story to the author who wrote it. Dave explains how the tag-team story came about:

The rules for us in writing this story: no planning, no coordination, no safety nets. Each day one of us wrote up to 250 words of a short story and passed it onto the next writer, with each writer eventually working on two segments. The only leeway was the last writer got to go past the 250 word limit to try to finish up the story, and the only editing done was for consistency errors.

The first part of the story is up today. You can read it here.

Top Suspense is the brand for a group of acclaimed authors who've written terrific mystery, thriller, horror and western ebooks. I've recently joined the group…so you can expect to hear more about it here over the coming weeks.

Blocking Out the Past

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Strange Lawrence Block has written a terrific piece for eFanzines.com – Earl Kemp: eI53 – e*I* Vol. 9 No. 6  about the thought-process behind his decision to release many of his obscure, long out-of-print paperbacks, many written under pen-names, in new, digital editions. He says, in part:

What other titles I decide to reissue will depend at least in part on what kind of money comes in from the ones I’ve already slated for e–publication.  If nobody’s interested in them, why inflict more upon the reading public?  But, if there turns out to be a genuine demand, well, hell, there’s more where those came from.

While I was writing the end notes for a Jill Emerson novel, A Madwoman’s Diary(originally Sensuous), I remembered that I’d based the plot on a case history from one of John Warren Wells’s books.  So I wound up writing at some length about my career as John Warren Wells and his psychosexual reportage.  And it occurred to me for the very first time that I might actually reissue those books as well.  Not all of them, I shouldn’t think, but one or two.  And if people like those—

“Greed is good,” Gordon Gekko famously informed us.  But why go all judgmental?  Greed, I’d say, is beyond good and evil.  It is what it is. 

Which might be said as well for the books I’m bringing back.  And, come to think of it, for their author.

(Hat-tip to Bill Crider for alerting me to this great post)

BADGE Gets Permission to Kill

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GOLDBERG_Iron_On_Badge_FINAL

David Foster's Permission to Kill blog,  one of my favorites for his reviews of Eurospy books and movies, has given the ebook edition of  THE MAN WITH THE IRON-ON BADGE a rave. He says, in part:

Apart from being highly entertaining, The Man With the Iron-On Badge is author, Lee Goldberg’s love letter to detective fiction and television shows of the past. And as such, a knowledge of these shows is a boon when reading this book. Don’t get me wrong, the reference aren’t obscure and you don’t have to be a detective story boffin to appreciate the story, but the subtle in-jokes, and allusions to Shaft, Spenser, Shell Scott, Travis McGee, Mannix, Rockford and many others, simply mean that if you are familiar with those characters, then this book offers that extra bit of ‘knowing’ enjoyment.

Ultimately, The Man With the Iron-On Badge delivers exactly what the title and the opening paragraphs promise — a fast paced, first person thriller about an under achiever who has to strive to be more than he ever thought he could be. More than just a ‘man with an iron-on badge’.

Thank you so much, David!

For now, The Man with the Iron-On Badge is only available as an ebook (though you can still find used copies of the hardcover out there)…but in early 2011 there will be a trade paperback edition, too. Here are links to the digital editions: 

Kindle Edition

Nook Edition

Smashwords Edition

Author Solutions is No Solution, again

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The shameless hucksters at Author Solutions (iUniverse, Trafford, xlibris, etc.) have issued another ludicrous "white paper" touting the virtues of vanity press publishing and, once again, Victoria Strauss and the fine folks at Writer Beware are there to point out all the falsehoods, exaggerations and omissions, concluding that:

even if you ignore the misrepresented facts and misleading comparisons in this latest whitepaper, AS does writers an extreme disservice with its glib presentation of self-publishing–all upside, no downside, suitable for anyone no matter what their needs or ambitions. Rah, rah! Vive la revolucion! Cue clenched fist! But the truth is that the choice to self-publish is a complicated one that should be made only by writers who have studied the alternatives and clearly formulated their goals. Too many writers fall into self-publishing out of ignorance, unrealistic assumptions about its potential benefits, or misconceptions about traditional publishing.

Her detailed post should be read by anyone who is thinking about paying hundreds, or perhaps thousands, of dollars to a vanity press (and why would you when you can do it for no cash out-of-pocket through Createspace or Lulu… or better yet, bypassing print altogether and publishing digitally through Smashwords, Barnes & Nobles, or Amazon?)

Getting Screwed Isn’t a Stepping Stone to Success

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I can't tell you how many times I have told aspiring writers not to pay a vanity press to "publish" their books, or not to pay an agent a "reading fee," or not to pay to enter a writing contest nobody has ever heard of, only to be told "Yeah, Lee, I know, but this is the only opportunity I have and you have to start somewhere."  My friend writer Mark Evanier has heard it, too, and thinks it's "brain dead stupid."

Imagine if your goal was to play for the Seattle Mariners…or maybe even to get on a professional baseball team. Imagine that some odorous homeless guy came up to you on the street and said, "Gimme a thousand dollars and I'll introduce you to their talent scout" and you forked over the cash and said, "Well, gee…it was the only offer I had."

Well, paying someone to submit your writing or to publish it or — the big new scam — entering a "contest" is even stupider than that.

It's getting harder and harder for me to have any sympathy for these suckers, especially when all it takes to discover the truth about most of these scams is a simple Google search and a molecule of common sense. Nobody I know, in publishing or television, became successful by emptying their bank accounts with fee-based "literary agents," vanity presses, and fly-by-night screenwriting and publishing contests. As Mark says:

First rule of professional writing: They pay you, you don't pay them.

I know times are tough. Believe me, I know times are tough. But there's never a good moment to let yourself be exploited by people who think you're so hungry, you'll work for promises…not until MasterCard accepts promises from scumbags as payment. 

Amen to that.

Who Needs a Writing Staff?

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THE WALKING DEAD showrunner Frank Darabont stirred up a lot of talk among TV writers today by firing his writing staff and announcing that he would rely on himself and just a couple of freelancers to write the second season's 13 episodes.

This is not a new idea. In fact, many drama series from the 1950s and into the early 70s relied on a headwriter/freelancer model…at most, there was a head-writer and a story editor. Everything else was freelance. Shows like GUNSMOKE, STAR TREK, CANNON, VEGA$, etc. ran on this model. In those days, journeyman writers like Stephen Kandel, Robert Dennis, Mark Rodgers, Frank Telford and Shimon Wincelberg, to name a few, could make a good living writing two or three episodes for five or six different series each season.

Then again, in those days, the "head writer" concentrated mostly on writing while someone else handled most of the actual producing functions that the "showrunner" does today.

And while most series today rely on writing staffs (though the size of those staffs is shrinking), there have been a few shows that have primarily been written by one writer… Linda Bloodworth's DESIGNING WOMEN, Aaron Sorkin's era of THE WEST WING and Joe Straczynski's BABYLON 5, are a few prominent examples.

 TV writer Kay Reindl does a great job putting the Darabont decision into perspective, and discussing what writing staffs bring to a series,  over on her blog today. She says, in part:

It still astonishes me that people do not understand that the writing of the script comes at the END of the writing process. Just because you are not typing "Fade In," that doesn't mean you are not writing. Writing is preparation. Writing is construction. Destruction. Composition. It's editing. Storytelling visually, emotionally, humorously, logically. Critical thinking. Letting go of great ideas in service of the story. Character arcs, planned over an episode and a season and the life of the show. It's inspiration, the testing of that inspiration, the honing and fine-tuning of that inspiration. It's collaboration, for the love of God. It's a group of experienced brains tackling a blank white board and breaking a fucking story in two days.

[…]you will need to collaborate with your fellow writers. You will be facing that empty white board at least 13 times, and as you face each new episode, you will have previous episodes with story and character development to consider. You will have upcoming episodes as well, especially if your show is serialized. You will have budgets to consider in your story breaks. Actors. Production. Crew. Studio and network executives. You will have to become a serial killer of your story children and let your great ideas go. And all of THAT is before you even get to the script.

[…]A good showrunner depends on his (or rarely her) writing staff. These people have the showrunner's back, and he has theirs. [..]I don't know why Darabont decided this (if he has), or why his experience with his staff was apparently so wretched that he doesn't want anyone around anymore. Sometimes, showrunners are just lousy communicators and aren't able to impart what they want to the writing staff. And sometimes it's just not a good fit. But again, it's up to the showrunner to use his experience and if someone doesn't actually HAVE experience, then THIS happens.

By "this," she means firing your writing staff and deciding to go it alone… with an occasional assist from freelancers. My instinct is that she's probably right. It could also be that he hired the wrong writers, that he didn't know how to staff a room. There could be any number of explanations.

He may not understand that it's part of a showrunner's job to take a final pass at each script — and he may be deluding himself into believing its the equivalent of writing every script himself, so why not cut out the extra step. If that's the case, he's in for a rude awakening.

I tend to think that shows with writing staffs are better written than those where the showrunner tries to go it alone (I'm talking about series with more than five or six episodes). The stories are more consistent, there's less repetition and cliche, and there's more energy to the story-telling.

It's all about limited resources. A man can only do so much… and do it well…and deliver a new episode every seven or eight days. There's simply too much for a showrunner to do beyond writing the script. It's a taxing job, and something has to give.

If you're trying to run a show, and write every single word, the scripts are bound to suffer. Come to think of it, everything is bound to suffer.

It will be interesting to see how long Darabont sticks to his plan once production begins and he finds himself falling behind…

PublishAmerica Wants Your Money

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The latest scam from PublishAmerica is pretty ballsy — charging writers $99 to enter Amazon's FREE screenwriting contest. Yeah, you read right —  PublishAmerica is trying to convince authors that it makes sense to pay them to enter someone else's free contest. The frightening thing is, there are probably some suckers who will fall for it.  An incredulous, and outraged, P.N. Elrod broke the story on her blog over the weekend.  Here's the PublishAmerica pitch, with her boldfacing & annotations:

 

Dear Author:

Amazon.com has done it again. Now they have started Amazon Studios, and they want to see if your book's manuscript is their (and Warner Bros. Pictures'!) next movie. 

Basically, Amazon is now also entering the movie business, and they are crowdsourcing it, shopping among original story tellers like yourself. They have given Warner Bros. the right of first refusal. 

From Tuesday's Amazon Studios announcement: 

"We are excited to introduce writers, filmmakers and movie lovers to Amazon Studios […]  It is the goal of Amazon Studios to produce new, full-budget theatrical films based on the best projects and it will give Warner Bros. Pictures first access to the projects Amazon Studios wishes to produce in cooperation with an outside studio."

The Amazon Studio deals include rights payments of $200,000 for winning submissions, and a $400,000 bonus "if the movie makes over $60 million at the U.S. box office". It also awards prizes of $20,000 for the two best scripts in a month even if they don't become a movie.

See for all details http://studios.amazon.com/.    (No, don't, please don't.)

Here's how it works: Together with you we'll rework your manuscript a little (That's a red flag, kids!), then we submit it to Amazon Studios for their contest, following their guidelines. They award prizes monthly. (And PA collects 99.00 courtesy of your high interest rate credit card.)

 Activate your entry for Amazon Studios today: go to http://www.publishamerica.net/AmazonWarnerBros1.html, click Add to cart, (NO-NO-NO–DON'T!!!) choose a shipping option to start the activation. In the Ordering Instructions box be sure to mention the title of your book. If your book has not yet been released, add "Pre-release!"

By activating your book's submission to Amazon Studios you authorize PublishAmerica to act on your behalf and you agree that this constitutes your consent in writing. (NO-NO-NO-NO-NO!!!)

After we have received your activation you will be contacted about adding your book's list of characters and a film synopsis. 

See you in Hollywood!  (See you in hell first, PA.)

–PublishAmerica Bookstore

 

When she's done skewering PublishAmerica over their scam, she also takes Amazon to task for essentially hijacking the copyright on every script that's submitted. Which just goes to prove, nothing is ever really free.