Change is Good

My brother Tod and I were talking the other day about certain authors we know who burst onto the scene with a great book and have been replicating that same novel ever since with ever-worsening results.  It’s a dangerous rut for writers to get into, as bestselling author Tess Gerritsen points out.

Selling a book is just the first step in your career as a writer.  Look
at all the first-time novelists who later vanished from the publishing
world.  They discovered a very painful truth: to make a career in this
field, you’ll have to do a lot more than just sell one book[…]

If the books you’re writing aren’t finding an
audience, maybe it’s time to write a different kind of book.  In my
case, I first moved from romance to thrillers.  I loved writing
romance, but I just couldn’t write fast enough to make a living at it.
Writing for Harlequin was fun and satisfying, and I loved the genre,
but when each book was only earning out around $12,000, I knew I’d
never send my kids to college on my earnings as a writer.  As it turned
out, I had a great idea for a medical thriller (HARVEST), which was my
debut novel on the New York Times list.

But four books later, I could see that my medical thriller sales
were flat, and even starting to decline.  By then I had a crime
thriller in mind, one that I couldn’t wait to write.  With THE SURGEON,
I launched the Jane Rizzoli series.  And my sales have increased since
then.

If Harlan Coben had stuck with his Myron Bolitar books instead of shifting to standalone thrillers, would he be the international success that he is now? And if Michael Connelly, Ed McBain, Robert B. Parker, Richard Stark, Laura Lippman, Lawrence Block and Robert Crais hadn’t stepped away from their long-running series to write other books (and other series), would their writing have remained as fresh? I don’ t think so. I believe one of the reasons they’ve been so successful is because they’ve branched out into other areas  (of course, there’s always folks like Sue Grafton, Lee Child, Barry Eisler, and Ian Rankin who do just fine without leaving the confines of their series).

It’s why I’m glad I had the opportunity the last couple of years to alternate between writing the DIAGNOSIS MURDER and MONK books…they are two very different kinds of writing, even though they are both mystery series. DM is written in third person and is essentially a drama. MONK is written in first person and is primarily a comedy. 

Shifting between genres is also one of the pleasures of screenwriting. I’ve written, for instance, about lifeguards (Baywatch), private detectives (Spenser For Hire, Monk), werewolves (She Wolf of London), clever dolphins (Flipper), cops (Hunter), FBI agents (Missing), cross-dressing comics (Dame Edna), and just this week I wrote a pilot about urban street racing.

I like to think that the challenge of writing in different genres, characters and voices — and doing so in books and TV — keeps me and my writing fresh.

(updated 1.1.07)

They’re Watching

You never know who is reading your blog. I was stunned when my post about Dean Koontz’s racist rant at Men of Mystery showed up as a story in the Los Angeles Times. And I’m sure my friend Ken Levine felt the same way when the Los Angeles Times yesterday used some of his blog posts  as the basis for a story on comedy writers who hate STUDIO 60 ON THE SUNSET STRIP.

Take Ken Levine, a seasoned writer who has worked on "Frasier,"
"Cheers" and "The Simpsons." His blog, By Ken Levine, has become the
hub of an online community of viewers who loathe "Studio 60," thanks to
his running commentary on the first several episodes.

"After watching Episode 2 of ‘Studio 60’ I must let you in on a little
secret. People in television, trust me, are not that smart," he wrote.
"And they keep talking about how unbelievably talented that Harriet
[Sarah Paulson] is. Have you seen evidence of it yet? I haven’t. But
then again, I’m not that smart."

One week later he was less forgiving, writing, " ‘Studio 60’ is like
the Rand Corporation Think Tank doing a late night sketch show."

It’s easy to forget that blogging is publishing, and that what you post can have a life beyond the blog. It’s made me slightly more cautious about what I say here…but not much.

The Spot for Crime

Crime novel bloggers across the net are joining together today to give a big thank you to Graham Powell for creating the Crimespot blogreader…which collects the latest postings from a wide assortment of mystery blogs. It’s my first blog stop of the day…and it should be yours, too.

Kiss Up Television

According to a column today in the New York Times, all the CBS dramas share an unusual similarity:

They showcase an omniscient, workaholic and male boss on the dark
side of 50 who is surrounded by young, eager-to-please acolytes.

The template is so unvarying that Bill Carter of The New York Times and
other television writers subscribe to a man-in-the-Moonves theory of
programming: Leslie Moonves,
the 57-year-old chief executive of CBS, has an Ozymandian hold on his
network that ensures that its top shows pay subliminal homage to his
leadership.

(Thanks to Paul Levine for the heads-up)

AMC Taken Prisoner

Variety reports that AMC will air six episodes of the UK’s new TV version of the 60s cult classic THE PRISONER…which is not to be confused with the movie verison being done at Universal by director Christopher Nolan  from a script by Janet & David Peoples. Universal has the film rights to the Patrick McGoohan series while Granada has the TV rights.  The series, which will be written by Bill Gallagher, will begin production in the Spring and will debut here and in the UK in January 2008.

AMC
execs were tightlipped regarding details of the updated version but
said it will similarly involve themes of paranoia and deal with
sociopolitical issues. What the new show won’t be is an exact replica of the original.

"The
show isn’t just a re-creation," said Rob Sorcher, AMC exec veep of
programming and production. "What we’re doing is an entirely new
reinterpretation that stays true to the components of the McGoohan
(show)’s vision."

The new series will revolve around a man who awakes in the Village with no
memory of how he arrived. Episodes will follow how he tries to make
sense of his new environment, in which inhabitants are under constant
surveillance, identified by number and sans any recollection of how
they got to the island.

Let Me Entertain You

I came across this article I wrote…I just don’t remember who I wrote it for or when. This is what happens to your memory when you a) write a lot of articles for a lot of people and b) creep past 40 years old.  But I think the subject is still relevant and, since I am on a flight to  Germany right now, I thought it would make an interesting blog post in my absense…

My guess is that I’m not the guy you’d pick to
tell you how to live your life. I’m hardly an expert on mental health,
sexuality, religion, education, alcoholism heart disease, drug addiction,
smoking, race relations, feminism, or child-rearing, among other things, but
people think you’ll listen to me. I also know very little about archeology,
quantum physics, auto repair and basic mathematics, but thankfully those aren’t
areas I’m called on to teach you about.

So who am I? A leading educator? An elder
statesman? A respected theologian? Oprah? Nothing so lofty or accredited. I’m a TV writer, and the executive
producer of a network action show. But apparently that makes me the point
person in the organized effort to make you healthier, happier and a more
productive member of society. It’s a big job. But is it really mine?

A few months
ago, a story broke that producers like me are supposedly being pressured by the
government to put “anti-drug” messages in their entertainment programming. It
was big news, but I don’t understand why. Every day, I’m bombarded with mail
from a seemingly endless parade of councils, associations and societies, as
well as action groups, government groups, working groups, and, my personal
favorite, “industry advisory groups.” They all want me to teach you an
important life lesson under the guise of entertainment. To that end, they inundate me with earnest
press releases, shocking statistics, colorful pamphlets, slick videos, and the
phone numbers of “technical advisors”
who stand ready and waiting to sharpen my prose with a few important life
lessons.

Beyond the avalanche of paper, it’s not a hard
sell, There are a lot of incentives to turn that press release into a line of
punchy dialogue or to give a quick call to that helpful technical advisor. For
one thing, it’s always for a good cause. No one can argue that snorting coke,
wife-beating, overeating, sexual harassment, and drunk driving are bad,
socially unacceptable things. So what’s the harm in sneaking a line or two
about the evils of those behaviors and attitudes into your next plot? It’s like
adding fluoride to drinking water.

Then there’s the implication that your boss is
watching. Most of these groups list an advisory council or board of directors
that invariably includes several network executives and studio chieftans. If
it’s their cause, shouldn’t it also be yours? You are, after all, working for
them, and would it kill you to sneak into a scene that unprotected sex is
dangerous? That cutting down old growth redwoods hurt the environment? That
your villain has had one drink too many?

And if that wasn’t enough motivation, there are
all the awards and accolades you can win. Just about all of the groups have an
annual, black-tie awards ceremony, usually put on by a committee of network and
studio heavyweights, where you can be lauded for your heartfelt propaganda, I
mean, teaching viewers a valuable lesson. Recently I was invited to the Prism
Awards, for the Outstanding Contribution to the Accurate Depiction of Drug,
Alcohol, and Tobacco Use and Addiction. Who wouldn’t want a Prism Award, and
others like it, on his mantle piece? They are great tokens of your political
correctness and media influence. And they make nice place-holders for the
Oscar, Emmy or Tony you know you’re gonna get some day.

But I think there’s a real danger to acceding to
all those well-intentioned, kind-hearted requests for just one little line of
dialogue in your script. No matter how artfully it’s done, you end up with
propaganda as entertainment. You end up with writers who are no longer telling
stories, but giving lectures punctuated with punchy dialogue and the occasional
car chase (albeit with everybody sober, properly belted in and definitely not
smoking, eating, talking on the cell phone or listening to their music too loud
while operating the motor vehicle in what is clearly an unsafe manner to begin
with).

I don’t think people turn on “Battlestar Galactica,” “Monk,” “Law and
Order” and “Grey’s Anatomy” looking for guidance in their personal lives. They want
to be entertained, challenged, captivated, and thrilled. But we can’t do that
if we’re busy checking off items on a lesson plan instead of using our
imaginations to tell exciting stories. And do you really want a bunch of
Hollywood TV writers telling you how to think and behave?

There are those
who argue that we’re doing that anyway, whether we mean to or not. Granted,
television creates heroes and icons, trends and styles, not to mention the
occasional memorable catch-phrase. And certainly some people set out to do just
that every time they set pen to paper. But most of the time, it’s the
accidental, happy by-product of entertainment. We are no more responsible for
how you live than the authors of the books your read, the music you listen to,
or what you browse on the Internet. Who you are, your attitudes and behaviors,
are shaped by much more than an episode of  “Lost.”

So, to put it bluntly, why come to me? Why
not aren’t these same groups asking Scott Turow and John Grisham to stick a few
Public Service Announcements in their characters’ mouths? Why aren’t they
offering Justin Timberlake, Snoop Dogg and Gwen Stefani some technical
advisors who can help them add helpful dietary hints in their lyrics? The idea
is really no more intrusive or preposterous than coming to me.

It’s hard enough thinking up good stories without
the added pressure of having to dictate morals and values at the same time.
Yes, we reach millions of people every week with our programming. We have a
responsibility to be, well, responsible. But our first, and foremost,
responsibility should be to entertain.

That said, don’t forget to eat some fruit today.
It’s good for you. And tell your friends I told you so.

Ironside with a Laugh Track

Ken Levine is out of town, so he’s handed over his wonderful blog to Emmy-winning writer/producer Peter Casey, who talks today about the creation of his hit sitcom FRASIER.

We frankly feared that anything we created for Frasier would pale in
comparison to CHEERS. Kelsey wasn’t particularly interested in
continuing the character of Frasier either, so we came up with a new
concept. Kelsey would play this very high-brow, eccentric
multi-millionaire publisher (think Malcom Forbes) in New York who was
paralyzed from the waist down in a motorcycle accident. He would run
his publishing empire from his bed in his fabulous Manhattan penthouse.
His live-in nurse would be a very street smart, dedicated Hispanic
woman (we pictured Rosie Perez) who would be a thorn in his side, but
bring out the humanity in him.
Kelsey liked it, Paramount hated it.

This anecdote reminds me of something a producer once told me (was it Steve Cannell? Michael Gleason? Fred Silverman? Roy Huggins? I can’t remember). He said that veteran drama series stars love coming up with series concepts for themselves where all they have to do is sit somewhere and everybody comes to them. It began, he said, with Raymond Burr and "Ironside." The producer said that after "Ironside," every drama star wanted his gig. I believe the producer said that it was one of the things that killed "Bret Maverick" — after "Rockford Files," James Garner didn’t want to have to run around any more. He wanted the stories to come to him, preferrably while he was sitting on a soundstage at a poker table. Which is why Maverick settled down in a small town on the Warner Brothers backlot instead of roaming the west…

Uh-oh Guyot

Paul Guyot is blogging again. And for this is what he believes:

I believe in God.
I believe Roy Buchanan was the greatest guitarist who ever lived.
I believe Emmitt Smith is the most overrated player in NFL history.
I
believe an author who writes a great cozy about a crime-solving cat is
every bit as good a writer as an author who writes a great hard-boiled
story filled with graphic sex, violence and language.
I believe Sheldon Turner is going to be the next Brian Helgeland.
I believe Floyd Landis is innocent and the American media has turned its back on him.
I believe most parents refuse to admit they don’t spend enough time with their kids.
I believe Jay-Tee is truly oblivious to how good a writer she is.
I believe Formula 1 drivers are overrated and NASCAR drivers are
underrated, but that F1 drivers are better drivers than the NASCAR
wheelmen.
I believe it’s fine to drink red wine with fish.
I believe the best writing being done right now in Hollywood is for television, and not the movies.
I believe people who blog about themselves and what they believe are generally boring and really have nothing to say.

Lazy Ass

Annpic
Every time I think I’m working too hard, I read a blog post like this from Elizabeth Lowell that makes me feel like a lazy ass by comparison. Look how many books she’s written. She could fill the shelves of a small bookstore by herself…and she writes under so many names, no one would know the stock came from just one author.

Control vs. Kaos

Espionage writer Raelynn Hillhouse and her intelligence sources are marveling at the ineptitude of the spies who murdered former KGB agent Alexander Litvinenko.

A
few days ago an expert in the field called the spies’ tradecraft "really amateur hour."   With recent the recent developments, she wrote me back, "This has gone well past the Austin Powers level to Get Smart.   And when they finally trace it back to the FSB First Chief Directorate’s offices, it will be a cinch for the Inspector Clouseau Award."

There must be easier… and certainly more subtle…ways to kill a man than irradiating half of London and two British Airways jets.