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.

The Desperate and the Impatient

All aspiring writers are desperate to get into print. That’s a given. I certainly was, but that was before the advent of  POD vanity presses, which prey on the "I-want-it-now" impatience that afflicts so many aspiring writers these days. These aspiring writers just don’t want to invest the time and effort that’s a necessary part of shaping their voice, their skills and their careers. Bestselling Tess Gerritsen writes about that today:

What makes a new writer today think he should be immune to that
desperation I felt?  What makes him think this is SUPPOSED to be easy?
What makes him think his very first book is going to get published — or
deserves to get published?

I’ve lost count of how many crappy novels I wrote before I got my break. Tess wrote three unpublished books before she finally sold her fourth. And she knows another writer who wrote seven books before finally selling her eighth.

Think of her desperation, her
hunger, to be published.  It had to be there, driving her, or she would
have just given up.  But she just kept going and wrote manuscript #8. And it sold. Think about that — writing seven books that don’t sell.  Would you
have the persistence to start writing #8?  Do you accept the fact that,
yes, there’s an apprenticeship involved in being a writer, a period of
training that you will be forced to undergo before you finally
understand what the craft is all about?

No, it isn’t easy to get accepted by a publisher, and get paid for
your work.  It’s a lot easier to whip out the checkbook and pay a
vanity press to print your manuscript.

That’s the real danger posed by these vanity presses — besides the emptying of a gullible writer’s bank account. The self-publishing companies are also robbing the writer of the experience that’s required to become a successful writer (and part of that is learning to deal with, and learn from, rejection).  Too many aspiring writers fall for what appears to be  "the easy way" — when, in fact, it’s not — rather than
accept the fact that their books are unpublishable and that they have a lot more work to do on their writing.  They don’t want to work. They want a book now. Or at least the illusion of one. But it’s a career-sabotaging move…not to mention stupid and expensive.

And if you can just pay to get published, where’s the incentive to hone
your craft, to study your own work with a critical eye, to polish and
polish some more?  Where’s the incentive to write books number seven
and eight and nine if each one is just going to mean you have to whip
out that old checkbook again to pay to see yourself in print?

There isn’t any. Sure, there are a handful of people who have found a measure of success self-publishing, but for the vast majority it is a financial sink-hole and a self-destructive mistake.

UPDATE 11-26-2006: Author Mat Johnson blogs about how the lure of vanity presses is ruining African-American fiction.

If I had hit my wall just three, or even two years later, all of those
self-publishing options would have been available to me. As desperate
as I was, I don’t know if I would have said no to the idea. I don’t
think I would have known to. At the time I was working on that book, I
actually considered it good enough to be published. I might have jumped
at any opportunity not to take "No" for an answer.

[…]I saw a generation of black writers fall into this
trap, authors that could have been original voices that added to the
canon, who instead became literary canon fodder. They went pop, blew
up, and then almost instantly started vanishing, their worth dwindling
with their sales.

Sadly, instead of working actively on getting better, many of this crew instead try to falsely justify the merit of their work.

32 Flavors of Awesome

Some yahooer sent me this link to a Live Journal blog post that mentions yours truly. I don’t know about you, but I think it was my brother Tod who sent it to me:

Also, totally love Tod Goldberg. He’s the brother of Lee Goldberg,
known for throwing periodic hissy fits over the existence of fanfic.
But while Lee is an asshat, Tod is a brilliant writer. His blog
is wonderful, and his short-story collection "Simplify" is . . . umm,
lots of good things that I am not qualified to elaborate on. I am
usually not a fan of straight fiction, because I hate reading about
normal people doing normal things, but Tod Goldberg is 32 flavours of
awesome.

She’s right… I am an asshat and Tod is a brilliant writer. But I’m thinner and have a lot less body hair.