Current Affairs

The Brothers Goldberg on Writing

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The first part of an interview my brother Tod and I conducted with each other has been posted on Beatrice.com, a popular lit-blog.  It’s a (mostly) serious discussion about breaking-in, the craft of writing, our work habits,  and sustaining a career as a novelist and/or screenwriter. Here’s an excerpt from one of my replies to one of Tod’s probing questions:

"For the last twenty
years (My God, am I actually old enough to start a sentence with
that?), I have made my living as a TV writer/producer. I spent most of
that time…okay, all of it…working on shows that other people created.
That’s true of most TV writers. You are hired, for the most part, for
your ability to articulate someone else’s vision and, at the same time,
bring your own unique voice to the writing. So I am quite comfortable
writing about characters and worlds created by others. I look at my
tie-in novels as the publishing equivalent of working on an episodic
television series."

UPDATE 11-18-05:  Part Two of the interview is now up. Here’s an excerpt:

"Given a choice between
reading a literary novel or a thriller, I’ll choose the thriller most
of the time. You’ll choose the literary fiction. That’s not to say I
don’t read non-crime/non-genre novels…I do. We share some of the same
favorite authors. But I love thrillers, mysteries, and
westerns—basically, escapist fiction—with a passion that you clearly do
not.

Maybe it has to do with TV. I was a voracious reader as a kid, but I
also grew up watching a lot more TV than you did and developing a true
love of the four-act structure. Maybe watching all that TV shaped what
I expect from a story…a kind of narrative engine, conflict, and
personal stakes that aren’t always found in literary fiction. Or I’m
just superficial."

Is this an Elmore Leonard Character or What?

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From today’s Los Angeles Times:

A Los Angeles judge who tried out for a reality television show by arbitrating a
dispute between an erotic dancer and a strip club was removed from the bench
today for ethical violations and lying to the state commission that reviews
complaints against judges…

…Ross improperly used his judicial office for financial gain when he hosted two
pilots for a possible television series called "Mobile Court," where the judge
goes on location to decide small-claims cases.

In one episode, "Beauty
and the Beast," the erotic dancer whose stage name is Angel Cassidy sued a San
Diego adult club for cheating her out of prize money when a security guard,
known as "Wolverine," disqualified her from the final round of a "Miss Wet on
the Net" contest.

Ross arbitrated the dispute for television inside a
Los Angeles strip club with "zebra carpet, neon, mirrors, pole" and asked the
plaintiff for details of the wet T-shirt contest she lost.

(Thanks to LA Observed for the heads-up)

Night Stalker Killed… Again

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The beloved, original version of THE NIGHT STALKER lasted for just one season. ABC’s "reimagined" version didn’t even last that long. Variety reports that the show has been cancelled… after only nine episodes were produced. The sad part about this isn’t that the show was cancelled, but the producers missed everything that made the original such a great show…most importantly, the character of Carl Kolchak. Instead, the new NIGHT STALKER was a bland X-FILES retread that captured none of the charm, humor and originality of the classic series that it took its name from. This was a  missed opportunity.

Winslow is Hot Hot Hot

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Author Don Winslow’s latest novel THE WINTER OF FRANKIE MACHINE hasn’t even been published yet, but Variety reports that Robert DeNiro is already attached to star in the movie version for Paramount Pictures.

De Niro would play a Mafia hit man who has given up the game to become the
proprietor of a bait shop. When he finds out that he’s been targeted for a hit,
he gets back in the business.

Winslow’s work made the rounds in New York recently, sparking the interest of
Tribeca. De Niro and Rosenthal committed to the adaptation and, with the help of
CAA, shopped it around to studios.

If the package comes together and a movie gets made, it would bring De Niro
back to a type of character that helped make him famous. He has said he wouldn’t
return to the Mafia world in film but then "Frankie Machine" came along.

Your Great Idea for a Pilot

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My friend Javier Grillo-Marxuach, supervising producer of LOST,  has a wonderful, brutally honest post on his blog about his experience writing and producing pilots. The post is nearly a year old, but the wisdom and bite of his story hasn’t dimmed.

so anyway – pilots. the one question i hear most is “i have a great
idea for a pilot, what do I have to do to get it see/produced/on the
air?”

the stock answer to this is “move to los angeles and spend
ten years making a name for yourself as a television producer with an
established track record that will make a studio and network believe
that they should trust you with forty-four million dollars of their
money to produce twenty-two hours of television.”

however,
things have changed in television, and now it is easier than ever to
get a pilot on the air without establishing a track record as a
producer…

…and I say that in the same way one might say “now
it’s easier than ever to put an orbital mind-control laser in a
geosynchronous orbit over your mother-in-law.”

You’ve got to read the rest. It will make you weep.

How do I become a television writer if I don’t have any contacts?

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I get asked this question a lot…but it’s disingenuous, since I’m a
TV writer/producer and whoever is asking me that is really asking me to either read
their script or to invite them in to pitch. So, theoretically, they already
know somebody in the business.
 
They’re luckier than I was when I got started. I didn’t know
anybody in the TV industry. But I got in. How did I do it? Everybody’s story is
unique. Most of those stories, however, share one common element. You have to
put yourself in the right place to get your lucky break. And it’s easier than
you think. 

The first thing you have to do is learn your craft. Take
classes, preferably taught by people who have had some success as TV writers.
There’s no point taking a class from someone who isn’t an experienced TV writer
themselves. 

You’d think that would be common sense, but you’d be
astonished how many TV courses are taught by people who don’t know the first
thing about writing for television or who, through a fluke, sold a story to Manimal twenty years ago and think that
qualifies them to take your hundred bucks. Even more surprising is how many
desperate people shell out money to take courses from instructors who should be
taking TV writing courses themselves.

There’s another reason to take a TV writing course besides
learning the basics of the craft. If you’re the least bit likeable, you’ll make
a few friends among the other classmates. This is good, because you’ll have
other people you can show your work to. This is also good because somebody in
the class may sell his or her first script before you do… and suddenly you’ll
have a friend in the business. 

Many of my writer/producer friends today are writers I knew
back when I was in college, when we were all dreaming of breaking into TV some
day. 

A writer we hired on staff on the first season of Missing was in a Santa Monica screenwriters group… and was the
first member of her class to get a paying writing gig. Now her friends in the
class suddenly had a friend on a network TV show who could share her knowledge,
give them practical advice and even recommend them to her new agent and the
writer/producers she was working with.

Another route is to try and get a job as a writer/producer’s
assistant on an hour-long drama. Now only will you get a meager salary, but you
will see how a show works from the inside. You’ll read lots of scripts and
revisions and, simply by observation, get a graduate course in TV writing. More
important, you’ll establish relationships with the writers on the show and the
freelancers who come through the door. Many of today’s top TV producers were writer/producer
assistants once. All of the assistants I’ve had have gone on to become working
TV writers themselves… and not because I gave them a script assignment or
recommended them for one. I didn’t do either.

 The first step towards getting into pitch a TV producer for
an episodic writing assignment is to write an episodic teleplay on spec.

Read more

PJ Parrish Talks Sex

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The writing team that goes by the name PJ Parrish talk about the sex…or, rather, the lack of good sex…in mysteries.

Why are crime writers such major wussies when it comes to sex? What the hell
happens to most of them when they have to write about it?

I’ll tell you
what happens. They turn trite and sentimental. Or they become boring and
flaccid. And they get as self-conscious as pimply prom dates. Crime writers can
meet murder head on and not flinch, can even render death poetic. But faced with
having to describe copulation — especially in the context of, gasp!
relationships — they can turn out the most dreadful, unbelievable, embarrassing
treacle.

Reruns on Demand

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Variety reports that Warner Brothers will make 14,000 episodes from more than 300 series available on America Online for free, on-demand viewing. What’s the catch? Commercials. The new program launches in January.

"We want to create a new broadband network for content looking for its next
window of distribution," explained Kevin Conroy, exec VP of AOL Media Networks.
"This is an IP (Internet protocol) television service that is available
whenever, wherever in the digital home."

It will be interesting to see how the WGA, DGA and SAG will take this news…and what residual formula will be adopted, at least initially, to pay writers, actors and directors.