My Blog

The Return of Character?

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The New York Times has an interesting take on the departure of  Gil Grissom (William Petersen) from CSI tonight…and what it says about the current state of TV mysteries.

Grissom has found a successor,Dr. Raymond Langston (Laurence Fishburne), a pathologist and college professor who seems to share Grissom’s slavish work ethic and kindly reticence. But Langston is not his only successor. Simon Baker, who plays Patrick Jane on “The Mentalist,” the new CBS hit, is a greater threat to the Grissom legacy. More than any other show, “The Mentalist” signals that intuition is the big new thing, while forensic science and nerdy, obsessive lab workersGrissom, the lead investigator on the show, makes a forlorn plea for his life’s work in his last episode. “People lie,” Grissom tells Langston. “The only thing we can count on is the evidence.”
Nowadays it’s the evidence that fibs.

Perhaps we are finally seeing the end of cold, forensics-driven procedural, where a team of science-spouting professionals in designer clothes track one serial killer after another.  But I would argue that it's not the success of "The Mentalist" that is driving the change…rather the continued popularity and durability of cable shows like "The Closer," "Saving Grace," "Monk," "Psych," and "Burn Notice" (not to mention that they are also less costly to produce than a glitzy procedural).

The new formula, which seems to take a nod from "Monk,"  is the eccentric detective and his no-nonsense female partner…as seen today in "The Mentalist," "Life,"  "Fringe," and "The 11th Hour."  And there's more to come. ABC's upcoming "Castle" teams up an eccentric mystery novelist with a no-nonsense female cop. I don't know yet if  the eccentric detective who can spot lies in Fox's "Life to Me" is also teamed up with a no-nonsense lady cop…but I would be surprised if he isn't.

Even with the over-reliance on that formula, I'm glad to see character making a comeback and forensics fading a bit in importance.  Character is a lot more fun to watch..and to write.

Mr. Monk and the Great Review

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Author Bill Crider reviews MR. MONK AND THE TWO ASSISTANTS on his blog today. He says, in part:

As I’ve said before (here and here), I’ve never seen an episode of Monk. Yet I have a great time reading Lee Goldberg’s novels based on the series (and I’m not even reading them in the order of their publication).
I don’t think a book in this series will ever get an Edgar nomination. Why? Maybe it’s greatest drawback is that it’s a tie-in. Tie-ins don’t get a lot of respect. Too bad, because people who don’t read them often miss a real treat. Also, there’s not a lot of heavy-duty angst.

The lack of recognition for tie-in books is why Max Allan Collins and I established the International Association of Media Tie-in Writers (aka IAMTW or I Am a Tie-in Writer) to raise awareness of tie-in books and their writers. The organization is now three years old and boasts over 100 members. We also established the Scribe Awards, honoring excellence in tie-in writing.

One of the beefs with the Edgars is that the judges seem partial to angst-ridden, hardboiled novels and neglect thrillers and light-hearted fare. I don’t know if that’s true or not, but I can understand why that perception persists — I don’t think that a “comedy” has ever won the Best Novel Edgar. That said, Gregory MacDonald won for “Best First Novel” for FLETCH in 1975 and Sharyn McCrumb won “Best Paperback Original” for BIMBOS OF THE DEATH SUN in 1988.  

The Monk books may never merit an Edgar nomination, but TWO ASSISTANTS did win the Scribe Award last year from the IAMTW for “Best Original Novel” in the General Fiction category and I am very proud of that.

Don’t Ask Me How I Found This…

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I'm a sucker for unsold pilots (I wrote the book on'em, after all), and here's a doozy: the never-aired, 2004 UPN pilot NIKKI & NORA, a proposed series about a pair of lesbian cops in New Orleans played by Liz Vassey and Christina Cox. The busted pilot was written by Nancylee Myatt, who was interviewed at AfterEllen about the experience: 

"Christina Cox and Liz Vassey were amazing as lovers and cops, and the city of New Orleans was a fabulous location to shoot: production-friendly and gay-friendly. The network has been very supportive of the show. There were very few things that they asked us to tame down, and most of those discussions happened during the script development process and long before we ever went on location. In fact, most everything we ended up putting in the final shooting draft got shot and ended up in the pilot. So the rumors about a tamer version of the show are really not true.
We did some testing during our post process and ultimately decided not to include one kiss we shot for the opening of the show, but only because it was not appropriate for the scene, not because it was too racy. I am very happy with this intimate look at a lesbian couple — after all, it is a prime-time network show, and this is ground-breaking on all fronts. Gotta start somewhere."

Vanity Consolidation

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First the vanity press Authorhouse bought iUniverse, which was one of the few "reputable" players in the largely disreputable print-on-demand, self-publishing industry. Now Authorhouse has gobbled up xlibris, too. Can Lulu be far behind?

Other rivals in the print-on-demand space include closely held Lulu Enterprises Inc.'s Lulu.com, based in Raleigh, N.C. Last October, Lulu laid off 24 employees, including its president, or nearly 25% of its work force.
"It was less about the state of Lulu and more about the economy," said Gail Jordan, a company spokeswoman. "We pared back to ride out the storm. Our company is actually doing well."

Yeah, right.  But in her comment lies the good news: the consolidation of the vanity press business means that the sleazy little fly-by-night vanity presses (like Jones Harvest)  are probably doomed. If the big-boys of sham publishing can't make it on their own, it's unlikely these tiny, far less capitalized vanity presses will be able to stay alive for long. I say good riddance.

On the other hand, Victoria Strauss fears the lack of competition among vanity presses will lead to more, and costlier, abuse of the aspiring authors who use those services.

Making My Dreams Come True

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Every time I do a signing with Steve Cannell, it's reliving a dream. I grew up admiring him and his writing on shows like THE ROCKFORD FILES and THE A-TEAM…and I dreamed of working for him someday. He had the career that I wanted…and the talent, too. I didn't think that working with him was a real possibility but I knew I could learn from him anyway. 

While I was in high school, I covered the television business for The Contra Costa Times (in Walnut Creek, CA) and came up with lots of excuses to do phone interviews with him, never once revealing that I was only 16-years-old or that I had any desire to be a TV writer. I know he liked the articles that I wrote because he told me so…and, more importantly, he never failed to return a call and was always available for a quote if I needed one.

I was still freelancing for the newspaper…and for a number of other publications…when I went down to Los Angeles to attend UCLA. I called him for an article about TENSPEED AND BROWNSHOE (or was it GREATEST AMERICAN HERO?) and I must have mentioned that I'd moved to L.A. because he invited me to his office at Samuel Goldwyn Studios. I was terrified. I was sure that once he saw I was a kid, he'd think I was a fraud and never talk to me again. But I couldn't resist the opportunity to actually meet him.

He did look shocked when I walked in the door, and I think for a moment he was afraid I was going to pitch him for a script, but I started off with a tough question about his decision to go into business for himself and the interview went great after that. Whatever awkwardness either one of us felt quickly evaporated and we talked for a couple of hours.  (I know now, after talking with him about that day, that I proved to him with that question that I was a serious journalist and not someone who'd been running a long scam to get into his office). It was a wide-ranging interview about the business, about the risks he was taking leaving Universal, and it was one of the best interviews I'd ever done. In fact, it was one of the clips that got me a job as a reporter for Newsweek. 

I interviewed him many more times over the years for various articles for a bunch of publications (the best was a huge profile in the trade magazine Electronic Media, now know as Television Week). I eventually gave up reporting and, through a lucky break, become a TV writer with William Rabkin. We sold a few freelance scripts and then got offered our first staff job… on HUNTER, a Stephen J. Cannell Production. It was fate.

Unfortunately, by that point, Steve had a  "hands off" relationship with the show, which was then being run by Fred Dryer and Marv Kupfer. Even so, I'll never forget the fantastic feeling the first day I walked into the Stephen J. Cannell productions building as one of the writers instead of a reporter.  It was amazing.  A day or two later, I ran into Steve in the hallway.  He thought I was there for an interview and he started to apologize for forgotting the appointment…I was thrilled to tell him that no, I wasn't there for an interview…I was working for him.  He smile and gave me a hug. 

Sadly, because of the situation at HUNTER, I didn't actually work with Steve at all…I only bumped into him now and then. The job also didn't last long …. we ended up quitting and getting hired onto BAYWATCH…but that's another story. 

The HUNTER experience didn't tarnish my relationship with Steve at all. We saw each other at industry events and he was always amazingly friendly. And as it turned out, a few years later I was back at Cannell again as a supervising producer on the syndicated series COBRA and, much to my pleasure, I actually got to work closely with him this time.  He also used to pop into my office to share bits and pieces of a novel he was working on….which became THE PLAN.

We've remained friends ever since  – and have signed together and spoken on panels with each other many times in many cities over the years. (Bill & I even had the amazing thrill of hiring him as an actor in a script we wrote for DIAGNOSIS MURDER…he played a burned-out TV producer of action shows…who becomes an actor!). But every time we get together, I am reminded how lucky I am to have  achieved one of my dreams and to be able to count Steve among my friends. I hope the thrill never dies. 

What brings all of this to mind? I'll be signing and talking TV writing with Steve Cannell…and with Bill Rabkin…on January 24th. The info is below.

Saturday, January 24 at 3:00 p.m.
HOORAY FOR HOLLYWOOD!
STEPHEN J. CANNELL, LEE GOLDBERG and WILLIAM RABKIN discuss and sign their books
It's an all-star event at The Mystery Bookstore, as we welcome not one but three writers who have made their marks as TV screenwriters as well as novelists. 
 
Stephen J. Cannell, creator of "The A Team" among other shows, will discuss and sign ON THE GRIND (St. Martin's, $25.95), his ninth Shane Scully adventure; as the book begins, Scully is not only fired from the LAPD, but also kicked out by his wife.  The reason for both is a movie actress, Tiffany Roberts, who'd been looking for a hit man to kill her husband.  As Scully starts a new job with Haven Park, the most corrupt police department in California, we learn more about his connection to Tiffany Roberts.
 
Veteran screenwriter Lee Goldberg will discuss and sign his seventh Monk novel, MR. MONK IS MISERABLE (NAL hardcover, $21.95), based on the award-winning TV series.  Everyone's favorite obsessive-compulsive detective lands in Paris, which is bad enough, but then winds up in a sewer museum – where he finds a fresh skull.
 
Goldberg's longtime writing partner, William Rabkin, will discuss and sign PSYCH: The Mind is a Terrible Thing to Read (Signet paperback original, $6.99), the first novel based on the hit USA Network series.  Phony psychic/real detective Shawn Spencer agrees to lend his psychic powers to his old high school rival, Dallas Steele; Dallas wants Shawn to pick some investments for him.  The investments turn out to be busts, but when Dallas winds up murdered, Shawn's detective talents are essential.
 
The Mystery Bookstore
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Los Angeles, CA  90024
phone: 310/209-0415 or 800/
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fax: 310/209-0436
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The Mail I Get

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I got this email today from Patrice Schoppe, a displeased MONK reader:

I just read Mr. Monk in Outer Space. Please leave the social commentary
about rich vs. poor to those who are good at it. Do what you do well and write
Monk books about Monk. If you want to write social commentary, do it in a non
fiction book.

I replied:

Ouch!
I'm not aware of any "social commentary" in my MONK books…but now that I have been forewarned, I will be sure to save any future thoughts along those lines for my non-fiction blockbuster on the changing face of American society: "I Saw a Rolls Royce in the Walmart Parking Lot"

He replied:

Hmm. . . . now I know where Monk's personality and ego come from.

Did Natalie Save Monk?

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…The Wall Street Journal thinks so. 

Ms. Howard’s casting was a variation on the understudy-to-the-rescue bit. Midway through the series’ third season, audience favorite Bitty Schram, who played Monk’s no-nonsense nurse/assistant Sharona, made a precipitous departure. Reportedly, there was a contract dispute. […]She got the job as Monk’s aide-de-camp and partner in crime-solving. She also got a cool welcome from a certain number of fans who were no more fond of change than the troubled Adrian Monk himself.
“People would say to me ‘I really didn’t want to like you,'” said Ms. Howard, who understands that they were protective of the show and protective of Monk. “He can be very mean to me. But if I say one little thing to him, people react. When you think about it, he’s very selfish. But he gets away with it.”
She won over the doubters — and the detective — blending firmness with palpable sympathy for Monk’s myriad quirks and phobias