I’m sad to hear about the passing of Fred Silverman. Bill Rabkin and I worked closely with him for several years on DIAGNOSIS MURDER & a bunch of unsold pilots. We had our battles, but also a lot of fun pitching together, even when his ideas were TERRIBLE (the worst — G GIRLS, three female Feds working undercover as Vegas strippers, with actor Reggie Vel Johnson playing their boss. Fred was sure it would be the next CHARLIE’S ANGELS. We went to every network president with that horrible pitch and the reaction was either hilarious laughter or stunned disbelief).
Most of all, I loved talking TV history with him. He had an encyclopedic knowledge because, well, he was responsible for creating so much of the history I would ask him about. That aspect of our relationship was a dream come true for me. When I was a kid, I was a subscriber to Daily Variety… and I used to have a schedule board up on my wall and would try to second guess Fred’s scheduling moves and what shows would succeed or fail…I even tracked the pilots in development to try and figure out what he would pick up for the fall (that research became my book UNSOLD TELEVISION PILOTS)I wanted to either meet him or be him… I never thought we’d actually end up working together as producers.
I could tell a thousand stories about our time working together. And although we ultimately had a bitter falling out with him that ended our relationship, I still cherish the memories.
He was a true TV legend.
Four Star Television Productions: A History of the Business, Series and Pilots of the Iconic Television Production Company: 1952-1989 by Richard Irvin. This is a terrific reference book about a ground-breaking and innovative television production company that virtually nobody remembers any more. And yet TV producers and studios are still strongly influenced by the way Four Star Television did business – specifically how they used their TV series as cost-effective platforms to create more shows.
Four Star Television was a partnership between actors Dick Powell, David Niven, Charles Boyer and producer Don Sharpe. The company began by producing anthologies and came up with the brilliant notion of making as many of those stories as they could into pilots – sample episodes of proposed series. The strategy worked brilliantly.
For example, their anthology Zane Grey Theater begat the western series The Rifleman, Black Saddle, The Westerner, and Johnny Ringo. Four Star applied the same spin-off strategy to their episodic series. For example, The Rifleman begat Law of the Plainsman. The series Trackdown spun-off Wanted Dead or Alive, which begat Stagecoach West. Episodes-as-pilots are now known as “backdoor pilots,” “planted spin-offs,” and “nested pilots.” Producers like Norman Lear, Aaron Spelling, Dick Wolf, Donald Belisario, and Greg Berlanti would follow Four Star’s example with great success.
Four Star also perfected “the wheel,” attracting big stars to do a TV series by only asking them to commit to three-to-six episodes a season, a concept that would be emulated later in shows like Name of the Game, The Bold Ones, Search, and the NBC Mystery Movie.
The book catalogs every Four Star series, and the concepts of every single “backdoor pilot,” sold and unsold, in fascinating detail. Irvin also charts the rise and fall of the production company, the business successes and missteps. He is, quite simply, the best TV reference book writer/researcher in the field today…consistently providing a treasure trove of information in an easy-going, entertaining, highly-readable writing style.
My only problem with the book is that it lacks a comprehensive index, something that’s essential in work of this magnitude and detail. It’s a baffling oversight, especially given the software tools out there that make this once incredibly laborious task a lot easier.
That drawback aside, this book is a fascinating, essential, and brilliant work of TV scholarship and should be a part of any television reference library collection.
My brother Tod, also a novelist, and I sat down with the good folks at Thrive Global for a long, and very detailed Q&A to discuss what it takes in terms of skill, experience, and dedication to sustain a successful writing career and write bestselling novels. Here’s an excerpt:
What was the biggest challenge you faced in your journey to becoming a bestselling author? How did you overcome it?
Lee: I think it’s rejection and failure, which are inevitable in the writing business. Your manuscripts will be rejected again and again and again before they land a publisher. But some books simply won’t sell. Some of your published books will bomb and be savaged by reviewers. Not everything you write will be a winner or find the right audience. The key is not to become crippled by self-doubt and pain but to learn from the experience (Why was the manuscript rejected? Why did the book bomb?) and incorporate those lessons into your next book. The only way to overcome the failure is to keep writing.
Tod: Well, finding out what I was meant to write was a big part of it for me. When I was starting out, for some reason, I was averse to writing crime fiction and so I wrote these kind of quasi-literary books that even I wasn’t interested in reading. The public responded in kind! Once I finally decided to write crime fiction, everything sort of began to line up for me. But, too, as Lee said, self-doubt can be paralyzing. It’s odd. A coal miner isn’t paralyzed by self-doubt that prevents him or her from working, so talking about it as a challenge seems sort of silly in context. A job is a job, be it creative or physical. It’s what you do to make a living. I think once I began to think of writing as a job, as the thing that fed my family, these more ephemeral things began to fade away. Still, you have to write books people want to read.
You can find the entire interview here.
I like to listen to soundtrack music while I write. In fact, I’m just sitting down now to start working on the sequel to my upcoming novel LOST HILLS and I’ve been listening a lot to THE QUINN MARTIN COLLECTION VOL. 1 and the soundtrack to the 1975 TV series ARCHER. Both albums contain a lot of Jerry Goldsmith’s best 1970s TV work.
Enter the Dragon and Rush Hour by Lalo Schifrin
I’m a huge fan of Lalo’s TV themes (Mission Impossible, Mannix, Petrocelli, Bronk etc) and his two forays into “kung fu” cinema are pure 1970s action-score gold. A big chunk of KILLER THRILLER is set in Hong Kong and these soundtracks put me in the perfect frame of mind to write those scenes. (Yes, I know Rush Hour was made in the late ‘90s, but Lalo’s score was basically a reboot/homage of his Enter the Dragon work)
Mission Impossible: Rogue Nation by Joe Kraemer & Mission Impossible 3 by Michael Giacchino
These are two pulse-pounding, soaring, propulsive, contemporary action scores based Lalo’s original themes …and evoke the foreign locales and over-the-top stunts of the Tom Cruise feature, putting me in the right frame of mind for writing the chases and fights in my book.
Hawaii Five-O by Morton Stevens
I love Morton Stevens, one of the best television composers ever (he also did the theme for Police Woman), and this classic soundtrack screams adventure, mystery and, of course, Hawaii to me. Although nothing in KILLER THRILLER is set in Hawaii, this soundtrack is always part of my playlist when I’m writing anything with action and colorful locations. It also creates a great tempo for writing punchy dialogue.
Goldfinger by John Barry
This is the iconic Bond theme song and is still the best of the Bond movie scores (though I am also a fan of David Arnold’s TOMORROW NEVER DIES score, which is essentially a contemporary rethink of Barry’s style and is also part of my playlist). GOLDFINGER immediately transports me to a world of intrigue and adventure…and puts me in a 007-frame of mind. Perfect for writing spy fiction.
The Bourne Film Soundtracks by John Powell and Moby
These soundtracks are the gold standard for the modern espionage tale…Powell’s score is dark and moody at times, thrilling and propulsive when the action reaches a fever pitch. Moby reworks his end titles / theme song Extreme Ways for each film in the series and hearing it always puts me in the mood to either see or write some kick-ass spy action.
The Wild Wild West TV Soundtrack by Richard Markowitz et al
I absolutely loved The Wild Wild West when I was a kid. If you don’t remember the show, it was a western take on James Bond starring Robert Conrad as superspy James West and Ross Martin as Artemus Gordon, his partner and a master of disguise. My sister and I used to pretend we were the two of them….I was always West, of course, and she was always stuck being Artemus. Even way back then, I had Wild Wild West music, recorded off the air on my cassette deck, playing when we were pretending to do cool stuff. Little did I know I was rehearsing for what I’d be doing decades later as a writer. Hearing the iconic themes and individual cues sparked my imagination as a kid and they still do today, putting me into the “let’s pretend and have fun” mode that I need to be in to write fiction. Although this is a “western” score, it’s still in the spy genre for me and is the perfect for writing about Ian and Margo.
I had a great time as a guest of honor at two conferences in Alabama last weekend — Murder in Magic City in Birmingham and Murder on the Menu in Wetumpka. But things got off to an embarrassing start.
I arrived in Birmingham airport late on Friday. The volunteer who was picking me up texted me a message as I got off the plane — “I’m the blond in the blue Honda Pilot parked outside of baggage claim.”
So I stepped outside, spotted the blond in the Honda Pilot, knocked on the window, opened the back door, tossed my luggage on the seat and climbed in.
We drove a couple of yards and she glanced at me in her rearview and said “Are you John Ballard?”
“No, I’m Lee Goldberg.”
“Then what the hell are you doing in my car?”
“You’re a blond in a Honda Pilot parked at baggage claim.”
She came to a hard stop. I began to explain when another, identical blue Honda Pilot with a blond at the wheel drives up.
I said, “Oops, wrong blond.”
I apologized, grabbed my luggage, and hopped out. I felt like an oaf…but at least she saw that it was a genuine mistake.
Things went more smoothly after that, I am pleased to say. I joined Sue Ann Jaffarian (who arrived in her new RV), Matt Coyle, Stacy Allen, Hank Early, Carrie Smith, JD Allen, Emily Carpenter, Christopher Swann, Toni Kelner, and many other authors to discuss mysteries, the business of writing, and our journeys into print. The first conference was held at a library in Birmingham and we stayed at a hotel that had a free soft drink dispenser in the lobby. Free-flowing Diet Coke. That’s a perk I could get used to.
On Sunday, we were taken an hour or so away to Wetumpka, an adorable little town on a river that was nearly wiped off the map by a tornado a few months ago. We were greeted warmly by the Mayor, given our own library cards by the library staff, and then went out to speak to an enthusiastic audience.
I had a great time. That said, during the signing, a reader caught me off guard with this comment:
“I keep falling asleep while reading the first chapter of your book so I jumped to the last chapter & it put me to sleep too… but I’m not giving up on you.”
I told her I appreciated her faith in me…
My expensive, life-changing addiction began six years ago when a man approached me in a nameless hotel in a city I don’t remember.
“You’re really going love this,” Bill Crider said, almost in a whisper. “And I’m not going to let you leave here until you buy it.”
We were standing in front of a used bookseller’s table at a writer’s conference. I looked down and saw that Bill was holding a yellowed, brittle paperback out to me. It was entitled Hardman #1, The Charleston Knife is Back in Town by Ralph Dennis. The slug line across the top of the cover read “Brace yourself for broads, bullets, and bare-fisted action!”
It was obvious from the numbered title that it was one of those cheap, men’s action adventure paperbacks, a genre I knew well, having written, under the pseudonym “Ian Ludlow,” a series called .357 Vigilante in the mid-1980s for the same publisher that released this book. While there were some gems in the genre, most of them were hack work, badly written excuses for explicit sex and graphic violence that were sold in grocery store spinner racks nationwide. And a book called “Hardman”—wink, wink, nudge nudge—promised to be among the worst of them.
Bill must have seen the skepticism on my face so he smiled and said, “Trust me. You won’t regret it.”
This is how it often is with pushers. Have a taste, they say, it won’t hurt you.
And Bill was particularly good at pushing old paperbacks and forgotten authors. He was a kind, decent, warm man, an acclaimed author, and an expert on crime fiction. People trusted him. I trusted him…
I think you’ll enjoy the essay… and I strongly, enthusiastically, passionately recomment that you check out the HARDMAN novels.
Research is absolutely necessary when you’re writing thrillers…and it’s a part of the process I love, perhaps because I come from a family of journalists (and I was one once). The danger, for me, is that the more I learn about a topic, the more I want to learn…and it’s easy for me to end up spending far more time than is necessary on the research (it’s also a great form of procrastination.. you can fool yourself into thinking you’re working instead of actually avoiding work). I can talk to dozens of experts, and read three or four books and countless articles, for what might end up being only a few lines of dialogue or description in the book (or, OTOH, what ends up being the core of the story). But that’s always better than writing pages of exposition, description, or dialogue to show off how much research you’ve done. I’m a big believe that one sentence offering a telling detail is far better than a paragraph of description. That said, having the “extra” knowledge on a particular topic in the back of your mind as you write ends up deepening the story and the characters in subtle ways… and often, at least for me, research inspires new characters or plot twists that I never would have come up with otherwise.
Travel is my favorite part of research (and it was a lot of fun to do for KILLER THRILLER, my latest release). Sure, you can use guidebooks, watch Bourdain or Rick Steves episodes, and do a deep dive into Google Earth to fake it, and I’ve done that a few times out of necessity, but I truly believe that nothing beats “feet on the ground” to get that tiny detail, smell, taste or sound that will bring a place, a moment, or a character to life. It’s important to truly experience the place you are writing about. That means not just hitting the tourist spots, but the places where the “locals” live and work. It also means being gregarious and talking to those people — so you can create realistic characters who truly reflect the places you’ve been. I usually already have my story in mind before I travel for research… but inevitably, my story changes dramatically after what I learn from actually experiencing a place I only imagined as I was plotting.
To write my books, I’ve traveled to France, China, Australia, Belgium, Canada, Germany, and all over the United States, among other places. But travel research can mean just stepping outside your door and seeing your own city in a new way.
I’ve lived in Los Angeles for over 30 years. In my novel THE WALK, a guy is stuck in downtown in LA when the big one hits and has to walk across a landscape of destruction back to his gated community in the San Fernando Valley. I know the L.A. well, but I still read a bunch of books and articles on the city, the architecture, and the neighborhoods that make it up, on earthquakes and what experts expect the damage from The Big One is likely to be. I had the story plotted out but then decided, if I was going to do this right, I really needed to take the walk myself. And when I did (not all at once, like my character), I saw things that made me rethink my plot and I picked up the key details of place and character that made the book come alive. When it was over, I had a better understanding, and a new affection, for the city I live in and thought I already knew.
I attended a homicide investigators training conference almost two years ago — I was one of only three civilians invited — as research for a book I was thinking about writing (and had already loosely plotted). While I was there, however, I learned about a case that I couldn’t get out of my head. I was smart enough to throw out my story and to focus instead on using this real case as the inspiration for my novel. I introduced myself to all of the detectives, forensic specialists, etc. who were there to present the case, told them I intended to write about it, and asked if they would let me talk with them in more depth in the weeks following the conference. They all agreed. The novel that came out of that wonderful research experience, LOST HILLS, is being released this fall and I’ve already signed to write the sequel. The book would never have happened if I hadn’t done the research my story…and been open to the inspiration that can come when you begin exploring the “reality” that is the foundation for our fiction.