CBS has revamped their Sunday schedule, dropping their weekly movie and replacing it with three Jerry Bruckheimer series: AMAZING RACE, COLD CASE and WITHOUT A TRACE. Bruckheimer owns Sunday, which may be the first time a single producer has owned a night of network programming since Aaron Spelling owned ABC’s Saturday with TJ HOOKER, THE LOVE BOAT, FANTASY ISLAND and later with THE LOVE BOAT, FANTASY ISLAND and FINDERS OF LOST LOVES (though Norman Lear came close with ARCHIE BUNKER’S PLACE, GLORIA, JEFFERSONS, and ONE DAY AT A TIME on CBS Sundays…the last hour going to TRAPPER JOHN MD).
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Bouchercon
I’ve just booked my hotel room for Bouchercon 2006 in Madison, Wisconsin ( if you attending, and haven’t made room reservations yet, you better hurry — the area hotels are selling out fast). I also received my Anthony Award ballot in the mail this week. The Anthonys are selected by Bouchercon attendees and any mystery novel published in 2005 is eligible for nomination. I hope if you enjoyed THE MAN WITH THE IRON ON BADGE, and are attending Bouchercon this fall, that you will consider nominating the book for Best Novel when you receive your ballot. My book aside, I can’t honestly remember all the good stuff that I read that was published in 2005. Please jog my memory with any suggestions you might have in the comment below. The categories are Best Novel, Best First Novel, Best Paperback Original, Best Short Story and Best Critical/Non-fiction Work. Thanks!
Everwood Nevermore
The CW has leaked it’s fall schedule… and it doesn’t include EVERWOOD or REBA. The sked will reportedly be a mix of old favorites from UPN (VERONICA MARS, AMERICA’S TOP MODEL, ALL OF US, EVERYBODY HATES CHRIS, GIRLFRIENDS) and The WB (GILMORE GIRLS, 7th HEAVEN, ONE TREE HILL, SMALLVILLE, SUPERNATURAL) and the new shows PALM SPRINGS (a soap from Kevin Williamson), RUNAWAY (Donnie Wahlberg is on the run for a crime he didn’t commit), and the GIRLFRIEND’s spin-off THE GAME. The CW didn’t pick-up the WB-developed AQUAMAN, surprising industry pundits who considered it a done deal, since the project was from the folks behind SMALLVILLE.
UPDATE: Les Moonves blinked… and instead of paying 20th Century Fox a $20 million penalty for not picking up REBA (which the late WB had previously renewed for two seasons)… he’s decided to bring back to the show for midseason. Meanwhile, for some reason PALM SPRINGS has been renamed HIDDEN PALMS…which sounds kind of clunky to me.
Welcome Back, Goldberg
I’ll be teaching the "Beginning Writing for the One-Hour Drama" course at UCLA Extension this summer (taking the baton from my friend Matt Witten). Here’s the info on the course:
Modeled directly on how writers write in the real world of one-hour
dramas, this course focuses on what is most central to creating a
strong script as well as the largest piece (40 percent) of the writer’s
deal with any show: the story and outline. The course goal is for you
to master the process of constructing an airtight story and detailed
outline so that you are ready to write a script for any current show as
quickly and expertly as possible. The steps you take include choosing
the best story for your spec script, mapping it out from beginning to
end, and writing a strong outline in proper script format. In the
process, you learn how to identify and capture the tone, characters,
dialogue, and themes of any one-hour drama series–the key to breaking
and staying in the field. This course also introduces students to the
various genres (police procedurals, medical, legal, etc.) and their
specific rules; what’s popular in the current marketplace; and how to
work within the special requirements of timeslots, outlet, and styles
(for example, single-character drama versus ensemble cast). All student projects must focus on current shows; no pilots.
The enrollment is limited to 20 students, so if you’re interested, act now while there are still some seats left.
Who Am I?
I got this email today:
Greetings – I am looking to purchase 5 text link ads on neilgaiman.com/journal/
Each ad is two to three words in length and can be placed anywhere on your page as long as the ads are visible on the majority of pages on your website. I would be willing to pay for 3 months of advertising up front. Would you be interested?
I haven’t been feeling like myself lately…but I’m pretty sure that I’m not Neil Gaiman.
Two New TV Books
As you know by now, I’m a major TV geek… so I’ve just snagged my copy of THE "12 O’CLOCK HIGH" LOGBOOK by Allan Duffin and Paul Matheis, which tells the inside story behind the novel, the movie and the TV series. I’m looking forward to reading it, and Bill Carter’s DESPERATE NETWORKS, when I have some free time again…
Romance Author Wins Libel Case Against Authorhouse
Publishers Weekly reports that a Kansas court has ordered Authorhouse, the POD vanity press, to pay $230,000 to romance author Rebecca Brandwynne, who was libeled by one of their books, which was written by her ex-husband.
According to court documents, AuthorHouse published Paperback Poison: the Romance Writer and the Hit Man by Gary D. Brock, with his current wife, Debbie Brock, in November, 2003. Some of the more incendiary claims in Paperback Poison
include allegations that Brandewyne broke laws, committed adultery,
plagiarized several of her books, and hired a hit man to kill her
ex-husband, the book’s author.[…]The Kansas jury ruled for Brandewyne even though AuthorHouse’s
contracts state that the publisher assumes no legal responsibility or
liability “for any loss, damage, injury, or claim to any kind or
character to any person or property” in publishing the works of its
clients. Jay Fowler, an attorney for Brandewyne, maintained that the
“contract does not absolve AuthorHouse of their responsibility.
AuthorHouse published the book, put it on the Internet, did everything
a publisher does. They’re responsible for publishing this book without
vetting it first.”
One of the more interesting aspects of this story is what it reveals about the "success" of self-published POD titles.
Fowler said that AuthorHouse claims 74 copies of Paperback Poison
in total were printed, 21 were given to the author, three were sold,
and the company destroyed the 50 copies they had remaining in stock
after receiving complaints about the book from Brandewyne and others.
“But that book’s still out there,” Fowler said. “Sometimes, [the online
seller] says the book is published by Lightning Source, sometimes
1stBooks, sometimes AuthorHouse. But it all flows back to AuthorHouse.”
Seventy-four copies were printed. Twenty one of those were sold to the author. Only three copies were actually sold to readers. Wow. No wonder so many aspiring authors flock to these vanity presses. Who wouldn’t pay hundreds — or even thousands — of dollars for a chance at that amazing print run and distribution?
This story just goes to prove what anyone with common sense already knows: that vanity presses make all their money from the authors, not from selling books to readers…and that there is no editorial oversight of any kind.
UPDATE: The folks over at POD-dy Mouth have another perspective on the story:
If in fact, Authorhouse loses on appeal (I’m not a lawyer; I’m just assuming), imagine what that would do to the world of POD?
S-l-o-w- i-t- d-o-w-n.
And
you thought regular publishing was slow! Guess what will happen if (for
lack of a better term) non-publishing professionals have to vet these
books?
Eye on Dramas
CBS has reportedly picked up 3LBs (about brain surgeons), WATERFRONT (about the crooked mayor of Providence RI), SHARK (with James Woods as a celebrity attorney-turned-prosecutor), SMITH (a crime drama from the POV of crook Ray Liotta), and JERICHO (about a small town that survives the apocalypse). The word is that KING OF QUEENS, NEW ADVENTURES OF OLD CHRISTINE, and CLOSE TO HOME have also been renewed. Oddly, no mention yet on the fate of THE UNIT, though I assume it’s being picked up.
Otto Hates Cozies
Ron Hogan posts a scathing "anti-cozy" quote from Otto Penzler that didn’t make the final cut in Sarah Weinman’s Publisher’s Weekly article on the "tension" between mysteries and thrillers:
"I think noir writers are writing the very best books they know how to write. They may fail; there are terrible noir
writers out there. But the cozy chick lit stories are cynical, in the
sense that an editor says, this is the guideline, this is what I want
you to write… Look at how many really good-selling female traditional
cozy writers there are, with cats solving crimes and people taking an
afternoon off during a murder investigation to shop at Prada. I don’t
think those are writers who are stretching. I don’t think they’re
trying to write anything of enduring quality. I think they’re writing
to sell books, and there’s nothing wrong with that, but you don’t have
to take it seriously as literature, and I don’t."
Also cut were quotes from yours truly about tie-ins.
A Brouhaha In Any Language
Novelist John Connolly disagrees with the Crime Writers Association’s decision to disqualify "translated" crime novels from competing for the Silver Dagger, the UK equivalent of the MWA’s Edgar:
To those of us with a slightly cynical bent, it seemed that the main
reason why this decision was made was because translated novels have
been doing rather well in the Daggers in recent years, and ruffling
some feathers in the process. After all, it’s hard enough to win a
Dagger without Johnny Foreigner coming along and spoiling the party.
Lots of nice British and American authors, who speak and write proper
English, would rather like a dagger for themselves, not to mention the
whopping £20,000 cheque that will find its way into the pocket of the
victor in 2006.
He also takes a swipe at fellow crime writer Val McDermid’s stance in support of excluding translations:
Val McDermid – usually a fairly sensible type – offered her support for
exclusion by pointing out that if Peter Hoeg’s rather wonderful Miss Smilla’s Feeling For Snow had been read in its American version rather than its English version, then it might not have seemed so wonderful after all.
Now there really are only three appropriate responses to this. The
first is “Huh?” The second is to enquire just where exactly she
acquired her degree in comparative literature. The third, meanwhile, is
to wonder exactly how much Danish she speaks and reads to enable her to
make this kind of judgement. Curiously, McDermid was also one of those
who provided approving quotes for Silence of the Grave.
She described it as “a fascinating window on an unfamiliar world”,
albeit the type of window that she and her colleagues were apparently
happy to see closed in order to facilitate the future marginalisation
of foreign authors.
I think it’s incredibly wrong-headed of the CWA to exclude translated works from award consideration. The Mystery Writers of America and even the Los Angeles Times Book Prizes regularly honor works of crime fiction from other countries that are published in English in the U.S. The CWA’s literary xenophobia doesn’t reflect well on their organization or the Silver Daggers.