Is this an Elmore Leonard Character or What?

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)

Trolling for Suckers

I got this email today:

Dear Lee,
      My name is Tracey Rosengrave, Marketing Manager
for Xlibris Corporation, a Print-On-Demand Self-Publishing company. We are
sending you this email because we have either learned about your passion for
writing or we have had the pleasure of coming across some of your work…

I guess she’s never read my blog, where I indulge "my passion for writing" by criticizing print-on-demand self-publishing scams. Or maybe she’s read my books, and thinks I’m ready to make the switch from being paid by publishers to paying to be published. I don’t know. So I asked her.

Tracey,
 
What a nice surprise to hear from you. Where did you learn about my passion
for writing? Which of my books did you read? I’d love to know how you discovered
me (I’ve been waiting so long to be discovered) and why you think xlibris would
be the right publisher for me.
Lee

I’ll let you know how she replies…

Speak Up

As a novelist on the signing/promotion circuit, I end up going to a lot of readings, conferences and seminars…and I hear a lot of authors speak. What I’ve learned is that someone could make an awful lot of money teaching public speaking skills to authors.

It’s amazing to me that people who are so good at expressing themselves on the page can be such dull, uninspiring, and clueless public speakers, whether they are in front of five people or five hundred. They give meandering speeches while mumbling into the microphone (if they even remember to hold the microphone to their mouths), completely unaware that no one is listening to them. It seems to me like they aren’t even trying to engage or amuse their audience, to connect with them in any way. They just stand behind the podium and blunder along, reciting in mind-numbing detail the plot of their latest book, oblivious to the fact that people are jamming forks into their legs to stay awake.Leespeak

So many authors look at giving a speech or being on a panel as an opportunity to sell books. It is. But people aren’t coming to hear your sales pitch or an hour-long, meticulously detailed summary of the book. They are coming to learn something about you. To get a sense of the man or woman behind the words on the page. And if what they get is a huckster aggressively trying to sell his book or, worse, someone who sucks the soul out of every single poor person in the room, then your appearance has been counter-productive. You will actually lose readers. The next time someone in that audience sees your name on a book cover, all they will remember is that boring speech that felt like a root canal without the pleasant distraction of the drill.

I’m not the world’s greatest public speaker but I can immodestly say that I don’t suck, either. While I am up there, I try to enjoy myself. I try to be energetic, to speak loudly, and to make eye contact with the people in the audience. If I can, I get out from behind the podium. I look at people’s faces and if I see I’m losing them, I change subjects, pick up the pace, or abandon my intended comments altogether and go with something else.

I like to make my audience laugh, but laughter isn’t what’s important. Your job is to be interesting and enthusiastic, to communicate your
ideas and point of view clearly and in an engaging way. You are there to entertain, educate, amuse and even provoke the audience. You aren’t there to numb them into a persistent vegatative state.  Also, don’t try to be an infomercial for your book. It turns people off. They may be awake, but they hate you. They will be reflexively hitting a fast-forward button with their thumb. No one likes sitting through the commercial.

I don’t use my time at a podium or on a panel to sell my book but
to indirectly sell me,  a nice, interesting and perhaps amusing guy who
has written some things you might enjoy reading or watching on television.

Mystery2You can learn to be a good, self-taught, public speaker.  Many speaking engagements and conference panels are recorded. Buy the tapes. Listen to yourself. It can often be a cringe-inducing experience…but do it anyway. It’s important that you know how you sound to others. Take note of what parts of your speech, or which of your comments on a panel, worked and those that fell flat. Zero in on those places where you rambled, or blundered along aimlessly, and come up with a sharp new way of articulating the same point or answering that same question next time.  And most important of all, listen to the other speakers as well.  Pay attention to how they succeeded or failed…and learn from it.

I know a lot of writers are writers because they like the solitude, because they aren’t good in front of a crowd. They simply don’t like public speaking and aren’t comfortable on panels. My advice for those writers is…don’t do it. It’s better not to do the speech or be on the panel than to bore your readers.

Remembering Poppa Cy

Last night, while looking for something on my computer, I stumbled across my notes for my grandfather’s eulogy. My Poppa Cy spent his life in the furniture business, retired to Palm Springs, and died about eight years ago. I still miss him. So, in his honor, here’s an excerpt from those eulogy notes:

My Poppa Cy was a character. I guess that’s a nice way of saying he had a strong personality.

He could be intimidating, generous, embarrassing, reassuring, terrifying, overpowering and hilarious… frequently all at once.  And if his strong personality didn’t knock you over, his taste in clothes certainly did.  I’d arrive at his house in Palm Springs  wearing  jeans and polo shirt, and he’d be standing there in his orange pants and purple shirt and red sweater, shaking his head in dismay at the way I was dressed.

“What’s the matter with
you?" He’d say. "Haven’t you ever heard of color?”

And I’d laugh. He always made me laugh.

When I was a student at UCLA, I would go and stay with him to study for
mid-terms and finals. I loved those weekends. He’d get me up at 8 a.m., chide me for sleeping in, we’d have a little breakfast, read the paper, he’d criticize the furniture store ads, and then I’d study for a few hours.

Then we’d have fun. Or he’d have fun, and I’d have fun watching him. Maybe I was more of a co-conspirator.

We’d go to a furniture store somewhere and pretend to be customers. Poppa Cy would tell some poor, unsuspecting salesman that he was interested in a sofa. The salesman would show us around the store, Poppa Cy would ask a few questions and basically behave like the cutomser from hell and then, when the guy least expected it, my grandfather would whip
out his Visa card like it was some kind of badge and say:

“I’m Cy Goldberg, United Furniture Company, I was in the furniture business for 55 years… let me tell you about all the mistakes you made trying to sell me a sofa." He’d then lead the poor guy back to all those sofas while I collapsed into laughter.

Or we’d go to a car dealership. Poppa Cy would say he was Harry Himmelfarb or Frank Kales or George Rosencranz and he was shopping for something sporty. He’d torture the salesman,
taking him to the brink of a sale, and then leave.

I think the only thing he
enjoyed more than teasing people was furniture…

Furniture was his world.
His love. His oxygen.

To him, furniture was not
something you sat on, slept on, and ate on… no, furniture was a state-of-mind,
a culture, a language, an art to be admired, studied, and deconstructed. And he
had a furniture analogy for everything – sex, acne, divorce, fast food, you
name it. Anything a human being experienced could be compared to a comfortable
recliner, a sturdy couch, an inexpensive lamp. One of my lasting regrets will
be that I never wrote one of those analogies down.

When he saw my first TV
show, he asked “So, where do they get all that furniture? They aren’t renting
it, are they?”

Whenever I wrote a book,
he badgered me to make the next one about the furniture business. That, he
said, was where the excitement is. And I’m not sure he was kidding.

Poppa Cy was a man who
never had any trouble expressing his opinions which, in an odd way, was how he
expressed his affection. He was not the kind of guy who gave hugs, or told you
that he loved you. I learned early on that teasing, chiding, needling….okay,
criticizing you… was his way of showing he cared about you. Not everyone saw it
that way… and he drove a lot of people out of his life because of it.

Not me.

I loved my Poppa Cy.  Thanks to him, I’m a stronger person. I’m not
afraid to fight for what I believe. And I will never, ever buy a white couch
again.

I know what Poppa Cy is
doing right now. He’s up there, shaking his head in dismay:

“What kind of phony deal
is this? You call those pearly gates? I know where you can get pearly gates. I
got this friend in Portland in the pearly gate business…"

Poppa Cy wouldn’t want us
mourning his passing, he’d want us to celebrate his life. So go out and buy a
recliner or a couple barstools. Preferrably in yellow.

Night Stalker Killed… Again

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

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

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?

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.

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