Writers University

Want to learn how to break into television? Sure you do.  Everybody in L.A. does. Well, I’ve got some good news for you. William Rabkin and I will be teaching our thrill-packed four-week online course "Writing Dramatic Television" again, starting on May 2 (and again on June 6), for Writers University.  What do you get for your hard-earned bucks? Here’s an excerpt from the course description:

You will learn—and practice— the actual process involved in
successfully writing a spec episodic script. You will learn how to analyze a TV show and develop
“franchise”-friendly story ideas. You will develop and write a story
under the direction of the instructors, who will be acting as
showrunners… and then, after incorporating their notes, you will be
sent off to write your outline. Finally, you will develop and refine
your outline with the instructors, leaving you at the end of the course
ready to write your episodic spec script…the first step in getting a
job on a TV series. 

There’s an "early bird" discount of 20% for people who enroll ten days before the course.  For more information, click here.

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A Book No American Should Be Without

CovernamesxVISUAL CHRONICLES, the new book by my sisters Linda Woods & Karen Dinino, is available for pre-order on Amazon. What  are you waiting for?

My brother Tod, also a novelist, talks on his blog about how cool it is that our sisters are joining us in print:

What are the odds of four siblings actually making it in publishing? All of which is a long way of saying I’m proud of my sisters and,
uh, yeah, people at the Today Show, gimme a call. Let’s book some time.
Or is it too late to be a family on the next Amazing Race?

I’m sure it won’t be long now before Tod’s wife Wendy has a book out, too, tightening the screws on the rest of the Goldberg in-laws to start writing…

LA Times Book Review

I’ve been pretty hard on the LA Times Book Review here, so it’s only fair I give praise when it’s due. This was the first issue that I’ve read from cover-to-cover in months. I thoroughly enjoyed it. This week’s edition was a perfect mix of non-fiction and fiction reviews, most of which were entertaining and informative. Jonathan Kirsch’s lively review of Seth Greenland’s THE BONES gave me a real feel for the book and the writing… made me want to rush out and buy it. Stephen King’s review of a new book on HP Lovecraft made for entertaining reading… though it would have been nice, since it was supposed to be a review,  if King actually talked about the book instead of himself for even a paragraph or two.  Peter Straub did a much better job talking about a collection of HP Lovecraft stories and managed to do so without injecting himself into the article even once. There were also many other punchy, informative  reviews, including  looks at DISHING, Liz Smith’s new memoir;  IN THE COMPANY OF CHEERFUL LADIES, Alexander McCall Smith’s 18th or 19th new novel so far this year; and BLEEDING THE BLUE AND THE GRAY, which sounds like a fascinating look  how medicine was practices on the battlefields during the civil war. There was even a thoughtful essay on the work of literary translators. I wish the Book Review was this good every week.

Where to Find Me

If you love books,  the Los Angeles Times Book Festival is the place to be next weekend.  I’ll be there browsing, buying, standing in line, and even signing a few books myself. Here’s my signing schedule:

April 23 
Mystery Bookstore 11-12
Mysterious Galaxy 12-1

April 24
Mystery Bookstore 10-11
Sisters in Crime 12-1

See you there!

Q&A With Chris Abbott

Chris Abbott is one of the most successful writer-producers in television, with credits like Magnum PI, BL Stryker, Dr. Quinn Medicine Woman and Diagnosis Murder.  She’s just written a terrific book called "TEN MINUTES TO THE PITCH: Your Last Minute Guide and Check-List for Selling Your Story."  And all proceeds from the book benefit the Writers Guild Foundation.

Tf_pitch_1She’ll be signing her book this weekend at the Los Angeles Times Festival of Books on April 23, 11-12, at the  Writers Guild Booth.

Why did you write this book?

Leonard Stern, from Tallfellow Press, came to me with the
idea. He saw it as the second book in
their “Ten Minutes To Success” series, which began with “Ten Minutes To The
Audition” by Janice . I liked the idea; it seemed to me I had seen
dozens of books about writing, but none about pitching and I believe they are
two distinctly different talents.

 There are a thousand “How To” books for writers on
pitching and selling scripts. What makes
yours different from all the rest?

 A thousand? Really? Honestly, I didn’t think
there was even one book out about pitching as I was writing it. I have noticed, since, one other book. Nevertheless, I’m sure you’re right,
hyperbole aside, there must be several books on pitching. Mine is different insomuch as my professional
experience is different from the other authors. I think it would be valuable to read everyone else’s book as well as
mine. But the value of mine is that it
is very practical; it is very small so you can take it with you; it has stories
from lots of successful writers to amuse or enlighten; it doesn’t take long to
read.

Before you even get into talking about pitching itself,
you pay a lot of attention to the importance of seemingly irrelevant things…
like double-checking the address, arriving very early, going to the bathroom
before the meeteing, bringing a pencil and paper, turning off your cell phone…
but they aren’t irrelevant things, are they?

 When Leonard first talked to me about this idea, it was subtitled “A Parking Lot Primer For
Wrters.” The idea was that you’re in the
parking lot, you’re ready to go pitch
your heart out, what are the things you want to remember before you get into
the office?

 So that accounts for some tips, like “going to the
bathroom”, that you might not see in other pitching books! But there is something that I hope is a bit
more profound behind the seemingly mundane ideas. For example: Are You In The Right Place? This
isn’t just about making sure you have the correct address (although without
that, you are doomed to failure); it is
also about making sure you’ve brought the right kind of pitch to the studio
that is likely to consider buying your story. Each of the ideas has its own Zen-shadow idea I think writers need to
seriously consider before even showing up in the parking lot. 

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A Quinn Martin Production

Does anybody know who the "announcer" was for all those great ’70s Quinn Martin detective shows?
Barnaby_jones
I can hear him now…

"Barnaby Jones, a Quinn Martin Production. Starring Buddy Ebsen, Also starring Lee Meriweather, Mark Shera. With guest stars Peter Haskell, Burr DeBenning, Joanne Linville, Andrew Duggan,  and with special guest star, Trisha Noble.  Tonight’s episode ‘Mother of Mercy, Child of Death”"

UPDATE:  The mystery is solved. The announcer was Hank Simms aka Henry Fry Simms. Where is his statue at the TV Academy?

Wither Copyright?

One of the interesting things that has come out of the fanfiction debate here are the startling misconceptions some people have about how copyright applies to intellectual property.  Here’s a sampling of views about copyright expressed here over the last few days by fanfiction authors and fans…

a) If the copyright to a book, movie, or TV series  is owned by a corporation rather than an individual, it’s  "a shared world" and therefore belongs to everybody.

No
single person DOES own those characters, or that world, and different
writers may portray characters differently. These are shared worlds
with input that ranges from producer to screen writer to director to
actors, or writer to artist to inker to series editor. We’re *not*
dealing with the vision of a single author or creator.

Here’s another expression of the same view:

It’s hard for me to have any respect for corporations that have no problem with plagiarism as long as it makes them money. Companies and publishers don’t really give a shit as long as they’re
making money, and it’s despicable that they usually get more protection
(and money) than the original creator. Personally, when it comes to the copyright mess, I don’t give a fuck
about the laws–I care more about what the original creator’s opinion.
Feel free to care about the will of the corporations and publishers,
too, but really, it’s not their property.

b) If the characters/stories/worlds were created by writers/artists as work-for-hire (either for comics, TV or movies), copyright protections do not apply.

These are DC characters we’re talking about here. The actual
creators of the characters? Have absolutely no rights to them. Want to
talk about disrespect? Let’s talk about a company that takes the
copyright from the creators and makes money off of it. The authors have
already been stripped of their rights by DC. In the end, who cares about copyright?

c)  Copyright only protects the writers from others making money off their work. Otherwise, people can do whatever they like with the authors characters, stories, etc.:

The thing is you can’t possess ideas. Copyright law protects your right
to make money off your ideas for a certain length of time. It does not
protect your idea from being taken, developped further, twisted,
caricatured, or simply taken into another direction if no monetary
purpose is linked to that.

d) Since the original work (book, movie, TV episode) isn’t altered, copyright isn’t violated.

since fanfic writers never pretend to have created the characters in
question, nor do they profit from sharing their stories, what exactly
are they stealing? How can something be thought of as stolen if it
never left the owner’s possession to begin with?

e) Copyright is pointless because all creative work is derivative.

Authors steal from each other all the time. Some are embarrassed
about it. Most of us get over that and recognize that — if we are
LUCKY — we’ll have one or two really original ideas in our entire
lives, and that even THOSE will have built upon other people’s worki.
Most of what we write will be taken from something or someone else. 

So, in short — don’t be ridiculous. And that goes triple for the
publishers, MPAA, and all the other people out there becoming
anal-retentive on these topics.

If you’re a writer, regardless of how you feel about fanfiction, these misconceptions about copyright are pretty scary… especially when you consider these are people who might some day vote on changes to copyright law in the future. For instance:

And all those slash stories and other "warping" of the characters is
simply AU (Alternate Universe stories). I don’t like them all, but I
defend their right to exist. I wish the trademark laws can be changed
to take the legal stigma off fan fic.

Or, as another poster put it:

Since the rules of copyright keep changing, I don’t think it is wrong
or futile to contemplate changing them further, in a direction
different than the one they have been taking recently. And using
familiar characters who are already part of the public consciousness
does not strike me as wrong per se, especially in a not-for-profit
situation.

Gee, I wonder what different direction that would be? Providing even fewer protections for artists? Why do you suppose there is so little respect for protecting an artist’s right to control how his work is published, broadcast, used or altered?

Fanfic Blowback

Several blogs have weighed in, pro and con and somewhere in-between, on my "Another Day in Fanfic" posting and the ensuing controversy. Here’s a sampling of excerpts:

From Crankywriter:

Fanfic is not taking food out of your family’s mouths, and it’s not
plagiarism. To call it that is an insult to writers who have been
plagiarized, like Nora Roberts, who called her experience akin to mind
rape. And yes, she’s a real writer, and Janet Dailey cut-and-pasted
Nora’s words and claimed them as hers. That’s plagiarism and parasitism
for you.

Nora Roberts doesn’t approve of fanfiction based on her work,  either. For all I know, she calls that "mind rape" and plagiarism, too.

From Banana Oil (a tiny excerpt from a long, long post):

The upshot here is that using others’ characters has a long
tradition among Real Writers, even without explicit consent. This is
not meant as a defense of fan fiction in toto, but rather as a suggestion that even Real Writers do it, so the act itself does not seem to be tainted from the outset.

I think what really bothers Lee are the people who want something for nothing, those who only
write fan fiction, taking other people’s characters and backgrounds,
playing with them like pieces on a chess board, and then proclaiming
“See? I’m a Writer now!” And hey, I’m with him, such people are
parasites and best ridiculed and dispensed with. However, I severely
doubt that each and every writer of fan fiction is such a remora (even
if many or most are), because were I to accept that premise, I must
dismiss a number of my favorite Real Writers as well, something I am
wholly unwilling to do.

From the Creative Guy:

Plagiarism is a very dangerous word to throw around.  Certainly
it has its place, but does it really belong in a discussion (if that’s
the word) concerning fanfic?  According to media tie-in author Lee Goldberg, the answer is yes.
It’s hard to know where to start with this rant, considering how wrong-headed the entire thing is.  Having had some experience with plagiarism, I know there’s a vast gulf of difference between stealing someone else’s work and what fanfic authors do.

From Shannon Stacey:

As a reader, I don’t get it. Writing about the stuff you don’t get
to see—maybe Wonder Woman’s got a dirty old lady thing for the Boy
Wonder?—is not my cup of tea. Why? Because that has nothing to do with
the writer’s story. The actual writer who created those characters
has/had a vision for them, and that fanfic story ain’t it. For
example—the Star Wars movies. I’d have nothing to do with the three
prequels if they weren’t from George Lucas. I’m sure it’s entertaining
for many, it’s just not my cup of tea.

As a writer, I really don’t get it.  It’s copyright violation.  If you’re a writer, how is that not of huge
importance to you? If you write fanfic, and then get published with an
original work, how ironic would it be if you had to defend your
original work against copyright infringement?

Lori Prokop

Lori Prokop, host-creator-execproducer of "Book Millionaire," says she can teach you, yes YOU,  to achieve her Celebrity Status.  Because she’s so darn popular,  you should have no trouble picking out which one of these is a picture of her:
Threephotojpg TwophotoOnephotoFourpic

You Don’t Get This Kind of Service at Hometown Buffet

138232_135AOL City Guide recently profiled Los Angeles caterer Gary Arabia

Not to be missed is Arabia’s Body Sushi experience. Originating from Japan, the Global Cuisine version entails a colorful array of sushi placed on  tea leaves and served on the body of a beautiful model. Patrons are  traditionally seated on the floor around her and dine directly off of her body.
For dessert, indulge in the Body Chocolate.