My Blog

Home Again

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IMG_1280I just returned from a week away, a few days in Bethesda to attend Malice Domestic, and then a quick side trip down to Florida on some business (which I hope to be able to tell you about soon, but top secret for now).

I had an absolutely wonderful time at Malice, where I met some great people and received the Poirot Award which, as you can see from the photo, I guess I am supposed to use to serve tea to Jan Burke, their Guest of Honor. I finally met online friends Debbi Mack and Bill Peschel face-to-face and got to catch up with folks like Penguin/Putnam editors Sandra Harding and Ellen Edwards, and authors like Charlaine Harris (pictured with me on the right), Elaine Viets, Hank Phillippe Ryan, Parnell Hall, Dana Cameron, Elizabeth Peters, Christina York, Sharan Newman, Simon Brett, Chris Grabenstein, and Rhys Bowen.

Rhys was supposed to interview me on stage but tripped and cracked her hip on the first night. Some people will do anything to get out of being on stage with me.  I am pleased to report that Rhys was in her usual good humor despite her injury and, although she had to return home right away, she is recuperating well. She also won an Agatha Award, which I hope too some of the sting out of her injury.  Hank Phillippe Ryan took over for Rhys as my interrogator and we had a grand time.  IMG_1281

One of the highlights of Malice for me was participating with Simon Brett, Jan Burke, and Dana Cameron on Verena Rose's panel about the unusual fan mail we'd received. Simon and Jan read some letters that had the audience, and the panel, roaring with laughter (both pieces of mail, by the way, involved sexual fantasies, a very uncozy subject for Malice!).

On another panel I was on, a reader stood up and said to Halle Ephron: "Your book put me to sleep but I woke up to finish it."

Now there's a great compliment 🙂

And only at Malice would I have overheard snippets like this from authors at other tables as I ate at the Daily Grill on the first night: 

"Shes a great cover artist for animals but she is terrible with food." 

"I can use my own name when I write books about cats or cakes, but not for witchcraft."

"I have three names," another author added. "But I'm thinking of using a fourth for my pottery series."

And I heard another author lamenting that her vintage clothing ghost mystery came out at the same time as another author's vintage clothing ghost mystery, thus undercutting her sales. I have to admit that one surprised me. I  would have thought you could safely write a vintage clothing ghost mystery without worrying about another one being out there…or being published the same month as yours!

I took a few hours off to be a tourist, visiting the usual DC landmarks and the Spy Museum, and bought a few books at Politics and Prose, including one signed by Bill Clinton which, to be honest, I got just for the signature.  

My trip to Florida was great, too. While I did work in Orlando on SeaQuest, I was mostly on set so I still feel like I've never actually spent any time in Florida. And even that was way back in 1995, so it was nice to have a chance to reacquaint myself with the the state. I was able to spend lots of time with an old friend and do a little sight-seeing, too. I loved the beaches and the weather…and was stunned by the opulence and size of the waterfront homes that I saw. There's some astonishing wealth down there.  

Now that I am back, I am hard at work on my last MONK book, the DEAD MAN series, and getting geared up for the promotion of KING CITY, which launches in a few weeks. 

 

Scudder Fans Rejoice!

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 My friend Mzi.myaxpeld.225x225-75Lawrence Block has taken three of his best Matthew Scudder books — A Long Line of Dead Men,  A Stab in the Dark, and A Walk Among the Tombstones – and brought them back as $4.99 ebooks and republished them in very slick, reasonably-priced trade paperback editions. The digital editions are available from Amazon, B&N and the iBookstore, but you can also get the paperbacks directly from Block's website …and he'll even sign'em for you, too!

The Dr. Kildare Scrapbook

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51oDYPLXVPL._SS500_If you're hoping to learn anything about the history, development, writing, or production of  Dr. Kildare in radio and television, or simply want an in depth, detailed episode guide, you are going to be sorely disappointed by the DR. KILDARE SCRAPBOOK.  This isn't a book. It's barely more than a brochure. At best, it's a lengthy article…and yet it still lacks any substance. This exceedingly thin (100 pages, including the index) paperback is nothing more than a bare bones episode guide…and even on that level, the summaries are so sparse and devoid of details that it's a major failure. It's also very badly written. For example, here's the first line of chapter one:

As part of its bringing some of its most famous movie series to radio, MGM put the team of Lew Ayres and Lionel Barrymore from the Dr. Kildare  movies back together for a radio series called The Story of Dr. Kildare.

It only gets worse, and less informative, from there. 

This "book" might have worked as an appendix to an actual book about Dr. Kildare on radio and television, but as a standalone reference work, it's terrible. I am a huge admirer of Bear Manor Media, the company that published this book…so I am not only surprised that that they took this poorly executed, superficial project on, but that they had the chutzpah to charge $14.95 for it in print and $9.99 for the digital edition. Don't waste your money on this one.

“Rejection by publishers no longer has the same power”

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….that's what author Boyd Morrison says and his recent experience certainly proves it.

Back when the Kindle was in its early days, Boyd's  The Ark was the first, big, self-pubbed bestseller…and was immediately snapped up in by Simon & Schuster in a major, multi-book deal.

At the time, there were many bitter writers in the so called "indie" community who lambasted him for selling out. The anger was stupid, of course, based more on jealousy than anything else. I argued at the time that Boyd was in a win-win situation…in the best of all possible worlds, he'd become a bestselling author worldwide with big publishers behind him, reaching scores of readers he could never have reached on his own. In the worst case scenario, he'd bomb, but would still benefit from the exposure and reach readers he hadn't before. And he could go back to self-publishing…but a deal like this might never come again.

Well, as it turns out, Boyd split the difference. He writes that he was just dropped by Simon and Schuster, who rejected his new book The Roswell Conspiracy, so he's self-publishing it…but that his publishers overseas loved the book and are bringing it out in print.  The upshot is…win-win:

It might seem like I would become a rabid self-publishing advocate because of my situation, but that's hardly the case. My ultimate goal is to get my books to readers in the best possible way. If that's through a traditional publisher, great. I'm thrilled to be with Little, Brown UK because they do a fantastic job publishing my books, from the editing to the book packaging to the marketing and promotion. I have hardworking publishers around the world, with books being released in the next few months in Israel, Germany, Italy, and Thailand. And I'm even still published traditionally in the U.S.: Simon and Schuster will continue to be the publisher of my first four books for the foreseeable future.

But sometimes, as with The Roswell Conspiracy in the U.S., self-publishing is the best (and in this case, only) option. I'll take on all the risk, but I'll also reap the rewards if it goes well. That's the amazing thing about what's happened for authors in the last five years. Rejection by publishers no longer has the same power. What could have been a crushing blow in January was actually just a detour sign, and maybe that new path will turn out to be even better than the route I was planning to take. 

This story just proves that this is an exciting  time to be an author, that we have options we never had before. and that rejection by every publisher in NY can actually be a money-making opportunity. 

Meanwhile,author Mark Terry's experience proves that nowadays a book contract isn't always such a good deal after all.  He writes that  his agent just sent him his latest, quarterly royalty check on two hardcover novels…

the check she received was in the amount of $249.99. She'll take her 15% of this magnificent sum of money and send me the remaining $212.49, give or take. Then I'll automatically take 24% out for the federal government and 4% out for the state government. That'll give me about $153 give or take, to play around with, pay bills, or sob over.

 In comparison, in March I received a royalty check (direct deposit, actually) from Amazon (alone) for $1013. That reflects, I believe, either the month of January's ebook sales or December's. 

In other words, he probably lost money by being published instead of self-publishing.  Until now, I don't think there's ever been a time when accepting a publishing contract rather than self-publishing could be, for some authors, a very costly mistake. 

The way I see it, the ebook, self-publishing revolution sparked by Amazon and the Kindle has been hugely beneficial for authors. Of course there are dark sides,  but so far, the pluses far outweight the negatives.

In Pursuit of Spenser

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In-pursuit-of-spenserToo many of my good friends contributed to In Pursuit of Spenser, a collection of essays about Robert B. Parker and his writing,  for me to be unbiased or, conversely,  too critical in my review. 

The line-up of authors that editor Otto Penzler assembled for the book includes Loren D. Estleman, Parnell Hall, Brendan DuBois, Gary Phillips, Lawrence Block, Dennis Lehane, Max Allan Collins, SJ Rozan, Jeremiah Healy, Ed Gorman, Reed Farrel Coleman, and Spenser's new author, Ace Atkins.

I'll just say that some of the essays are much stronger than others and don't quite jell as a whole.  There's a great, indepth book to be written about Parker and his work and this isn't quite it. For the most part, this book just skims the surface, but I get the sense that's exactly what Penzler was going for. Something as breezy and light as Parker's fiction. 

At times, the book reads more like an extended memorial, what friends and admirers might have stood up at the podium to say at Parker's service, had they been given the chance. And it's those essays in particular, the more personal ones from Lehane and Block, that are the most entertaining and revealing.  Block obviously admired Parker's craftmanship but also didn't pull any punches. You can read his chapter here.  

First Responders

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FirstResponders_cov-500x500I'm a big sucker for books about TV series, especially encyclopedic works on particular genres (like Wes Britton's The Encyclopedia of TV Spies, etc.) so I would have grabbed Richard Yokley's The First Responders of Television,  which covers series about firefighters, medics, and lifeguards, even if Bear Manor Media hadn't been sent me a review copy.  And before I tell you what I think of it, you should know that Yokley is a frequent commenter on this blog and that I played a small role in getting his book published.

First Responders is a massive and ambitious undertaking, covering every U.S. TV series, unsold pilot, reality show, dcumentary and TV movie about first responders (mostly firefighters, but also lifeguards, medics, forest rangers,highway patrolmen, etc), produced from the 1950s to early 2011. If that wasn't enough, the book also covers major and minor TV series about first responders produced all over the world and has appendices on such things as firehouses on television, rescue vehicles on TV, and on technical advisors.

Yokley is primarily interested in  how authentic the shows were, particularly the vehicles, equipment, and locations they used, and other details relating to how the rescues and fires were depicted. It's fascinating stuff, but for me, I would have appreciated knowing a lot more about the shows creatively,  how they were developed and written, and how they ultimately went right or wrong. So, for me, the book was a little unsatisfying…but even so, I loved it. It's truly a great TV book. The depth of Yokley's research, his personal knowledge of the rescue field, and his appreciation of first responders (fire fighters in particular) comes through on every page. This is a major work of television scholarship, something Bear Manor Media specializes in publishing, and is a must-have for any television reference library. 

Germany Finally Gets It’s “Hannibal Lector” Series

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It was announced today that ProSieben, a big German network, has bought the rights to air Hannibal, the new TV series from NBC, showrunner Brian Fuller, and French studio Gaumont. The series depicts the early relationship between FBI agent Will Graham and Dr. Hannibal Lector, who we all know is a horrific serial killer. 

I wasn't surprised by the news. ProSieben has long been interested in a series built around the concept. In fact, five years ago, they developed a series called Beauty and the Murderer, which was about a Clarice Starling-type homicide detective who discovers that the department's long-time psychiatric consultant is actually a prolific serial killer himself. She puts him away…but is stunned when the department continues to use the killer shrink as a consultant, even secretly bringing him out in chains to crime scenes to offer his insights. 

The network ordered  six scripts, including the pilot, and a twenty minute presentation film from the production company, a prolific supplier of TV movies for them. But early on in the development process, the project ran into trouble and the network brought me to Munich from the U.S. to redevelop the pilot script, set up the writers room, and oversee the writing of the five episodes.

The biggest problem that I saw was that the project was, basically, a beat-for-beat rip-off of Silence of the Lambs.  I knew I couldn't dismantle the concept they bought, so the key for me was to strip it of everything that smacked of that movie, and Hannibal Lector, and focus much more on the characters. So I tried to tone down the serial killer's Lector-like qualities and make the heroine as far removed from Clarice Starling as I could, especially in her relationship to him.  

The project was also unremittingly dark, so the other thing I brought in was some humor, which the network embraced but the German writers had a hard time with it. They didn't see how a show could be dark, but also still have some humor.  So the network asked me to write one of the scripts as an example…which I did.  You can read my first draft here.

All in all, it was a great group of writers, we had a terrific time, and we had a very supportive production company behind us that was eager to sell the project. I remember leaving Munich after a couple of months being very pleased with the six scripts that we developed and feeling good about the show's prospects, since I knew from the network that they liked what they'd read and were very pleased with my work (so much so, that they asked me to rush back and fix another troubled show, an X-Files rip-off, but I declined).  

The fate of Beauty and the Murderer all came down to the pilot presentation. And that's where it all went wrong.

In Germany at the time, they had yet to embrace the showrunner system. Directors were in still charge, and the guy that the studio brought in, someone who had never done a pilot before, didn't like the scenes or the series concept. So he re-wrote everything, taking out the humor and making every scene a horrible, laughable rip-off from Silence of the Lambs…and trashing months of hard work by seven writers. 

It infuriated me. I couldn't understand how the production company, after investing all the time and money in crafting the six scripts and developing a strong franchise, could stand by and let that happen. Why didn't they fire the guy and hire someone who would shoot the show that we developed…and that the network was expecting?

He's the director, they said. You can't tell him what to do.

Needless to say, the network took one look at that presentation and backed away from the project. They hated the demo film but, more importantly,  they lost faith in the production company's ability to ever deliver the show that was promised in those six scripts.

Now, it appears, ProSieben is finally getting the series that they wanted five years ago. 

UPDATE:  The pilot presentation is actually available on YouTube with English subtitles. Here it is: