The House Name

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Author James Reasoner, the hardest working guy in publishing, talks about what it's like to have most of his work published under "house names" — author bylines owned by the publisher — like Tabor Evans, for instance. He says, in part:

At last count, novels and stories I’ve written have been published under at least 35 different names.[…]

In the past month I’ve worked on projects that will be published under four different names, none of them my own. People have asked me, “How can you write a book knowing that your name won’t be on it?” For years my standard answer was, “I don’t care as long as my name is on the check.” Of course that’s not completely true, now or then. Writing has been my job for more than three decades now, and getting paid is important. But most writers love to see a new book with their name on it, and I’m no different. If we didn’t have egos, it probably wouldn’t even occur to us that people might want to read what we write, would it? I’ve been blessed with the ability to put those feelings aside when I’m working, at least to a certain extent. When I’m sitting at the computer, the words appearing on the monitor are my words. The book I’m writing is mine. When it’s published, my name may not be anywhere on it, but that has no bearing on the writing itself. I know it’s good, and I feel a surge of pride when I see the books in the store and know that people are reading them and enjoying them. So when you come right down to it, the answer to the question “Who am I today?” is simple and always the same.

I’m a guy writing a book, spinning a yarn. That’s all I ever wanted to be.

Novelizing THE TUDORS

There was a very nice article in today's Waynesboro News-Leader about author & IAMTW member Elizabeth Massie winning the Scribe award for her brilliant novelization of THE TUDORS.

A two-time winner of the Bram Stoker Award, Massie is an accomplished writer of original horror stories, as well as historical fiction. She has had numerous short stories, novels and anthologies published since 1984. Her "Tudors" novelizations of seasons two and three were published in 2008 and 2009, respectively. The show aired for four seasons and ended in June. As a writer of original works, Massie's "Tudors" projects presented her with some unique challenges.

Massie, 56, was sent scripts for each episode and then wrote the season into one book at the same time it was being filmed in Ireland.

The books had to be loyal to the show, but the scripts, as they tend to be, were scant in details and description.

So Massie had to conduct historical research to bring the story alive on the page.

"The script would say something like, 'King Henry enters the room. He sits on a chair. He starts to talk,'" she said. "I had to fill in details of the way things looked, what they ate, how long did it take to get from London to Hever Castle (by horse and carriage). Things like that."

[…]Goldberg said Massie's "Tudors" work is especially unique because she wrote an entire season into one book.

"She managed to make the book read like a literary novel," he said. "She gave it this classy patina that these books don't often have…"

You can find out more about the challenges she faced in her chapter on novelizing THE TUDORS in TIED IN: The Business, History and Craft of Media Tie-In Novels, which is available in a Kindle edition and in a trade paperback edition.

Harry O Tie-Ins

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What is best TV private eye show? For me, it's a tie between David Janssen's HARRY O and James Garner's THE ROCKFORD FILES… with Darren McGavin's THE OUTSIDER coming in a close second. The plots on HARRY O were often lousy, but the pleasure of watching Janssen's portrayal and listening to the crisp dialogue (and, in the first season, the voice-overs) more than made up for it. HARRY O is definitely the most "literary" of the three …by that I mean that it was the show that came closest to capturing the feeling of reading a detective novel. Perhaps that's why I was so disappointed in the HARRY O tie-in novels, one of which is reviewed today over on the Vintage Hardboiled Reads blog. He says, in part:

This "Harry O" paperback is far from being a great crime novel, but as a huge fan of the series I did enjoy it. I would say that the characterization of Harry Orwell in the story is fairly close to the TV one. The spoken narrative on the show is definitely much better. And the book didn't capture that lonely, somber persona that David Janssen was able to deliver. I'll chalk that up as something that is difficult for a tie-in author to do. The writing is straightforward and the plot though interesting, wasn't too difficult to figure out. Even with the similarities of Hammett's Casper Gutman, I would of liked to have seen more of the Sydney Jerome character. He came off as the most colorful of all in the story. All-in-all, it still was a fun quick read for me. If you were a fan of the TV series, I'm sure you would get a kick out of this novel also.

And, just for the fun of it, here's the  HARRY O main title from the second half of season one  (I'll use any excuse to watch it again).

 

 

 

Tied In Ties Up Another Rave

Novelist James Reasoner has given TIED IN a rave. He says, in part:

For someone like me, who’s very interested in the history of popular fiction, the highlight of TIED IN is David Spencer’s “American TV Tie-ins from the 50s Through the Early 70s”, which is almost a book in itself. It’s a fascinating historical discussion of how the TV tie-in novel originated and evolved over the years and touches on many of the books I was buying and reading when they were new. This article really brought back a lot of good memories for me. Along similar lines, also of great interest to me were fine articles by Paul Kupperberg about comic book and comic strip tie-in novels (I read a bunch of those, too) and Robert Greenberger about the connection between pulp magazines and tie-ins.


TIED IN
is available as an e-book right now, with a print edition coming out soon. Either way, I don’t think you can go wrong. It’s informative, entertaining, and a must-have if you have any interest in tie-in fiction. Highly recommended.

Thanks, Jim!

Remaindered Cast

We've cast my short film REMAINDERED, which I wrote and will be directing in Owensboro, Kentucky in early September, thanks to Zev Buffman, Roxi Witt and all the other terrific folks at the RiverPark Performing Arts Center

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Eric Altheide is Kevin Dangler, a once-bestselling author trying to get back to the top… 

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Sebrina Siegel is Megan, his adoring fan (perhaps too adoring)

Todd Reynolds
And Todd Reynolds is Detective Bud Flanek, Owensboro's answer to Columbo (as he also was in my buddy David Breckman's film MURDER IN KENTUCKY). Robert Denton and Lisa Baldwin play supporting roles. I can't wait to start working with these terrific actors, who were found thanks to the tireless efforts of our casting director Lori Rosas and our producer Rodney Newton.

I'll be keeping you updated on the production of the movie here and on the Remaindered Production Blog...and the Remaindered Facebook group

Scribe Award Winners Announced


P7230119  The International Association of Media-Tie-in Writers presented the fourth annual "Scribe" awards, honoring such notable franchises as CSI, Criminal Minds, The X-Files, Star Trek, Stargate, Star Wars, and Dr. Who. Nominees on hand include Alina Adams (As the World Turns), Max Allan Collins (G.I. Joe), Keith R. A. DeCandido (Star Trek), William Rabkin (Psych) Stacia Deutsch (Cloudy with a Chance of Meatballs), Jeff Mariotte (CSI), Nathan Long (Warhammer), and Dayton Ward (Star Trek). The event was hosted by moderator Collins and aw
ards presenter Lee Goldberg (Monk).

Following are the nominated works. Winners are highlighted in bold.

BEST NOVEL (GENERAL FICTION) 

As The World Turns: The Man From Oakdale by "Henry Coleman" & Alina Adams
CSI: Brass In Pocket by Jeff Mariotte
Psych: A Mind Is A Terrible Thing To Read by William Rabkin

BEST ORIGINAL NOVEL (SPECULATIVE FICTION) 

Star Trek Vanguard: Open Secrets by Dayton Ward
Star Trek: A Singular Destiny by Keith R.A. Decandido
Warhammer: Shamanslayer—A Gotrek and Felix Novel by Nathan Long
Terminator Salvation: Cold War by Greg Cox (Tie)
Enemies & Allies by Kevin J. Anderson (Tie)

BEST ADAPTATION (GENERAL & SPECULATIVE) 

Countdown by Greg Cox
GI Joe: Rise Of The Cobra by Max Allan Collins
The Tudors: Thy Will Be Done by Elizabeth Massie

BEST YOUNG ADULT (ORIGINAL & ADAPTED) 

Cloudy With A Chance Of Meatballs by Stacia Deutsch And Rhody Cohon
Bandslam: The Novel by Aaron Rosenberg 
Thunderbirds: Deadly Danger by Joan Marie Verba 

GRANDMASTER: WILLIAM JOHNSTON

(pictured: William Rabkin  & Max Allan Collins)

TIED IN – The Book

The International Association of Media Tie-In Writers is pleased to announce the publication of TIED IN: The Business, History and Craft of Media Tie-In Writing, edited by Lee Goldberg.

Tie-in novels are books based on pre-existing media properties — like TV shows, movies and games — and they regularly top the national bestseller lists. But as popular as tie-ins books and novelizations are among readers, few people know how the books are written or the rich history behind the hugely successful and enduring genre.

This 75,000 word book is a ground-breaking collection of lively, informative, and provocative essays and interviews by some of the best-selling, and most acclaimed, writers in the tie-in business, offering an inside glimpse into what they do and how they do it.
Contributors include Alina Adams, Jeff Ayers, Donald Bain, Burl Barer, Raymond Benson, Max Allan Collins, Greg Cox, William C. Dietz, Tod Goldberg, Robert Greenberger, Nancy Holder, Paul Kupperberg, Jeff Mariotte, Elizabeth Massie, William Rabkin, Aaron Rosenberg, David Spencer, and Brandie Tarvin.

Our hope is that our organization, through efforts like this book, can enlighten readers about who we are and what we do, as well as explore the diversity of our work and the rich history behind it.  


TIED IN is currently available in an e-edition on Amazon and Smashwords (and soon on the iBookstore and Barnes & Noble). A trade paperback edition will be published later next month.


The Kindle Isn’t A Short Cut for Authors

There's a new interview with me up at the Kindle Author blog.  Here's an excerpt:

GOLDBERG_Iron_On_Badge_FINAL  DAVID WISEHART: You've had a successful TV writing career, and strong sales as a traditionally published mystery writer. Why publish on Kindle?

LEE GOLDBERG: I haven't published anything specifically for the Kindle yet—just my out-of-print work. So for me, it's a no-brainer. I'm making money on stuff I've already written and that wasn't earning for me any longer. But I have exhausted my back-list now…

Would I write something original for the Kindle? If I can't sell my next original novel to a major publisher, and it came down to a choice between going with a very small press or taking it to the Kindle myself, I would probably go with the Kindle, simply for financial reasons. I'm sure I could make a lot more money with Kindle publication over, say, the fine folks at Five Star, though it would mean losing some tangible benefits. Five Star books are respected, reviewed by major publications, stocked by libraries, and are eligible for all the big awards…while self-published books don't get much respect (often for very good reason), are not reviewed, are ineligible for major awards (something I understand and accept, having helped craft the eligibility rules for the Mystery Writers of America). All that said, I may test the Kindle waters with an original novella this fall.

DAVID WISEHART: What advice would you give to a first-time writer thinking of publishing on Kindle?

LEE GOLDBERG: Don't do it. I still think selling your book to a publisher, and getting wide distribution in brick-and-mortar stores, is the way to go…and will always be my first choice. You benefit from having an editor, a marketing team, a sales department, and nationwide visibility. I don't think self-publishing is a wise move for novice writers/aspiring novelists…for all kinds of reasons[…] Too many of them do it because they can't get their work published and, I hate to say it, in most cases there's a good reason for it—their books suck. They see self-publishing on the Kindle as a short-cut….or as a gold mine…and its neither. They look at success stories like Joe Konrath and Boyd Morrison and assume the same thing will happen to them. It probably won't.

I have sampled hundreds of self-published books on the Kindle… and 99.9% of them aren't just awful, they border on illiterate, as if they were written by people who never graduated high school. It's astonishing just how terrible the stuff is. Putting unprofessional, hideous crap on the Kindle *will* hurt your career. You only have one chance to make a first impression with readers, agents and publishers. That said, at least self-publishing on the Kindle doesn't cost you anything (if you don't count cover design, which you could do on your own, or hiring a professional editor) and cuts the vanity press scammers entirely out of the equation.

Bad TV Plotting

William Rabkin tipped me off to a blogger's hilarious example of  bad television plotting. Here's an excerpt:

I think the worst offender here is the History Channel and all their programs on the so-called "World War II"[…] they spend the whole season building up how the Japanese home islands are a fortress, and the Japanese will never surrender, and there's no way to take the Japanese home islands because they're invincible…and then they realize they totally can't have the Americans take the Japanese home islands so they have no way to wrap up the season.

So they invent a completely implausible superweapon that they've never mentioned until now. Apparently the Americans got some scientists together to invent it, only we never heard anything about it because it was "classified". In two years, the scientists manage to invent a weapon a thousand times more powerful than anything anyone's ever seen before – drawing from, of course, ancient mystical texts. Then they use the superweapon, blow up several Japanese cities easily, and the Japanese surrender. Convenient, isn't it?

…and then, in the entire rest of the show, over five or six different big wars, they never use the superweapon again. Seriously.

Great stuff!