Writing

The Writer is God

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The Guardian reports that the only way to raise the quality of UK television series is to adopt the showrunner/writing room system prevalent in the U.S. They write, in part:

The only way to produce sophisticated, rich, long-running drama like The Wire or even ER is to use a team of writers who collaborate under a showrunner, a system the US studios has cracked. It's too much for even one great dramatist to write the whole thing, but you can't hire hack writers to work on episodes in isolation. Result: US viewers sit down to an evening of Damages; we get Casualty

The short Guardian piece was in response to a terrific essay by Peter Jukes in Prospect Magazine, where he wrote, in part:

in US television drama “the writer is God.” This is not because of literary cachet—it’s arisen out of aesthetic, technical and commercial need. Drama is incredibly expensive to make and economies of scale kick in when stories are told over 13 or 24 episodes. They cannot be written by one person alone, nor can they be effectively controlled by studio executives, actors or directors, whose talents by definition lie elsewhere. It requires a team of writers willing to develop character and narrative over a long haul, keeping it focused and fresh. It’s not the writer, singular, who is God in US television drama, but the role of the writer, generic, in the process.

 […]Although we are blessed with a tradition of great television dramatists, there’s no way that Alan Bleasdale, Dennis Potter or Jimmy McGovern could have written a dozen episodes of a show alone. We have recently imported the idea of showrunners for the resurrection of Dr Who and Survivors, but their power is limited, and the principle of collaboration doesn’t penetrate the lower echelons. Script editors and producers take a dim view of you talking to another writer without tight supervision. There is no financial incentive either. Why make someone else’s episode great when it might make yours look less good? Given that the running order can be changed at the last moment by management fiat, those collectively crafted character developments and story arcs will be binned anyway. Just write your own episode and cash that cheque.

I recommend Jukes' article, it's fascinating reading.

Editorial Guidance

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My Uncle Burl Barer is an Edgar-award-winning author of a dozen books but that doesn't make the job of writing any easier…in fact, he's having some trouble with is current project.

There is something not right about my current book in progress, and it is driving me crazy. […] So far, at the request of my editor, I've done a complete restructuring of the book, and still it doesn't "sing."
Tomorrow I'm calling "headquarters" – the executive editor — and consulting on what I need to do to make this baby at least hum.

Thankfully, Burl has something most self-published authors do not… an experienced editor provided by the publisher at no charge to him.

Editors are the inspired clergy of the literature religion. They comfort, admonish and encourage. They bring out the diamond potential in our prolix lumps of coal. I am blessed with the editors at Kensington Publishing, headed by the resilient and insightful Michaela Hamilton. Mike Shol is currently editing the manuscript of Fatal Beauty, and it is all coming together. Whew. I pity authors who don't have the blessing of a world-class editor. I've been very lucky. My first book, THE SAINT: A Complete History was edited by Steve Wilson at McFarland & Co. I doubt I would have snagged the Edgar were it not for his guidance. One of the tragedies of self-published (ie self-printed) books is often the lack of editorial guidance, not to mention the lack of sales.

Sadly, many "self-published" authors have gone the vanity press route because they believe their work is perfect "as-is" and reject any suggestion that their book may be flawed in some way (which is one reason why the self-publishing companies are known as "vanity presses"). These aspiring authors don't recognize the importance of editing and rewriting, of having an experienced, and objective, outside perspective on their work. All they are interested in is seeing their book "in print" as quickly as possible without having to "jump through all those hoops" or letting anyone meddle with their "artistic vision." And that's why so much of what is self-published out there is unreadable slop.

What is it… Really?

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TV writer & blogger Will Dixon has taken some points I raised on how mysteries are constructedand expanded on them as they apply to sf, horror and fantasy shows . He wrote, in part:

when it comes to constructing the plot for good genre mysteries (like X Files; Buffy; Angel; Firefly…and today you've got Supernatural; Smallville; Warehouse 13; Sanctuary; even Chuck, etc.), there is one question always be asked: 

What is it…what is it really. 

 (In the case of procedurals and investigative mystery programs like 'Veronica Mars' or 'Castle' or 'Bones', the mantra becomes: Who is it...who is it really.)

[…]Of course, this is just one aspect to telling a good mystery story. To take it to the next level, you also need to pick an overall theme to flesh out the episode.

Dixon offers some examples from Buffy The Vampire Slayer to back up his points. His observations are well worth reading.

The Lee Goldberg Show

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If you missed my live, interactive webcast last week, now you can catch the archive version. I've posted the first half of the show, where I talked about MONK with my special guest David Breckman (writer-producer-director of MONK), in three parts on YouTube or you can download it here. Unfortunately, there were technical problems at the studio and the second half of the live show, where I talked about my movie FAST TRACK, wasn't recorded.

The Mail I Get

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I get two or three emails a day like this from strangers:

Forgive the intrusion. I want to connect with you and request your expertise as to the best way to pitch a series treatment to the cable and over the air TV networks.

I'm sure you've heard this story before. I have a treatment for a 60 minute scripted, dramatic series. […]My treatment is registered with the WGA and I have an NDA that I can send to anyone interested in reading it. Do you have any suggestions on who to approach and how? I realize I have no track record, but, I'm certain it will grab someone in the first 30 seconds.

I don't have time to answer the question individually for people, so I usually refer them to my book SUCCESSFUL TELEVISION WRITING and to this old blog post. Afterwards, they either tell me their situation is special because their Really Great Idea for a Television Series is the Best Really Great Idea for a Television Series to come along in decades…or they call me a jerk for not offering to read their Really Great Idea for a Television Series, refer them to my agent, and give them the names of people to contact in the industry.

And so it goes. You've heard it all before from me, again and again, and it's getting as tiresome for you to read about it as it is for me to deal with it. 

But this time I'm leading up to a variation I received on the usual request and I think the exchange is worth sharing with you. I got the following email a few days ago:

I'm writing you because I read your blog and I thought that you would be a great source for information on finding writers. I am currently looking for writers for a couple projects that I'd like to produce and/or pitch and I was wondering if you could give me advice on finding writers for TV and Film. Are there any great messages boards or events to attend? Also, I know you're not a lawyer, but how should I protect my ideas and the writers ideas/work if they were to send me anything. Hope you can help!

That was a new twist on the old question for me. So I replied:

First, let me ask you a couple of blunt questions…with no offense
intended (these are questions you need to ask yourself, too, before
setting out to work with writers). What does a writer need you for?
What is the incentive for a writer work with you developing your ideas
into screenplays or pitches…as opposed to just trying to sell his
own ideas? You mention that you'd like to produce…but do you have
any actual producing experience?

I got a very nice reply, but it was clear that she was still missing the point of my questions:

I appreciate you taking the time to get back to me. I'm actually an actress here in LA and I see so many voids on TV and in Film and it's really been frustrating me lately. I have several projects/ideas that I'd like to put together, not for me to act in, but to produce to fill those voids, specifically, in single camera comedy for TV. I don't have any connections in Hollywood or producing experience, but I have the passion and desire to do what I need to do to make things happen. Also, I know people with producing experience who would be more than willing to help me along the way. The only problem is, I'm not a writer and I feel that writing for TV, especially comedy, requires great skills. If all else fails, I will write. I just thought that in LA there has to be writers that are looking to get their work out there as well and who are trying to target the same audience that I'd like to reach. This is my reason for reaching out to writers.

Here's an excerpt from my response:

Please don't take offense at what I am about to say, I just want to be
honest and straight-forward with you, it is not my intent to insult
you or hurt your feelings.

In Hollywood, ideas are cheap and execution is everything. What is
NYPD BLUE? A bunch of cops in NY solving crimes. ABC didn't buy the
idea…they bought Steven Bochco doing cops in NY solving crimes. What
is EVERYBODY LOVES RAYMOND? A married guy with kids whose parents live
across the street. CBS didn't buy the idea….they bought popular
standup comic Ray Romano and veteran comedy writer/producer Phil
Rosenthal executing that idea. What is BOSTON LEGAL? A bunch of
lawyers in Boston. ABC didn't buy the idea…they bought David E.
Kelley doing lawyers in Boston. The networks buy voice and experience
and relationships and proven success. I'm saying all that because what
you have are ideas…and you are looking for writers to flesh them
out. But since you aren't a writer, and you aren't (as far as I know)
an actress who has a huge following or production deals, you don't
really bring anything to the party, so-to-speak. You don't have the
voice, experience, the relationships, or the proven success.

The best way for you to find writers is to network among your friends.
Perhaps you can find a friend of a friend of a friend who has writing
talent but lacks inspiration (perhaps a friend of one of those producers you know)
You need to find someone who wants to
work with you because they like you on a personal level…not because
you are offering any real opportunity…because, let's face it, you
aren't.

Why not try writing the scripts yourself…why wait until "all else fails?"

I haven't heard back from her yet, but I'll update this post if I do.

Stuart Kaminsky Has Passed Away

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6a00d8341c669c53ef00e5537a6b858834-800wi  My friend Stuart Kaminsky died today. I really don't know what to say, so please forgive me if I ramble a bit. Stuart was not only a wonderful writer, he was a wonderful human being. He was unfailingly kind and supportive to his fans and his fellow writers. I was both. 

I first met him decades ago when I was a kid and a fan of his Toby Peters books, which I saved up to buy through the Mystery Guild (and wrote in each one "This book belongs to Lee Goldberg and Not You). I wrote him a fan letter and he wrote me back, and that started a correspondence that lasted off-and-on as I went from being an aspiring writer to a professional one. LeeJanStuart2a  

We became friends. He was one of the first writers to blurb me and gave me a lot of great advice over the years (and I was ridiculously honored, and thrilled, the first time he called me for advice on something. Actually, that never wore off). We've been produced together (NERO WOLFE) and published together (HOLLYWOOD AND CRIME) and worked together on various MWA committees over the years. The last time I saw him was a year ago in Kentucky, where he was staging an original Sherlock Holmes play at the International Mystery Writers Festival. We spent a week together and his boundless enthusiasm energized the whole event. That was the thing about Stuart, he never lost his love and his passion for writing…and it was contagious. I will miss him very, very much.

(The photo on the upper left is Bob Levinson, Stuart and me at the International Mystery Writers Festival last year. The picture in the lower right is me, Jan Burke and Stuart at the 2002 Edgar Awards. You can click on the images for a large view)

Benson on Bond

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Rbb  My friend Raymond Benson talks to Buzznews about what it was like to pick up where Ian Fleming & John Gardner left off as author of the Bond novels from 1997-2002. Here's an excerpt:

How did you go about laying the groundwork for your incarnation of James Bond?

Raymond: I was told by IFP (Ian Fleming Publications) that I could "use or ignore" anything that the other continuation authors (Amis, Pearson, Gardner) had done. I didn't contradict anything Gardner did, I just changed a few things back, like the whole "Captain"/"Commander" thing and the gun Bond uses.[…]Basically, the Bond continuation novels should not be taken as an extension of the series that was before it…. they are separate series by individual authors… the only thing we really need to be faithful to is Fleming’s universe. After all, if we were REALLY being a continuation, then Bond would be in his 90s by now.

When you did the novelizations for the movies Tomorrow Never Dies, The World Is Not Enough and Die Another Day … What did you have to do to fit the stories into the reality and you'd already spun? 


Raymond: With the first one, "Tomorrow Never Dies", I tried to fit it in with the continuity after "Zero Minus Ten," my first Bond novel, and mentioned that 007 had been to Hong Kong etc…. but then after that I realized it wasn't worth the trouble. EON didn't care about the novelizations fitting in with my original books, and neither did IFP . They were treated like separate entities, just tie-ins to the respective movies, which is what they were. I don't consider the three novelizations part of my "oeuvre", so to speak.

Murderous Musings

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Author Jean Henry Mead interviewed me for the Murderous Musings blog and got me to blather on and on about myself and my books, something I hardly ever get a chance to do with my blog, my twitter page, my Facebook page, my… well, you get the idea. Here’s an excerpt:

Lee, when did you realize you were a writer?

I’ve always known. When I was ten or eleven, I was already pecking novels out on my Mom’s old typewriters. The first one was a futuristic tale about a cop born in an underwater sperm bank. I don’t know why the bank was underwater, or how deposits were made, but I thought it was very cool. I followed that up with a series of books about gentleman thief Brian Lockwood, aka “The Perfect Sinner,” a thinly disguised rip-off of Simon Templar, aka “The Saint.” I sold these stories for a dime to my friends and even managed to make a dollar or two. In fact, I think my royalties per book were better then than they are now.