It's a lousy book, a dull compendium of Robert B. Parker cliches… including the endless discussions about "men who are men doing what they have to do" and still more bland iterations of the Spenser & Hawk/Jesse Stone & Jenn relationships, only this time played out in the old west (there's even a chapter that ends with a character saying "We'd be fools not to," something Parker manages to put in at least once in every book). What's really tiresome is all the filler talk about how wonderful and invincible gunslinger Virgil Cole is, especially whenVirgil himself keeps saying it. The banter between Virgil and Everett is witless and dull, and feels more like typing than writing. I was a big fan of APPALOOSA and RESOLUTION, the earlier, and much better, books in this series, but this one is an aimless, lazy, clumsy mess…difficult to enjoy even for diehard Parker fans like myself who have stuck by him even as he continues to disappoint.
Writing
Breaking In
Screenwriter, producer, teacher, novelist and bon vivant William Rabkin has written an excellent article on Storylink about what a newbie writer has to do to break into television. You've still got to write an episodic spec script, but…
Your spec can’t simply be a good episode. It’s got to be bold, audacious, and big. It has to go places no one has ever thought of going before and do things no one has imagined doing. And it’s got to do it on the first page. Hell, on the first half page, because your reader may not bother going further than that. You’ve got to grab your readers right away and force them to keep reading.
In short, you need a gimmick.
No, typing your script in 3-D and including polarized glasses isn’t going to do it. What I mean by a gimmick is a transformative approach to storytelling that allows you to retell the series’ underlying narrative in a way that makes it seem new again. It’s a stylistic or structural element that shows that your vision is so intriguingly different that showrunners will fight to bring it to their series.
Dishing on Disher
I'm sure glad I recuperated in time to meet author Garry Disher today. I arranged to pick him up at his hotel and take him on a quick visit to Santa Monica before his 6 p.m. signing at the Mystery Bookstore.
Lee,
This one is for you, with thanks and admiration.
Garry Disher
For Lee Goldberg
If you're in the Bay Area, you should go see them. He's also speaking at the First Congregational Church in Berkeley that same day.
This is My Life
Getting fired, in the form of a series cancellation, is a fact of life for people working in the TV industry. As an example, The Los Angeles Times reported yesterday on what it's like for the crew of the CBS series THE UNIT to be waiting, and wondering, whether their show is coming back.
If drama is life heightened, then Hollywood's bubble shows mirror much of America right now, where the specter of pay reductions, freezes and immediate unemployment is writ large. In the television industry, the phenomenon is an annual rite as network executives decide which series will be ditched to make room for new projects.
"What the country in general is going through, if you choose to work in Hollywood, you've accepted a life that is constantly like that," said executive producerShawn Ryan, who runs "The Unit" and created the FX cable channel's cop drama "The Shield."
[…]Executive producer Vahan Moosekian is as familiar with these employment ups and downs as anyone. His four years on "The Unit" is his longest stint on any show during his 33 years in the industry, stability he knows could easily be followed by years of unemployment. With the rise of reality TV and NBC's new 10 p.m. Jay Leno comedy show, there are fewer jobs in scripted television.
I know how Moosekian feels. For years, I used to dream about what it would be like to actually be on a show that came back for a second season. It seems like every show I was on would be canceled during it's first season, or if it came back, I would leave for one reason or another before it happened. It wasn't until DIAGNOSIS MURDER that I discovered what it felt like to be on a show for several years…though we were on the bubble for renewal, not just every season, but every mid-season as well.
Tod’s Burning Sensation Explained
My brother Tod talks today about the challenges he faced writing his latest BURN NOTICE novel:
Writing these books is certainly a different kind of experience for me — I write them very, very quickly. More quickly than I'd like, really, but the turn-around time on them is such that I really only have about three months to write each one and have a normal life in-between. And by normal life, I of course mean a normal writing life…
But even after he turned in the book, he wasn't actually done writing it…
I wasn't happy and added a new chapter from Fiona's pov when the copyedits came in, which probably didn't thrill my publisher, but it felt like something was missing. I've been tinkering a lot with adding different povs into the books — Sam's, Fiona's, and in this new book I'm writing, you get the client's pov for a chapter, too — because that's the one thing I'm really able to do that you can't get on the show. Plus, it's fun for me as a writer.
And it's gonna be fun for you as a reader, too, because his BURN NOTICE books are great. And I'm not just saying that because we share a few genes.
TREK Screenwriters Are Tied-in
"Best Destiny" by Diane Carey (Pocket Books, 1993). "A beautiful imagining of Kirk's childhood and how it shaped him to love the stars."
"Spock's World" by Diane Duane (Pocket Books, 1988). "If Mr. Spock is your favorite character, this is amust read. The relationship he forges with Dr. McCoy finally gets the nuanced treatment it deserves."
"Prime Directive" by Judith and Garfield Reeves Stevens (Pocket Books, 1990). "One of the best incarnations of the original bridge crew, with every character given equal consideration and full development, against the backdrop of a real-deal science fiction story."
"Ex Machina" by Christopher L. Bennett (Pocket Books, 2004) "A great example of how a 'Trek' novel can fit within 'canon' while existing between the movies we love."
Book Fest, the sequel
It was another fine day at the Los Angeles Times Festival of Books. I chatted with lots of authors and readers….and did a signing with my brother Tod, William Rabkin, Patricia Smiley and Denise Hamilton. BURN NOTICE creator Matt Nix also stopped by and signed some books wih Tod. I showed my MWA spirit, and my rippling muscles, by wearing the new SoCal MWA t-shirts that were hot-sellers at our booth.
The End Game Has Got Game
My brother Tod’s BURN NOTICE: THE END GAME got a rave from Rod Lott at Bookgasm, who says, in part:
It is fun, capturing the show’s joyous, jubilant essence, but not, sadly, shots of well-endowed women in bikinis. […]The book is quick, snappy and forever mirthful — just like its source material. And until that starts back up in the summer, this is a fine substitute for a weekly fix.
Party Hearty
The Mystery Bookstore in Westwood and the Mystery Writers of America are hosting a big pre-Book Festival party at the store on Friday night, April 24, 5-9pm. Here's the skinny:
PRE-FESTIVAL OF BOOKS PARTY!
Join us for this annual celebration of crime fiction, featuring food, drink, and visits from dozens of our closest friends. Our guest list is always subject to last-minute changes, but these are some of the folks who have promised to join us:
Shilpa Agarwal, Brett Battles, James Scott Bell, Cara Black, Marc Blatte, Carol Higgins Clark, Mary Higgins Clark, Dianne Emley, Tom Epperson, Christa Faust, David Fuller, Michelle Gagnon, Victor Gischler, Lee Goldberg, Chris Grabenstein, Robert Greer, Denise Hamilton, Naomi Hirahara, Gregg Hurwitz, Sue Ann Jaffarian, Craig Johnson, Leslie Klinger, John Lescroart, Paul Levine, Sheila Lowe, Lisa Lutz, Robert Masello, George Mastras, T. Jefferson Parker, Gary Phillips, William Rabkin, Cornelia Read, Patricia Smiley, Susan Arnout Smith, Mark Haskell Smith, Eric Stone, Kelli Stanley, Louise Ure, Sarah Weinman, Stuart Woods, Robert Dugoni, Jeri Westerson, John Morgan Wilson and Edward Wright!
Day of the Living Dead
Today I was so jet-lagged that I felt like I was sleep walking around Munich. I know I looked like the undead. But I fortified myself with some tea and chocolate at Kafer before the big pitch and it went well. Between the sugar, caffeine and adreniline, I've managed to stay alert from mid-afternoon until right about now (8:30 pm on Thursday night). We had a post-pitch discussion over dinner and then on my way back to the hotel I treated myself to a Kopenhagener pastry for a job well done. I am going to go to bed as soon as I finish typing this post. Tomorrow morning I have a breakfast meeting with my friends at Hofmann & Voges Productions and then it's back to L.A. All in all, I think it was a very productive five days that I hope to build upon in the coming weeks.