Penguin Group is launching Obsidian Mysteries, a new imprint for NAL’s mystery titles, including my MONK novels. Obsidian premieres in September with
Alison Gaylin’s TRASHED and Donald Bain’s MURDER SHE WROTE: PANNING FOR MURDER. Other Obsidian authors include Tamar Myers, Sue
Henry, Selma Eichler, and Denise Swanson.
Writing
Elaine Viets Suffers Stroke
I have some horrible news to share — author Elaine Viets has suffered a stroke. But she is out of danger and is, I am told, making a remarkable recovery. I am not surprised. Elaine has always been a fighter. I’ve known Elaine for years and have worked with her on various MWA projects. I have always admired her humor, her candor, and her dedication to her fellow writers.
Donald Hamilton
I just learned from Charles Ardai, publisher of Hard Case Crime, that Donald Hamilton, author of the Matt Helm novels, has died. Ardai’s obituary is so informative and thoughtful, I’m sharing it here in its entirety as a tribute to Hamilton, who I was lucky to have met several years ago at the Edgar Awards:
Don was 90 years old. Though his name may be little
remembered today, in the 1960s and 70s he was well known as the best-selling
author of the "Matt Helm" novels, a series of well-written and popular stories
about a ruthless agent of the U.S. government who fought evil in the Cold War
world (and eventually — briefly — the post-Cold War world). Helm starred
in 27 novels between 1960’s DEATH OF A CITIZEN and 1993’s THE DAMAGERS;
he was also featured in several movies starring Dean Martin, as
well as a short-lived TV series starring Anthony Franciosa that reimagined the
character as a private eye. More recently, Dreamworks optioned the rights
to all the Helm novels for feature film development. A final Matt
Helm novel exists but has never been published.Don also wrote a dozen
non-Helm novels, including several popular Westerns (including THE BIG COUNTRY,
which became the Gregory Peck movie, and SMOKY VALLEY, which was filmed as "The
Violent Men" starring Glenn Ford). And he wrote several outstanding noir
crime novels, including one — NIGHT WALKER — which we’re proud to have
reprinted last year in the Hard Case Crime series.In the last decade of
his life, Don moved back to Sweden, where he’d been born, and lived
there with his son, Gordon. He died peacefully, in his
sleep, this past November. Gordon kept the fact of his
death private until today, when he confirmed it in a phone conversation with
me.We’ve lost a number of giants of the mystery field over the past few
years — Mickey Spillane, Ed McBain, and Richard S. Prather, among others — and
Donald Hamilton is very much of that caliber. He sold more than 20 million
books during his lifetime. But unlike Spillane, McBain and Prather, all of
whom were widely remembered at the time of their death, Don’s passing has sadly
gone unremarked.
Getting Read
There’s a great interview at UKSFBookNews with IAMTW member Steve Saville about his nomination for a Scribe Award. Here’s a short excerpt:
UKSFBN: Do you think these awards are going to help raise the
profile and respectability of tie-in novels and boost sales, or is it
more of an intra-industry back-slapping exercise?SAVILLE: Sorry, I can’t help but chuckle at the idea of the awards existing
to boost sales when as a general rule of thumb most media tie-ins
outsell traditional SF and Fantasy novels quite considerably – and I
don’t mean one or two thousand more copies, I mean twenty or thirty or
fifty thousand copies and often more.
I find it quite interesting, but tie-in writing is often seen as the
‘ghetto within the ghetto’, which is just absurd when you consider %
How To Write a Treatment
This was originally posted back in June 2005…but since I get asked this question a lot, and I am on a plane to Germany right now, I thought I’d share it with you again.
Bryon Stedman asked me this question in a comment to another post:
I have a situation where a broadcast entity claims they want to hear my idea for a boxing series or made for TV movie. The characters belong to my family from a comic drawn by my father.
If a narrative is they way to go, what are the key points to include? Do I go as far as dialog and cameas shots and locations or simply text with main characters CAPITALIZED? Advice requested and appreciated.
A series treatment and a TV movie treatment are very different. A series treatment sells the characters and the franchise of the show…the relationships and format that will generate stories week after week. A TV movie treatment sells a story.
If the studio is already familiar with your Dad’s comic, I don’t know why they need you to come up with a series treatment…the strip itself sells that or they wouldn’t be interested in the first place.
A series treatment isn’t about telling a story…it’s about describing the characters, how they interact within the unique format of your show. Who are they? What do they do? And how will who they are and what they do generate 100 interesting stories?
For a TV movie treatment, you’re selling the characters and their story. At this point, you’re trying to sell the broadstrokes…they can pay you to work out the rest. Write up a punchy over-view of what happens in the story, as if you were writing a review of a great movie (only minus the praise). You want to convey the style and tone of the movie. But don’t go into great detail. Keep it short, tight and punchy.And whatever you do, DON’T include camera shots or dialogue.
Don’t fixate on treatment format, because there isn’t one. Tell your story in the style that works best for you. Don’t worry about whether the character names are in capitals or not (it doesn’t matter). Concentrate on telling a strong story.
Ghost Riding
The friendly folks over at Bookgasm conducted a terrific interview with IAMTW member Greg Cox about writing comic book tie-ins and movie novelizations (most recently, the tie-in for the comic-turned-movie GHOST RIDER). It’s a revealing peek into the creative obstacles a tie-in writer often faces:
BOOKGASM: What do you find attractive about writing novelizations? And what’s not-so-attractive?
COX: On the positive side, you get to let someone else worry about the plotting and dialogue for once. It’s also just neat, on a fannish level, to be privy to the inside scoop on some upcoming new movie. The challenge is trying to describe a movie you haven’t actually seen; I’m always desperate for any sort of visual reference material I can get from the studio. Getting photos of the supporting characters tends to be difficult sometimes. The deadlines can be pretty tight, too.
BOOKGASM: When you finally see a film you earlier wrote a novelization for, what’s that experience like?
COX: Usually, it takes a couple of viewings before I can appreciate the movie on its own terms. The first time through, I’m too busy wincing at all the differences between the book and the movie. “Hey, what happened to the barn scene? That chase doesn’t go there. Ohmigod, they changed the dialogue. Wait a second, nobody told me that character was a woman!”
As The Crow Flies
My friend Bryce Zabel talks about the development of his TV series version of THE CROW, which is about to be released on DVD. It’s fascinating stuff (what’s even more fascinating is that he saved his business card):
What do you do when the incredibly violent film you are asked to adapt to a TV audience is based on cruelty, and the main character is driven by a thirst for revenge?
My answer? You expand the premise to fully explore the nature of life after death, and you change the character quest from revenge to redemption.
And how do you handle the fact that the cult film was made infamous by the horrible on-set death of its star, Brandon Lee?
That was a tougher question because the idea behind the TV series was to use the Eric Draven character, the one who’d been in the comics and that Brandon Lee had played. My take was that, tragic as Lee’s death was, George Reeves’ tragic death did not prevent Christopher Reeve or Dean Cain from playing Superman, and that we would just have to proceed and hope that our own version stood intact on its own.
Scribe Nominees and Grandmaster Announced
The International Association of Media Tie-In Writers is pleased to announce the nominees for the first annual Scribe Awards, honoring excellence in licensed tie-in writing for books published in 2006.
Our first annual GRANDMASTER AWARD, honoring career achievement in the field, will go to DONALD BAIN, author of the MURDER SHE WROTE novels and the ghostwriter behind COFFEE, TEA OR ME and other bestsellers.
The 2007 Scribe awards will be given out at a ceremony in late July at Comic-Con in San Diego. The details on the event, and how to attend, will be announced in the near future. Congratulations to all our nominees!
SPECULATIVE FICTION
BEST NOVEL – ADAPTED
SLAINE: THE EXILE by Steven Savile
SUPERMAN RETURNS by Marv Wolfman
TOXIC AVENGER: THE NOVEL by Lloyd Kaufman & Adam Jahnke
ULTRAVIOLET by Yvonne Navarro
UNDERWORLD: EVOLUTION by Greg Cox
BEST NOVEL – ORIGINAL
STAR TREK CRUCIBLE: McCOY – PROVENANCE OF SHADOWS by David R. George III
STARGATE ATLANTIS: EXOGENESIS by Elizabeth Christensen & Sonny Whitelaw
THIRTY DAYS OF NIGHT: RUMORS OF THE UNDEAD by Jeff Mariotte & Steve Niles
WARHAMMER: FAITH AND FIRE by James Swallow
WARHAMMER: ORC SLAYER by Nathan Long
GENERAL FICTION
BEST NOVEL – ADAPTED
SNAKES ON A PLANE by Christa Faust
THE PINK PANTHER by Max Allan Collins
BEST NOVEL – ORIGINAL
CSI NEW YORK: BLOOD ON THE SUN by Stuart Kaminsky
LAS VEGAS: HIGH STAKES by Jeff Mariotte
MR. MONK GOES TO HAWAII by Lee Goldberg
OAKDALE CONFIDENTIAL: SECRETS REVEALED by Alina Adams
YOUNG ADULT – ALL GENRES
BEST NOVEL
ALIAS APO: STRATEGIC RESERVE by Christina York
BUFFY THE VAMPIRE SLAYER: PORTAL THROUGH TIME by Alice Henderson
DRAGONLANCE: WARRIOR’S HEART by Stephen Sullivan
KNIGHTS OF THE SILVER DRAGON: PROPHECY OF THE DRAGONS by Matt Forbeck
Breaking In
I’ve been looking at my stats and I’ve noticed that there are some posts that people are repeatedly searching out. I’ll start reposting some of them for those of you who only started following this blog in the last year or so. This one is from November 2005 and is also available as an article on the Writers University website…
How do I become a television writer if I don’t have any contacts?
I get asked this question a lot…but it’s disingenuous, since I’m a TV writer/producer and whoever is asking me that is really asking me to either read their script or to invite them in to pitch. So, theoretically, they already know somebody in the business.
They’re luckier than I was when I got started. I didn’t know anybody in the TV industry. But I got in. How did I do it? Everybody’s story is unique. Most of those stories, however, share one common element. You have to put yourself in the right place to get your lucky break. And it’s easier than you think.
The first thing you have to do is learn your craft. Take classes, preferably taught by people who have had some success as TV writers. There’s no point taking a class from someone who isn’t an experienced TV writer themselves.
You’d think that would be common sense, but you’d be astonished how many TV courses are taught by people who don’t know the first thing about writing for television or who, through a fluke, sold a story to Manimal twenty years ago and think that qualifies them to take your hundred bucks. Even more surprising is how many desperate people shell out money to take courses from instructors who should be taking TV writing courses themselves.
There’s another reason to take a TV writing course besides learning the basics of the craft. If you’re the least bit likeable, you’ll make a few friends among the other classmates. This is good, because you’ll have other people you can show your work to. This is also good because somebody in the class may sell his or her first script before you do… and suddenly you’ll have a friend in the business.
Many of my writer/producer friends today are writers I knew back when I was in college, when we were all dreaming of breaking into TV some day.
A writer we hired on staff on the first season of Missing was in a Santa Monica screenwriters group… and was the first member of her class to get a paying writing gig. Now her friends in the class suddenly had a friend on a network TV show who could share her knowledge, give them practical advice and even recommend them to her new agent and the writer/producers she was working with.
Another route is to try and get a job as a writer/producer’s assistant on an hour-long drama. Now only will you get a meager salary, but you will see how a show works from the inside. You’ll read lots of scripts and revisions and, simply by observation, get a graduate course in TV writing. More important, you’ll establish relationships with the writers on the show and the freelancers who come through the door. Many of today’s top TV producers were writer/producer assistants once. All of the assistants I’ve had have gone on to become working TV writers themselves… and not because I gave them a script assignment or recommended them for one. I didn’t do either.
The first step towards getting into pitch a TV producer for an episodic writing assignment is to write an episodic teleplay on spec.
By that I mean, a pick a show and write an episode for it.
Although there are some producers who prefer to read screenplays, most showrunners, agents, and network executives want to read an episodic teleplay. Even if your spec feature script has acceptable levels of dialogue, characterization, and structure, people thinking of hiring you will still wonder “yes, but can he handle my characters? Does he understand the four act structure?” An original piece can demonstrate that you have a strong voice, but it doesn’t show whether or not you blend that voice with ours. Can you write what we need without losing whatever it is that makes you unique? That’s why we need to see your talents applied to a TV episode. To someone else’s characters. To someone else’s voice.
How do you pick a show to spec? Easy. Pick a show you like. Odds are, if you’re thinking about trying to become a TV writer, you already know what show you want to spec — you just don’t know you know. It’s the one you watch every week, and when it’s over, you find yourself thinking: That was pretty good, but wouldn’t it be cool if —"
Don’t worry about what’s hot and what’s not – choose a show you feel a connection to, one that you “get.” With some exceptions:
Fast Track
One of the reasons I have been jetting back-and-forth to Europe a lot lately is because I’m writing and producing a two-hour movie/pilot for Action Concept that will be shot in Berlin in May for broadcast on ProSieben (a big German network) and worldwide in international syndication. I’ve waited until we got the firm greenlight before sharing the news with you (I’m superstitious that way).
The project is called FAST TRACK and is about urban street racing (yes, I’m being intentionally vague). The movie will be packed with amazing, street-racing action (check out the Action Concept website to see what these guys can do!) and shot entirely in English. The leading roles are being cast in Los Angeles by Burrows/Boland, who did LORD OF THE RINGS, KING KONG, CAST AWAY, 21 JUMP STREET, CONTACT, A-TEAM, DIAGNOSIS MURDER and MARTIAL LAW, to name a few.
I’ll bring you reports from the set as production moves along.