Columbus Sets Sail with Riordan

HARRY POTTER director Chris Columbus has found his next movie project — mystery writer Rick Riordan’s first children’s fantasy novel THE LIGHTNING THIEF. Columbus will direct and produce the movie. No word yet on who the screenwriter is. Rick is probably best known among mystery fans for his terrific Tres Navarre PI series.

Elaine Viets Update

Great news — Elaine Viets is on her way home today, only a week since suffering a stroke. I told you she’s a fighter! Here’s the latest update from her friends Kris Montee and Barbara Parker:

Nobody thought this would happen so soon, but if you know Elaine you know she wasn’t going to sit still for this for long.  When Barbara asked her where she was going, she said "Home, then I-Hop."

[…] She’ll need home nurses for a while, but Elaine Viets is definitely on her way back. Elaine is very tired, but there are no signs of paralysis, and physical therapy is scheduled to begin Monday.

[…] Elaine’s her main concern — and she has expressed this herself — hooray! — is that her new Dead End Job mystery, pub. date May 1, will fall flat without her being available to promote it.  (She was scheduled to tour for it, but that’s out of course). So, instead of buying food or sending flowers, we’d recommend that everyone contact his or her local independent bookseller and order two copies of MURDER WITH RESERVATIONS, and encourage everyone they know to do the same.  The best present in the world for Elaine would be a spot on the NYTimes bestseller list.

Obsidian Launched

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.

Elaine Viets Suffers Stroke

Elainemarch2007 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

Matthelmlogo
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

Crow_business_card 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

Iamtwlogorgbmedium_1 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