Writing

Rinse. Lather. Die.

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I got this email from a friend of mine and thought it was so funny, I had to share it with you.

One of the prominent trends in mystery fiction todayis the publication of
what I call "niche mysteries." These are books that, in theory, will appeal
to a small niche of readers due to their unique and charming specialty
content.

As a result, we have suffered through the Mommy mysteries,
the scrapbooking mysteries, the needlepoint mysteries. Mysteries set in the
world of bed and breakfasts, travel agencies, and old age homes. Mysteries
with recipes, patterns, or tips on making candy.

But now they’ve gone
too far.

Today I received in the mail a mystery novel ("first in the
new series," the cover proudly trumpets) that is set in the exciting and
quirky world of…

Soapmaking.

That’s right. Soapmaking. It even
includes soapmaking tips.

The title? Dead Men Don’t Lye.

I
couldn’t make this shit up.

What’s next, Glass-blowing  Mysteries?  Nail Polishing Mysteries? Mohel Mysteries?

Breaking In

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Author Joe Konrath talks about the advice he gave to an aspiriing writer…and what happened next. It’s an inspiring story, not just for writers trying to break in, but for everyone who writes books. I wish more aspiring writers would find motivation from stories like this than from the get-rich-quick/get-published-quick come-on of  self-publishing.

Bibliomysteries

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The latest issue of Mystery Readers Journal, from the folks at Mystery Readers International, is just hitting the stands. This month’s issue is dedicated to "bibliomysteries" and includes articles by Bill Crider, Rochelle Krich, Elaine Viets, Carolyn Hart and me among many others. I wrote about the painstaking research that went into writing THE MAN WITH THE IRON-ON BADGE.

(I’ll  be talking to the members of Mystery Readers International up in Berkeley on Friday, Oct 28, at 7:00 pm. Contact Janet Rudolph for more information).

The Cold Draft

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Yesterday, I shared excerpts from  some of the rejection letters I received for THE MAN WITH THE IRON-ON BADGE during its long journey to publication. Today, novelist Laurie King reflects on the uncertainty and rejection all professional writers face, regardless of their past successes.

There ain’t no guarantees in the writing business. It’s scary even to mention
the possibility, as if failure is a demon summoned by voicing his name, but it’s
very true, it’s waiting just outside. I’ve got sixteen books out there, sold a
couple million copies, had titles on the New York Times list, and still, every
day I feel the cold draft at the bottom of the door. My accountant talks about
SEP accounts, and I think, well, that may be necessary. My husband asks if we’re
going to have the money for some project or another, and I have to tell him I
don’t know.

Rejection

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Last week, I talked about the long road to publication for THE MAN WITH THE IRON-ON BADGE,which came out this month to some terrific reviews (including a starred review from Kirkus and a rave from Publishers Weekly).  Here are s0me of the rejections the book got over the years. I’ve edited out the names of the companies and editors.

"The manuscript was a lot of fun — definitely a good read and a fresh angle. We seriously considered it since it is so unique, but ultimately we have to pass since we are moving away from mysteries and thrillers…"

"I am going to have to pass on an offer at this time. We must be extremely selective with the titles we bring on."

"Thanks so much for the extended look at THE MAN WITH THE IRON-ON BADGE. You know I hold Lee in the highest regard and I thought he treated this mystery with great humor and enthusiasm. Though I think the conception is novel, in the end I just thought that the plot development moved a little too slowly for us to be really able to break this out commercially. Furthermore,  though I think Harvey Mapes is a great protagonist, I just didn’t think the ‘fish out of water’ conception would play out successfully in a very crowded and competitive market."

"This story is well-written and entertaining; however, the tone is not quite right for our list and overall it would be very difficult to publish."

"This is going to be a pass for me. Though I thought the writing was strongly readable and mildly humorous, the protagonist likeable and the overall delivery well structured, I’m afraid the overall storyline wasn’t strong or original enough for me."

"I agree it is an unusual crime story. Unfortunately, we find the market is glutted with crime fiction right now and the market is not kind these days. Simply put, I did not find this manuscript special enough to warrant an offer."

"Lee Goldberg is a great writer but I’m afraid I didn’t respond to the first person voice the way I would have liked in order to confidently take it on for my list here and be its advocate."

"Lee has a good sense of humor and a great grasp of the down-and-out detective genre. I found the story here entertaining, and though it’s not perfect, I asked the publisher to read it. He was not as enamored of it as I was and I lost the battle of wills."

"It’s a lot of fun and very professionally done, but I just don’t see it for my list. I’m sorry, because I liked Harvey. I loved the wit, I admired the use of the L.A. setting. This is one of the better PI novels I’ve ever read."

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Flashbacks

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I got this email today:

Hello. How do you show flashbacks/dreams in teleplays – and transition out of?
I’m specifically referring to "Cold Case" – a show that’s full of scenes where
the characters relive stories from the past. Thank you very much.

I haven’t seen a COLD CASE script, so I don’t know how they do it, but there are many different ways. Here’s one approach:

EXT. HOUSE – DAY

Mark stood in front of the ramschakle house, the windows broken, the lawn choked with weeds. And as we PUSH IN on Mark’s eyes, we CUT TO:

EXT. HOUSE – DAY (FLASHBACK)

as it looked on the day he moved in, fresh paint, manicured lawn, flowers in bloom. The colors are so outrageously vivid, it’s a tough call whether what we’re seeing is the way it really was, or the past as romanticized in Mark’s mind. We END THE FLASHBACK and GO:

EXT. HOUSE – BACK TO SCENE

Mark shakes himself out of his reverie and goes inside the abandoned home.

Room 222

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Enrollment has begun for our next online session of Beginning Television Writing. The four-week course begins Oct. 24th and is a lot of fun…at least for your humble instructors. Here’s the listing from Writers University:

In this four week course, two established executive producers/showrunners
[That would be William Rabkin and me ] will give you an inside look at the world of episodic television. You will
learn—and practice— the actual process involved in successfully writing a spec
episodic script that will open doors across Hollywood. You will learn how to
analyze a TV show and develop “franchise”-friendly story ideas. You will develop
and write a story under the direction of the instructors, who will be acting as
showrunners… and then, after incorporating their notes, you will be sent off to
write your outline. Finally, you will develop and refine your outline with the
instructors, leaving you at the end of the course ready to write your episodic
spec script…the first step in getting a job on a TV series.

We look forward to seeing your in our virtual classroom.

Connelly’s Road to Hollywood

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Michael Connelly’s crime novels regularly top the best-seller lists.  His Harry Bosch series has sold more than 2.6 million
copies. His website gets one million hits a
month, and his email list boasts about 30,000 names. Connelly is a certified celebrity in the mystery book world.  You’d think studios would be scrambling to make movies based on his books. But so far, only BLOOD WORK has made it to the screen…and was a critical and box-office dud (but was something of a dry run for the creative team that would make MYSTIC RIVER an Oscar-winning success).
Although Connelly co-created the UPN TV series LEVEL 9, his involvement was minimal and the show tanked( a writer on the show, Paul Guyot, has a nice appreciation of Connelly on his blog today).

Over the years, his Bosch books have been optioned several times and countless screenplays have been written…and yet, no movie or even a TV pilot have been produced  (having read a couple of those scripts, I can understand why).  VOID MOON reportedly began as an original screenplay before Connelly turned it into a book…and yet, no movie there, either.

What’s the problem here? I don’t know.  Perhaps it’s the same curse that has kept Thomas Perry’s books from being made into films.  But now there’s buzz that Connelly’s new novel THE LINCOLN LAWYER is generating heat in Hollywood and is big-screen bound.

Let’s hope.