The Story Behind THE DEAD MAN #18: STREETS OF BLOOD

The Dead Man #18: Streets of BloodAuthor Barry Napier was the winner of the “You Can Write a DEAD MAN Novel” contest last year….and his book, THE DEAD MAN #18: STREETS OF BLOOD, has just been published by Amazon/47North. I’ve invited Barry to talk about his experience writing the book:

I won Amazon’s You Can Write a Dead Man Novel contest last year. The months between October – January were spent writing and editing it. If I’m being honest, I learned a lot from writing it, some of which I think most writers can either relate to or need to know.

First, Lee Goldberg and William Rabkin were very kind about pointing out a few of my flaws…flaws that have plagued me since writing my first short story at the age of 14. Among them…I’m too wordy. I tend to wax poetic when it’s not called for. I try to create back story that serves as a story in and of itself (this one, I will argue to my last breath, is often necessary and pivotal for longer works). When I try to write about someone collecting information or being smacked by insight, I tend to come off as too passive.

The great thing is that I have had these things pointed out by editors in the past. But with The Dead Man #18: Streets of Blood, these things were not only pointed out, but highlighted with blood and gore. Writing this book was perhaps my biggest lesson in reigning myself in when I wanted to get too wordy or experimental when it wasn’t called for.

This book was equally odd to write because of its content. It’s one of the bloodier things I have written in a while. When you consider the fact that I was writing a faith-based suspense novel at the same time, it was a very challenging and eye-opening few months.

So, while researching parts of scripture for the faith-based novel, I was also having to research old morbid nursery rhymes for my Dead Man book.

I’m not going to lie…it was sort of fun.

So again, a big thanks to Lee Goldberg for helping me through the process. It was an intensive course in writing short novels while helping me to further cripple some of the mistakes that I still wrestle with in my writing.

 

Jonathan Winters on Writing Humor

00000048Jonathan Winters died today at age 87. My parents used to play all of his comedy records for us when we were kids. Those records made me laugh so hard I had trouble breathing. Jump forward to 1997. I was a novelist and TV writer by then and I was invited to be a guest speaker at the Santa Barbara Writers Conference… on a panel on writing humor with Jonathan Winters and Fannie Flagg. I was honored…and absolutely terrified. What the hell was a nobody like me doing on the same stage as a legend like Winters? But he was incredibly gracious and hilariously funny…and that night is one of the most treasured memories of my career. Here's a recording of that hour-long panel.  Although it's a video, there's only a still photo to look at. The audio track is the panel. The picture here, and in the video, is of my mother Jan Curran and Winters at the conference. Somewhere out there is a picture of me with Winters and Flagg, but I haven't been able to dig it up.

 

Jonathan Winters at Santa Barbara Writers Conference from lee goldberg on Vimeo.

Plotting Death and Destruction

0609 Lee Goldberg ebook V4 TDMS_5I spent the day Saturday in the company of  a bunch of talented writers to plot a DEAD MAN novel…not just any book, but our biggest tale yet, both in page count and ambition. The story will be published next fall as a Kindle Serial (six to eight, 10,000 word "episodes" that will add up to one, cohesive novel). The project is being written by Phoef Sutton, Lisa Klink and Kate Danley from a shared outline. So series co-creator William Rabkin and I, along with DEAD MAN author David Tully (THE KILLING FLOOR), got together with them and we all spent the day cracking the story in a "writer's room" setting.

Bill, Phoef, Lisa and I are all experienced TV writer/producers, we are very comfortable with the "writer's room" process of hashing out the story as a group, analyzing every character motivation and story beat until we come up with all the moves of the story, which we layout on a white, dry erase board. It was a new experience for Kate and, to a lesser extent, for David, who has been part of a writer's room on some television projects in Germany (where his wife was a network executive).

The writer's room process is wonderful because not only do you benefit from the creativity of everybody in the room, but it also forces you to really explore, analyze and figure out all the angles of your plot and the motivations of your characters.

The group experience also forces you not to give in to the easy, lazy or cliche way of resolving plot and character issues…to go further and dig deeper. It means there are some inevitable frustration or disagreements, but it's all positive…because you end up with a much stronger, more-thought-out story.

It's my favorite part of the TV writing experience…spending hours, days and weeks in a room full of smart, clever, outrageously creative writers…all working to together to tell the best possible story.

Our writers room session for THE DEAD MAN went great. We first discussed character and our over-arching, creative goals for the book. Then we started talking broad plot points. Then we drilled down to the novel equivalent of the eternal TV question: "what do we want our act breaks to be?" (Or, in this case, the "cliff hanger" moment at the end of our six "episodes") And once we had that, we got into the nitty-gritty of the specific beats of each "act."

That's where the real work was. We hashed it out in spirited debates while eating lots of food (and, occasionally, diverging into discussions of lame plot points in SKYFALL and the last BATMAN movie. Do you realize Bond failed at *everything* he did in SKYFALL? He didn't do anything right. Still a great movie, though).

We got started at 10:30 am and by the time we finished around 5:30 pm, we'd plotted out the novel and felt great about what we'd come up with.  Or, as one person in the room put it, we accomplished in one day what it would take an author by himself a month or two to figure out. It's going to be a kick-ass, standalone DEAD MAN novel that requires no previous knowledge of the series to enjoy…but that will also satisfy our loyal fans with a game-changing story that acknowledges past events, answers some long-standing questions, sends Matt Cahill in an exciting, new direction.

Now everybody is writing up their portion of the outline, which Bill and I will cobble together into one document and submit to our editors at Amazon Publishing's 47North imprint for their notes. Once we have their input, the authors will start writing.

I wish I had a writers room for my novels…

Love is Murder

Photo-7I spent last weekend as a special guest at the Love is Murder conference in chilly Chicago and I had a terrific time.

It's probably the smallest mystery conference I've ever been too and, reflecting the huge popularity of self-publishing, there seemed to be more authors than readers in attendance. In fact, there were two big "group" signings over the weekend and there were so many "authors" sitting behind tables that there were maybe three actual "readers" left standing to buy books. I've signed more books at funerals.

But the small number of attendees also made the conference more intimate, and I had a lot of opportunities to talk shop with authors like William Kent Krueger, Bob Mayer, Blake Crouch, Joe Konrath, Ann Voss Petersen, F. Paul Wilson, Robert Goldsborough, Jamie Freveletti, Libby Fischer Hellmann, Sparkle Abbey, Hannah Dennison and Raymond Benson, to name just a few (that's me with Kent and Libby in the picture). We spent a lot of time trying to figure out where the publishing business is going, though we didn't manage to come up with the answer. But we agreed that it's a great time to be an author.

I was treated by Joe Konrath to the worst hamburger I've ever had in my life. It was from White Castle. Joe, his wife, and F. Paul Walker went wild over those burgers. I sent mine to a forensic lab for analysis and am awaiting the results. I'm curious to know what that very thin, oddly-colored patty was actually made of. When Joe comes to Los Angeles, I'm going to take him to In-and-Out or The Habit so he can see what a real hamburger tastes like.

I was a guest on many lively and fun panels, including one on writing characters created by others. My fellow panelists were Robert Goldsborough, who talked about picking up Nero Wolfe where Rex Stout left off, and two strange women who wore matching shirts covered with their bookcovers and talked about revising an unfinished manuscript written by a dead guy…with help from his ghost. I kid you not.

One of the women said her first novel came to her in a dream. She encountered Bugs Bunny on a spirit path, he opened his skull, and there was her book, cover and all, inside his head. She read the book, woke up, then ran downstairs to make notes and describe the cover. She then fleshed the story out with the help of her friend's dead father's ghost. Or something like that. Their process was so confusing, and there were so many ghosts and cartoon characters involved in their writing, that it was hard to follow. They also read aloud from their book, which was a real treat.

On Sunday, Libby took me on a tour of Chicago, and one of our stops was the Sears Tower,
65509_10151382283928930_1628944150_n where I discovered that I have a slight fear of heights…it revealed itself to me when I stepped out on the "skydeck" that is basically a piece of plastic hanging out over the street where a normal window is supposed to be. I couldn't help thinking I'd be the one who finally fell through…and for what? A photograph. Libby was very amused by my discomfort.

Afterwards, we met with Jamie Freveletti for some deep dish pizza and shop talk, which I really enjoyed. I realized that one of the things I miss most about being on a TV show is all the time spent in the writers room, working with other writers. Now that I'm primarily a novelist, my writer's room is me and my dog, who doesn't contribute much when it comes to breaking stories.

I flew home on Monday. On the plane, a young woman fell asleep and snuggled up against me. That's not the first time that's happened. I must have a very comfy shoulder. After about an hour, I moved a bit and woke her up. She was startled an mortified, not so much because she discovered that she was clutching me, but because the first thing she saw was a graphic, brutal sex scene from Game of Thrones on my iPad. If the plane wasn't full, I think she would have switched seats.

All in all, a very pleasant trip. Next week, I am off to Florida for a photo shoot for The Heist, the book I wrote with Janet Evanovich.

The Best Time To Be a Writer

0728 TOP SUSPENSE ecover WRITING ON CRIME_SMIt’s news to no one that the publishing industry has undergone a massive paradigm shift in the last twenty-four months that has changed everything about the business for authors, booksellers, and publishers. But there's one thing that hasn't changed, the most important thing of all, and sadly too many authors aren't paying enough attention to it.

Thanks initially to the introduction of the Kindle, and Amazon opening up their storefront to authors, it’s no longer necessary to have a publisher in order to reach readers.  Authors now have options they never had before for getting their books to a national audience. Being dropped by a publisher, or having your books go out of print, are no longer the kiss of death. On the contrary, they present perhaps more profitable opportunities to exploit your material.

For new authors, it’s no longer necessary to go through the struggle of finding an agent who will then sell their work to a publisher, an odyssey than can take years…if it happens at all. Now it’s the publishers, editors and agent who are struggling ….desperately trying to reinvent themselves in a radically changing business.

Self-publishing is no longer the realm of vanity press vultures preying on aspiring, naïve and desperate authors…nor is it the complicated and outrageously expensive gamble, with pitiful chances of success, that it once was. It’s now possible to publish your book, both electronically and in print, with a mouse click, with little to no upfront investment…and to have your book  on the virtual shelf on equal footing with the likes of  James Patterson and Nora Roberts, at the Amazon and Barnes & Noble storefronts.

Writing careers are being born and, in the case of mid-list authors, reborn.

Now whenever authors get together, we are no longer discussing how we write, or problems with our editors, or tales of life on the road. The talk today is inevitably about reversion of rights letters, book scanning, copyediting, e-book formatting, the nuances of cover art, manipulation of metadata, e-pub vs. mobi, pricing, giveaways, marketing and publicity, social networking, blogging, tagging, liking, tweeting and pinning.

For established, professional writers, coming into self-publishing after years in the “legacy” publishing world, that isn’t such a bad thing.  They’ve learned and perfected their craft (or maybe I am just trying to excuse my own obsession with those aspects of the business). But I’ve listened to new writers at conferences or while lurking on writers’ boards and the newbie writers seem obsessed with everything except what matters most: the writing.

I believe it’s that misguided obsession that s leading to the ethical scandals we’ve been seeing lately… like John Locke who hired people to buy his books and write fake reviews (to artificially boost his rankings and acclaim) to establish himself… and Stephen Leather and RJ Ellory who both used “sock-puppets” on Amazon and social media to generate false buzz and fake reviews to boost their popularity and attack their "rivals."

What authors need to remind themselves is that all of that formatting, pricing, tweeting, social networking, etc. is meaningless if you don’t know how to tell a good story, create compelling characters, develop a strong voice, set a scene, establish a sense of place, or manage point-of-view.

I rarely hear writers anymore talking about the pluses and minuses of out-lining, the importance of an active protagonist, the different kinds of conflict, or the elements of structure. The craft of writing has taken a backseat to the business of publishing.

That’s one reason why the members of Top Suspense, have put together a book called WRITING CRIME FICTION.  We want to get the dialogue started again… to bring writers back to the one thing that will never change, even as the publishing business reinvents itself.

People want a good story.

That’s why writers write and readers buy books. Good stories. Great characters. That's what matters. Not whether you should write an erotic novel to cash in on FIFTY SHADES OF GRAY… or maybe focus on a YA novels since the HUNGER GAMES series is so hot.

Writers have been handed a great opportunity in the last twenty-four months. We now have tremendous control over our creative and financial lives as writers that we never had before. We now have choices that simply didn’t exist before.

Don’t blow it. Don’t become so focused on the business that you forget the craft. Take advantage of the freedom, and the opportunities, and the new choices by focusing on telling great stories.  Hone your craft, Find your voice…focus and less on how the story is packaged, sold and promoted. Help us shift the balance back to where it belongs…

Storytelling.

Imprints for Success

0383 Lee Goldberg ecover King City_14 (1)For a while now, the editors at New York publishing companies have been warning authors who are thinking of jumping ship to one of Amazon Publishing's imprints that not only won't their books be in brick-and-mortar stores, but they also won't make nearly as much money. 

"You'll disappear," they say. "Your career will be over. Nobody will be able to find your books anymore."

While it's true that you won't see many Amazon-imprint books at your local Barnes & Noble or at airport bookstores….so what? Ebooks are outselling prints books today. And while your ego may take a hit not seeing your book on a store shelf, your wallet won't. Unless you're an A-lister like Lee Child, Janet Evanovich, James Patterson, or Michael Connelly, etc., you will sell a lot more books and make a lot more money with Amazon than with a "legacy" publisher.

I know many authors, formerly with NY publishers, who are now with one of Amazon's imprints…and earning more than they ever did before. I'm one of them. KING CITY has already made me more money in the last 90 days than my last two MONK novels combined.

But I am not alone. Today Amazon Publishing exec Jeff Belle sent a letter to agents telling them what we Amazon authors already knew…that the imprints are a huge success. He also punctured the big lie, which I have heard repeated many times, that Barry Eisler made a costly mistake walking away from a $500,000, two-book St. Martin's contract in favor of working with Amazon. Belle said, in part:

We are especially focused on increasing the audience for our authors. The Detachment, by Barry Eisler, published last September by Thomas & Mercer, has sold over three times the copies of any of Barry’s previous New York Times bestselling books. New York Times bestselling author Connie Brockway joined Montlake Romance as our launch author, and The Other Guy’s Bride has also gone on to sell more than three times the copies of her other recent titles. These authors, along with Amazon Publishing, are helping to redefine what it means to be a bestseller. We’re extremely proud of the results so far.

We are as determined as ever to make sure that Amazon Publishing authors reach a huge audience. In particular, we will continue to heavily market and promote them to our 180 million customers around the world, through online and offline advertising, our websites, through email, and on millions of Kindle and non-Kindle devices. Based in large part on our long experience as a bookseller, we are confident that this expansive marketing and promotional support will continue to yield strong sales results for our authors.

It's not just the sales that are attractive to authors… it's the talented, friendly and enthusiastic editors, who give authors an enormous say in how their books are packaged and marketed…it's the astonishing effectiveness of their promotional campaigns…and its the far more generous royalties, paid swiftly, and accompanied by clear, easy to understand royalty reports. Amazon Publishing treats authors like partners. And they publish great books.

Is it any wonder Amazon Publishing and their authors are doing so well?

It’s the Story, Stupid

TOP SUSPENSE BLOG HEADER 3Seems to me that authors are losing track of what really matters… not the formatting, covers, tweeting, pinning and promotion…it's the story, stupid. I blog about it today at Top Suspense. Here's an excerpt:

I’ve listened to new writers at conferences or while lurking on writers’ boards and the newbie writers seem obsessed with everything except what matters most: the writing.

I believe it’s that misguided obsession that s leading to the ethical scandals we’ve been seeing lately… like John Locke who hired people to buy his books and write fake reviews (to artificially boost his rankings and acclaim) to establish himself… and Stephen Leather and RJ Ellory who both used “sock-puppets” on Amazon and social media to generate false buzz and fake reviews to boost their popularity and attack their "rivals."

What authors need to remind themselves is that all of that formatting, pricing, tweeting, social networking, etc. is meaningless if you don’t know how to tell a good story, create compelling characters, develop a strong voice, set a scene, establish a sense of place, or manage point-of-view.

I rarely hear writers anymore talking about the pluses and minuses of out-lining, the importance of an active protagonist, the different kinds of conflict, or the elements of structure. The craft of writing has taken a backseat to the business of publishing.

The Mail I Get – How Not To Solicit A Blurb Edition

I often get asked to blurb books, and it's not unusual for me to get a request from a publisher or editor on behalf of an author I've never met or heard of before. But I have never had a request like this one, which came to me from Greenleaf Publishing through my agent (I have only edited out the name of the author, the title of her book, and a summary of the plot. The grammatical errors, missing apostrophes, etc. are from the original email)

I’'m writing on behalf of our author X, who counts Lee Goldberg as an influential and inspirational author.  I would love the opportunity to include Lee's name along with a brief endorsement in X's upcoming book from Greenleaf Book Group, XYZ. […] Below are a few short endorsement suggestions for XYZ.  Of course, Lee can edit any of these as fit or write his own.  Attached is the book’s first two chapters to give you a better idea of X's story.  I would be happy to send you the complete manuscript if you’re interested in reading further. 

I thought it was very nice of her, before I'd even agreed to read the book, to already provide me with endorsements I could just slap my name on. Even better, she granted me the flexibility to edit them as I pleased or, if I really wanted to be daring, to actually come up with some of my own.

Naturally, I was anxious to see the personalized endorsements she'd created for me to lend my name to. I bet you are, too. Here they are:

Suggested endorsements:

X ropes you in from page one and doesn’t let go until the end.  A great read!

Anyone who enjoys fast paced, thrilling mysteries will love XYZ.  You simply won’t be able to put it down!

 Characters you connect with, a driven plot, and suspense make XYZ a book you won’t want to miss!

 From suspense to mystery to romance, X's debut has it all!

 XYZ will captivate you and not let you go until the very end.  It’s a thrilling debut.  I can’t wait for her next book!

Those sound like genuine, heartfelt endorsements to me, ones that truly reflect my unique experience of reading her book. Even if I haven't read it yet. And they are so fresh and creative, too! They also offered me an irresistable incentive.

If Lee provides a testimonial, we will send a signed copy of the finished book as soon as they are made available.

I can honestly say, in all my years in the publishing business, I have never had a publishing company approach me for a blurb and also supply a selection of them for me to choose from. Perhaps that's because Greenleaf isn't a publisher. It's basically a very,very pricey, high-end vanity press. Or, as they put it in their letter to my agent:

If you’re unfamiliar with our company, Greenleaf Book Group is a publisher and distributor best known for its innovative business model.  

Their innovative model is that you pay them buckets of money to publish your book, distribute your book, publicize your book and, apparently, send out really inept, sloppily-written appeals for blurbs. 

Busy Bee Lee

2012-06-05 14.23.40smallerSorry I have been so absent around here lately… the last few weeks have been intensely busy for me. Here's a quick run-down…with pictures. 

I turned in my 15th, and final, Monk book — MR. MONK GETS EVEN  — to Penguin/Putnam on June 1st, then jetted off to Book Expo America in New York, where I got to hang out with my friends at Amazon Publishing and Brilliance Audio, talk shop with scores of authors (including fellow "Amazon" authors Blake Crouch, Vincent Zandri, Johnny Shaw, Robert Pobi, Deborah Reed, David Hewson, Robert Kroese, etc), and meet Audie-award nominees Patrick Lawlor (the voice behind my book KING CITY) and Luke Daniels (the voice behind the audio version of THE DEAD MAN, THE WALK). (That's me on the convention floor with Mike Holmes, a HGTV celeb that my wife adores)

From New York, I headed to Kentucky, to direct a DEAD MAN music video that I wrote for Amazon to go along with the terrific theme song written & performed by Matt Branham. 

And now I'll digress… on the flight, I was stuck in an aisle seat right next to the toilet…so close, I could have peed into it from my chair.If that wasn't bad enough, a morbidly fat woman sat down next to me and couldn't fit into her seat…so she had to lift up her armrest to spill her blubber onto me. I found myself sitting at an angle, tilted towards the bathroom, which a guy promptly rushed into after take-off to have a gastrointestinal explosion of historic proportions. The fat woman quickly fell asleep…and proceeded to loudly fart her way ac160 Dead Man, Tell City, Indiana, Alex Booty, Misty Sisco, Silvio Busch, Aaron Taylorross the midwest. It was hell.  I didn't know whether to put my earplugs in my nose or my ears. When we finally landed, she asked me how the flight was. I told her we lost two engines but she managed to keep us in the air. She had no idea what I was talking about, but at least I amused myself.

Okay, back to the video. We shot in and around Tell City, Indiana, and at the Hawesville, Kentucky stage of Firelight Entertainment Group, the extremely talented and industrious folks I worked with on my short film Bumsicle. Our DEAD MAN cast included Silvio Wolf Busch and Misty Sisco and we had a blast. (That's Misty and Silvio in the center, between the two monsters. You can see a lot more pictures on the Firelight site and their Facebook page)

The day after wrapping the music video I had to jump into my duties as honorary co-chair of the International Mystery Writers Festival in Owensboro, where I played host to the legendary Firesign Theatre and authors (and now fellow Kentucky Colonels) Max Allan Collins, Barbara Collins, Robert Randisi, Christine Matthews and Libby Hellmann and moderated a panel on writing James Bond novels with Raymond Benson and Jeffrey Deaver.

IMG_1724The highlight of the Festival was a night-time, out-door screening of my Owensboro-set short films Remaindered and Bumsicle, which drew over 500 people to Riverpark Center on the banks of the Ohio River. It was fantastic…and I am so glad that the cast and crew of those films, including actors Todd Reynolds, Rick Montgomery, and Eric Altheide, were able to be there to see the enthusiastic audience response. (That's Todd on screen)

As if that wasn't a big enough thrill for me, at the annual Angie Awards ceremony that capped the Festival, my friends at Riverpark Center surprised  me with a portrait by Aaron Kizer, the incredibly talented "speed artist."  It was a wonderful gift and a great honor.

Kiser Portrait  of leeCroppedAnd all of that was just the first three weeks of June.

July has been much slower… at least in terms of travels…since I've mostly been sitting at my desk, working on my book with Janet Evanovich, who flew into L.A. last week to be a guest on The Talk, which gave us a chance to get together for a wonderful dinner.

I'm also in the midst of editing THE DEAD MAN video with Firelight's Rachael Nunn (the footage looks great!) and reading entries in the "You Can Write a DEAD MAN Novel" contest, which ends on August 1st.

In other words, don't be surprised if I don't have a lot of time to contribute to the blog…

Germany Finally Gets It’s “Hannibal Lector” Series

It was announced today that ProSieben, a big German network, has bought the rights to air Hannibal, the new TV series from NBC, showrunner Brian Fuller, and French studio Gaumont. The series depicts the early relationship between FBI agent Will Graham and Dr. Hannibal Lector, who we all know is a horrific serial killer. 

I wasn't surprised by the news. ProSieben has long been interested in a series built around the concept. In fact, five years ago, they developed a series called Beauty and the Murderer, which was about a Clarice Starling-type homicide detective who discovers that the department's long-time psychiatric consultant is actually a prolific serial killer himself. She puts him away…but is stunned when the department continues to use the killer shrink as a consultant, even secretly bringing him out in chains to crime scenes to offer his insights. 

The network ordered  six scripts, including the pilot, and a twenty minute presentation film from the production company, a prolific supplier of TV movies for them. But early on in the development process, the project ran into trouble and the network brought me to Munich from the U.S. to redevelop the pilot script, set up the writers room, and oversee the writing of the five episodes.

The biggest problem that I saw was that the project was, basically, a beat-for-beat rip-off of Silence of the Lambs.  I knew I couldn't dismantle the concept they bought, so the key for me was to strip it of everything that smacked of that movie, and Hannibal Lector, and focus much more on the characters. So I tried to tone down the serial killer's Lector-like qualities and make the heroine as far removed from Clarice Starling as I could, especially in her relationship to him.  

The project was also unremittingly dark, so the other thing I brought in was some humor, which the network embraced but the German writers had a hard time with it. They didn't see how a show could be dark, but also still have some humor.  So the network asked me to write one of the scripts as an example…which I did.  You can read my first draft here.

All in all, it was a great group of writers, we had a terrific time, and we had a very supportive production company behind us that was eager to sell the project. I remember leaving Munich after a couple of months being very pleased with the six scripts that we developed and feeling good about the show's prospects, since I knew from the network that they liked what they'd read and were very pleased with my work (so much so, that they asked me to rush back and fix another troubled show, an X-Files rip-off, but I declined).  

The fate of Beauty and the Murderer all came down to the pilot presentation. And that's where it all went wrong.

In Germany at the time, they had yet to embrace the showrunner system. Directors were in still charge, and the guy that the studio brought in, someone who had never done a pilot before, didn't like the scenes or the series concept. So he re-wrote everything, taking out the humor and making every scene a horrible, laughable rip-off from Silence of the Lambs…and trashing months of hard work by seven writers. 

It infuriated me. I couldn't understand how the production company, after investing all the time and money in crafting the six scripts and developing a strong franchise, could stand by and let that happen. Why didn't they fire the guy and hire someone who would shoot the show that we developed…and that the network was expecting?

He's the director, they said. You can't tell him what to do.

Needless to say, the network took one look at that presentation and backed away from the project. They hated the demo film but, more importantly,  they lost faith in the production company's ability to ever deliver the show that was promised in those six scripts.

Now, it appears, ProSieben is finally getting the series that they wanted five years ago. 

UPDATE:  The pilot presentation is actually available on YouTube with English subtitles. Here it is: