The Wild Wild Ross Martin

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Aandj03
Writer/producers David Simkins and Marc Scott Zicree have teamed up for a  series of podcast interviews with writers, producers and actors. They came over to my house and taped one with me the other day. But I'm sure my interview isn't going to be nearly as unique and interesting as this one:  a recording of a 1978 interview Marc did with actor Ross Martin, who played Artemus Gordon on WILD WILD WEST (and, strangely, had a recurring role as a Hawaiian mobster on HAWAII FIVE-O).  Martin was also the star voice of the cartoon SEALAB 2020…you can hear his opening narration here.

The Mail I Get — What Happens After You Turn In Your Book?

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Charmi congratulated me on turning in MR. MONK AND THE DIRTY COP and asked:

Out of curiousity, how much work will you still have to do on it? At this point in writing Monk novels, do you get many change requests from the editor? Or, can you pretty much consider this "done"?

I'm sure that's a question a lot of you have, so here's what I told her:

I usually don't get any major notes from MONK creator Andy Breckman or my editor, so the next step will be to go through the copy-edited manuscript. That's basically my own manuscript sent back to me, all marked up, after my editor and the copy editor have gone through it, spotting typos, punctuation errors, inconsistencies, awkward phrases etc. They will make suggestions on the page for corrections,  changes and clarifications. They will also suggest trims or places where I might want to go into more detail…but the choice is mine. For the most part, it's very minor stuff and I get through it very quickly. It's also my last chance to do any rewriting that I want to do for creative reasons…which usually only amounts to a line or two, here and there.

A month or two after that, I will receive the typeset galley, also known as the advance proofs, which is basically an unbound version of what the final book will look like. The editor, copyeditor and I read through it for errors (although we inevitably miss two or three big ones, much to my embarrassment) and send it on to production.

At that point, my job on the book is done…if you don't count promotion (like going to book signings, attending conferences, speaking at libraries, etc.)

Mr. Monk and Finished Manuscript

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Doit1
I just turned in my manuscript for the eighth Monk novel MR. MONK AND THE DIRTY COP, which will come out next summer. This is the first Monk
novel in several years that wasn’t written on several different computers in
various cities, countries, and modes of transport. I wrote it all at my desk at home.

I'm going to try not to think about the next Monk book for a few weeks. The outline isn't due until mid-November and I honestly have no idea what it will be about.

I will use the freed up Monk time  to work on my next "standalone" novel, which I haven't started writing yet….though I have a file with a very rough, very broad outline, some relevant newspaper clippings, and some notes to get me started.

But not this week. I have some pitches to prepare for and I want to give myself a break to maybe read a book, catch up on the new fall TV shows, and go to sleep at a decent hour.

The Ex-List Ex-Producer

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Large_dianerug-2006
Showrunner Diane Ruggiero walked off the new CBS series THE EX-LIST, a one-hour  adaptation of a half-hour Israeli series, and gave Alan Sepinwall of the Star-Ledger all the juicy details (the network and studio told the trades  that they were caught by surprise by her exit). Basically, she got noted to death and didn't like it:

Ruggiero said CBS executives – the same ones she said had claimed to
want her unique take on the material – kept pushing her to stick as
closely as possible to the Israeli show, even though it only ran for 11
half-hour episodes, featured a heroine with no job and no life outside
of her romantic quest, and other issues that would get in the way of
doing a long-running one-hour series.

"They would keep coming to me talking about how they wanted the
Israeli version, they wanted the Israeli version, and I'm going, 'Test
audiences loved the psychic, who was only in one scene (in the
original). They loved her sister; she didn't have a sister in the
original. They loved the flower shop; she didn't have a job in the
original.'

[…]The breaking point came early last week, when CBS hired Segahl Avin,
creator of the original show, to consult on the series. Ruggiero
realized CBS wouldn't be satisfied with anything less than an exact
copy, and she quit.

"I'm not a f—ing transcriber," she said. "Why would you hire me if
you wanted a transcriber? I'm a pain in the a–. I have a specific
thing that I do. If you don't want that, go hire someone else."

Her experience is not unusual. Far from it. But what is a surprise is that she's gone whining to a reporter, which may have felt good at the time but definitely wasn't the smartest career move. Quitting wasn't either…it's better to stick it out until they fire you so you can get paid off.  She's figured that part out already.

In quitting the show this early, she said, "I walked away from all of
the money they were offering me, which was a lot. Now I'm thinking,
maybe I should have tried to get some of that money, seeing as I did
all that work."

[…]"I'll never work at CBS again," said Ruggiero.

And I bet it's not going to be easy at any other network for a while, either.

The First Episode

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There's been a lot of talk about pilots lately — all of it sparked by TV Guide's list of the Ten Best Pilots of All-Time (which was written by someone who apparently thinks TV has only existed for the last decade or so). Now the Elburn Herald has listed some of the worst, many taken from my book UNSOLD TV PILOTS.

For me, some of the best pilots (which led to series) that are not on the TV Guide list are The Mary Tyler Moore Show, All In the Family, Hill Street Blues, The West Wing, The Rockford Files, Law & Order, Terminator: The Sarah Connor Chronicles, Hawaii Five-O, Monk, St. Elsewhere,  Crime Story, Murphy Brown, Married With Children, Boomtown, Thirtysomething and Cheers.

Become the Next Norman Lear

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This November, Emmy Award winning comedy writer Ken Levine is hosting another one of his phenomenal SITCOM ROOM writing classes:

With all the writing classes and books around, I realized there’s one thing none of them teach – what it’s actually like being in a sitcom writing ro>Practically all sitcoms are “room written” these days (even single camera shows like 30 ROCK). That’s
when a dysfunctional group of funny, creative people somehow manage,
collectively, to craft a brilliantly funny (or at least not
embarrassing) script while suffering from incredible time pressure and
personality clashes.
[…]I found myself imagining a weekend workshop that gives you the hands-on
experience you could only get in a professional writing room […]A cross between a seminar/workshop and comedy writing fantasy camp.

If you want to be a TV comedy writer, you've got to take this class. There are still a few spaces left, so sign up fast.

The Fine Print of Self-Publishing

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Fineprint
Mark Levine has just published the third edition of  THE FINE PRINT OF SELF-PUBLISHING. I was a fan of the first edition and this one is even better. Particularly useful are the updated and expanded  examinations of the various self-publishing companies, their services and their contracts.

Anybody who is thinking about self-publishing must read this book first.  Even authors who aren't interested in self-publishing will come away, as I did, with a deeper understanding of publishing contracts and what the various clauses actually mean for you.

I strongly recommend this book.