Another Rave for HOLLYWOOD & CRIME

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51umlwe7gul__ss500__2Booklist has praised HOLLYWOOD AND CRIME, a new anthology coming out next month that includes my short story "Jack Webb’s Star":

As veteran crime writer Randisi notes in his introduction, when some people think of Hollywood, they think fame, glamour, and Disneyland. Others think of the Black Dahlia, O. J., and Fatty Arbuckle–the dark side of the Tinseltown dream. Among the authors represented in this collection of original short stories with a Hollywood theme are marquee names Michael Connelly, Max Allan Collins, Bill Pronzini, and Stuart Kaminsky. Among the best of the 14 selections are Collins’ "Murderlized," featuring Moe Howard of Three Stooges fame investigating the death of his mentor, and Connelly’s "Suicide Run," in which Harry Bosch extracts justice for a series of murdered starlets. Veteran television screenwriter Lee Goldberg has some fun with a small screen legend in "Jack Webb’s Star," and Dick Lochte brings back private investigator Leo Bloodworth–still listening to Dinah Shore but on an MP3 player–in a mystery that ends with a devilish poke at the quality of modern screenwriting. This consistently high-quality collection offers readers a nice mix of big names and lesser-knowns who deserve larger audiences.

This follows a rave review from Publisher’s Weekly, published a few months back before the book’s release date was changed:

The 14 stories in this entertaining anthology from Shamus Award–founder Randisi span Tinsel Town history from the 1930s to the present and intersect, literally, at Hollywood and Vine. Top billing should go to Michael Connelly’s Harry Bosch story, "Suicide Run," and to Lee Goldberg’s "Jack Webb’s Star"—the former for the detection and the latter for biggest laughs. Other highlights include Max Allan Collins and Matthew V. Clemens’s reinvention of one of the Three Stooges, Moe Howard, as a detective in their clever "Murderlized," about the 1937 death of the Stooges’ mentor, vaudevillian Ted Healy. Robert S. Levinson delivers a wicked portrait of gossip columnist Hedda Hopper in "And the Winner Is…," which turns on her lackey’s efforts to stop a Nazi sharpshooter at the 1960 Academy Awards. From Harry Bosch’s visit to a photographer at Hollywood & Vine Studios to Moe’s meeting at a coffee shop at that intersection, all the tales pay homage to the storied Hollywood street corner.

Bochco Blues

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Ygp682c If anyone needed proof that ageism rages in Hollywood, all you need to do is look at Steven Bochco.  According to a story in yesterday’s LA Times, he’s having a hard time getting shows on the air these days…or even getting his pilots shot.

By his own admission, he can be a difficult to work with…citing his clashes with ABC after they hired him to "save" COMMANDER-IN-CHIEF after creator/showrunner Rod Lurie was booted:

"Oh yeah, they wanted me out. They couldn’t stand me. It did a great deal of damage, probably, to my relationship with that network. It was not fun."

But there are lots of producers who are a pain-in-the-ass, clash with executives, and don’t have 1/10th of his talent or his accolades…and the networks still line up to business with them (we ALL know who they are).  The LA Times story suggests that its because Bochco has fallen out-of-step with what the networks are looking for these days:

Bochco is a reality-based drama producer in a business now crawling with "high-concept" fantasists who draw their inspiration from comic books. "You’re looking at 400-year-old cops and detectives who are vampires. . . . It’s fine. I don’t have any disdain for it. It’s just not what I do."

I don’t buy that. It’s not like his brand of story-telling has fallen out of favor. THE SHIELD, THE SOPRANOS, NIP/TUCK, THE WIRE and scores of other ‘gritty’ and ‘envellope-pushing’ shows owe an enormous debt to Bochco, who broke new ground with HILL STREET BLUES and NYPD BLUE (Bochco did try, disasterously, to jump on the high-concept bandwagon with BLIND JUSTICE, a show that started out as a joke in his novel DEATH BY HOLLYWOOD). I think the truth behind Bochco’s slump lies in this observation:

The network executives stay the same age and I keep getting older, and it creates a different kind of relationship. When I was doing my stuff at NBC with Brandon [Tartikoff] and ‘Hill Street,’ we were contemporaries. . . . When I sit down with [the current network bosses], they’re sitting in a room with someone who’s old enough to be their father. My kids are their age. That’s a different reality, and I’m not sure they want to sit in a room with their fathers."

I’ll have a chance to chat with Bochco about it. We’re both guests next month at the Cologne Conference.

(The photo above is from an MWA event…pictured are Bob Levinson, William Link, Bochco and yours truly)

Traveling Man

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I am off to Montreal tomorrow to meet with Canadian broadcasters and to record the ADR for one of our FAST TRACK stars…and then I’m going to Berlin, Munich and Cologne for more post-production on FAST TRACK and some important meetings on other projects. I won’t be back until Sept 8…but I will try to post here from the road.

Spare Change

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That’s exactly what this book feels like…Robert B. Parker’s spare change, the nearly worthless stuff in his pocket that gets tossed in a jar and forgotten.

Sunny Randall is usually Parker on aut0-pilot…and SPARE CHANGE is no exception, except that it may set a new low for him (something I thought the last Sunny book did). In this book, Sunny goes after a run-of-the-mill serial killer. Parker doesn’t have a fresh take on the subject, the investigation is dull and Sunny, and all the cops around her, behave like imbeciles. The climax is predictable, perfunctory, and makes Sunny unbelievably stupid. As if that wasn’t disappointing enough, Parker tacks on a totally unnecessary and laughably ridiculous "Irving-the-Explainer" at the end. Did he mean it to be funny? I don’t think so.

It’s a truly terrible book. It has none of Parker’s snappy dialogue…it reads more like someone trying to imitate Parker rather than something by Parker himself. If Parker’s name wasn’t on it, I doubt it would be the bestseller that it’s bound to be.

Actually, this feels like a half-assed Spenser, only without Spenser and Hawk. All of Spenser’s other regulars are on stage — Belson, Quirk, Healy, even the irritating Susan Silverman. Spenser isn’t around to moon over Susan, so Sunny does it for him. She even rambles on and on and on about her dog, the way Spenser does.

I’ve completely run out of patience with Parker’s fascination with his heroes and their relationship with their dogs. Spenser, Stone, and Sunny all have dogs that they treat like their children and spend endless amounts of time (and pages) thinking about and talking about.

Any time Parker starts talking about the dogs, I skip pages…something I rarely do when reading a book. But if you skip all the yammering about dogs, that only leaves about 20,000 words of story, so the book goes by pretty fast.

This makes the third or fourth Parker stinker in a row…so I’m asking myself why I keep bothering to buy, and read, Parker’s books. Is it my affection for his early work? For the impact he’s had on my writing and my career (my first two script sales were to SPENSER FOR HIRE). Usually when I get to this point, he surprises me by coming out with a great novel — an APPALOOSA or a DOUBLE PLAY or an early Stone — and wins me over anew.  Because when Parker is in top form, he’s terrific. I guess that’s what keeps me buying.

I hope the next Parker book is that great one… it’s long overdue.

UPDATE: It turns out I’m not the only disappointed Parker fan who decided to blog about SPARE CHANGE today…so did my buddy Bill Crider.

I can’t resist sharing a SPOILER after the jump:

Read more

Conference Kurfluffle

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Left Coast Crime, and some other mystery conventions, have chosen not to place authors on panels unless their books are from companies on the MWA’s list of approved publishers. So now a handful of irate POD and self-published authors are running around blogs and message boards saying the MWA is responsible for this new policy.

The MWA has nothing to do with how conferences organize their panels or how bookstores stock their shelves or how reviewers choose the books that they review. Nobody in the MWA has ever suggested to any conference chair, book reviewer, book seller, or anyone else that they use the organization’s list of approved publishers as their guide. They are making the decision on their own.

Speaking for myself, the fact that other writers organizations (like the Romance Writers of America) and major writers conferences are following our lead only underscores the necessity and sensibility of the basic, professional standards that the MWA has set…and the good that it is doing for our members and the industry. I hope as a result that authors will be more careful about the publishers that they do business with…and that more publishers will hold themselves to higher ethical and professional standards in the way they treat their authors and conduct their business.