TOD: I often get asked what it’s like to have a family of writers and artists, and it’s hard to explain, exactly, because it’s the only way we’ve lived. Our sisters are both writers and artists, our mother, after her socialite period, became a newspaper columnist covering socialites, our father — not that I ever lived with him as a sentient human — as you noted, was a TV news journalist, and then there’re all the uncles and cousins and whatnot, too. But you were the first one, really, to make it on a national stage, which I know gave me the confidence to aim big, and which I suspect made it easier for our sisters, too. Did seeing mom’s and dad’s success and, in many ways, eventual failure — both of them had these sort of big-league dreams but ended up never quite getting there, which ended up driving them both a bit mad — provide some motivation for you?
LEE: There’s no question that dad being on television and mom being a writer shaped me in profound ways. There is a lot of both of them in me … though more of mom than dad. They were both comfortable in front of an audience, whether it was on camera or standing on front of people. Mom had a big, outgoing personality and great sense of humor. She was a deft schmoozer and a big ego. She was a profound exaggerator in her storytelling, for both comic and dramatic effect. She went after what she wanted, personally and professionally. She was a fighter. I have a lot of those same attributes, though I hope with less of the destructive flip side. For example, I know when I am exaggerating a story and, I like to believe, so does my audience. We’re in on the joke together. It’s like when an audience buys into the franchise of a TV series … no matter how ludicrous it might be (she’s a nun — and she can fly! A detective with OCD! A drug-addicted doctor who hates his patients!) … because they want to enjoy the ride. Unlike mom, I don’t believe my exaggerations are the truth and then exaggerate them the next time I tell the story, and then exaggerate that, until I am heading into something approaching clinical delusion. I know where the truth ends and the embellishment, for comedic or dramatic effect, begins. I’m deeply afraid the day will come, though, when I lose that self-awareness.
I haven’t talked much about dad because he wasn’t really in my life after I was 10 years old (though he was in my life more than you or our sisters). Dad grew up wanting to be a TV anchorman … despite coming from a small logging town and having zero contacts … and yet he achieved that dream. He eventually became an anchorman on KPIX, the CBS affiliate in San Francisco … a major station in a major market … and it should have been a stepping-stone to the national stage. Getting there had to take talent, drive, and confidence … but somewhere along the line he lost his mojo … or, more likely, his backbone. I was too young at the time to know why or how it happened, or if mom was somehow to blame. But he became a weak, wishy-washy, superficial man. He let people, he let life, walk all over him. He stood up for nothing and nobody and lost everything. He showed me it was possible to achieve your dream, but through his failure, he also showed me you had to be strong to keep it. That’s not all I learned from him. Seeing him on TV every night also made television — the industry and the medium — something approachable to me. He made the TV part of my family. He made it small and human. My father was a TV screen, and I knew that I was stronger than he was. So yeah, I could break into TV. No problem. And I did.
From the grab bag…here’s a bunch of recent mail that I’ve received and my replies:
I’d like you to adapt my unpublished novel XYZ for the screen or perhaps a TV series. It could also be multiple movies. It’s about XYZ. In the alternative, I hope you will refer me to a producer who might be interested.
I replied: I’m not interested in adapting your book and I can’t think of any screenwriter or producer who would be. Studios don’t buy ideas. They buy the execution of ideas (i.e. who is writing it, who is directing it, who is producing it etc). And they don’t buy books that aren’t huge bestsellers. Since you aren’t a brand-name author, or a first-time author with a bestselling book, there’s almost no chance in hell of anybody reading it or buying it. I don’t say that to be mean, but to give you a realistic view of your chances. Your best bet is to get the book published and hope it does well enough critically or commercially to attract Hollywood interest.
Here’s a question I got about MONK:
I’m a teenager who has become a HUGE fan of Monk just 8 years too late!! I grew up watching the show with my Dad. Not so long ago, I discovered that there was a BOOK SERIES.My heart quite literally jumped out of my chest!! THE CHARACTERS WEREN’T DONE!!Over the next 2 days I went to the library and checked out 10 Monk books, and I can’t stop reading them!! THEY ARE SO GOOD!!About 2-3 times every book I get teary-eyed because the characters you’ve described in the books are so heart-wrenching. Why did you write the series from Natalie’s perspective?
If my “detecting skills” tell me anything, you probably chose to write the series from her perspective because the television series is already told form Monk’s perspective. We get the chance to understand him thoroughly, so it only makes sense to write from the perspective of the closest person to him… literally of course.
I replied: I wrote them from Natalie’s perspective because I think it humanizes Monk. It gives us a necessary distance and, at the same time, a perspective to frame what we’re seeing. In a way, Natalie’s eyes become the replacement for the TV screen that was between us and Adrian Monk. Also, a little Monk goes a long way. You can overdo the joke and all the obsessive/compulsive stuff. By telling the stories from Natalie’s point of view, we aren’t with him all the time. We get some space, a breather from his shtick, and I think that’s important. It’s also a conscious homage to Sherlock Holmes and Nero Wolfe, who were seen as well through the eyes of their assistants.
And, finally, here’s a question I got about screenwriting:
I stumbled across your post Diagnosis Murder & How to Plot a Mystery, while looking for information on adapting a low-budget, niche, middle grade, mystery book series into a TV script of what seems to be 22-25 pages for a 30 minute show? I found a good article on sitcoms, but not a good breakdown for a kids’ mystery series. Is there any chance you can direct me to a script/page-timing outline? Or any information on this specifically?
I replied: No offense intended, but if you are asking about script page/timing, that suggests to me you still have a lot to learn about the principles of screenwriting. There is far more involved than knowing whether a page of script translates to a minute or five minutes of action (it depends whether its a one camera or three camera show and what is on the page — how many locations/sets there are, what action is involved, and how fast characters speak. Page count is not the issue you should be concerned with. There are “hour long” shows with 45 page scripts and 69 page scripts — every series is different). I recommend Richard Walter’s ESSENTIALS OF SCREENWRITING, Pamela Douglas WRITING THE TV DRAMA SERIES, William Rabkin’s terrific WRITING THE PILOT, Alex Epstein’s CRAFTY TV WRITING, and SUCCESSFUL TELEVISION WRITING by William Rabkin and yours truly.
She wrote back:
Thank you very much for your quick response. I know very little about television scripts. But will get the books you mentioned.
I’ve got lots of movie news to share that I’ve been keeping bottled up for some time. First off, my novel THE WALK is being made into a movie, to be directed by Eugenio Mira, who made the clever, stylish Hitchcockian thriller GRAND PIANO (starring Elijah Wood and John Cusack) and did some amazing second unit work on THE IMPOSSIBLE (the tsunami movie with Naomi Watts). He’s fresh off of directing the second unit for JURASSIC WORLD II… so with that big-budget, action and disaster-movie experience behind him, he’s obviously the perfect guy to do THE WALK. The movie will be produced by Paul Hanson, George Paige and John Baca for Covert Media.
Covert Media is also producing my screenplay adaptation of Victor Gischler‘s Edgar-nominated novel GUN MONKEYS , which will be directed by Simon Brand. The development history of GUN MONKEYS goes back years. I optioned the book myself, wrote the script on spec, and for a long while it was set up with actor Kevin Costner and director Ryuhei Kitamura. That project came real close to getting made…and then fell apart. A new producing team came on board, offers are going out to big-name actors now, and we’re on track to shoot in late 2017/early 2018.
Back in September, Simon shot an action scene from my script as a camera/lighting test…and I’ve just been given the okay to share it now that he’s posted it on his site. The key parts are played by his friends and it has a voice-over that isn’t in the script — I wrote it just for this so that the action makes sense out of context. I think the footage looks terrific. Here it is. I hope you like it!
Here’s an excerpt from “About Face,” the worst script that William Rabkin and I ever wrote…but before I share it with you, here’s the story behind it (which I originally shared on this blog back in July 2006)
We were working as supervising producers on the third season of SeaQuest, a scifi show about a phallic submarine exploring our oceans in the year 2032. We were a day into writing episode 14 when the series got cancelled. But studio and the network were still obligated to pay us for the script — the catch was that we actually had to write it if we wanted our money.
In other words, we had to write a script we knew would never be shot and that we were pretty certain nobody would ever read. But we weren’t about to walk away from $25,000.
So we wrote it in one day…while we were packing up our office. We amused ourselves by writing the worst scenes that we possibly could, reading them out loud to each other as we wrote. We turned in the script as we walked out the door and we assumed it would never be read.
To our horror, we were wrong.
We discovered years later that bootleg copies of this atrocity were showing up at science fiction conventions as one of the “lost episodes” of the final season. Some have even shown up on the Internet. It even became the basis for a fanfic story.
Okay, now here’s the excerpt. All you need to know to follow along is that Piccolo is a man with gills and Darwin is a talking dolphin (I’m not kidding).
EXT. SEAQUEST – CGI/STOCK
as it cruises through the sea.
INT. SEAQUEST – CAFETERIA
Lucas is at a table eating as Piccolo comes in.
Hey, Lucas, what’s the blue plate special today? I’m starving.
Wait – I thought you were starving.
I just lost my appetite.
(re: Lucas’ plate:)
You’d think the Chef could be a bit more sensitive.
The presentation may not be great, but it tastes pretty good.
He holds out a fork of trout.
Here, have a bite.
Piccolo turns away, disgusted.
Are you nuts? Why don’t you go offer Darwin some dolphin pate.
Suddenly Lucas understands.
Tony, you aren’t a fish.
I have gills, Lucas. I may not be a fish, but it still feels like
cannibalism to me.
You’re a human being who happens to have gills, that’s different.
If you could fly, believe me, chicken wouldn’t look very
Chickens don’t fly.
Piccolo glares at Lucas and walks out. Lucas smiles to himself.
I recently read the stories of two TV celebrities.. one a star in front of the camera (Jan-Michael Vincent), one a star behind it (Steven Bochco). One is a biography, the other a memoir…and both were fascinating.
Grove missed his calling. He should have been a novelist. Thanks to Grove’s vivid prose and keen eye for emotional detail, Edge of Greatness reads much more like a tragic novel than the standard biography of a mildly talented actor’s rapid rise and horrific downfall. This is the all-too-familiar story of a self-destructive actor undone by all the temptations of Hollywood — sex, drugs, alcohol — and his own hubris.
The book tracks Vincent from his humble beginnings in the central California farming community of Hanford, through his years of stardom, and up to his current squalor, which is physical, mental and financial. As Grove puts it:
“A black Mustang convertible and a patch of roses out front offer the only clues to his past life, when his aquamarine eyes, chiseled features, and sun-streaked hair sang of creamy sand and sweet sex. He has long ceased being beautiful or strong.”
Vincent today is confined to a wheelchair. He has lost a leg, the result of peripheral artery disease, and he struggles with diabetes, epilepsy, and the ravages of “countless episodes of alcoholic poisoning and toxic shock.” Grove goes on to say that Vincent “barely weights 100 pounds, his teeth dangle in his jaw, brittle and emaciated” and that the condition of his liver “has moved far beyond the simple characterization of cirrhosis. It’s a celebration of rot.”
And all of those quotes are just from page one, effectively setting the stage for the tragic story to come. Sure, he gives away the ending, but it puts the actor’s entire rise and fall into horrific perspective that haunts the book. What makes this tragedy compelling reading, as opposed to the literary equivalent of watching a train wreck, is Grove’s writing and reporting skills. Perhaps that’s due to this startling admission from the author, at the very end of the book, when he asks himself if he likes Vincent:
I don’t like myself, which is what we have in common and why I was drawn to him.
And he goes on to conclude:
It’s obvious now that he was not born; he was invented. I thought there would be more, but this is it. He got what he deserved.
Bochco is one of the most talented, influential, and deservedly celebrated writer-producers in the history of television. It’s not hyperbole to say he has reshaped the medium, not just through the ground-breaking dramas that he wrote and co-created (Hill Street Blues, L.A. Law, NYPD Blue), but also by virtue of the many amazing writers that he discovered and nurtured (like David E. Kelley and David Milch). I’m among his biggest fans, speaking both as an appreciative viewer and a TV writer/producer who was inspired by him (and yet never rose to anywhere near his level of success, creatively or otherwise). That said, while there is much to learn from his revealing memoir, this self-published book is difficult to read, not because of the subject matter, but because of crippling editorial issues.
But let’s talk about the pluses first. The memoir works not just as the story of one writer’s rise through the television industry — from Universal Television staff writer to a celebrity show runner — but also as insider’s look at the massive changes that have happened in the industry and how it has affected programing. It’s also an in depth, inside look at how television shows are conceived, developed, written, and produced from the creative, business and political sides. Bochco not only examines how his shows succeeded… but also how and why they failed. And he can be brutally honest about it.
He goes into detail about his working and personal relationships with actors, directors, network and studio executives…and doesn’t always come out looking very good himself (more about that later). There are many memorable stories in the book — one of my favorites is the one about why he fired actor Daniel Benzali from Murder One. All I’ll say is that it comes down to when and where Benzali wanted to take a crap. Another favorite is the story of his encounter with William Paley, who ran CBS. Those are just a few of the great anecdotes in book that, as far as I know, haven’t been shared before. But Bochco also goes into more well-known controversies, like replacing David Caruso on NYPD Blue, and talks candidly about his intimate working and personal relationship with writer David Milch, who he discovered on Hill Street Blues and who battled with many demons, including a gambling addiction.
Now let’s go into the negatives, which are substantial and detract from what otherwise could have been a great book, perhaps one of the best ever written about the TV business.
The book is amateurishly produced on every level. The title of the book, at least on the cover and on the spine, is Truth Is a Total Defense. The title of the book on the two title pages, however, is Truth is a Total Defense: My Fifty Years in Television. That’s a minor quibble, but it’s your first clue that this is not a professionally published book (it’s also missing a copyright page, which is pretty astonishing in itself).
Bochco is a very wealthy man, as he often mentions in the book. So I don’t understand why didn’t spend the money to have the book professionally edited. For a guy who prides himself on his attention to detail in his shows, he doesn’t exhibit the same care when it comes to his book. He appears to have done little or no copyediting. For example, titles of shows are not italicized or in quotation marks… though sometimes, for no reason at all, they are in all-caps. It’s a very strange choice and makes it difficult to read the book.
Typos and other errors abound. He refers to John Wells, executive producer of ER as “John Welles.” He even misspells the names of characters he created, alternating between “Goldblume” and “Goldbloom” when talking about the character from Hill Street Blues.
There are also a lot of factual mistakes. For instance, Bochco was a story editor on McMillan and Wife, which he describes as Rock Hudson playing “the D.A. of San Francisco” when, in fact, he played the Chief of Police. He mentions releasing David Caruso from a clause in his post-NYPD Blue agreement, one that prevented him from doing another series for five years, to let him do a CBS pilot. He says the CBS pilot didn’t sell, but that the next show Caruso did was CSI Miami, and it was a big success. Actually, the CBS pilot did sell. It was called Michael Hayes, and the series ran for 21 episodes before being cancelled. There are errors like this throughout the book that could have been easily avoided if he’d hired a professional copy editor.
There’s also an interesting omission. He talks about nearly every show he worked on at Universal Television… and says the first show he ever created was Griff in 1973. And yet he never mentions that in 1969 he co-created The New Doctors segment of The Bold Ones, the most successful series spoke in that drama wheel. I wonder why he completely skipped over that.
He does something in the book he would never do on his TV shows — he uses lots of cliches, like “moved so fast our heads were spinning,” “it was no day at the beach,” “I didn’t want to rock the boat,” “necessity is the mother of invention,” etc. It’s laziness he would never tolerate in a script but lets slide in the book. I mention it not to be petty, but because its a sharp contrast to what he says throughout the book about his standards of good writing.
Structurally, the book is mess. He starts with the moment, a few years ago, that he learned that he had leukemia, and then goes into his disappoint and anger that his sister wouldn’t donate bone marrow. From there, he shifts into the story of his TV career, jumping forward, backwards, and sideways so it’s often hard to keep track of where you are in his career and personal timeline. And then he returns to his leukemia, and his difficult battle over the disease. As part of that story, he shared the emails he wrote to his family and friends while he was being treated…some of them cringe-inducing, particularly those where he rips his sister yet again for not giving her bone marrow to him. Is this his autobiography? A book about his career in television? Or a book about his battle with leukemia? He can’t seem to decide. This is where a strong editor would have really helped the book.
He likes to depict himself as a nice guy, someone who is supportive of other writers and who strives to bring out the best in everyone around him. Often, he probably is the person he describes…and there are plenty of examples of that kindness and supportiveness in the book. But he also clearly delights in trashing people, particularly network and studio executives, some of them by name, who had the temerity to disagree with him or pass along notes from their bosses. Many of the people he trashes are small fish, individuals far less powerful and wealthy than he is….and, as a result, he comes across as a bully taking advantage of his stature to beat on those who aren’t able to defend themselves.
He repeatedly claims he doesn’t carry a grudges, but he clearly does. He rips into his first wife’s boyfriend, actors Kiel Martin, Daniel J. Travanti, and Daniel Benzali, writers Mike Kozoll (co-creator of Hill Street Blues), Terry Louise Fisher (co-creator of L.A. Law), Eric Lodel (co-creator of Murder in the First) and David Milch (co-creator of NYPD Blue) to name just a few of the people who get singled out for his righteous and often brutal wrath. Some of them undoubtedly deserve his harsh words, and this is his memoir after all, but he doesn’t come out looking particularly good himself in many of these stories. He also repeatedly savages, perhaps rightfully so, his sister for not donating bone marrow to him when he needed it (also trashing her husband, actor Alan Rachins, in what can best be described as collateral damage).
So when all is said and done, yes, Truth is a Total Defense, is a fascinating book for anyone interested in Steven Bochco and the business of television. There’s is much to learn from the book about writing, show running, and the television business. But it’s also a deeply flawed work that’s in desperate need of professional editing.
People are always writing me for advice about TV and publishing, not that I have any great wisdom to impart. But that doesn’t stop me from replying anyway.
Hello Mr. Goldberg:
I was referred to you by a friend of your friend XYZ…I am 64 years old and I have a screenplay that desperately needs a place to go, and your name was delivered as the unquestionable favorite. Please let me know if you might be able to provide me any guidance or wisdom. Should you not be able or interested, (she tries to put away that big pouty lip), your suggestion of someone else would be greatly appreciated.
Unfortunately, I don’t have good news for you. In fact, I have very discouraging news for you. Everybody in L.A. has a screenplay they want to sell. You are one of thousands…and you’re competing with them all, inexperienced and experienced screenwriters alike. I’m neither an agent nor a studio exec, so there’s really nothing I can do for you. I don’t know of any agents who are taking on new clients (they are having a hard enough time selling the scripts written by the experienced clients they already have).
The best advice I can offer is for you to contact the Writers Guild of America to see if they can give you a list of signatory agents who are accepting unsolicited screenplays. The other thing you should be aware of is that ageism is rampant in Hollywood…and if you haven’t already established yourself in the business by 30, you are considered elderly and out-of-touch with popular taste 🙂 I’m 54 and feel ancient when I go into meetings…and despite my extensive credits, it’s still a hard sell for me. I’m just telling you this so you realise that you’re facing a very steep, uphill battle.
I am sure you get a lot of emails and maybe this may not reach you, but here’s hoping. I am an aspiring actress/model and went to a meeting with XYZ at Culver Studios last week. He claims to have been a director/producer for NBC/Universal but the IMDB just doesn’t seem legitimate. He also claims to be married to actress XYZ but there is hardly any information on her either.
He says he wants me to come and work for him and learn the business to become an assistant producer and star in his upcoming movies, but things just aren’t adding up. I called NBC Universal and asked them if his name was on the employee list and was not. Due to all of the scams and human trafficking which he spoke a lot about, I want to be safe. Do you know how I can navigate safely through this industry and or have any advice for me on how I can obtain legitimate information and backgrounds on producers and directors?
Well, it sounds like you already checked this guy out and learned that something is very fishy. His picture on Imdb also seems amateurish to me… as if by standing beside the studio gate, which anybody can do, he’s trying to confer legitimacy on himself. I’d steer clear of him. Keep in mind, anybody can rent studio space. Just because their office is on a movie studio lot does not mean they are legitimate. In addition to imdb, you can check out producers with the PGA (Producers Guild of America) to see if they are members… or, if they are writer/producers, you can check with the WGA (Writers Guild of America) to see if they are members (or if their companies are guild signatories). You can find out if a director is legit by contacting the DGA (Directors Guild of America) and seeing if he or she is a member. If they are offering you acting jobs, check them out with SAG (Screen Actors Guild) to see if they are signatories or if there are any issues with their company that the union knows about. Lack of produced credits on imDb and non-membership in one of those guilds would raise a big red flag for me.
A year ago, I published a blog post here titled “Easily Fooled” about being on a TV writing panel at a mystery conference with a guy whose writing credits were all fake. I omitted his name to save him embarrassment. I was being too kind, because the guy is still hoodwinking conferences and the paying attendees with the same scam. So here’s the post again… with his name included this time.
James gets gigs teaching screenwriting courses based on his experience writing episodes on the TV shows HOUSE, DEADWOOD, SAVING GRACE and ENTOURAGE. The problem is, according to the Writers Guild of America and writer/producers on those shows, James Strauss never worked as a writer on any of those series. So beware. If you run across any conference or seminar programs where he’s fraudulently claiming those credits in his biography, please alert the organizers and have them contact Lesley McCambridge in the WGA West credits department. Okay, so here’s the April 2013 post that tells how I first encountered this fake, James Strauss:
The First Clue: Strauss Didn’t Know What He Was Talking About
Recently, I was a guest at a Love is Murder Conference in Chicago and one of my fellow speakers/panelists was James Strauss, who claimed to have written for scores of acclaimed network TV shows, like House, Deadwood, and Entourage, and a big upcoming movie, The Equalizer. Based on his experience, he’d been invited to speak at writer’s conferences, seminars, and libraries from coast to coast, including some nice paid gigs in Hawaii and Mexico. I’d never heard of him…and the instant I met him, I knew something was off.
For one thing, I knew one of the writers of the big, upcoming movie he claimed to have worked on…and I knew writer/producers on most of the shows he said he wrote for…and when I mentioned their names to James, he was evasive or said he came on the various projects before or after my friends were there. I might have bought that, screenwriting is a pretty nomadic business, but everything he said on his panels and in his talks about writing scripts and working on episodic series wasn’t just wrong, it was inane. Even in our personal conversations, he said some pretty stupid stuff about the business.
The Second Clue: Strauss Had No Credits. Anywhere. For Anything.
So I looked James Strauss up on IMDb. No credits. I googled his name, with the titles of the series he said he worked on, to see what came up… and the results I got all came from his website and the conferences he’d spoken at. Now my B.S. meter was in the red zone.
So I contacted my friends on the shows that he said he worked on. Not one of them had ever heard of him.
So I called the Writers Guild of America’s credits department and asked for his credits. They told me he wasn’t a member and had no writing credits.
Clearly, James Strauss was fraud. And not a very sophisticated one either if a mere google search could unmask him.
Now that the Guild was alerted to the guy, they investigated the issue in more depth, and sent him a strong cease-and-desist letter.
Conferences Should Check Credentials of So-Called “Experts”
What I don’t get is how so many conferences, libraries, and seminars could have invited this guy to speak, and paid his way to tropical locales, without doing even the most basic check of his credentials. In this day and age, if a guy says he wrote for some of the most acclaimed shows on TV, you should be able to easily confirm it with a simple Google search. And if you can’t, that should be a big, fat, red freaking flag.
I alerted the conference organizers about this guy’s fraud, and they said they’d always suspected something was off about him, but he seemed very knowledgeable and was so likeable that they let it go. They won’t make that mistake again.
UPDATE 4-22-2014: They actually did! Love is Murder invited James Strauss back again this year to talk about TV writing …even after being alerted by me and the WGA that he was a fraud. But James wisely was a last-minute no-show. The WGA sent him another cease-and-desist letter, and copied the conference. There’s nothing wrong with him teaching screenwriting. What is wrong is claiming credits and experience that he doesn’t have.
Incredibly, James Strauss is still at it, claiming credits he doesn’t have. Yesterday, I discovered another conference that he was scheduled to speak at in May as an expert in TV writing. His bio listed the usual falsehoods. So I alerted the organizers about his fake credits and put them in touch with the WGA. The conference immediately disinvited Strauss. It’s discovering his continued fraud that prompted me to rewrite and repost this blog today.
When he’s asked to validate his writing credits, he claims he can’t because he wrote his scripts “under the table” and “off the books” so David Shore, David Milch, and the other producers he worked for could avoid paying WGA rates for writers. Uh-huh. That tells you how little James Strauss knows about the TV biz…or about the people he claims to have worked with. HOUSE creator/EP David Shore is on the Board of the Writers Guild of America and chairs the New Members committee.
James Strauss is not a clever fake. The problem is that the conference organizers he meets are so well-meaning, gullible and desperate for impressive guest speakers.
Here’s what James Strauss is saying today on his Facebook page about me outing his fakery:
“Ah, this day closes. I am under attack. For being what I am not supposed to be. For saying what I am not supposed to say. For attempting to live through the mythology of our phenomenal existence with little or no respect into a reality of hard truth and unacceptable demonstration of how things are. Just another day. Not so. A tough day and one not necessarily supported by those living in comfort and removed from the harshness of cold real world delivery. And so I bid you all a good night. I hope your day was better than mine but mine, even such as it was, wasn’t so bad as others have it. For them….I wish them love and acceptance. I wish them belief and tolerance. I wish them everything….”
UPDATE JAN 28. 2015
Fake TV writer and convicted conman James Strauss is back…this time expressing on Facebook his happiness that his author page is finally creeping up to top of Google search results for his name as opposed to all the posts on the web about his swindles. What amuses me about this bizarre post is how he casts himself as a victim…as opposed to the many people that he deceived and defrauded.
The International Association of Media Tie-In Writers (www.iamtw.org) has announced the nominees for the 2014 Scribe Awards, recognizing the excellence in the field of media tie-in writing… the best thriller novels, mystery novels and science fiction novels based on movies, TV shows and games.
The winners will be announced, and awards presented, in July at the San Diego Comic-Con.
The 2014 Scribes Nominees:
Best Adaptation (Noveliization)
Man of Steel by Greg Cox 47 Ronin by Joan D. Vinge Pacific Rim by Alex Irvine
Best General Original
The Executioner:Sleeping Dragons by Michael A. Black Murder She Wrote: Close-Up on Murder by Donald Bain Leverage: The Bestseller Job by Greg Cox Leverage: The Zoo Job by Keith R. A. DeCandido Mr. Monk Helps Himself by Hy Conrad
Best Speculative Original
From History’s Shadow by Dayton Ward Supernatural: Fresh Meat by Alice Henderson Supernatural: The Roads not Taken by Tim Waggoner Fringe: The Zodiac Paradox by Christa Faust Kenobi by John Jackson Miller
Best Short Story
“Savior” by Michael Jan Friedman
“Redemption” by Robert Greenberger
“Locks and Keys” by Jennifer Brozek
“Mirror Image” by Christine M. Thompson
“So Long, Chief” by Max Allan Collins and Mickey Spillane
“The Dark Hollows of Memory” by David Annandale
Best Young Adult
Kevin by Paul Kupperberg Cloudy With a Chance of Meatballs 2 by Stacia Deutsch The Croods by Tracey West
Dark Shadows – 33. The Phantom Bride by Mark Thomas Passmore
Dark Shadows – 37. The Flip Side by Cody Quijano-Schell
Blake’s 7 The Armageddon Storm – by Cavan Scott and Mark Wright
I get lots and lots of questions asking for career advice from readers. Here are a few that came in recently.
Q: Wanted to ping you for some advice, if you don’t mind. I think I’m ready to live by my pen/keyboard starting this summer. My house is already paid off, I’ll have about a year’s worth of savings in the bank, and I’ve figured out the costs of healthcare and retirement already. This is a new world for me, as I’ve been in a stable job in corporate America for the least 22 years, so it’s a big jump and one that I’m excited about but also nervous as well. I’d like to make sure I understand all the pro’s and con’s to be sure my exit plan from Intel is solid. From your perspective, what are the risks/benefits and if you were about to make a decision like this, what are some of the things you’d want to have in place prior?”
I’ve been doing this my whole life… so I am probably the wrong guy to ask for transitional advice. The pros and cons are basically that you have to be entirely self-motivated and relentless about generating work & opportunities for yourself. You have no boss to drive you…and no company’s resources to back you up. It’s your own time and money. You’ll need to surround yourself with top professionals … lawyers, accountants, agents, copyeditors, etc…. that you can trust to handle your business affairs. And you will have to be a harsh task master on yourself to keep churning out material and drumming up new business. Don’t expect to succeed overnight. It’s going to take a while.
Q: Since you’re a Tv producer cant you view my Tv show script and break it into the Tv biz? I mean I’m just carious.”
No, I can’t.
Q: I’m 42 years old and live in NYC. Because of some personal issues I dealt with in my twenties and thirties, I’m a late bloomer. […] I would appreciate it if you could give me some straight talk about whether or not I am too old to consider a career in TV writing. I work as a copywriter, and I understand the next step is to work hard on specs for my portfolio. However, if the opportunity has passed because of my age, I would rather let go and focus on something else.”
Age has nothing to do with it if you write an incredible, kick-ass spec screenplay and episodic sample. But I would be deceiving you if I said ageism isn’t a issue in TV. The networks and studios do favor the young, so if you’re good, but not great, your age will knock you out of the running. But if the development execs love your scripts, they will look past a few gray hairs.
Every day I get emails from writers asking me how to break into the TV business. Most of them are looking for a short cut (namely, by using me, my agent and my friends). And most of the writers, it seems, have only a vague idea of what being a writer or producer really involves. They just like the idea of it. Take this email, for instance:
I am contacting you to ask if you can give me advice on how to be a TV writer. I discovered you on a WritersStore.com article in which you gave advice on how to break into the TV business.
My dream is to one day be an Executive Producer or Show runner for my own scripted show on television. However, I am not sure the correct route to achieve that dream. I understand that some people eventually have their own show by being a writer on many other scripted shows and working their way up. This is a path that I am reluctant to take because I am adamant about working on and putting out my vision. I am not really interested in contributing to other people shows or vision because I feel I have something unique to bring to television. Also, I have heard that some people get a TV show due to their work in the fiction world such as George R. R. Martin, the writer of Game of Thrones. I like this route better because he was able to keep his unique vision of his story without really compromising to any network or producer.
I have a lot of ideas and concepts; however, I don’t really know how to put together a cohesive story for the screen. Also, I understand to achieve any success in the film business it takes at least 10 years of hard work and networking. I was considering getting an online degree from Full Sail in creative writing or doing some kind of online writing program. What would you suggest I do considering all of this?
Do you think it is a good idea just to write a lot of short stories first as a way to get my work noticed by people? It bothers me that as of yet I have not been able to write any full length story of any kind. Can you give me advice concerning my questions? Thanks a lot.
There are so many misconceptions and bone-headed opinions in this email that I think the best thing to do is to tackle them one by one in the order in which they came up.
I am contacting you to ask if you can give me advice on how to be a TV writer. I discovered you on a WritersStore.com article in which you gave advice on how to break into the TV business.
Did you actually read the article? Because I answered almost all of your questions in it.
I understand that some people eventually have their own show by being a writer on many other scripted shows and working their way up. This is a path that I am reluctant to take because I am adamant about working on and putting out my vision.
No, that’s not the reason you are “reluctant.” You want to take a short-cut. What you don’t seem to realize is that a TV series represents a $100 million or more investment. Before a studio or network will hand you that money to “put out your vision,” you will have to earn their trust in your skill and faith in your creative vision. You earn that by proving you can write a script and produce a TV show. Which you do by working your way up. Alternatively, you can earn that trust by writing a blockbuster hit movie or perhaps writing several internationally bestselling books…but even then, they will probably pair you with an experienced showrunner…someone who has worked their way up and gained the necessary experience to run a show.
I am not really interested in contributing to other people shows or vision because I feel I have something unique to bring to television.
You don’t. There’s an old saying in TV: ideas are cheap, execution is everything. No one is interested in your ideas or your vision. Everybody has those. What’s rare is talent and skill. You may not be interested in contributing to other people’s shows or vision. Too damn bad. That’s how the business works. It’s not going to be re-invented because you a) are too full of yourself to follow established path or b) are too lazy to put in the work involved.
Also, I have heard that some people get a TV show due to their work in the fiction world such as George R. R. Martin, the writer of Game of Thrones. I like this route better because he was able to keep his unique vision of his story without really compromising to any network or producer.
You like this route better because you think it’s a short-cut. It’s not. Because it’s a fantasy. I hate to break it to you, but George did his time working on other people’s shows (ie Beauty and the Beast, Twilight Zone, etc ) before getting a shot at writing his own pilots. He eventually left television and concentrated on his books. He is not running Game of Thrones, David Benioff and D.B Weiss are. Both of them, incidentally, worked their way up writing books, movies and TV shows for other people before getting this show.
I have a lot of ideas and concepts; however, I don’t really know how to put together a cohesive story for the screen.
If you can’t do that, why would anyone entrust you with $100 million to write & produce a TV series? That is why you need experience and skill…built over years of working in the business…because if you can’t put together a cohesive story, and have no idea how, you are not a showrunner or a writer. You are a development executive.
I was considering getting an online degree from Full Sail in creative writing or doing some kind of online writing program. What would you suggest I do considering all of this?
Yes, getting an education and some training in the field you’d like to enter would be a very good idea. Go back and look at the article of mine you supposedly read for more details.
Do you think it is a good idea just to write a lot of short stories first as a way to get my work noticed by people? It bothers me that as of yet I have not been able to write any full length story of any kind.
It should, especially given your grandiose notions of your own amazing talent. No, I don’t think writing short stories are the path to becoming a TV writer and showrunner. Short stories have nothing to do with TV writing and producing.