WEBVTT - Michael Connelly

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<v Speaker 1>Welcome, Welcome, Welcome back to the Bob Left Sets podcast.

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<v Speaker 1>My guest today is writer Michael Connelly. Michael, Hey, how

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<v Speaker 1>are you? Thanks for having me on your show. Okay,

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<v Speaker 1>so where are you right now? I'm in Los Angeles

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<v Speaker 1>on lockdown, hunkered down status, whatever you want to call it. Okay,

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<v Speaker 1>So you're living in Los Angeles now? Yeah? Yeah, okay.

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<v Speaker 1>So how's the self quarantining working for you? Well, I

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<v Speaker 1>can't complain because I'm somebody who from most of my

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<v Speaker 1>life I've worked from home, you know, writing books and

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<v Speaker 1>solitude and uh, up until I got involved a TV show,

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<v Speaker 1>that was what my life is like. So this is

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<v Speaker 1>a bit of a throwback to the way I've been

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<v Speaker 1>for most of my um creative life. So are you writing?

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<v Speaker 1>What is filling your time these days? Well? It's interesting because, uh,

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<v Speaker 1>I raped very contemporary stories set in Los Angeles and

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<v Speaker 1>the um you know, the virus thing happens and you

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<v Speaker 1>don't know the end of it, so it's very hard

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<v Speaker 1>to be creative about it. And I was in the

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<v Speaker 1>middle of a Lincoln Lawyer book that was actually set

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<v Speaker 1>in April of this year, and that doesn't work anymore

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<v Speaker 1>so because I don't know what's gonna happen. So I

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<v Speaker 1>lost about a month and a half of creative quandary,

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<v Speaker 1>wasn't really doing much at all. And then I kind

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<v Speaker 1>of said, I'm going to back the book up started

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<v Speaker 1>in December instead of April, and bring it up into

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<v Speaker 1>the start of this virus and maybe reflect a little

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<v Speaker 1>bit on that um. And then I got going again

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<v Speaker 1>and I got some good momentum, and that's where I'm

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<v Speaker 1>at now. Now I'm now though, I'm I guess bothered

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<v Speaker 1>by the question of will people want to read about

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<v Speaker 1>this virus after we've all lived through it. I mean,

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<v Speaker 1>it's not gonna be the main emphasis of my book,

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<v Speaker 1>but it's gonna be on the news, and the impending

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<v Speaker 1>plague coming is going to be part of it. You know.

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<v Speaker 1>I think that's over analyzing because I remember yesterday in

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<v Speaker 1>the New York Times they had Jury Seinfeld interview and

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<v Speaker 1>he taped his special before the coronavirus, and they're worried

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<v Speaker 1>about what people can handle. I think primarily people are

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<v Speaker 1>reading your books because they're fans of you, and then

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<v Speaker 1>they turn other people onto the books. Would you agree

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<v Speaker 1>with that? Well, that's the hope, you know, that's the

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<v Speaker 1>domino effect, you think. You hope it has, you know

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<v Speaker 1>that people read the book and spread the word about it. Um. Yeah,

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<v Speaker 1>I do think that there's a part of this audience

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<v Speaker 1>that my audience, that's that's gonna go with me where

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<v Speaker 1>I go. And that's great to have. But you know,

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<v Speaker 1>these questions always kind of filter into your thinking anyway. Okay,

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<v Speaker 1>let's let's when you do right, to what degree are

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<v Speaker 1>you thinking about the audience? Um? Not a whole lot.

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<v Speaker 1>I mean you do in general, you know, like um,

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<v Speaker 1>in terms of I try to be very as I said,

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<v Speaker 1>you were reflective of what's going on in the world,

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<v Speaker 1>and and that includes politics and so forth, and so

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<v Speaker 1>I you know, I wrote a book, for example, uh,

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<v Speaker 1>maybe a year ago I think it came out or

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<v Speaker 1>two years ago called uh, two kinds of Truth. I

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<v Speaker 1>think it was called It's Weird I'm having my own books.

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<v Speaker 1>But in that was was you know, a meditation on

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<v Speaker 1>what is truth then? And who should be telling the

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<v Speaker 1>truth no matter what? And this was at a time

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<v Speaker 1>where in politics people were constantly talking about is the

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<v Speaker 1>president lying as the president not lying? And and and

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<v Speaker 1>and it's and truth became a political issue and that

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<v Speaker 1>wasn't really what I wanted to put into the book,

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<v Speaker 1>but that's how people read it. And you know, so

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<v Speaker 1>you do get social media. Um, you get social media

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<v Speaker 1>return on what you do. I do as well, and

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<v Speaker 1>so it was interesting to see people take my meditation

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<v Speaker 1>on the truth and what it means in the wrong

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<v Speaker 1>way and take it through a political um uh strainer,

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<v Speaker 1>if you will, um and react negatively in a lot

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<v Speaker 1>of cases to my books and positively in other ways. Well,

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<v Speaker 1>I guess being specific about that, since you wrote about

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<v Speaker 1>truth and tomp Trump, I would assume the negative feedback

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<v Speaker 1>came from supporters of Trump, irrelevant of the misinterpretation. As

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<v Speaker 1>you move forward, are you anxious about alienating that part

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<v Speaker 1>of your audience. I would say earlier in my career,

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<v Speaker 1>I would have I would have had to have been.

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<v Speaker 1>But now I'm on the tail end of my career

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<v Speaker 1>and I have a I don't care type of attitude

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<v Speaker 1>towards that. But I but definitely, early in your career,

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<v Speaker 1>you know you're trying to sustain a career, and you

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<v Speaker 1>just sustain it through readership and growing readership. So don't

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<v Speaker 1>do anything that might dampen that readership. I mean I

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<v Speaker 1>write about law and order. These are things that normally

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<v Speaker 1>skew towards conservatives, and so there's a big population of

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<v Speaker 1>conservatives I believe that read my books. I mean, it's

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<v Speaker 1>this is all anecdotal. This is not anything I can

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<v Speaker 1>say that we've done studies or anything like that. We're

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<v Speaker 1>not that sophisticated in the publishing business. Um. But I

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<v Speaker 1>was more aware of it back then that I was

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<v Speaker 1>in the last decade or so of my career. And

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<v Speaker 1>that's why something like this could happen. That I just

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<v Speaker 1>put something in there that, um, you know, I think

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<v Speaker 1>the line was even president's lie, president's plural, and that

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<v Speaker 1>really set some people off, even the president. Sometimes president

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<v Speaker 1>must have to stand naked, as Bob Dylan said. But

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<v Speaker 1>I'm interested. I'm just a couple of years older than you.

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<v Speaker 1>Do you think your attitude changed about this when you

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<v Speaker 1>turned sixty. You're a few years past sixty. I don't

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<v Speaker 1>know if I would. Uh, I didn't have like a

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<v Speaker 1>big sixties moment. I think I had more one when

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<v Speaker 1>I was fifty turned fifty about being on the You know,

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<v Speaker 1>in my mind, I'm thinking about you're walking up a

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<v Speaker 1>roof and at some point you hit the top of

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<v Speaker 1>the riff and you're going down and it's and it's

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<v Speaker 1>supposed to be easier, although it really isn't. Um that

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<v Speaker 1>happened to me when I was fifty. Um, sixty kind

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<v Speaker 1>of came and went from me. So I don't think

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<v Speaker 1>that that had that kind of effect on me. Well,

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<v Speaker 1>I'm the reverse fifty was a breeze. Sixty I'm still

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<v Speaker 1>trying to recover from. But uh, now, the whole landscape

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<v Speaker 1>of media has changed. As you've alluded to earlier, the

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<v Speaker 1>book business is rather archaic. But if you the only

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<v Speaker 1>person with universal mind share is Donald Trump, so what

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<v Speaker 1>do we know? You have an established audience, you still

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<v Speaker 1>have to make them aware of the fact that a

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<v Speaker 1>new book is coming out. But did you have any

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<v Speaker 1>dream of even further cultural penetration which is now frustrated

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<v Speaker 1>as a result of so many messages and it's hard

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<v Speaker 1>to get any worry out there? Um, I don't think so.

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<v Speaker 1>I mean, that's that's a pretty deep question. And you

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<v Speaker 1>know I can always retreat to, hey, I write mysteries,

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<v Speaker 1>but you know the reality is that's that's the front

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<v Speaker 1>of the book, and I wouldn't be doing this for

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<v Speaker 1>so long and it's such a every day applying my

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<v Speaker 1>trade level of it, if I didn't have at least

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<v Speaker 1>secret motivations to tell story of a higher meaning or

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<v Speaker 1>a higher connection or a higher residence. And you know

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<v Speaker 1>they again not going back to sixty, but a coincide

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<v Speaker 1>it kind of I'm like about to turn sixty four,

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<v Speaker 1>so kind of coincided with when I turned sixty. They're

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<v Speaker 1>the divisiveness that has entered the politics of our world

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<v Speaker 1>has spilled out into everything, and therefore it does become

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<v Speaker 1>um here, you know, writing a story about a guy

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<v Speaker 1>just trying to solve a murder in Los Angeles becomes

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<v Speaker 1>political without that being your intention. Um. And so that

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<v Speaker 1>you know, I probably haven't even answered your question. I've

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<v Speaker 1>going off on a tangent here, but said something. You

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<v Speaker 1>said you had goals. I guess let me make it

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<v Speaker 1>more to the point. I believe when someone is an artist,

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<v Speaker 1>and you're an artist, your main goal is to reach

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<v Speaker 1>as many people as you can with your message. Of course,

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<v Speaker 1>you want to be remunerated, but you want to reach

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<v Speaker 1>as many people. That is inherently difficult for everybody. So

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<v Speaker 1>was that part of your dream or did you reach

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<v Speaker 1>an establish your audience a million books per book, and

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<v Speaker 1>that was satiating. Oh, I see what you're saying. No,

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<v Speaker 1>And I don't think I'd ever be satiated. And I

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<v Speaker 1>wish I could get to that level of a million

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<v Speaker 1>uh readers a book. I don't think I'm there, but

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<v Speaker 1>um there maybe in a list of libraries are doing

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<v Speaker 1>a lot of work for me that I'm there. But

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<v Speaker 1>um yeah, I mean I think you know. And and

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<v Speaker 1>it's not like I'm trying to be high salutin or

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<v Speaker 1>uh you know, didactic of anybody. I'm not trying to

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<v Speaker 1>tell anyone how to think. I'm trying to write about.

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<v Speaker 1>For the most part, let's just talk about Harry Bosh.

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<v Speaker 1>He's the guy who's the through line of my creative life.

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<v Speaker 1>Um started with him and hopefully will end with him,

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<v Speaker 1>whenever that is. And I just think he sets an

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<v Speaker 1>example of fairness. You know, everybody counts or nobody counts.

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<v Speaker 1>That's his message, and that would be my message. And

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<v Speaker 1>that's that's pretty simple, and that's and you'd think it

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<v Speaker 1>was something that would have universal agreement, but it turns

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<v Speaker 1>out it doesn't. Um, there's the politicalness in that statement.

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<v Speaker 1>Everybody counts. M nobody counts, um, you know, and and

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<v Speaker 1>so that kind of has infected That's probably too strong word,

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<v Speaker 1>but that's kind of infiltrated into my thinking and into

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<v Speaker 1>my work and how and how it's responded to. And

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<v Speaker 1>you know that's something I, you know, really can't control. Okay,

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<v Speaker 1>someone like you with a profile, you a lot of

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<v Speaker 1>opportunities to, let's just say, hang out with the people

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<v Speaker 1>on the other side of fairness. Are you more of

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<v Speaker 1>an introvert or do you uh take the opportunities to

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<v Speaker 1>go to parties, to go to yachts, to hang out

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<v Speaker 1>with some of these household named people. I'm definitely, I

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<v Speaker 1>mean it goes to that question about how my faring

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<v Speaker 1>with the lockdown. Um, I'm definitely an introvert. Um. It's

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<v Speaker 1>it's just a weird contradiction because I think most writers

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<v Speaker 1>are You're comfortable being in your own little world. You know.

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<v Speaker 1>My little world is my laptop and what I put

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<v Speaker 1>into it, and then I send it out into the world.

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<v Speaker 1>And so once a year, usually for about four weeks,

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<v Speaker 1>I have a book come out, and I'm supposed to

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<v Speaker 1>be the opposite of that. I'm supposed to be out there. Uh,

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<v Speaker 1>you know, touring talking about this being on podcasts that

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<v Speaker 1>are very cool and so forth, and um, that's not

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<v Speaker 1>really my lifestyle. Um so I don't, you know, to

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<v Speaker 1>use your examples parties and and things like that. I

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<v Speaker 1>don't do a lot of that. I am lucky in

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<v Speaker 1>that my books have um connected with some people that

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<v Speaker 1>are well known and culturally important, and um, I've been

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<v Speaker 1>invited to meet with them and things like that. And

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<v Speaker 1>it's it's it's that's been, you know, pretty amazing that

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<v Speaker 1>that I'm drilling down on the fair in his thing.

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<v Speaker 1>Obviously we're talking to coronavirus era and David Geffen posted

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<v Speaker 1>on Instagram that he was self quarantining on his yacht. Now,

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<v Speaker 1>he's well known for choosing people to come hang on

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<v Speaker 1>his yacht. So if somebody chose, somebody invited you, whomever

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<v Speaker 1>it is, to come stay on their three d FT yacht,

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<v Speaker 1>would you say wow, great opportunity, or in the back

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<v Speaker 1>of your brain say well is this fair? Should I

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<v Speaker 1>be doing this? I see what you mean. Well, I

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<v Speaker 1>mean it's uh, at first of all, that's never happened

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<v Speaker 1>to me, but um, well they must have the private

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<v Speaker 1>jet example where someone is saying, hey, I'm going here,

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<v Speaker 1>come ride with me, or let's go for the weekend somewhere.

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<v Speaker 1>I think you're giving me more social and cultural importance

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<v Speaker 1>that I deserve because that that hasn't really happened to

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<v Speaker 1>me either. But um, you know I I I think of, um,

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<v Speaker 1>you know, different gatherings that I've been invited to, like

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<v Speaker 1>intellectual or cultural gatherings that I've been invited to, and

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<v Speaker 1>I actually find that my introverted nature comes out of

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<v Speaker 1>these things and I don't contribute in a fair way

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<v Speaker 1>to to the ideas being exchanged and so forth. So

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<v Speaker 1>usually those kind of invites a short lived I don't

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<v Speaker 1>get invited to the next one, you know, that type

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<v Speaker 1>of thing. Um, but I enjoy being there when I can. Well,

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<v Speaker 1>the interesting thing is you're very articulate and you have

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<v Speaker 1>no problem speaking. Many introverts I was just stroying the

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<v Speaker 1>Times about this the other day, once they can be

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<v Speaker 1>dragged to the situation, all of a sudden, they light up.

0:12:59.160 --> 0:13:01.520
<v Speaker 1>Does that happen to you? Or you're anxious and you're

0:13:01.520 --> 0:13:07.240
<v Speaker 1>still anxious when you're there a little bit of both. Um,

0:13:07.480 --> 0:13:09.120
<v Speaker 1>It's funny you start with the idea that you're an

0:13:09.120 --> 0:13:13.080
<v Speaker 1>introvert you're You're fine being in your room by yourself.

0:13:13.120 --> 0:13:17.280
<v Speaker 1>But I'm a storyteller, and there's something very egotistical about

0:13:17.559 --> 0:13:19.760
<v Speaker 1>announcing that you're a storyteller and that you're going to

0:13:19.880 --> 0:13:22.360
<v Speaker 1>write books, because that means you think your book should

0:13:22.360 --> 0:13:25.080
<v Speaker 1>be read and they should be translated into movies and

0:13:25.080 --> 0:13:27.400
<v Speaker 1>in the TV shows and everyone in the world should

0:13:27.400 --> 0:13:31.199
<v Speaker 1>know your stories. That is not an introverted um view

0:13:31.480 --> 0:13:34.800
<v Speaker 1>of the world. Um, And I can I can kind

0:13:34.800 --> 0:13:37.440
<v Speaker 1>of knock it down to to something that's happened to

0:13:37.440 --> 0:13:41.000
<v Speaker 1>me in recent years, and that is part you know,

0:13:41.000 --> 0:13:43.080
<v Speaker 1>it's that roof again. For part of my career, I

0:13:43.120 --> 0:13:45.120
<v Speaker 1>was going walking up the roof are I was climbing

0:13:45.240 --> 0:13:48.920
<v Speaker 1>up the roof, trying to get established, trying to get

0:13:48.920 --> 0:13:52.800
<v Speaker 1>more readers, trying to get more attention. And so you know,

0:13:52.920 --> 0:13:55.679
<v Speaker 1>I did like forty city book tours and things like that.

0:13:55.800 --> 0:13:58.360
<v Speaker 1>And in each of these things, you you stand up

0:13:58.400 --> 0:14:01.560
<v Speaker 1>and you you explain yourself, and it's a speech, and

0:14:01.600 --> 0:14:04.400
<v Speaker 1>it would weigh heavy on me coming up of what

0:14:04.480 --> 0:14:07.120
<v Speaker 1>I would say. I didn't like the idea of doing

0:14:07.120 --> 0:14:10.120
<v Speaker 1>it by road and saying the exact same thing, right

0:14:10.160 --> 0:14:12.960
<v Speaker 1>down to the little side jokes. Every every night. I

0:14:13.000 --> 0:14:15.920
<v Speaker 1>just don't do that, And so I would be trying

0:14:15.920 --> 0:14:20.440
<v Speaker 1>to tailor every night a new discussion that centered around

0:14:20.440 --> 0:14:23.600
<v Speaker 1>the same thing for sure, um And it just was

0:14:23.680 --> 0:14:26.840
<v Speaker 1>so hard and it was so debilitating that at some point,

0:14:26.920 --> 0:14:29.360
<v Speaker 1>when I passed the crest of the roof and was

0:14:29.400 --> 0:14:33.440
<v Speaker 1>on the downside, I said, I'm not doing any more speeches.

0:14:33.480 --> 0:14:35.840
<v Speaker 1>I told my publicists and so forth in my publisher

0:14:36.080 --> 0:14:38.480
<v Speaker 1>I'm not doing any more speeches because it's not just

0:14:38.600 --> 0:14:41.640
<v Speaker 1>the thirty minutes that you're giving that speech, it's the

0:14:41.720 --> 0:14:44.680
<v Speaker 1>days leading up to it, thinking about that speech and

0:14:44.720 --> 0:14:48.120
<v Speaker 1>worrying about it and and and it takes away from

0:14:48.160 --> 0:14:50.360
<v Speaker 1>what I do, and that is writing my book. So

0:14:50.440 --> 0:14:54.040
<v Speaker 1>I stopped doing that, and I said, anytime someone wants

0:14:54.080 --> 0:14:56.280
<v Speaker 1>me to be on the stage, put someone with me,

0:14:56.400 --> 0:14:58.600
<v Speaker 1>and let's do a Q and A. That's how I

0:14:58.680 --> 0:15:01.760
<v Speaker 1>do it, exactly. And and and what happens is that you

0:15:01.880 --> 0:15:04.320
<v Speaker 1>go on and on and everything, like right now, every

0:15:04.360 --> 0:15:08.080
<v Speaker 1>answer becomes a speech. But because you were asked the question,

0:15:08.400 --> 0:15:11.400
<v Speaker 1>there's some kind of of a social acceptance and being

0:15:11.400 --> 0:15:13.760
<v Speaker 1>asked the question that you can just go on and

0:15:13.800 --> 0:15:17.640
<v Speaker 1>on and and and you know, keep talking. And I

0:15:17.680 --> 0:15:19.760
<v Speaker 1>think it's more interesting that way. I think it was.

0:15:20.640 --> 0:15:22.320
<v Speaker 1>It was one of those things like, Man, I can't

0:15:22.320 --> 0:15:25.400
<v Speaker 1>believe for fifteen or twenty years, I had to work

0:15:25.400 --> 0:15:28.280
<v Speaker 1>on all these speeches all the time, when when the

0:15:28.360 --> 0:15:30.920
<v Speaker 1>people who are in attendance are the people who are listening.

0:15:31.640 --> 0:15:34.720
<v Speaker 1>Got much better insight into who I am and what

0:15:34.800 --> 0:15:36.880
<v Speaker 1>I do and what my characters are about. When I

0:15:36.960 --> 0:15:40.280
<v Speaker 1>answer questions as opposed to just, you know, trying to

0:15:40.400 --> 0:15:44.520
<v Speaker 1>pontificate with a speech, well, as I say, I totally resonate.

0:15:44.520 --> 0:15:46.760
<v Speaker 1>And I felt good about it because I once interviewed

0:15:46.800 --> 0:15:49.760
<v Speaker 1>Michael Lewis uh and it was the same thing. He

0:15:49.800 --> 0:15:52.120
<v Speaker 1>has a question. I can make up my own questions,

0:15:52.160 --> 0:15:55.200
<v Speaker 1>but you don't have to cogitate and speak at the

0:15:55.280 --> 0:15:58.120
<v Speaker 1>same time. It's much different when you can just answer

0:15:58.120 --> 0:15:59.960
<v Speaker 1>the question. You can go down your nooks and cranny,

0:16:00.600 --> 0:16:03.280
<v Speaker 1>but if you're speaking, you're saying where you're going. Let's

0:16:03.280 --> 0:16:06.760
<v Speaker 1>go back to this issue with fairness. Okay, two things. One,

0:16:07.280 --> 0:16:10.920
<v Speaker 1>this is your personality in general to how do you

0:16:11.040 --> 0:16:15.280
<v Speaker 1>try to send the message such to change the world.

0:16:16.280 --> 0:16:18.400
<v Speaker 1>I think it does come out of my personality because

0:16:18.400 --> 0:16:21.160
<v Speaker 1>it comes out of my you know, growing up and

0:16:21.200 --> 0:16:24.760
<v Speaker 1>I had a big family, and then there's always fairness issues,

0:16:24.840 --> 0:16:28.080
<v Speaker 1>like with six kids, and my parents had this. So

0:16:28.160 --> 0:16:30.960
<v Speaker 1>it's not something I've originated. It's just something that was

0:16:31.440 --> 0:16:34.520
<v Speaker 1>bred into me by my parents and my brothers and sisters.

0:16:35.280 --> 0:16:38.120
<v Speaker 1>And so I've tried to, you know, uh, put it

0:16:38.160 --> 0:16:41.320
<v Speaker 1>into my books and and I just you know, I'm

0:16:41.320 --> 0:16:46.640
<v Speaker 1>not trying to change the world, as you say, um Forthfully,

0:16:46.760 --> 0:16:49.800
<v Speaker 1>I put the message in people in my books who

0:16:49.840 --> 0:16:54.240
<v Speaker 1>are very to my to my this is my take,

0:16:54.280 --> 0:16:57.520
<v Speaker 1>and you know I'm not saying it I'm right. I'm

0:16:57.560 --> 0:16:59.200
<v Speaker 1>just saying this is what I think. I think the

0:16:59.280 --> 0:17:03.240
<v Speaker 1>characters I've about face long odds and what they're doing,

0:17:03.480 --> 0:17:07.360
<v Speaker 1>they face difficulty, and most often they have to they

0:17:07.359 --> 0:17:08.679
<v Speaker 1>come to a point where they have to make a

0:17:08.760 --> 0:17:12.119
<v Speaker 1>choice to do the right thing at great expense to

0:17:12.160 --> 0:17:15.640
<v Speaker 1>themselves and those they love. And that's like the noble

0:17:17.119 --> 0:17:20.639
<v Speaker 1>moment of of every book. And and that's where the

0:17:20.680 --> 0:17:24.760
<v Speaker 1>fairness comes from. So I'm not trying to announce to

0:17:24.800 --> 0:17:27.080
<v Speaker 1>the world everybody counts, but nobody counts. I'm just writing

0:17:27.119 --> 0:17:30.320
<v Speaker 1>about a guy who has that at his core, and

0:17:30.359 --> 0:17:35.479
<v Speaker 1>hopefully that message comes across and um and it wins

0:17:35.520 --> 0:17:39.320
<v Speaker 1>people over or people take it as a social cue

0:17:39.359 --> 0:17:42.480
<v Speaker 1>or take it like, hey, I want to be like that. Um,

0:17:42.640 --> 0:17:45.840
<v Speaker 1>I want to I want to be uh noble too.

0:17:46.560 --> 0:17:49.000
<v Speaker 1>And you know, that's just a little ripple. It's a

0:17:49.040 --> 0:17:52.160
<v Speaker 1>pebble in the in the lake. And maybe the rings

0:17:52.200 --> 0:17:56.639
<v Speaker 1>go out and change some same lives and and in

0:17:56.680 --> 0:18:00.240
<v Speaker 1>a way, maybe that helps change the world. Um, so

0:18:00.280 --> 0:18:02.960
<v Speaker 1>you're talking about now you're on the downward slope. I

0:18:03.000 --> 0:18:07.120
<v Speaker 1>won't give it a negative connotation, but speak to your

0:18:07.160 --> 0:18:11.960
<v Speaker 1>motivation to continue to write books. I'm just the luckiest

0:18:11.960 --> 0:18:15.720
<v Speaker 1>guy I know. I mean, I have this facility to

0:18:16.480 --> 0:18:19.800
<v Speaker 1>do this in the first place, which you know, there's

0:18:20.040 --> 0:18:22.919
<v Speaker 1>there's a part of it is learned and part of

0:18:22.960 --> 0:18:24.840
<v Speaker 1>it is practiced, but a lot of it is just

0:18:24.960 --> 0:18:30.200
<v Speaker 1>mystical and it just has happened, and um, I can't.

0:18:30.760 --> 0:18:32.679
<v Speaker 1>You know, I have to treasure that. I have to

0:18:32.760 --> 0:18:35.560
<v Speaker 1>nurture it. I had to take care of it. And

0:18:35.600 --> 0:18:38.959
<v Speaker 1>that means writing every day. That's I mean, that's my answer.

0:18:39.119 --> 0:18:40.960
<v Speaker 1>I feel like I got to write every day. Okay,

0:18:41.000 --> 0:18:44.680
<v Speaker 1>So hypothetically, if you wrote and you knew no one

0:18:44.720 --> 0:18:48.119
<v Speaker 1>would read it, would you still write? I think I

0:18:48.160 --> 0:18:51.040
<v Speaker 1>would because that's how it started. For me, I wrote,

0:18:51.880 --> 0:18:53.919
<v Speaker 1>you know, my first book was published when I was

0:18:53.960 --> 0:18:57.800
<v Speaker 1>thirty five, but I've been writing for myself and at

0:18:57.880 --> 0:18:59.639
<v Speaker 1>night and learn. I mean part of it as a

0:18:59.720 --> 0:19:04.159
<v Speaker 1>learning experience, obviously, but but I was having great fulfillment

0:19:04.280 --> 0:19:06.280
<v Speaker 1>doing it. And you know, I wrote two books that

0:19:06.320 --> 0:19:08.040
<v Speaker 1>I didn't think we're good enough, and no one has

0:19:08.080 --> 0:19:12.720
<v Speaker 1>ever read other than myself. And I love those books

0:19:12.720 --> 0:19:15.080
<v Speaker 1>because the second one was way better than the first,

0:19:15.080 --> 0:19:18.919
<v Speaker 1>and so I could see myself getting better. And you know,

0:19:19.000 --> 0:19:22.960
<v Speaker 1>I think at some point you'd finally get swallowed by

0:19:23.119 --> 0:19:26.959
<v Speaker 1>like the feelings of fruitlessness and in it. And I

0:19:26.960 --> 0:19:29.200
<v Speaker 1>didn't have that, luckily. But it was a long time

0:19:29.280 --> 0:19:31.920
<v Speaker 1>from the point, you know, I said, hey, I want

0:19:31.920 --> 0:19:35.119
<v Speaker 1>to write novels. I want to and very specifically, I

0:19:35.119 --> 0:19:37.639
<v Speaker 1>said to myself and my parents, I want to write

0:19:37.880 --> 0:19:42.040
<v Speaker 1>crime fiction. That's what speaks to me. And it was

0:19:42.080 --> 0:19:44.240
<v Speaker 1>like almost twenty years later before I was holding a

0:19:44.280 --> 0:19:47.000
<v Speaker 1>book that I that, you know, a real book that

0:19:47.080 --> 0:19:50.159
<v Speaker 1>was that was getting published. Um, And so that was

0:19:50.200 --> 0:19:52.120
<v Speaker 1>a long time. But I don't look at it as like, Wow,

0:19:52.160 --> 0:19:55.560
<v Speaker 1>what a long journey, what a difficult up up slope

0:19:55.600 --> 0:19:57.040
<v Speaker 1>or whatever you wanna call it. It was. It was

0:19:57.080 --> 0:19:59.399
<v Speaker 1>a fun time because I didn't know anything about the

0:19:59.440 --> 0:20:02.720
<v Speaker 1>world of wishing, and I didn't know about the pressures

0:20:02.760 --> 0:20:05.040
<v Speaker 1>and and other things that would come once I did

0:20:05.080 --> 0:20:08.560
<v Speaker 1>get published. So I don't know. It's one of those

0:20:08.560 --> 0:20:10.600
<v Speaker 1>answers where I say, yes, I would still be doing

0:20:10.640 --> 0:20:12.960
<v Speaker 1>it for myself. But I think most people listening to

0:20:13.000 --> 0:20:16.000
<v Speaker 1>this would go like, yeah, right, Well, let's go back

0:20:16.040 --> 0:20:18.040
<v Speaker 1>to the beginning. There are how many kids in your family?

0:20:19.320 --> 0:20:24.600
<v Speaker 1>Six including me? And where are you in the hierarchy? Um? Second, um,

0:20:24.640 --> 0:20:28.240
<v Speaker 1>the oldest boy. Okay, so you got a little because

0:20:28.280 --> 0:20:31.560
<v Speaker 1>normally the oldest gets all the attention. Uh. This goes

0:20:31.600 --> 0:20:34.399
<v Speaker 1>back to our earlier topic in terms of feedback. But

0:20:34.480 --> 0:20:37.080
<v Speaker 1>in the world we live in, yes, the world we

0:20:37.119 --> 0:20:39.720
<v Speaker 1>grew up in, there was more attention towards the mail.

0:20:40.280 --> 0:20:42.480
<v Speaker 1>So to what degree were you the fair haired boy?

0:20:42.720 --> 0:20:47.200
<v Speaker 1>Was there attention on you? Um? I think my parents

0:20:47.240 --> 0:20:51.800
<v Speaker 1>were pretty equal and and um and delving out the

0:20:52.160 --> 0:20:54.040
<v Speaker 1>pats on the head and so forth. I mean, I

0:20:54.119 --> 0:20:57.199
<v Speaker 1>think I was a fair haired boy. Um. But the

0:20:57.200 --> 0:20:59.920
<v Speaker 1>way it went was my sister was born, and then

0:21:00.160 --> 0:21:03.160
<v Speaker 1>three boys, and then two girls, and so the three

0:21:03.200 --> 0:21:06.159
<v Speaker 1>boys were I think we're five total five years apart.

0:21:06.320 --> 0:21:09.359
<v Speaker 1>All together, we were born in a five year period,

0:21:09.400 --> 0:21:11.480
<v Speaker 1>and so we've always been close and we always did

0:21:11.560 --> 0:21:13.959
<v Speaker 1>things together, like you know, with our father, we had

0:21:13.960 --> 0:21:16.960
<v Speaker 1>a natural golf force on them, for example, and we

0:21:16.960 --> 0:21:19.199
<v Speaker 1>would all go golfing and things like that. So I

0:21:19.240 --> 0:21:22.080
<v Speaker 1>think there was you know, my brothers would be first

0:21:22.080 --> 0:21:26.280
<v Speaker 1>say yeah, I was a favorite. I think there wasn't one. Okay,

0:21:26.320 --> 0:21:29.320
<v Speaker 1>now there's been a lot of documentation. Uh, there are

0:21:29.320 --> 0:21:32.760
<v Speaker 1>a lot of children and Mormon families, and the Mormons

0:21:32.760 --> 0:21:35.560
<v Speaker 1>tend to win the reality shows the people from Utah

0:21:35.720 --> 0:21:39.400
<v Speaker 1>because they can get along. So growing up with five siblings,

0:21:39.440 --> 0:21:42.200
<v Speaker 1>are you the kind of guy who's an iconic lass

0:21:42.280 --> 0:21:45.760
<v Speaker 1>or you can get along? No, I think I can

0:21:45.800 --> 0:21:48.680
<v Speaker 1>definitely get along. I mean, I don't know how rare

0:21:48.720 --> 0:21:53.120
<v Speaker 1>it is, but we're Uh, the six of us are

0:21:53.160 --> 0:21:57.119
<v Speaker 1>all still live. I think the six of us was

0:21:57.520 --> 0:22:00.560
<v Speaker 1>you know, Irish Catholic family. So I think all six

0:22:00.560 --> 0:22:04.320
<v Speaker 1>of us were born in less than ten years. And uh,

0:22:04.440 --> 0:22:07.560
<v Speaker 1>you know, we get together all the time. Uh, we

0:22:07.640 --> 0:22:10.840
<v Speaker 1>have traditional get togethers at Thanksgiving and at least another

0:22:10.920 --> 0:22:15.080
<v Speaker 1>time during the year and still a very close knit family.

0:22:15.160 --> 0:22:20.400
<v Speaker 1>Even though we're far flung in six different states. That's

0:22:20.480 --> 0:22:24.919
<v Speaker 1>kind of funny. Okay, so you're born where Philadelphia and

0:22:24.960 --> 0:22:28.480
<v Speaker 1>then you at what age you moved to Florida. I

0:22:28.640 --> 0:22:31.680
<v Speaker 1>was twelve and we moved to South Florida. Okay, we're

0:22:31.720 --> 0:22:35.560
<v Speaker 1>in South Florida, Fort Lauderdale. Okay, did you go to

0:22:35.600 --> 0:22:39.760
<v Speaker 1>the Inankee training gamps? I did? I remember they moved

0:22:39.760 --> 0:22:43.159
<v Speaker 1>to Fort Lauderdale. That was a big deal. Yeah, I, Um,

0:22:43.200 --> 0:22:45.840
<v Speaker 1>I actually worked. I mean it's kind of tied up

0:22:45.880 --> 0:22:47.719
<v Speaker 1>into my life as a writer too. I worked at

0:22:47.760 --> 0:22:50.920
<v Speaker 1>a hotel on the beach and Fort Lauderdale, and that's

0:22:50.920 --> 0:22:54.720
<v Speaker 1>where the Yankees stayed. And um, you know, they would

0:22:54.720 --> 0:22:57.159
<v Speaker 1>lock off the elevator. They had two floors. But I

0:22:57.280 --> 0:22:59.560
<v Speaker 1>was somebody who delivered towels to the floors and all

0:22:59.600 --> 0:23:04.200
<v Speaker 1>that kind of stuff for housekeeping, and I had interactions

0:23:04.200 --> 0:23:06.400
<v Speaker 1>with several of them and they would give me tickets.

0:23:06.760 --> 0:23:10.480
<v Speaker 1>Um at that time, there's no pro no MLB in

0:23:10.480 --> 0:23:14.800
<v Speaker 1>in um Florida like they have now. But um so

0:23:14.840 --> 0:23:17.160
<v Speaker 1>that was the baseball game in town to go see

0:23:17.160 --> 0:23:19.480
<v Speaker 1>the Yankees. And so even though I'm from Philadelphia have

0:23:19.760 --> 0:23:25.320
<v Speaker 1>uh don't really have a connection to New York. The Yankees.

0:23:25.560 --> 0:23:28.760
<v Speaker 1>Um where my favorite team for most of my life.

0:23:29.680 --> 0:23:31.600
<v Speaker 1>They were always my favorite team. And I grew up

0:23:31.640 --> 0:23:34.520
<v Speaker 1>in the mirrors mantel years and even then when they

0:23:34.520 --> 0:23:37.280
<v Speaker 1>were shitty. But once Steinbnner came in and they were

0:23:37.320 --> 0:23:40.520
<v Speaker 1>winning and everybody became a Yankee fan. Maybe that's my

0:23:40.600 --> 0:23:45.800
<v Speaker 1>personality kind of turned me off a little bit. Yeah,

0:23:45.840 --> 0:23:48.680
<v Speaker 1>they weren't uh that those days they had like um,

0:23:48.960 --> 0:23:51.800
<v Speaker 1>Reggie and I remember like Lupinel gave me a lot

0:23:51.840 --> 0:23:54.280
<v Speaker 1>of tickets to games and stuff like that. Um, when

0:23:54.280 --> 0:23:57.359
<v Speaker 1>I was working at that hotel. Okay, so you're growing

0:23:57.400 --> 0:24:01.919
<v Speaker 1>up and your father is doing what Uh he's always

0:24:02.000 --> 0:24:06.240
<v Speaker 1>he was always kind of involved in development and Um

0:24:06.280 --> 0:24:10.399
<v Speaker 1>he went from building houses in Pennsylvania, designing and building

0:24:10.440 --> 0:24:13.320
<v Speaker 1>houses to like being a realtor for a little while

0:24:13.400 --> 0:24:17.440
<v Speaker 1>in South Florida to working for a huge development company

0:24:17.480 --> 0:24:23.840
<v Speaker 1>where he put together shopping centers, helped lease the shopping centers,

0:24:23.880 --> 0:24:26.960
<v Speaker 1>helped design shopping centers. Uh. So he was kind of

0:24:27.000 --> 0:24:29.480
<v Speaker 1>like all over the place in terms of real estate

0:24:29.520 --> 0:24:33.040
<v Speaker 1>and development. And was that you know, if you go

0:24:33.080 --> 0:24:35.400
<v Speaker 1>on Wikipedia, because a lot of this stuff is available,

0:24:35.640 --> 0:24:39.199
<v Speaker 1>said of Gainesville, you studied that. Yeah, I went up

0:24:39.200 --> 0:24:42.760
<v Speaker 1>to UM, the University of Florida. UM. I worked summers

0:24:42.840 --> 0:24:45.560
<v Speaker 1>for my father's companies and so forth, going all the

0:24:45.560 --> 0:24:48.800
<v Speaker 1>way back to when I was twelve and eleven in Pennsylvania,

0:24:49.840 --> 0:24:52.320
<v Speaker 1>and uh, I just thought i'd What I liked about

0:24:52.400 --> 0:24:54.600
<v Speaker 1>him is he would design a lot of his stuff,

0:24:55.000 --> 0:24:56.840
<v Speaker 1>then he'd take it to an architect to get it,

0:24:57.000 --> 0:25:00.200
<v Speaker 1>you know, completely blueprinted and all that stuff, and then

0:25:00.200 --> 0:25:03.520
<v Speaker 1>he built it. And I liked the whole aspect of

0:25:03.600 --> 0:25:06.000
<v Speaker 1>doing all of that. So I went up there to

0:25:06.119 --> 0:25:09.600
<v Speaker 1>kind of following his footsteps. UM. They actually had a

0:25:09.600 --> 0:25:13.520
<v Speaker 1>major call Building Construction Sciences UM, and that's what I

0:25:13.560 --> 0:25:15.480
<v Speaker 1>was in for about a year. So I flunked out,

0:25:16.400 --> 0:25:20.120
<v Speaker 1>literally flunked out. Yeah, yeah, definitely flunked out. I mean,

0:25:20.160 --> 0:25:22.000
<v Speaker 1>you know, they had a they had a class I

0:25:22.040 --> 0:25:26.840
<v Speaker 1>took called the Introduction to Concrete. That's a hard course,

0:25:26.880 --> 0:25:30.800
<v Speaker 1>as they say now believe believe it or not. There's

0:25:30.840 --> 0:25:34.240
<v Speaker 1>like seven different kinds and there's seven recipes and you

0:25:34.280 --> 0:25:36.399
<v Speaker 1>know how much error is in it all the you know,

0:25:36.440 --> 0:25:39.560
<v Speaker 1>it was really was a science and I wasn't prepared

0:25:39.600 --> 0:25:42.399
<v Speaker 1>for that. Um. You know, I just knew how to

0:25:43.080 --> 0:25:45.240
<v Speaker 1>you know, turn to things so that the concrete came

0:25:45.280 --> 0:25:49.159
<v Speaker 1>out and went into the form UM. So anyway, I

0:25:49.200 --> 0:25:51.720
<v Speaker 1>did a lot of stuff that kids do, um when

0:25:51.720 --> 0:25:53.800
<v Speaker 1>they first get away from home. And so I was

0:25:53.840 --> 0:25:56.400
<v Speaker 1>asked to take a year off. And what did your

0:25:56.440 --> 0:26:01.960
<v Speaker 1>parents say about that? They weren't be um but UM,

0:26:02.000 --> 0:26:06.000
<v Speaker 1>I had two little sisters, um, who were still like

0:26:06.080 --> 0:26:09.639
<v Speaker 1>in elementary school at that point, and so my punishment

0:26:09.760 --> 0:26:11.280
<v Speaker 1>was I had to get up every morning and get

0:26:11.320 --> 0:26:13.719
<v Speaker 1>them to school, so they're gonna make sure I didn't like,

0:26:13.840 --> 0:26:17.520
<v Speaker 1>you know, stay up all night drinking and smoking or whatever,

0:26:17.960 --> 0:26:20.159
<v Speaker 1>and then sleep till noon. I had to get up

0:26:20.200 --> 0:26:23.000
<v Speaker 1>at seven every day to get my sisters to school.

0:26:24.119 --> 0:26:26.480
<v Speaker 1>And your your mother all day she was working in

0:26:26.520 --> 0:26:31.720
<v Speaker 1>the house or working outside the house. She it's hard

0:26:31.720 --> 0:26:33.560
<v Speaker 1>for me to remember exactly those years. She was a

0:26:33.560 --> 0:26:38.440
<v Speaker 1>bank teller through most of at least my high school years,

0:26:38.440 --> 0:26:40.000
<v Speaker 1>so I'm trying to think if she was when I

0:26:40.040 --> 0:26:43.040
<v Speaker 1>came back for that year off. I did stay at home,

0:26:44.000 --> 0:26:46.440
<v Speaker 1>well forgetting that year. Who was watching the kids and

0:26:46.560 --> 0:26:48.239
<v Speaker 1>she's working at the bank, or she just worked when

0:26:48.280 --> 0:26:53.320
<v Speaker 1>everybody was in school or what. Um. Back then, banks

0:26:53.480 --> 0:26:56.399
<v Speaker 1>were largely open when we nine to three, so she

0:26:56.480 --> 0:26:58.400
<v Speaker 1>had just nine to kind of eight thirty or three

0:26:58.440 --> 0:27:00.879
<v Speaker 1>thirty type job which kind of co side with school

0:27:01.600 --> 0:27:06.000
<v Speaker 1>school hours. My older sister, Susan really um was the

0:27:06.040 --> 0:27:08.399
<v Speaker 1>one who kind of ran things at home till my

0:27:08.520 --> 0:27:15.760
<v Speaker 1>parents got home. Um. But um, yeah, my the like

0:27:15.920 --> 0:27:18.080
<v Speaker 1>my remember I told you my three me and my

0:27:18.119 --> 0:27:20.400
<v Speaker 1>two brothers were kind of a triumvirate way and there

0:27:20.440 --> 0:27:23.000
<v Speaker 1>was like city parks and stuff that we would go

0:27:23.080 --> 0:27:25.920
<v Speaker 1>to together and you know, play sports and stuff like that.

0:27:26.960 --> 0:27:31.960
<v Speaker 1>So growing up, were you a big reader? Yeah? You know,

0:27:32.000 --> 0:27:34.960
<v Speaker 1>it doesn't appear. The appearances are not good. A guy

0:27:35.240 --> 0:27:37.600
<v Speaker 1>gets kicked out of school, he gets a job as

0:27:37.640 --> 0:27:40.800
<v Speaker 1>a dishwasher at night at a hotel, and then his

0:27:40.960 --> 0:27:44.280
<v Speaker 1>taking his sister to school and picking him up afterwards.

0:27:44.320 --> 0:27:47.240
<v Speaker 1>But I was voraciously reading that whole time, and that's

0:27:47.280 --> 0:27:49.679
<v Speaker 1>where I kind of formed the idea that, hey, I

0:27:49.680 --> 0:27:52.840
<v Speaker 1>want to try to do this. So even though on

0:27:53.000 --> 0:27:55.520
<v Speaker 1>paper it looks like probably one of the down years

0:27:55.560 --> 0:27:57.560
<v Speaker 1>or the worst years of my life, it was really

0:27:57.560 --> 0:28:01.560
<v Speaker 1>the best because I found my direct And Okay, how

0:28:01.640 --> 0:28:05.480
<v Speaker 1>much of a reader are you now? I still read

0:28:05.520 --> 0:28:08.240
<v Speaker 1>a lot, but I don't like Back then, I was

0:28:08.320 --> 0:28:11.959
<v Speaker 1>reading crime fiction. I was looking for hard boiled stuff

0:28:12.000 --> 0:28:14.919
<v Speaker 1>and and really forming my likes in terms of a

0:28:14.920 --> 0:28:17.720
<v Speaker 1>crime fiction. And now I still read it because I

0:28:17.720 --> 0:28:20.040
<v Speaker 1>want to be aware of what's going on out there.

0:28:20.080 --> 0:28:22.439
<v Speaker 1>But I've been doing this for like thirty years, and

0:28:22.480 --> 0:28:24.280
<v Speaker 1>you can kind of see between the lines. You can

0:28:24.280 --> 0:28:28.399
<v Speaker 1>see the writer back there and what they're doing. It's, um,

0:28:28.440 --> 0:28:30.080
<v Speaker 1>you know, it's kind of like in the last seven years,

0:28:30.119 --> 0:28:34.040
<v Speaker 1>I've been involved in producing a TV show, and so

0:28:34.160 --> 0:28:37.680
<v Speaker 1>now when I watched TV with my family, I'll just say, like, man,

0:28:37.760 --> 0:28:40.560
<v Speaker 1>that costs a lot of money, that show. You they

0:28:40.680 --> 0:28:43.479
<v Speaker 1>ruined it for you. Yeah, And I've I'm ruining it

0:28:43.480 --> 0:28:45.480
<v Speaker 1>from my family because they're telling me just I don't

0:28:45.480 --> 0:28:47.720
<v Speaker 1>really we don't really need to care, we don't really

0:28:47.720 --> 0:28:50.120
<v Speaker 1>need to know all that stuff. Just let's watch the show.

0:28:50.680 --> 0:28:53.760
<v Speaker 1>But that's that's how I became with crime fiction, and

0:28:53.840 --> 0:28:57.760
<v Speaker 1>so it's it's become it's not a totally is not

0:28:57.840 --> 0:29:01.160
<v Speaker 1>an escape for me anymore. Okay, but you write about

0:29:01.280 --> 0:29:04.320
<v Speaker 1>current events. Are you a voracious reader or reader at

0:29:04.360 --> 0:29:09.200
<v Speaker 1>all of periodicals or newspapers? Oh? Yeah, yeah, I have

0:29:09.280 --> 0:29:13.840
<v Speaker 1>several subscriptions, you know, Internet subscriptions to newspapers and magazines

0:29:13.880 --> 0:29:17.080
<v Speaker 1>and so forth and uh yeah, I mean part of

0:29:17.120 --> 0:29:18.800
<v Speaker 1>it is just wanting to know what's going on in

0:29:18.800 --> 0:29:20.760
<v Speaker 1>the world, but part of it is, yes, I'm looking

0:29:20.800 --> 0:29:26.320
<v Speaker 1>for something that um can somehow be folded into what

0:29:26.360 --> 0:29:30.480
<v Speaker 1>I'm doing, you know, just an offbeat story or uh,

0:29:30.800 --> 0:29:33.480
<v Speaker 1>you know anything. It's it's weird how different things will

0:29:33.640 --> 0:29:43.880
<v Speaker 1>inspire me, um and end up in books. How do

0:29:43.920 --> 0:29:46.640
<v Speaker 1>you decide to become to go back to school to

0:29:46.680 --> 0:29:51.040
<v Speaker 1>become a journalist? What's the whole process there? Well, that

0:29:51.120 --> 0:29:53.239
<v Speaker 1>was just basically it. I had to sit down with

0:29:53.280 --> 0:29:56.160
<v Speaker 1>my I told my parents, I don't want to be

0:29:56.520 --> 0:29:58.520
<v Speaker 1>It's not gonna be like Michael and my dad's name

0:29:58.520 --> 0:30:02.040
<v Speaker 1>is Michael to Michael con only and son, uh construction.

0:30:02.040 --> 0:30:03.920
<v Speaker 1>I'm not going to go back and do that. I

0:30:03.960 --> 0:30:10.800
<v Speaker 1>want to go back and uh you know, uh pursue writing,

0:30:11.040 --> 0:30:15.760
<v Speaker 1>writing as a career, being a being a writer. And um,

0:30:15.840 --> 0:30:20.280
<v Speaker 1>my father was it was interesting. I didn't know this

0:30:20.360 --> 0:30:23.200
<v Speaker 1>at the time, but he was a frustrated artist. He

0:30:23.280 --> 0:30:26.880
<v Speaker 1>wanted to be a painter when he was my that

0:30:27.080 --> 0:30:28.760
<v Speaker 1>same age that I was going to him and saying

0:30:28.800 --> 0:30:31.520
<v Speaker 1>I want to be a writer. At that age in

0:30:31.640 --> 0:30:33.320
<v Speaker 1>his life, he wanted to be a painter, and he

0:30:33.360 --> 0:30:35.960
<v Speaker 1>had gotten into a prestigious school in Philadelphia to learn

0:30:36.000 --> 0:30:37.360
<v Speaker 1>how to paint and all that, but he had to

0:30:37.360 --> 0:30:40.080
<v Speaker 1>make a living and it didn't work out for him,

0:30:40.320 --> 0:30:43.360
<v Speaker 1>and he got back into painting many years later later

0:30:43.400 --> 0:30:46.200
<v Speaker 1>and later in his life. But when I kind of

0:30:46.720 --> 0:30:49.440
<v Speaker 1>very intimidated, I went to them and said, I don't

0:30:49.480 --> 0:30:51.600
<v Speaker 1>want to do I don't want to go back to

0:30:51.840 --> 0:30:55.400
<v Speaker 1>introduction to concrete. I want to learn how to write

0:30:55.640 --> 0:30:59.400
<v Speaker 1>and um, and yeah, I didn't even know whether I

0:30:59.400 --> 0:31:01.120
<v Speaker 1>should go back to school to learn how to write,

0:31:01.120 --> 0:31:04.200
<v Speaker 1>but that's what I said. And um, my father's idea

0:31:04.400 --> 0:31:08.240
<v Speaker 1>was to go back into and get go into the

0:31:08.320 --> 0:31:12.240
<v Speaker 1>journalism school. Because I was very specific with them, I

0:31:12.240 --> 0:31:16.160
<v Speaker 1>want to write crime fiction, crime novels. Uh, not just novels,

0:31:16.400 --> 0:31:21.240
<v Speaker 1>crime novels. And so his suggestion was, you know, go

0:31:21.600 --> 0:31:28.440
<v Speaker 1>be a newspaper reporter and that will hopefully get you into, um,

0:31:28.440 --> 0:31:31.840
<v Speaker 1>into situations and relationships with people that you want to

0:31:31.840 --> 0:31:35.200
<v Speaker 1>write about. You know, cops use your press pass to

0:31:35.280 --> 0:31:38.320
<v Speaker 1>get into police stations and crime scenes and things like that.

0:31:39.000 --> 0:31:42.440
<v Speaker 1>So I followed that suggestion and it turned out to

0:31:42.480 --> 0:31:46.160
<v Speaker 1>be pretty genius. Um, and I think I had to

0:31:46.280 --> 0:31:49.560
<v Speaker 1>go down that road to be in a position to

0:31:49.600 --> 0:31:52.560
<v Speaker 1>do what I'm doing now. So you graduate from college,

0:31:52.640 --> 0:31:57.600
<v Speaker 1>what's your first journalistic job? It wasn't that great, um,

0:31:58.080 --> 0:32:00.160
<v Speaker 1>because it doesn't really matter what your grades are or

0:32:00.160 --> 0:32:04.280
<v Speaker 1>anything in journalism or you know, in UM, your pedigree

0:32:04.400 --> 0:32:06.560
<v Speaker 1>doesn't matter. It's what you can put on a paper,

0:32:06.640 --> 0:32:10.880
<v Speaker 1>can you write? And so I applied to jobs. I

0:32:10.880 --> 0:32:14.800
<v Speaker 1>didn't have very many clips. UM. I kind of worked

0:32:14.800 --> 0:32:18.000
<v Speaker 1>part time at the college newspaper, but they didn't pay anything,

0:32:18.000 --> 0:32:19.640
<v Speaker 1>and I had I was sending my I was paying

0:32:19.680 --> 0:32:21.560
<v Speaker 1>my way through college, so I had a real job.

0:32:22.120 --> 0:32:23.960
<v Speaker 1>So I ended up with not a lot of clips

0:32:24.080 --> 0:32:26.480
<v Speaker 1>compared to other people in my class. So I really

0:32:26.560 --> 0:32:29.560
<v Speaker 1>ended up with a kind of a second tier job,

0:32:29.720 --> 0:32:32.120
<v Speaker 1>which was just an hour or two down the road

0:32:32.240 --> 0:32:36.840
<v Speaker 1>from college and Daytona Beach working for a paper called

0:32:36.840 --> 0:32:39.960
<v Speaker 1>the Daytona Beach News Journal. And I was I was

0:32:40.080 --> 0:32:42.240
<v Speaker 1>signed out in the sticks. I wasn't on the beach

0:32:42.320 --> 0:32:45.760
<v Speaker 1>or I never saw any water. I was like way

0:32:45.800 --> 0:32:49.360
<v Speaker 1>out in the boonies, UH, covering four cities and anything

0:32:49.360 --> 0:32:53.280
<v Speaker 1>that happened from city council meetings to crimes. And I

0:32:53.520 --> 0:32:57.200
<v Speaker 1>lasted nine months doing that, and I covered one murder

0:32:57.760 --> 0:33:01.960
<v Speaker 1>and it happened to happen UM. I think the day

0:33:02.040 --> 0:33:08.480
<v Speaker 1>after Ronald Reagan was shot, so that news took over everything,

0:33:09.200 --> 0:33:11.800
<v Speaker 1>and my my big murder story. I finally got a

0:33:11.840 --> 0:33:14.600
<v Speaker 1>murder story, and it was very it was cut to

0:33:14.640 --> 0:33:18.840
<v Speaker 1>like six inches. Anyway, anyway I got. I was there

0:33:18.840 --> 0:33:23.480
<v Speaker 1>for nine months, and UM was constantly checking in on

0:33:23.560 --> 0:33:25.960
<v Speaker 1>my hometown paper and Fort Lauderdale to see if there's

0:33:26.000 --> 0:33:29.400
<v Speaker 1>any openings. And something came open. I went down, applied

0:33:29.440 --> 0:33:32.960
<v Speaker 1>for a job there, and moved there. So my first

0:33:33.040 --> 0:33:34.840
<v Speaker 1>job only lass than nine months. And then when I

0:33:34.880 --> 0:33:37.120
<v Speaker 1>got the job at Fort Lauderdale Paper, I stayed there

0:33:37.120 --> 0:33:41.480
<v Speaker 1>for seven years. And what was your beat there? It changed,

0:33:41.520 --> 0:33:45.240
<v Speaker 1>but it was primarily crime. What changed about it was UM.

0:33:45.560 --> 0:33:51.240
<v Speaker 1>Initially I was in their Palm Beach County UM addition,

0:33:51.800 --> 0:33:54.520
<v Speaker 1>because back then newspapers were fat and happy and they're

0:33:54.520 --> 0:33:57.320
<v Speaker 1>spreading everywhere. And the Fort Lauderdale News was also called

0:33:57.360 --> 0:34:00.960
<v Speaker 1>the Sun Sentinel and the Sun Sentinel. How at outposts

0:34:01.080 --> 0:34:03.840
<v Speaker 1>UM from Miami up to West Palm Beach, and I

0:34:03.880 --> 0:34:07.080
<v Speaker 1>was in the West Palm Beach office covering crime the

0:34:07.080 --> 0:34:09.400
<v Speaker 1>city of West Palm Beach and so forth, and um.

0:34:09.400 --> 0:34:12.640
<v Speaker 1>Eventually though, I became a police reporter in Fort laud

0:34:12.719 --> 0:34:15.359
<v Speaker 1>Ordal And did you feel like your dream had come

0:34:15.440 --> 0:34:18.680
<v Speaker 1>true or were you saying, hey, there's something beyond here.

0:34:20.120 --> 0:34:22.200
<v Speaker 1>I felt pretty good about it. I felt I was

0:34:22.239 --> 0:34:24.640
<v Speaker 1>in this stage where I mean, I'm writing it at night.

0:34:24.680 --> 0:34:27.319
<v Speaker 1>I'm trying to write fiction and trying to learn how

0:34:27.360 --> 0:34:30.520
<v Speaker 1>to write fiction. So I was always doing that, but

0:34:30.600 --> 0:34:33.280
<v Speaker 1>I was also feeling like that is a long shot

0:34:33.560 --> 0:34:36.399
<v Speaker 1>and if it doesn't come through, this is a very

0:34:36.440 --> 0:34:39.480
<v Speaker 1>interesting job. So I can be happy with it. Not

0:34:39.520 --> 0:34:41.160
<v Speaker 1>a lot of money in it, but I can be

0:34:41.239 --> 0:34:43.880
<v Speaker 1>happy here. And this was before the internet, and so

0:34:43.920 --> 0:34:46.480
<v Speaker 1>you really had this sense that you were an insider

0:34:46.600 --> 0:34:48.399
<v Speaker 1>like you were. I used to call myself the prince

0:34:48.480 --> 0:34:50.520
<v Speaker 1>of the city. I felt like, at the end of

0:34:50.520 --> 0:34:52.879
<v Speaker 1>the day, I knew so much about this town that

0:34:52.920 --> 0:34:54.799
<v Speaker 1>no one knows. They're not going to know it till

0:34:54.800 --> 0:34:58.000
<v Speaker 1>they read my my story in the paper in the morning.

0:34:58.000 --> 0:35:00.200
<v Speaker 1>And it was a very heavy thing to have at

0:35:00.239 --> 0:35:03.040
<v Speaker 1>you know, when you're in your mid twenties. And so

0:35:03.120 --> 0:35:07.000
<v Speaker 1>I really enjoyed that job, and um, you know, if

0:35:07.040 --> 0:35:10.120
<v Speaker 1>if it didn't work out, uh that I wrote with

0:35:10.160 --> 0:35:12.120
<v Speaker 1>the book stuff that I was gonna be okay with it.

0:35:12.160 --> 0:35:14.160
<v Speaker 1>But the first two books I wrote that no one's

0:35:14.200 --> 0:35:17.200
<v Speaker 1>ever read. We're all setting for Lauderdale and so how

0:35:17.200 --> 0:35:20.719
<v Speaker 1>did you get out of Fort Lauderdale. Um. I eventually

0:35:20.920 --> 0:35:23.640
<v Speaker 1>was going up the ladder at the paper, and UM

0:35:24.280 --> 0:35:27.280
<v Speaker 1>they put me on the Sunday magazine to write feet

0:35:27.320 --> 0:35:31.200
<v Speaker 1>crime related features. And I wrote a story about a

0:35:31.239 --> 0:35:34.160
<v Speaker 1>plane crash with two other writers. We spent a whole

0:35:34.239 --> 0:35:36.040
<v Speaker 1>year and they actually cut us loose for a year

0:35:36.080 --> 0:35:39.160
<v Speaker 1>to write the definitive. So for that, for that entire

0:35:39.280 --> 0:35:42.320
<v Speaker 1>year with the newspaper, you only researched and wrote about

0:35:42.480 --> 0:35:46.719
<v Speaker 1>the plane crash. Yeah it was, you know, it's a

0:35:46.760 --> 0:35:50.640
<v Speaker 1>Delta crash. It was. It left Fort Lauderdale and crashed

0:35:50.680 --> 0:35:55.400
<v Speaker 1>in Dallas and people survived, and so this is the

0:35:55.400 --> 0:36:02.120
<v Speaker 1>wind Shear crash. Yeah, yeah, I believe was. And Uh.

0:36:02.760 --> 0:36:05.799
<v Speaker 1>The the interesting thing was that most people, mostly a

0:36:05.880 --> 0:36:08.319
<v Speaker 1>huge crash like that has no survivors. This one had

0:36:08.320 --> 0:36:12.480
<v Speaker 1>twenty nine survivors. So we, me and two other reporters

0:36:12.520 --> 0:36:16.239
<v Speaker 1>spent a year tracking those people somewhere the flight with

0:36:16.280 --> 0:36:19.000
<v Speaker 1>Fort Laurida, the Dallas, Dallas of l A. So people

0:36:19.000 --> 0:36:22.239
<v Speaker 1>were from Texas. People from California and people were from

0:36:22.640 --> 0:36:25.640
<v Speaker 1>South Florida, and we we got to all of them

0:36:25.680 --> 0:36:28.759
<v Speaker 1>except for one, and you know, so we kind of

0:36:28.920 --> 0:36:33.440
<v Speaker 1>weave this story about surviving that and and some people

0:36:33.520 --> 0:36:37.720
<v Speaker 1>were survived without a scratch, some people had devastating burns

0:36:37.760 --> 0:36:39.919
<v Speaker 1>and so forth, and so it's all these levels of

0:36:40.320 --> 0:36:44.200
<v Speaker 1>what surviving is and how to cope with it. And

0:36:44.239 --> 0:36:47.440
<v Speaker 1>then we go also not this not to my credit

0:36:47.520 --> 0:36:50.640
<v Speaker 1>to one of the other reporters, credits he got the

0:36:50.800 --> 0:36:54.480
<v Speaker 1>um the investing in the MTSB investigation they got he

0:36:54.520 --> 0:36:57.160
<v Speaker 1>got the file before it was public, and so we

0:36:57.160 --> 0:36:59.760
<v Speaker 1>were able to piece together what happened on that flight

0:36:59.840 --> 0:37:02.200
<v Speaker 1>and the wind shear and all that, and it was

0:37:02.239 --> 0:37:05.520
<v Speaker 1>all part of this three part magazine story that broke

0:37:05.600 --> 0:37:09.239
<v Speaker 1>new ground around the crash. But also it was just

0:37:09.280 --> 0:37:13.680
<v Speaker 1>a really good human story about surviving and it got

0:37:13.680 --> 0:37:17.360
<v Speaker 1>the attention of the Los Angeles Times because several of

0:37:17.360 --> 0:37:20.160
<v Speaker 1>the people were from l A. And so I got

0:37:20.160 --> 0:37:23.319
<v Speaker 1>a call from uh, the l A Times to come

0:37:23.320 --> 0:37:25.399
<v Speaker 1>out to interview, and I ended up going out there,

0:37:25.719 --> 0:37:28.040
<v Speaker 1>And that's a whole that was a whole different level

0:37:28.120 --> 0:37:33.360
<v Speaker 1>of journalism. What was the gig at the l A Times? Again,

0:37:33.360 --> 0:37:37.879
<v Speaker 1>it was crime. Um. I started in the the northern

0:37:38.040 --> 0:37:41.040
<v Speaker 1>part of the county, the or the city of the

0:37:41.120 --> 0:37:44.600
<v Speaker 1>Valley as it's called San Fernando Valley, where there was

0:37:46.360 --> 0:37:49.200
<v Speaker 1>six l a p D Division. So like, my first

0:37:49.280 --> 0:37:52.279
<v Speaker 1>job was covering those six divisions and anything that happened there.

0:37:53.120 --> 0:37:56.920
<v Speaker 1>And then eventually I was covering a lot more. Okay,

0:37:56.960 --> 0:37:59.640
<v Speaker 1>so you're writing at night, and at what point in

0:37:59.680 --> 0:38:03.560
<v Speaker 1>this do you get married. I got married when I

0:38:03.640 --> 0:38:06.719
<v Speaker 1>was about halfway through my gig in four lauder deal.

0:38:07.280 --> 0:38:11.000
<v Speaker 1>And then you have a child. When did that child arrive? Oh,

0:38:11.080 --> 0:38:16.400
<v Speaker 1>that didn't happen until I had already retired from journalism. Okay,

0:38:16.440 --> 0:38:19.440
<v Speaker 1>so what does your wife say when you're driving around

0:38:19.480 --> 0:38:22.200
<v Speaker 1>the valley all day long and then come home and say, hey, honey,

0:38:22.280 --> 0:38:25.319
<v Speaker 1>I gotta go to the bedroom and right, Uh, that

0:38:25.440 --> 0:38:27.120
<v Speaker 1>was a deal. We had to make a deal. I

0:38:27.160 --> 0:38:30.800
<v Speaker 1>mean it was a big impact on her life because

0:38:31.120 --> 0:38:33.600
<v Speaker 1>we moved to Los Angeles and we didn't know anybody.

0:38:33.640 --> 0:38:36.239
<v Speaker 1>We just had each other. But I had this long

0:38:36.360 --> 0:38:40.040
<v Speaker 1>term dream or goal of writing a book and publishing

0:38:40.040 --> 0:38:42.640
<v Speaker 1>a book. So I made a deal with her that

0:38:43.160 --> 0:38:46.200
<v Speaker 1>four work nights a week I would work in we

0:38:46.239 --> 0:38:48.480
<v Speaker 1>had a two bedroom, and I set up the second

0:38:48.480 --> 0:38:53.239
<v Speaker 1>bedroom as my writing room. Four nights a week and

0:38:53.360 --> 0:38:56.360
<v Speaker 1>one weekend. I had to dedicate to this. And I

0:38:56.760 --> 0:38:59.279
<v Speaker 1>told her I'd have a book. I'd sell a book

0:38:59.280 --> 0:39:01.439
<v Speaker 1>in three years if she could live, if she could

0:39:01.480 --> 0:39:04.320
<v Speaker 1>make that deal, and she did, and I was wrong

0:39:04.440 --> 0:39:07.680
<v Speaker 1>by two years. It took me five years to get Um,

0:39:07.760 --> 0:39:10.000
<v Speaker 1>once I moved to l A. Took me about five

0:39:10.080 --> 0:39:12.960
<v Speaker 1>years to get a book published. Okay, So how long

0:39:13.000 --> 0:39:14.799
<v Speaker 1>does it take you to write your first book, which

0:39:14.800 --> 0:39:21.760
<v Speaker 1>is a bosh book? Um, it's hard to say. I'll

0:39:22.160 --> 0:39:26.320
<v Speaker 1>just throw out three years because I overwrote it. But

0:39:26.320 --> 0:39:31.920
<v Speaker 1>but I I came to l A and the weekend

0:39:31.960 --> 0:39:35.120
<v Speaker 1>I got there, there was a crime that inspired the book.

0:39:35.200 --> 0:39:37.719
<v Speaker 1>So in a way, you could say, you know, my

0:39:37.719 --> 0:39:39.719
<v Speaker 1>first book came out in two so you could don't

0:39:40.719 --> 0:39:42.879
<v Speaker 1>could claim it took five years, but it really took

0:39:42.880 --> 0:39:47.799
<v Speaker 1>about three. Okay? Uh? And did you know you had

0:39:47.880 --> 0:39:51.600
<v Speaker 1>something when you were done? I felt I did because

0:39:51.600 --> 0:39:54.200
<v Speaker 1>I had written those two previous books, and any writer

0:39:54.600 --> 0:39:57.120
<v Speaker 1>is going to be their harshest critic, and and I

0:39:57.160 --> 0:39:59.760
<v Speaker 1>know that those two books could should not be published.

0:39:59.800 --> 0:40:02.600
<v Speaker 1>I they were missing something. It was it was something

0:40:02.600 --> 0:40:06.320
<v Speaker 1>in the character. The lead characters were not connecting enough

0:40:07.280 --> 0:40:09.040
<v Speaker 1>with the reader, which at the time was just me.

0:40:09.120 --> 0:40:11.440
<v Speaker 1>And I'm thinking, like, if if my own creation is

0:40:11.480 --> 0:40:14.399
<v Speaker 1>not connecting with me, then there's something seriously wrong here.

0:40:14.800 --> 0:40:16.839
<v Speaker 1>And so I moved on and I had to write

0:40:16.840 --> 0:40:19.400
<v Speaker 1>those two books to write the third one, which was um,

0:40:19.520 --> 0:40:24.000
<v Speaker 1>the Bosh Book. And so at the when I when

0:40:24.000 --> 0:40:27.480
<v Speaker 1>I had that book, I felt, you know, and again

0:40:27.480 --> 0:40:29.880
<v Speaker 1>I'm at this point, I'm still a voracious reader of

0:40:29.880 --> 0:40:33.239
<v Speaker 1>crime fiction. I just felt this should be published. I

0:40:33.280 --> 0:40:36.239
<v Speaker 1>didn't know if it would be published well, or or

0:40:36.320 --> 0:40:39.880
<v Speaker 1>be embraced or anything like that. I just knew from

0:40:39.920 --> 0:40:44.200
<v Speaker 1>my sampling of reading contemporary crime fiction, this book fit

0:40:44.280 --> 0:40:47.680
<v Speaker 1>in and should be published. So I had did have

0:40:47.800 --> 0:40:50.399
<v Speaker 1>that confidence. How hard was it to get the deal

0:40:50.520 --> 0:40:52.920
<v Speaker 1>and what was the reception once it came out? The

0:40:53.000 --> 0:40:56.759
<v Speaker 1>hard part was getting an agent. Um, you know, and

0:40:56.800 --> 0:41:01.080
<v Speaker 1>again this is dating ourselves there, you know. It's pre internet.

0:41:01.120 --> 0:41:03.399
<v Speaker 1>So like I'm going to a library and looking up

0:41:03.680 --> 0:41:06.560
<v Speaker 1>agents in books and stuff like that, and I came

0:41:06.600 --> 0:41:10.880
<v Speaker 1>across one of my favorite writers still to this day.

0:41:11.080 --> 0:41:14.720
<v Speaker 1>His name James Lee Burke, and um, he writes about

0:41:15.160 --> 0:41:18.480
<v Speaker 1>New Orleans most of the time, or or Montana sometimes

0:41:18.520 --> 0:41:25.160
<v Speaker 1>Texas crime fiction. And he's just an amazing writer. And um,

0:41:25.239 --> 0:41:26.880
<v Speaker 1>I was reading one of his books and lo and

0:41:26.880 --> 0:41:30.960
<v Speaker 1>behold is dedicated to his agent, you know. And I'm

0:41:31.000 --> 0:41:33.319
<v Speaker 1>kind of like groping around in the dark, you know

0:41:33.480 --> 0:41:35.840
<v Speaker 1>about like what what makes a good agent? How do

0:41:35.880 --> 0:41:41.759
<v Speaker 1>you find a good agent? And um, you know, so

0:41:41.840 --> 0:41:46.400
<v Speaker 1>I wrote to this guy's names Philip Spitzer and um,

0:41:46.440 --> 0:41:49.200
<v Speaker 1>and he said, I'll read I'll read the book. This

0:41:49.239 --> 0:41:51.840
<v Speaker 1>is all done by letters. It takes forever, like six weeks.

0:41:51.880 --> 0:41:55.680
<v Speaker 1>You hear it in the answer and um, he said,

0:41:55.719 --> 0:41:58.400
<v Speaker 1>I'll read your manuscript if you promised me. I'm reading

0:41:58.440 --> 0:42:00.640
<v Speaker 1>it exclusively because I don't want to be in competition

0:42:00.640 --> 0:42:03.279
<v Speaker 1>with a bunch of other agents. And I said, yes,

0:42:03.360 --> 0:42:05.759
<v Speaker 1>you haven't exclusively, which was a big lie because I

0:42:05.760 --> 0:42:08.439
<v Speaker 1>had already sent it out to some to some other

0:42:08.520 --> 0:42:12.040
<v Speaker 1>agents who had asked for the exact same thing. But

0:42:12.200 --> 0:42:14.640
<v Speaker 1>you know, at that pace it would take five years

0:42:14.719 --> 0:42:19.600
<v Speaker 1>to get get everybody, you know, um, the manuscript, uh solo.

0:42:20.560 --> 0:42:27.000
<v Speaker 1>So anyway, he ended up calling me on a Saturday afternoon, um,

0:42:27.160 --> 0:42:29.840
<v Speaker 1>which is I thought was unusual. Um, and saying he

0:42:29.880 --> 0:42:31.879
<v Speaker 1>went he liked the book and he wanted to wrap it.

0:42:32.280 --> 0:42:35.400
<v Speaker 1>And this was probably eleven months into my process of

0:42:35.440 --> 0:42:37.719
<v Speaker 1>trying to find an agent. And so there I had

0:42:37.760 --> 0:42:43.120
<v Speaker 1>an agent. And if I had ranked my top ten

0:42:43.280 --> 0:42:45.719
<v Speaker 1>choices of agents I sent to, he would be number one.

0:42:45.760 --> 0:42:48.560
<v Speaker 1>So I got very lucky there because I loved James

0:42:48.600 --> 0:42:51.680
<v Speaker 1>Lee Burke's books, and I thought anyone who would dedicate

0:42:51.880 --> 0:42:54.040
<v Speaker 1>a book to an agent, that agent has got to

0:42:54.080 --> 0:42:56.840
<v Speaker 1>be honest, and the agent has got to have the

0:42:56.920 --> 0:43:00.319
<v Speaker 1>long view of what you're doing. And so AS really

0:43:00.360 --> 0:43:05.759
<v Speaker 1>ecstatic that um PHILP. Spencer took took me on, and

0:43:05.760 --> 0:43:07.880
<v Speaker 1>and I knew enough from what I was reading to

0:43:08.000 --> 0:43:10.800
<v Speaker 1>know that, you know, agents don't make any money unless

0:43:10.800 --> 0:43:12.279
<v Speaker 1>they sell your books. That are not going to take

0:43:12.320 --> 0:43:15.040
<v Speaker 1>you on as a favor, whereas for a lark. So

0:43:15.120 --> 0:43:17.759
<v Speaker 1>I felt confident. He felt he could sell this thing

0:43:18.440 --> 0:43:20.600
<v Speaker 1>and it wouldn't take too long, and it didn't. It

0:43:20.640 --> 0:43:25.000
<v Speaker 1>took it took about uh two months, and he sold

0:43:25.000 --> 0:43:29.320
<v Speaker 1>it to the second editor he sent it to. And

0:43:30.640 --> 0:43:35.000
<v Speaker 1>how much did you change the book after it was accepted? Um?

0:43:35.040 --> 0:43:39.319
<v Speaker 1>Not a whole lot. Um. So it's actually hard for

0:43:39.360 --> 0:43:43.600
<v Speaker 1>me to remember. Um, I had my editor the editor

0:43:43.640 --> 0:43:48.520
<v Speaker 1>who bought it left. She did some editing on it

0:43:48.560 --> 0:43:50.560
<v Speaker 1>and she was very good, and then she left before

0:43:50.600 --> 0:43:53.760
<v Speaker 1>it was published. And then I got assigned to a

0:43:53.800 --> 0:43:55.759
<v Speaker 1>to a new guy they had just hired, and then

0:43:55.800 --> 0:43:57.719
<v Speaker 1>I was with him for like twenty some years and

0:43:57.760 --> 0:44:01.000
<v Speaker 1>he's still now. He graduated out of editing, is the

0:44:01.080 --> 0:44:04.440
<v Speaker 1>CEO of the company, so I'm still have a relationship

0:44:04.480 --> 0:44:07.640
<v Speaker 1>with him. He just doesn't edit my books. But um,

0:44:07.880 --> 0:44:12.000
<v Speaker 1>editing is. I've always benefited greatly with my books and editing.

0:44:12.480 --> 0:44:16.440
<v Speaker 1>So while I don't remember exactly what happened with my

0:44:16.480 --> 0:44:18.600
<v Speaker 1>first book, I'm sure it was it went through some

0:44:18.760 --> 0:44:24.000
<v Speaker 1>editing and um, and it was improved. So in any event,

0:44:24.280 --> 0:44:28.359
<v Speaker 1>your book is published, Okay, how long after that does

0:44:28.440 --> 0:44:31.799
<v Speaker 1>it start to take off? Well, the one thing was

0:44:32.120 --> 0:44:37.920
<v Speaker 1>which I didn't understand when I went into this was that, um,

0:44:37.960 --> 0:44:39.640
<v Speaker 1>they have to find a hole in the schedule to

0:44:39.680 --> 0:44:42.040
<v Speaker 1>stick you in because I'm a new writer. And and

0:44:42.120 --> 0:44:44.520
<v Speaker 1>so it was a bad thing and a good thing.

0:44:44.560 --> 0:44:48.480
<v Speaker 1>They didn't publish my book for twenty months, and I

0:44:48.560 --> 0:44:50.560
<v Speaker 1>was like, I had told people, Hey, I sold a book,

0:44:50.600 --> 0:44:53.080
<v Speaker 1>and then after about ten months people thought I was lying.

0:44:54.320 --> 0:44:57.000
<v Speaker 1>But anyway, what was good about that was they said,

0:44:57.840 --> 0:45:01.160
<v Speaker 1>you can avoid the sophomore slump with by writing your

0:45:01.160 --> 0:45:03.440
<v Speaker 1>second book before this one even comes out, and then

0:45:03.480 --> 0:45:06.120
<v Speaker 1>you don't have any of the pressures of following something up.

0:45:06.560 --> 0:45:08.439
<v Speaker 1>You don't know any of the things you're gonna learn

0:45:08.520 --> 0:45:10.960
<v Speaker 1>once your book comes out. You can just it's a bubble,

0:45:11.120 --> 0:45:13.760
<v Speaker 1>take advantage of this bubble and write your second book.

0:45:14.440 --> 0:45:17.600
<v Speaker 1>So I did that, and so my book came out

0:45:17.640 --> 0:45:20.920
<v Speaker 1>twenty months later, and um, I already had a second

0:45:20.920 --> 0:45:24.400
<v Speaker 1>one already done, and which you know, it was. It

0:45:24.520 --> 0:45:26.520
<v Speaker 1>was interesting they gave me that advice because they didn't

0:45:26.560 --> 0:45:28.800
<v Speaker 1>have I didn't have a two book deal or anything,

0:45:29.360 --> 0:45:31.360
<v Speaker 1>you know, So then I then I was in a

0:45:31.400 --> 0:45:35.719
<v Speaker 1>position with to negotiate it. And you know, I'm not

0:45:35.800 --> 0:45:40.240
<v Speaker 1>an overnight John Grisham like success. They put published twelve

0:45:40.239 --> 0:45:43.640
<v Speaker 1>thousand copies of that book and probably sold half of them,

0:45:43.680 --> 0:45:47.600
<v Speaker 1>and so it's very incremental. Um, but that was the

0:45:47.600 --> 0:45:50.400
<v Speaker 1>book business was different back then. They allowed that. I

0:45:50.400 --> 0:45:52.560
<v Speaker 1>don't even know if they do that anymore. It seems

0:45:52.600 --> 0:45:54.359
<v Speaker 1>like all the publishers just want to get a big

0:45:54.440 --> 0:45:58.480
<v Speaker 1>hit right away and they don't allow a writer to

0:45:58.640 --> 0:46:04.080
<v Speaker 1>grow and to learn and so forth. And um, what

0:46:04.200 --> 0:46:06.560
<v Speaker 1>happened about a year later was that first book, One

0:46:06.960 --> 0:46:10.160
<v Speaker 1>an Edgar, which is like the Oscars of of crime

0:46:10.200 --> 0:46:15.160
<v Speaker 1>writing for best first novel, and that really established me

0:46:15.200 --> 0:46:18.080
<v Speaker 1>and bumped up my sales of books that came out

0:46:18.120 --> 0:46:21.480
<v Speaker 1>afterwards and so forth. So that was the key thing

0:46:21.560 --> 0:46:24.600
<v Speaker 1>that happened to me. And you know, very fortunate too

0:46:25.080 --> 0:46:28.280
<v Speaker 1>for that to get that recognition. Okay, let's talk about

0:46:28.280 --> 0:46:31.560
<v Speaker 1>your style. If you read the first book, The Black Echo,

0:46:31.840 --> 0:46:36.080
<v Speaker 1>it's very dense, and now I'm reading Poet, and Poet

0:46:36.120 --> 0:46:39.440
<v Speaker 1>is a lot less dense. Did you see an evolution

0:46:39.480 --> 0:46:43.640
<v Speaker 1>of your style? I think so. I mean, you really

0:46:43.680 --> 0:46:45.960
<v Speaker 1>got to kick out the first book because you don't

0:46:46.040 --> 0:46:49.480
<v Speaker 1>know what you're doing in terms of publishing, and and

0:46:49.520 --> 0:46:52.520
<v Speaker 1>it's like, um, you know, it's your heart and soul,

0:46:52.600 --> 0:46:55.200
<v Speaker 1>so you you baby that thing for so long. And

0:46:55.320 --> 0:46:58.760
<v Speaker 1>I over written or over wrote that book. I kept

0:46:58.800 --> 0:47:01.319
<v Speaker 1>rewriting it. I kept it in the little details I'm

0:47:01.360 --> 0:47:03.200
<v Speaker 1>picking up on the police beat and all the stuff.

0:47:03.239 --> 0:47:06.640
<v Speaker 1>So it is very dense. And it's because the whole

0:47:06.640 --> 0:47:08.440
<v Speaker 1>time I was writing it was like this is my

0:47:08.560 --> 0:47:12.640
<v Speaker 1>one shot. I got throwing everything but the kitchen sink,

0:47:13.280 --> 0:47:16.080
<v Speaker 1>and that's what I did, and um, you know, and

0:47:16.120 --> 0:47:21.280
<v Speaker 1>so uh, you know, through editing, through counsel from editors

0:47:21.360 --> 0:47:23.840
<v Speaker 1>and so forth, you know, you learn to let a

0:47:23.920 --> 0:47:27.200
<v Speaker 1>little bit more air in. You learn more about momentum.

0:47:27.800 --> 0:47:32.399
<v Speaker 1>Density slows down momentum, And the key to reading and

0:47:32.440 --> 0:47:34.839
<v Speaker 1>writing is momentum. You gotta have momentum in the day

0:47:34.840 --> 0:47:36.880
<v Speaker 1>that you're writing. You know, you want you want to

0:47:37.239 --> 0:47:38.960
<v Speaker 1>put a lot of words on the page, and then

0:47:39.000 --> 0:47:41.080
<v Speaker 1>you can go back and sculpt them, you can edit them,

0:47:41.120 --> 0:47:43.319
<v Speaker 1>you can do a lot, you can kick hundreds of

0:47:43.320 --> 0:47:45.640
<v Speaker 1>words out, doesn't matter. But you want to keep moving

0:47:45.719 --> 0:47:48.719
<v Speaker 1>because what happens in the writing process is going to

0:47:48.840 --> 0:47:51.279
<v Speaker 1>happen in the reading process. And so in those first

0:47:51.320 --> 0:47:54.560
<v Speaker 1>few books, I kind of learned that. And um, it's

0:47:54.600 --> 0:47:56.719
<v Speaker 1>interesting you mentioned the poet. So the Poem is my

0:47:56.760 --> 0:47:58.680
<v Speaker 1>fifth book. But it was the first time I broke

0:47:58.719 --> 0:48:02.040
<v Speaker 1>away from Harry Bosh and started writing about a world

0:48:02.080 --> 0:48:05.320
<v Speaker 1>I knew much better than I knew, um, the police world.

0:48:05.680 --> 0:48:07.400
<v Speaker 1>You know, I was writing about a reporter. I was

0:48:07.560 --> 0:48:13.080
<v Speaker 1>basically writing about an alter ego. And um that um,

0:48:13.440 --> 0:48:19.480
<v Speaker 1>I think you know, entered into the writing process and

0:48:19.480 --> 0:48:23.439
<v Speaker 1>and made that book. I don't look at in terms

0:48:23.480 --> 0:48:27.040
<v Speaker 1>of it's less dense, but it just moved quicker, um

0:48:27.080 --> 0:48:31.520
<v Speaker 1>you know. And there's the style that developed of short sentences,

0:48:32.080 --> 0:48:37.000
<v Speaker 1>staccato writing, keep keeps the reader's eyes moving, keeps them

0:48:37.040 --> 0:48:42.040
<v Speaker 1>going through pages, and that became something that was very

0:48:42.080 --> 0:48:45.440
<v Speaker 1>conscious of at that point in my writing. Let's jump

0:48:45.480 --> 0:48:47.919
<v Speaker 1>all the way today. So you essentially write a book

0:48:47.960 --> 0:48:50.960
<v Speaker 1>a year. What's the process? Do you ever do two

0:48:51.040 --> 0:48:53.640
<v Speaker 1>books at once? Or you start one and you're on

0:48:53.680 --> 0:48:56.200
<v Speaker 1>that one until you're done. As far as books go,

0:48:56.760 --> 0:49:01.200
<v Speaker 1>it's one and done one until done. Um, I've never

0:49:01.239 --> 0:49:03.520
<v Speaker 1>done that. I mean yes, sometimes, like this year, I'm

0:49:03.560 --> 0:49:05.920
<v Speaker 1>I'm actually publishing two books, but I wrote them in

0:49:06.000 --> 0:49:10.200
<v Speaker 1>consecutive one. The one thing that I have been able

0:49:10.239 --> 0:49:12.360
<v Speaker 1>to do is to break away from writing a book

0:49:12.800 --> 0:49:17.360
<v Speaker 1>to writing scripts for the TV show based on Bosh.

0:49:17.400 --> 0:49:19.640
<v Speaker 1>I think it's maybe because it's the same character and

0:49:19.680 --> 0:49:23.200
<v Speaker 1>the same um mil you. I don't seem to have

0:49:23.239 --> 0:49:25.520
<v Speaker 1>a problem with that. So I've been able to spend

0:49:25.640 --> 0:49:28.560
<v Speaker 1>days like where I love getting up early to write,

0:49:29.239 --> 0:49:31.760
<v Speaker 1>so I'm usually writing by about five thirty or six

0:49:31.840 --> 0:49:36.719
<v Speaker 1>in the morning in a day. In my life for

0:49:36.760 --> 0:49:38.920
<v Speaker 1>the last four or five years has been writing to

0:49:39.080 --> 0:49:43.600
<v Speaker 1>about writing a book until about ten and then going

0:49:43.640 --> 0:49:46.600
<v Speaker 1>to a studio and sitting in a writing room or

0:49:46.640 --> 0:49:50.000
<v Speaker 1>actually writing a script um for a few hours, and

0:49:50.000 --> 0:49:52.439
<v Speaker 1>then coming back to my book in the afternoon, and

0:49:52.440 --> 0:49:55.760
<v Speaker 1>and I'm writing about Harry Bosh, who's very different from

0:49:56.280 --> 0:49:58.240
<v Speaker 1>They're different. The guy in the book is very different

0:49:58.239 --> 0:50:00.640
<v Speaker 1>from the guy in the show. The guys in the

0:50:00.680 --> 0:50:03.760
<v Speaker 1>book is like ten ten, at least ten years older.

0:50:04.880 --> 0:50:07.520
<v Speaker 1>He's not even a cop anymore. So, so it's the

0:50:07.560 --> 0:50:12.040
<v Speaker 1>same character but a totally different set up. So it's

0:50:12.040 --> 0:50:14.520
<v Speaker 1>always been surprising to me that I can jump from

0:50:14.840 --> 0:50:17.880
<v Speaker 1>one to the other, and I don't think it. I

0:50:17.920 --> 0:50:22.000
<v Speaker 1>think I do that jump pretty seamlessly. Um, But I

0:50:22.040 --> 0:50:25.560
<v Speaker 1>can't do that between two book projects. Are you more

0:50:25.600 --> 0:50:27.480
<v Speaker 1>of a get it down right first? You're more of

0:50:27.560 --> 0:50:33.520
<v Speaker 1>a rewriter? Uh, definitely a rewriter. Um. I go through

0:50:33.560 --> 0:50:37.200
<v Speaker 1>my books two or three times, and the first draft

0:50:37.280 --> 0:50:40.360
<v Speaker 1>is always to me unreadable. I wouldn't want anyone to

0:50:40.360 --> 0:50:43.279
<v Speaker 1>see it because I think, I it's always too long.

0:50:43.520 --> 0:50:46.040
<v Speaker 1>I always cut pages as I go through my rewrites,

0:50:46.840 --> 0:50:49.880
<v Speaker 1>and I kind of like sharpen it down to what's

0:50:49.920 --> 0:50:53.080
<v Speaker 1>important and what counts. Get rid of a lot of

0:50:53.120 --> 0:50:56.799
<v Speaker 1>superflous stuff. And then I also find ways of disguising

0:50:57.400 --> 0:50:59.799
<v Speaker 1>where I'm going, or trying to disguise where I'm going.

0:51:00.000 --> 0:51:03.520
<v Speaker 1>I take out stuff like that's too much of a hint,

0:51:03.560 --> 0:51:05.800
<v Speaker 1>that type of thing. Yes, you're more of a rewriter.

0:51:05.920 --> 0:51:09.359
<v Speaker 1>But let me ask you this, Uh, do you have

0:51:09.480 --> 0:51:11.680
<v Speaker 1>to be motivated? I mean, do you ever sit down

0:51:11.719 --> 0:51:14.080
<v Speaker 1>and you say, hey, you know it's time to write.

0:51:14.080 --> 0:51:16.640
<v Speaker 1>But I'm not really in the groove. And is that

0:51:16.680 --> 0:51:19.399
<v Speaker 1>stuff you right end up being usable? Or when you're hot,

0:51:19.560 --> 0:51:23.680
<v Speaker 1>is this stuff better? Well? He goes back to your

0:51:23.719 --> 0:51:27.359
<v Speaker 1>question about rewriting. Yeah, I rewrite. So I feel like

0:51:27.400 --> 0:51:30.680
<v Speaker 1>even on a bad day, if I get you know,

0:51:30.719 --> 0:51:33.879
<v Speaker 1>if I moved the story along, I'm going to have

0:51:34.320 --> 0:51:37.600
<v Speaker 1>something I can, you know, rewrite and make better later

0:51:37.719 --> 0:51:40.160
<v Speaker 1>on my next go round. Do you ever one day

0:51:40.160 --> 0:51:43.680
<v Speaker 1>accomplished or nothing? Yeah, but you know before the virus,

0:51:45.080 --> 0:51:48.400
<v Speaker 1>those were few and far between. I just have this

0:51:49.320 --> 0:51:51.400
<v Speaker 1>weird drive. I mean, I had this teacher at University

0:51:51.400 --> 0:51:54.520
<v Speaker 1>of Florida named Harry Cruz who was a great novelist,

0:51:54.560 --> 0:51:57.600
<v Speaker 1>one of my heroes, and I don't remember anything he

0:51:57.600 --> 0:51:59.839
<v Speaker 1>taught me. I had two classes with him other than

0:52:00.160 --> 0:52:02.000
<v Speaker 1>he just one time said, if you're gonna be a writer,

0:52:02.080 --> 0:52:03.919
<v Speaker 1>you got it write every day, even if it's only

0:52:03.960 --> 0:52:07.760
<v Speaker 1>for fifteen minutes, because if you write for fifteen minutes,

0:52:07.800 --> 0:52:10.000
<v Speaker 1>the story is gonna keep swirling in your head all

0:52:10.040 --> 0:52:12.480
<v Speaker 1>through the day. And he was very right about that.

0:52:12.560 --> 0:52:15.239
<v Speaker 1>And so I've I've practiced that where I write for

0:52:15.280 --> 0:52:17.520
<v Speaker 1>at least fifteen minutes, even if I'm I got the

0:52:17.560 --> 0:52:22.239
<v Speaker 1>flu or whatever, I try to power through. And I

0:52:22.280 --> 0:52:24.600
<v Speaker 1>just had this conversation with my wife a couple of

0:52:24.680 --> 0:52:27.920
<v Speaker 1>days ago that during the virus, the beginning of the virus,

0:52:27.960 --> 0:52:31.960
<v Speaker 1>I was so creatively unmotivated that six weeks went by

0:52:32.000 --> 0:52:35.560
<v Speaker 1>without me writing. And I think that was, um, the

0:52:35.680 --> 0:52:41.439
<v Speaker 1>longest I've ever gone without writing in my life. Um,

0:52:41.560 --> 0:52:44.160
<v Speaker 1>you know, since I was twenty, since I was working

0:52:44.160 --> 0:52:47.480
<v Speaker 1>at newspapers. Um, it was like a long time not

0:52:47.560 --> 0:52:50.040
<v Speaker 1>to be writing. And I was not a pleasant guy

0:52:50.080 --> 0:52:52.759
<v Speaker 1>to be with and all that. But finally, and I

0:52:52.800 --> 0:52:55.560
<v Speaker 1>can't explain why, my mojo came back, and I started

0:52:55.560 --> 0:52:59.040
<v Speaker 1>writing about two weeks ago at a very high clip.

0:52:59.120 --> 0:53:02.160
<v Speaker 1>I think I was making for the six weeks before, UM,

0:53:02.200 --> 0:53:06.680
<v Speaker 1>and it was going very quickly. And and I think, well,

0:53:06.920 --> 0:53:09.200
<v Speaker 1>I don't go back. I don't you know. I usually

0:53:09.200 --> 0:53:11.600
<v Speaker 1>start my morning by reading what I wrote the day

0:53:11.600 --> 0:53:13.600
<v Speaker 1>before and editing it, so I kind of have a

0:53:13.640 --> 0:53:16.840
<v Speaker 1>build in edit, but I don't have the big picture.

0:53:17.120 --> 0:53:20.000
<v Speaker 1>Um I won't. I won't see that till I finished

0:53:20.000 --> 0:53:23.160
<v Speaker 1>this book and start over at the page one. So

0:53:23.920 --> 0:53:28.200
<v Speaker 1>why do a series on Bosch and then why jump

0:53:28.360 --> 0:53:32.440
<v Speaker 1>from Bosch to start a couple of news series? UM,

0:53:32.600 --> 0:53:36.719
<v Speaker 1>I don't know. Just to stay fresh, to stay stay involved.

0:53:37.239 --> 0:53:40.520
<v Speaker 1>I do think Bosch is, you know, what I'm about

0:53:40.600 --> 0:53:42.440
<v Speaker 1>as a writer, but I think it's good to take

0:53:42.480 --> 0:53:45.960
<v Speaker 1>breaks from him kind of let kind of my mind

0:53:46.040 --> 0:53:49.080
<v Speaker 1>wonder what's he doing that kind of thing, or I

0:53:49.120 --> 0:53:52.000
<v Speaker 1>can't or to build up this idea of I can't

0:53:52.000 --> 0:53:55.040
<v Speaker 1>wait to write about him again. And you know there's

0:53:55.080 --> 0:53:59.000
<v Speaker 1>other every everything I guess is you know that rights

0:53:59.080 --> 0:54:04.040
<v Speaker 1>around the um, crime and justice and all that, but

0:54:04.120 --> 0:54:06.719
<v Speaker 1>there's different angles on it. So I like this thing

0:54:07.320 --> 0:54:11.760
<v Speaker 1>like having a defense lawyer's angle, having a journalists angle

0:54:11.840 --> 0:54:15.240
<v Speaker 1>on it, and uh, I think it keeps it interesting

0:54:15.280 --> 0:54:17.279
<v Speaker 1>to me in terms of being the writer. I mean,

0:54:17.320 --> 0:54:21.080
<v Speaker 1>I think there's a bigger fan base for Harry Bosh,

0:54:21.120 --> 0:54:23.040
<v Speaker 1>but I just don't feel I can write about him

0:54:23.080 --> 0:54:26.600
<v Speaker 1>every time. Okay, so you're talking about writing screenplays. That's

0:54:26.600 --> 0:54:31.239
<v Speaker 1>a different art, and it's generally speaking difficult to write dialogue.

0:54:31.800 --> 0:54:34.360
<v Speaker 1>You know. You say there was essentially no learning curve

0:54:34.400 --> 0:54:38.520
<v Speaker 1>for you. Yeah, the the learning curve for me was

0:54:38.560 --> 0:54:41.560
<v Speaker 1>not dialogue. It was when I write a book. When

0:54:41.600 --> 0:54:43.440
<v Speaker 1>I write a Harry Bosh book, for example, you're in

0:54:43.480 --> 0:54:45.120
<v Speaker 1>his head. You know what he's thinking, you know what

0:54:45.200 --> 0:54:47.840
<v Speaker 1>he's feeling, you know what hurts him, you know what

0:54:47.960 --> 0:54:50.560
<v Speaker 1>aggravates him. All that is inside his head, and you

0:54:50.719 --> 0:54:53.400
<v Speaker 1>and you you you, that's a third of it, you

0:54:53.440 --> 0:54:57.560
<v Speaker 1>know third. One third is interior, one third is um

0:54:57.719 --> 0:55:01.880
<v Speaker 1>action what he does, and one third is dialogue. And

0:55:01.920 --> 0:55:05.200
<v Speaker 1>so when you go to script, you lose a huge component.

0:55:05.239 --> 0:55:07.879
<v Speaker 1>You lose a third of what what you have when

0:55:07.880 --> 0:55:11.040
<v Speaker 1>you're writing a book. And you know, there's people who

0:55:11.080 --> 0:55:13.160
<v Speaker 1>come out of school and just write scripts and that's

0:55:13.760 --> 0:55:15.960
<v Speaker 1>their lives, so they don't even know what they're missing.

0:55:16.000 --> 0:55:18.160
<v Speaker 1>But I, you know, I came to the show after

0:55:18.200 --> 0:55:22.560
<v Speaker 1>almost twenty years twenty five years almost of writing novels,

0:55:22.600 --> 0:55:25.239
<v Speaker 1>and so to me, it was a huge change to

0:55:26.200 --> 0:55:28.800
<v Speaker 1>have to write a story without saying what someone is thinking.

0:55:29.600 --> 0:55:33.160
<v Speaker 1>And that's where I um, it's you know, I think

0:55:33.200 --> 0:55:35.360
<v Speaker 1>the scripts I wrote in the first couple of seasons

0:55:35.400 --> 0:55:40.280
<v Speaker 1>needed needed, uh to be rewritten, and they were UM.

0:55:40.440 --> 0:55:45.120
<v Speaker 1>And I think I've kind of overcome that um impediment

0:55:46.120 --> 0:55:49.280
<v Speaker 1>uh that I felt in scriptwriting in the more recent years.

0:55:49.320 --> 0:55:51.640
<v Speaker 1>But that was the tough part, not the dialogue, because

0:55:51.719 --> 0:55:53.799
<v Speaker 1>dialogue has been important to me ever since I was

0:55:53.840 --> 0:55:57.239
<v Speaker 1>a reporter, you know, and you had to um, you

0:55:57.239 --> 0:55:59.600
<v Speaker 1>had little space to write. You know. Crime fiction was

0:55:59.680 --> 0:56:04.400
<v Speaker 1>the whinted stepchild in newspapers, not crime fiction, crime reporting,

0:56:05.080 --> 0:56:07.759
<v Speaker 1>and and so you were never given enough space to

0:56:07.800 --> 0:56:10.000
<v Speaker 1>tell what you thought was a great story or an

0:56:10.040 --> 0:56:13.840
<v Speaker 1>interesting story. So you learn to use dialogue to advance

0:56:14.560 --> 0:56:18.400
<v Speaker 1>the information delivery. Um, you had get an ear for dialogue.

0:56:18.440 --> 0:56:24.439
<v Speaker 1>Dialogue that advances the story. It doesn't just uh say

0:56:24.440 --> 0:56:28.320
<v Speaker 1>what was already said. And so dialogue, you know. So

0:56:28.640 --> 0:56:30.279
<v Speaker 1>I carried that into my books, and I carry that

0:56:30.320 --> 0:56:32.640
<v Speaker 1>into my scripts. I just don't feel like dialogue is

0:56:33.400 --> 0:56:36.920
<v Speaker 1>being a barrier to me. It's more like losing that

0:56:37.000 --> 0:56:40.560
<v Speaker 1>interior thought that that's been tough to deal with. So

0:56:40.719 --> 0:56:45.640
<v Speaker 1>tell us about the development of of Bosh the TV show. Yeah,

0:56:47.040 --> 0:56:50.680
<v Speaker 1>well Blash had been down the tortuous road in Hollywood. Um,

0:56:50.760 --> 0:56:55.480
<v Speaker 1>you know, initially what looked like great success. Um. By

0:56:55.480 --> 0:56:58.040
<v Speaker 1>the time the second book was published, Hollywood came calling

0:56:58.080 --> 0:57:00.520
<v Speaker 1>and they made a big deal to buy the first

0:57:00.560 --> 0:57:03.520
<v Speaker 1>three books. UM. I got involved. They said you could

0:57:03.520 --> 0:57:06.880
<v Speaker 1>write one of the screenplays, and so everything looked like

0:57:06.880 --> 0:57:10.560
<v Speaker 1>it was going somewhere. Um. It was bought by Paramount,

0:57:10.640 --> 0:57:13.640
<v Speaker 1>assigned to the producers who made the Tom Clancy movies

0:57:14.840 --> 0:57:19.960
<v Speaker 1>with Harrison Ford, and we were tailoring scripts to Harrison Ford. UM,

0:57:20.120 --> 0:57:24.160
<v Speaker 1>and uh, you know, they'll all look good, and then

0:57:24.160 --> 0:57:26.160
<v Speaker 1>it didn't look good. He passed on them, and the

0:57:26.280 --> 0:57:29.840
<v Speaker 1>stuff got on the shelf the way Holly Hollywood. Um

0:57:29.960 --> 0:57:33.560
<v Speaker 1>deals are. Um, things stay on shelves for a long time.

0:57:33.640 --> 0:57:36.520
<v Speaker 1>You need a lot of money to to leverage them out.

0:57:36.640 --> 0:57:40.120
<v Speaker 1>And so the books kind of were basically gathering dust

0:57:40.160 --> 0:57:44.280
<v Speaker 1>for almost two decades, and then I finally got the

0:57:44.400 --> 0:57:47.120
<v Speaker 1>rights to them back. And it was really at a

0:57:47.200 --> 0:57:50.000
<v Speaker 1>time when TV was really fantastic. There was a lot

0:57:50.040 --> 0:57:53.800
<v Speaker 1>of serialized television going on, UM, a lot of good

0:57:53.920 --> 0:57:58.760
<v Speaker 1>character studies. And so I just told my reps, my

0:57:58.880 --> 0:58:01.400
<v Speaker 1>agent and so forth that I'm not interested in. And

0:58:01.400 --> 0:58:03.520
<v Speaker 1>and also at this point I had several Harry Bosh

0:58:03.560 --> 0:58:07.720
<v Speaker 1>books written. I said, you can't cover this guy in

0:58:07.760 --> 0:58:10.680
<v Speaker 1>a two hour movie. Let's try to get a TV

0:58:10.840 --> 0:58:16.200
<v Speaker 1>deal somewhere. And so that was the initial um start

0:58:16.280 --> 0:58:18.960
<v Speaker 1>of it. And then also at the same time, Amazon

0:58:19.080 --> 0:58:23.720
<v Speaker 1>was deciding to get into UM streaming television and so forth,

0:58:24.280 --> 0:58:28.400
<v Speaker 1>and um, you know, we kind of went from there,

0:58:29.320 --> 0:58:34.480
<v Speaker 1>and uh, it was weird. This goes back to the Yankees.

0:58:34.560 --> 0:58:36.640
<v Speaker 1>I I had a friend I lived part of the

0:58:36.680 --> 0:58:39.320
<v Speaker 1>year in Tampa, Florida, where now the Yankees do spring ball.

0:58:39.920 --> 0:58:42.120
<v Speaker 1>So I had a friend who was a former publisher

0:58:42.600 --> 0:58:44.480
<v Speaker 1>come down from New York to go to a spring

0:58:44.480 --> 0:58:47.320
<v Speaker 1>training game with me. And he had left publishing to

0:58:47.360 --> 0:58:50.440
<v Speaker 1>go to work at Amazon because they were also trying

0:58:50.480 --> 0:58:52.480
<v Speaker 1>to get into publishing. So anyway, I was driving him

0:58:52.520 --> 0:58:54.680
<v Speaker 1>to the airport and he said to me, you know,

0:58:54.720 --> 0:58:58.840
<v Speaker 1>they're gonna start making TV shows UM to stream on Amazon.

0:58:58.960 --> 0:59:01.800
<v Speaker 1>Would that be something you'd be interested in. I said, yeah, sure,

0:59:02.280 --> 0:59:06.800
<v Speaker 1>because I've thought of the nexus of book sales and

0:59:07.280 --> 0:59:10.400
<v Speaker 1>TV and so forth. And so that was my entree

0:59:10.400 --> 0:59:13.280
<v Speaker 1>into Amazon. So it was very much unlike a normal

0:59:14.080 --> 0:59:17.360
<v Speaker 1>process in Hollywood where you pitch your show and they

0:59:17.520 --> 0:59:21.360
<v Speaker 1>develop and all that stuff. Amazon just basically I probably

0:59:21.400 --> 0:59:23.520
<v Speaker 1>punched up a couple of numbers to see how what

0:59:23.640 --> 0:59:26.520
<v Speaker 1>my book sales were and said let's do it. So

0:59:26.760 --> 0:59:29.920
<v Speaker 1>that's where it came from. How long after that conversation,

0:59:30.000 --> 0:59:35.800
<v Speaker 1>it's bring training until they say yes, no. I mean

0:59:35.880 --> 0:59:41.640
<v Speaker 1>what happened was what what this was all new to

0:59:41.720 --> 0:59:45.760
<v Speaker 1>Amazon as it was to me, and uh so they

0:59:45.760 --> 0:59:48.760
<v Speaker 1>were very accommodating. And they also this is like when

0:59:48.800 --> 0:59:50.520
<v Speaker 1>I go in to have a meeting, there'll be two

0:59:50.520 --> 0:59:53.440
<v Speaker 1>people there. Now when I go into a meeting, they

0:59:53.440 --> 0:59:56.560
<v Speaker 1>have a long board room, uh you know, and there's

0:59:56.600 --> 1:00:00.160
<v Speaker 1>like fifteen or sixteen people. So Amazon was learning as

1:00:00.160 --> 1:00:03.760
<v Speaker 1>they were going and that gave us great freedom. And

1:00:04.080 --> 1:00:06.320
<v Speaker 1>as far as you know, I'm not really involved in

1:00:06.360 --> 1:00:08.959
<v Speaker 1>the money, but as far as I know, we told

1:00:09.000 --> 1:00:12.160
<v Speaker 1>them what we would need to make the show the

1:00:12.200 --> 1:00:14.240
<v Speaker 1>way the way I wanted to make it, the way

1:00:14.280 --> 1:00:16.960
<v Speaker 1>my partners wanted to make it, and they gave us

1:00:16.960 --> 1:00:20.200
<v Speaker 1>that money. Um, one of the key things to me,

1:00:20.440 --> 1:00:24.680
<v Speaker 1>and I actually got this in a contract with my partner.

1:00:24.840 --> 1:00:27.840
<v Speaker 1>So before I went to Amazon, I should say when

1:00:27.840 --> 1:00:32.000
<v Speaker 1>I told my agent, let's look at TV. He hooked

1:00:32.040 --> 1:00:34.480
<v Speaker 1>me up with a production company. Amazon is not the

1:00:34.520 --> 1:00:39.480
<v Speaker 1>production company, Amazon is the delivery system. So I made

1:00:39.480 --> 1:00:43.120
<v Speaker 1>a deal with a producer of television and I got

1:00:43.200 --> 1:00:45.920
<v Speaker 1>him to sign an agreement and put it in a contract,

1:00:45.960 --> 1:00:50.520
<v Speaker 1>which is almost unheard of in Hollywood, that every scene

1:00:50.680 --> 1:00:54.520
<v Speaker 1>of Vosh would be filmed in Los Angeles, even interiors,

1:00:55.960 --> 1:01:00.440
<v Speaker 1>because I felt we had to have to act really

1:01:00.720 --> 1:01:02.880
<v Speaker 1>reflect with in the books where and where in the

1:01:02.880 --> 1:01:05.440
<v Speaker 1>books Los Angeles as a character. We had to do

1:01:05.480 --> 1:01:08.080
<v Speaker 1>that on the TV show. So so my partner, my

1:01:08.120 --> 1:01:12.400
<v Speaker 1>producing partner, readily agreed. He was very familiar with the books.

1:01:12.400 --> 1:01:14.680
<v Speaker 1>He came He actually sought me out. I didn't seek

1:01:14.760 --> 1:01:17.560
<v Speaker 1>him out. He readily agreed, and then he had to

1:01:17.560 --> 1:01:18.880
<v Speaker 1>live with that, and he had to sell that to

1:01:18.920 --> 1:01:21.360
<v Speaker 1>Amazon because that did add a big expense to it.

1:01:21.880 --> 1:01:25.680
<v Speaker 1>But Amazon um agreed to it and also saw the

1:01:25.800 --> 1:01:28.360
<v Speaker 1>light that that if you're going to try to adapt

1:01:28.360 --> 1:01:30.920
<v Speaker 1>these books, then adapt the books. Don't go to Canada

1:01:31.080 --> 1:01:34.520
<v Speaker 1>to do that. And so it worked out well. And

1:01:34.560 --> 1:01:39.000
<v Speaker 1>I think that in the show, the the city is

1:01:39.040 --> 1:01:42.800
<v Speaker 1>a character that there's a tone to the visuals of

1:01:42.880 --> 1:01:45.800
<v Speaker 1>the show, uh that I love and that I think

1:01:45.800 --> 1:01:49.000
<v Speaker 1>are accurate to the books. And so it's been a

1:01:49.120 --> 1:01:59.080
<v Speaker 1>very happy, um, you know agreement. Tell us about the casting,

1:01:59.480 --> 1:02:02.600
<v Speaker 1>the I mean, everything comes down to who's Harry Bosh?

1:02:03.000 --> 1:02:09.560
<v Speaker 1>And you know the I remember, so we have a showrunner.

1:02:09.640 --> 1:02:12.480
<v Speaker 1>The head creative person on the show is called the showrunner,

1:02:12.480 --> 1:02:15.480
<v Speaker 1>and his name is Eric Overmeyer. And I happen to

1:02:15.560 --> 1:02:18.760
<v Speaker 1>have previously known him, not that well, but I had

1:02:18.760 --> 1:02:20.520
<v Speaker 1>dinner with him a couple of times because of some

1:02:20.640 --> 1:02:26.760
<v Speaker 1>mutual friends in New York City. And um, he said,

1:02:26.800 --> 1:02:31.200
<v Speaker 1>our biggest Um, there's two things that are our biggest challenges.

1:02:31.280 --> 1:02:35.880
<v Speaker 1>One finding the right Harry Bosh and two your books

1:02:35.880 --> 1:02:38.920
<v Speaker 1>are very interior. You're you're writing inside Harry Bosch's head,

1:02:38.920 --> 1:02:41.360
<v Speaker 1>and we can't do that in the script. And so

1:02:41.560 --> 1:02:43.880
<v Speaker 1>not only do we have to find a way of

1:02:43.880 --> 1:02:47.360
<v Speaker 1>of of showing his feelings of how what he says,

1:02:47.400 --> 1:02:49.800
<v Speaker 1>what he does, and so forth, but we also have

1:02:49.840 --> 1:02:53.280
<v Speaker 1>to break the storytelling out to other characters. Um. In

1:02:53.360 --> 1:02:56.360
<v Speaker 1>the Bosh books, you're usually only with Bosh in every scene,

1:02:56.360 --> 1:02:58.800
<v Speaker 1>and you can't do that in a TV show. But anyway,

1:02:58.840 --> 1:03:01.320
<v Speaker 1>going back to the casting, that was that was obviously

1:03:01.320 --> 1:03:04.120
<v Speaker 1>a key thing, and Amazon had a schedule for when

1:03:04.120 --> 1:03:07.240
<v Speaker 1>we would shoot the pilot, and we basically had about

1:03:07.280 --> 1:03:11.200
<v Speaker 1>seven weeks to find our Harry Bosh and I went

1:03:11.200 --> 1:03:17.000
<v Speaker 1>into the first meeting, and we had really good casting agents.

1:03:17.080 --> 1:03:21.400
<v Speaker 1>They were at that time casting Madman UM. They were,

1:03:21.480 --> 1:03:24.000
<v Speaker 1>you know, they had cast that show and we're continuing

1:03:24.040 --> 1:03:26.240
<v Speaker 1>to cast it UM year after years. So they were

1:03:26.320 --> 1:03:31.320
<v Speaker 1>very good UM casting people. And they had a list

1:03:31.360 --> 1:03:34.560
<v Speaker 1>of like four pages of names of different actors and

1:03:34.600 --> 1:03:40.120
<v Speaker 1>so forth in UM. You know, I'm Mr. Bookwriter. I

1:03:40.120 --> 1:03:42.160
<v Speaker 1>don't really know a lot about Hollywood, but I had

1:03:42.200 --> 1:03:46.120
<v Speaker 1>seen Titus Welver playing as a guest star on a

1:03:46.200 --> 1:03:50.040
<v Speaker 1>TV show just recently, just recent to this meeting, where

1:03:50.080 --> 1:03:53.240
<v Speaker 1>he played a ex soldier with PTSD, and he was

1:03:53.360 --> 1:03:58.280
<v Speaker 1>clearly able to convey that this guy had inner demons.

1:03:58.360 --> 1:04:01.880
<v Speaker 1>And that's what I wanted, um in Bosh, That's what

1:04:02.080 --> 1:04:05.960
<v Speaker 1>Eric Overmeyer wanted, That's what Henrik Baston, our producing partner wanted,

1:04:06.600 --> 1:04:09.240
<v Speaker 1>and so I. But his name wasn't on these four pages,

1:04:09.440 --> 1:04:12.400
<v Speaker 1>and so I was very kind of intimidated to even

1:04:12.400 --> 1:04:15.640
<v Speaker 1>bring him up because I'm the I'm the guy in

1:04:15.680 --> 1:04:18.800
<v Speaker 1>the room hasn't had no experience really with TA Television

1:04:18.840 --> 1:04:21.880
<v Speaker 1>that much. So anyway, I brought him up and they

1:04:21.880 --> 1:04:24.120
<v Speaker 1>said we'd love him and he'd be great for the part,

1:04:24.200 --> 1:04:26.720
<v Speaker 1>except he's making a movie in Hong Kong and during

1:04:26.760 --> 1:04:30.280
<v Speaker 1>our six seven weeks where we can casts, he's not

1:04:30.320 --> 1:04:33.120
<v Speaker 1>going to be in l A. So that kind of

1:04:33.120 --> 1:04:35.840
<v Speaker 1>went out the window. And then we proceeded down over

1:04:35.840 --> 1:04:38.760
<v Speaker 1>the next days and weeks UH with the list that

1:04:38.880 --> 1:04:41.720
<v Speaker 1>they had, and we kept talking to different people and

1:04:41.840 --> 1:04:44.200
<v Speaker 1>we would um people would come in and try out

1:04:44.240 --> 1:04:48.120
<v Speaker 1>and so forth, and nobody really connected with the group

1:04:48.560 --> 1:04:52.200
<v Speaker 1>as being Harry Bosh. And then we were actually at

1:04:52.200 --> 1:04:54.040
<v Speaker 1>the point where we were gonna have to call Amazon

1:04:54.160 --> 1:04:57.680
<v Speaker 1>on him. It was like Thursday or Friday, and we

1:04:57.720 --> 1:05:00.200
<v Speaker 1>had the we're gonna call Amazon on Monday and say

1:05:00.200 --> 1:05:03.000
<v Speaker 1>we have to push um shooting the pilot because we

1:05:03.000 --> 1:05:05.840
<v Speaker 1>don't want to do it with someone we're not convinced

1:05:05.840 --> 1:05:09.120
<v Speaker 1>as Harry Bosh. And then that same day we got

1:05:09.160 --> 1:05:12.360
<v Speaker 1>word that Titus was flying home for the weekend to

1:05:12.440 --> 1:05:16.080
<v Speaker 1>see his kids, and so we kind of cajoled this

1:05:16.280 --> 1:05:18.320
<v Speaker 1>idea that he would come and see see us for

1:05:18.400 --> 1:05:20.240
<v Speaker 1>like an hour just so we could talk to him,

1:05:20.280 --> 1:05:24.640
<v Speaker 1>and and instead he worked up this the audition scene

1:05:24.680 --> 1:05:27.000
<v Speaker 1>for Bosch on the plane ride back and came in

1:05:27.080 --> 1:05:30.520
<v Speaker 1>all jet lagged and auditioned and even in his jet

1:05:30.600 --> 1:05:33.880
<v Speaker 1>lagged capacity, we all knew this. We just had this instinct,

1:05:33.880 --> 1:05:37.240
<v Speaker 1>the instinctual thing that this is the guy, this is

1:05:37.400 --> 1:05:40.400
<v Speaker 1>this is Harry Bosh. So he basically got the job

1:05:40.480 --> 1:05:43.920
<v Speaker 1>right there. Now, you say the Bosch on TV is

1:05:43.960 --> 1:05:47.000
<v Speaker 1>different from the Bosch in the book. So are you

1:05:47.080 --> 1:05:50.120
<v Speaker 1>writing for the character Titus has established? How do you

1:05:50.200 --> 1:05:53.560
<v Speaker 1>do that? Yeah, you definitely feed off of what you've

1:05:53.600 --> 1:05:56.880
<v Speaker 1>got so far on the TV show, And um, we

1:05:56.920 --> 1:05:59.160
<v Speaker 1>are you know, all the writers know Titus very well.

1:05:59.240 --> 1:06:03.880
<v Speaker 1>Titus is a contributor, collaborator, comes to the writing room,

1:06:04.040 --> 1:06:06.840
<v Speaker 1>talks about things that he'd like to see Bosch do

1:06:07.040 --> 1:06:10.000
<v Speaker 1>and things like that, and so it's it's all under

1:06:10.040 --> 1:06:14.840
<v Speaker 1>the umbrella of the book for sure. Um, and you know,

1:06:14.880 --> 1:06:17.320
<v Speaker 1>there's other aspects of adapting it. Many of the books

1:06:17.360 --> 1:06:19.960
<v Speaker 1>we've adapted are from the nineties and we're you know,

1:06:20.080 --> 1:06:25.120
<v Speaker 1>twenty l a. It's it's a different city twenty years later,

1:06:25.280 --> 1:06:28.720
<v Speaker 1>twenty five years later, So we have to make changes anyway.

1:06:29.040 --> 1:06:32.880
<v Speaker 1>And so you know, Bosch Bosch has become tight as

1:06:32.920 --> 1:06:35.960
<v Speaker 1>tightest has become Bosh. I mean, I think he has

1:06:36.080 --> 1:06:39.880
<v Speaker 1>a sense of that character as as strong as mine.

1:06:40.400 --> 1:06:42.680
<v Speaker 1>UM and I think, uh and I trust him with

1:06:42.720 --> 1:06:45.600
<v Speaker 1>that character. So when he says I want to do

1:06:45.640 --> 1:06:48.280
<v Speaker 1>this or I want to say that, um, I I

1:06:48.360 --> 1:06:50.720
<v Speaker 1>really listened to him because I think he comes from

1:06:50.720 --> 1:06:55.680
<v Speaker 1>a place of of character knowledge that UM I have

1:06:55.800 --> 1:07:00.560
<v Speaker 1>to certainly respect. So you're on amas on and when

1:07:00.600 --> 1:07:04.960
<v Speaker 1>you launch five years ago, uh, amazons that people think

1:07:04.960 --> 1:07:07.720
<v Speaker 1>of streaming is still relatively new when it's on Netflix.

1:07:07.800 --> 1:07:10.760
<v Speaker 1>What is the reception? What is the experience after the

1:07:10.840 --> 1:07:13.520
<v Speaker 1>series is up on your end? Oh? Yeah, yeah, So

1:07:13.560 --> 1:07:16.640
<v Speaker 1>we know we have a good show. Um, I'm very

1:07:16.680 --> 1:07:18.880
<v Speaker 1>proud of it. It's very reflective of the books, and

1:07:18.880 --> 1:07:24.200
<v Speaker 1>it's very reflective of the accuracy, um of of that job.

1:07:24.280 --> 1:07:27.240
<v Speaker 1>I mean, we have to um. Actually in the first

1:07:27.280 --> 1:07:32.160
<v Speaker 1>season we had three active LAPD homicide detectives being our consultants.

1:07:32.160 --> 1:07:35.040
<v Speaker 1>So so we're very confident in the show. And Amazon

1:07:35.280 --> 1:07:37.520
<v Speaker 1>is kind of like in its nascent stages of coming

1:07:37.560 --> 1:07:41.040
<v Speaker 1>out with UM with streaming product. I think they had

1:07:41.080 --> 1:07:45.120
<v Speaker 1>one two other shows that were comedies to come out

1:07:45.160 --> 1:07:48.920
<v Speaker 1>before UM Bosh. So we have the show that we

1:07:48.960 --> 1:07:51.640
<v Speaker 1>think is good, and it becomes a matter of how

1:07:51.720 --> 1:07:54.120
<v Speaker 1>do we get how do we draw people to it?

1:07:54.280 --> 1:07:58.920
<v Speaker 1>And so you know, Amazon did a lot, you know,

1:07:59.440 --> 1:08:02.240
<v Speaker 1>billboard all over to place all kinds of social media

1:08:03.000 --> 1:08:06.880
<v Speaker 1>times Square. Um, it seemed like it was everywhere, and

1:08:06.880 --> 1:08:09.600
<v Speaker 1>I think that got us off to a good start. Um.

1:08:09.760 --> 1:08:12.200
<v Speaker 1>You know, I have obviously have my social media, and

1:08:12.200 --> 1:08:16.599
<v Speaker 1>I think the core audience was was the the readers

1:08:16.640 --> 1:08:20.599
<v Speaker 1>of the books, but television demands a much bigger audience

1:08:20.600 --> 1:08:23.599
<v Speaker 1>than that, so we had to expand it well beyond

1:08:24.280 --> 1:08:27.920
<v Speaker 1>the book readers who who loved the series. Well from

1:08:27.920 --> 1:08:30.960
<v Speaker 1>my viewpoint, just as ah and I was not a

1:08:31.000 --> 1:08:34.920
<v Speaker 1>Bosh reader at the time. Um, I didn't get into

1:08:35.000 --> 1:08:38.400
<v Speaker 1>it until season three. At what point did you feel

1:08:38.479 --> 1:08:42.160
<v Speaker 1>the show was really picking up with the public. I

1:08:42.200 --> 1:08:47.120
<v Speaker 1>think around then. I mean I think definitely the first season. Um,

1:08:47.240 --> 1:08:50.080
<v Speaker 1>we were getting to know everybody on the show. I

1:08:50.080 --> 1:08:53.080
<v Speaker 1>mean we basically have um, you know, the cast is

1:08:53.160 --> 1:08:56.519
<v Speaker 1>the cast, but our crew we've probably because we suit

1:08:56.560 --> 1:08:58.400
<v Speaker 1>in l A and everyone wants to work on l

1:08:58.400 --> 1:09:02.400
<v Speaker 1>A show, so they want to travel. We've had probably

1:09:02.479 --> 1:09:05.880
<v Speaker 1>like nine return rate of our crew and so all

1:09:06.000 --> 1:09:09.960
<v Speaker 1>that kind of comes together in making a show. It's

1:09:10.000 --> 1:09:14.120
<v Speaker 1>all very important, and um, you know, it's a learning experience.

1:09:14.120 --> 1:09:15.840
<v Speaker 1>You get better the more you do something. And I

1:09:15.880 --> 1:09:19.400
<v Speaker 1>think we refine. We made some changes in the writing room,

1:09:19.439 --> 1:09:22.760
<v Speaker 1>We made some changes in um, the look of the

1:09:22.800 --> 1:09:25.559
<v Speaker 1>show and so forth, the cameras and so forth. And

1:09:25.600 --> 1:09:29.439
<v Speaker 1>I think, um, we really came into our own, um

1:09:29.520 --> 1:09:34.320
<v Speaker 1>late in the second season into three. And uh, you know,

1:09:34.479 --> 1:09:36.920
<v Speaker 1>it's not that we made any bad seasons or anything,

1:09:36.920 --> 1:09:38.439
<v Speaker 1>but I just think we got better. I think it's

1:09:38.439 --> 1:09:41.479
<v Speaker 1>a rare show that season. The season it gets better.

1:09:41.880 --> 1:09:44.719
<v Speaker 1>I completely agree, and I certainly tell people that. Speaking

1:09:44.760 --> 1:09:48.720
<v Speaker 1>of which, uh, supposedly next year's your last season? What's

1:09:48.800 --> 1:09:54.479
<v Speaker 1>up with that? Um? Exosedly? Yeah, I think everything it changes,

1:09:54.520 --> 1:09:58.320
<v Speaker 1>you know, because of the virus. I think, um, the

1:09:59.600 --> 1:10:06.240
<v Speaker 1>every every, every provider of content, cable network, streaming is

1:10:06.240 --> 1:10:11.240
<v Speaker 1>gonna face content issues because of the shutdown, um of

1:10:11.360 --> 1:10:14.040
<v Speaker 1>everything in life and but but in in in the

1:10:14.160 --> 1:10:17.960
<v Speaker 1>entertainment industry as well. So I'll never say never. Maybe

1:10:17.960 --> 1:10:20.479
<v Speaker 1>it will be our last, maybe not, but as of now,

1:10:20.520 --> 1:10:24.000
<v Speaker 1>it's scheduled to be our last, And um, you know,

1:10:24.080 --> 1:10:26.680
<v Speaker 1>I'm not on the level of making those decisions. Or

1:10:26.720 --> 1:10:29.240
<v Speaker 1>why they make those decisions. I mean, I think Bosch

1:10:29.360 --> 1:10:32.160
<v Speaker 1>is going to live on their platform for for many

1:10:32.400 --> 1:10:35.639
<v Speaker 1>years to come, maybe decades to come, and I think

1:10:35.640 --> 1:10:39.800
<v Speaker 1>at some point they they make decisions based on you know,

1:10:39.920 --> 1:10:42.880
<v Speaker 1>this show costs this x amount of money a year

1:10:42.960 --> 1:10:46.639
<v Speaker 1>to make, and we already have that audience in our

1:10:46.680 --> 1:10:50.280
<v Speaker 1>back pocket, so why don't we try to connect them

1:10:50.320 --> 1:10:53.000
<v Speaker 1>to something new and different? You know, I think those

1:10:53.000 --> 1:10:55.479
<v Speaker 1>are kind of the creative situations that go into it.

1:10:56.080 --> 1:10:59.000
<v Speaker 1>I do know that we that these discussions were happening

1:10:59.040 --> 1:11:01.639
<v Speaker 1>all the time that we were making the sixth season,

1:11:02.520 --> 1:11:06.840
<v Speaker 1>and uh, you know, to Amazon's credit, the creative people

1:11:06.880 --> 1:11:09.160
<v Speaker 1>at the top of that, you know, we sat down

1:11:09.200 --> 1:11:11.160
<v Speaker 1>with them and they said, you know, we want to

1:11:11.720 --> 1:11:14.400
<v Speaker 1>we want you to write to an ending next year

1:11:14.920 --> 1:11:18.280
<v Speaker 1>so that we have a show that has that is complete,

1:11:18.320 --> 1:11:20.160
<v Speaker 1>you know that it starts from the beginning and has

1:11:20.200 --> 1:11:22.519
<v Speaker 1>an ending, and that we want you to know the

1:11:22.560 --> 1:11:25.640
<v Speaker 1>whole season you'll be writing towards an ending. And that

1:11:25.760 --> 1:11:28.400
<v Speaker 1>was from a creative standpoint, that was really good to have.

1:11:29.120 --> 1:11:31.439
<v Speaker 1>And we're doing that now. You know, the sixth season

1:11:31.479 --> 1:11:35.679
<v Speaker 1>just came out, but we're well into writing the seventh season.

1:11:35.760 --> 1:11:39.559
<v Speaker 1>And writing two towards an ending. The one thing that's

1:11:39.600 --> 1:11:41.439
<v Speaker 1>kind of odd is that the books are not ending.

1:11:41.479 --> 1:11:43.800
<v Speaker 1>I'm still writing about Harry Bosh. I'm writing a book

1:11:43.880 --> 1:11:46.679
<v Speaker 1>right now that he's in and so forth. So whereas

1:11:46.720 --> 1:11:49.759
<v Speaker 1>I have not written a book on on the book track,

1:11:49.880 --> 1:11:52.000
<v Speaker 1>I have not written to an ending. We're gonna be

1:11:52.040 --> 1:11:55.599
<v Speaker 1>doing that with the TV show. And to what degree

1:11:55.680 --> 1:11:59.719
<v Speaker 1>has the TV show impacted the sales of your books? Um,

1:11:59.760 --> 1:12:03.120
<v Speaker 1>it's it's anecdotal. I know it's impacted it. Um you know,

1:12:03.160 --> 1:12:05.479
<v Speaker 1>I know, you know, Amazon is the biggest seller of

1:12:05.560 --> 1:12:08.920
<v Speaker 1>books in the world, so or you know, one screen

1:12:08.960 --> 1:12:12.280
<v Speaker 1>away you can go from uh watching the bos show

1:12:12.320 --> 1:12:15.400
<v Speaker 1>to reading the Bosh books, and so I know it's

1:12:15.439 --> 1:12:17.920
<v Speaker 1>had an impact, but it's not something I can measure.

1:12:18.160 --> 1:12:21.680
<v Speaker 1>I know, you know, I sold more books than but

1:12:21.840 --> 1:12:25.240
<v Speaker 1>my profile has always been growing since each book has

1:12:25.280 --> 1:12:27.720
<v Speaker 1>sold more than the one before, And that's what's going

1:12:27.760 --> 1:12:32.040
<v Speaker 1>on now. And I have to attribute a big chunk

1:12:32.080 --> 1:12:35.200
<v Speaker 1>of that to the show, But you know I can't.

1:12:35.479 --> 1:12:37.960
<v Speaker 1>There's no science about it that says exactly what the

1:12:38.000 --> 1:12:42.400
<v Speaker 1>impact has been. Let's just say hypothetically, you know, shooting

1:12:42.439 --> 1:12:47.320
<v Speaker 1>begins soon. You're right, to an ending, there's no obvious renewal. Uh.

1:12:47.360 --> 1:12:52.120
<v Speaker 1>To what degree are you going to be depressed? I

1:12:52.120 --> 1:12:55.799
<v Speaker 1>don't think I'll be depressed at all, because, um, I've

1:12:55.840 --> 1:12:59.880
<v Speaker 1>always been a bookwriter first, UM, and and being in

1:13:00.080 --> 1:13:02.720
<v Speaker 1>that room by myself and writing and pleasing myself for

1:13:02.840 --> 1:13:06.439
<v Speaker 1>feeling satisfaction of something I've done has never been something

1:13:06.479 --> 1:13:09.120
<v Speaker 1>that's gone away. This the TV show has been great.

1:13:09.240 --> 1:13:11.800
<v Speaker 1>I've I've kind of gone from being the introvert of

1:13:11.840 --> 1:13:15.040
<v Speaker 1>being in the uh, part of a crew of like

1:13:15.080 --> 1:13:19.080
<v Speaker 1>two people. Um, and that's been a really fun part

1:13:19.120 --> 1:13:21.479
<v Speaker 1>of my life for the last seven years. And so

1:13:21.640 --> 1:13:23.559
<v Speaker 1>I'll definitely miss that. I don't know if I'll go

1:13:23.600 --> 1:13:28.360
<v Speaker 1>into depression. Um. And then you know, you know, you

1:13:28.360 --> 1:13:31.040
<v Speaker 1>can always live for the day that Amazon says, well,

1:13:31.080 --> 1:13:33.240
<v Speaker 1>let's do a movie, let's chick in on Harry Bosh.

1:13:33.280 --> 1:13:34.680
<v Speaker 1>So I don't I don't really think it will be

1:13:34.720 --> 1:13:38.479
<v Speaker 1>the end of Harry Bosh in terms of video. Since

1:13:38.520 --> 1:13:41.360
<v Speaker 1>you have other characters, written books about other people, are

1:13:41.400 --> 1:13:44.000
<v Speaker 1>you developing now that you know theoretically there's an end

1:13:44.040 --> 1:13:47.520
<v Speaker 1>to Bosh? Are you developing shows based on these other characters?

1:13:49.720 --> 1:13:52.559
<v Speaker 1>And well, yeah, I have a whole slew of characters

1:13:52.600 --> 1:13:56.360
<v Speaker 1>out there, and I hope to UM, you know, take

1:13:56.400 --> 1:13:59.559
<v Speaker 1>another shot at UM Hollywood in that way. So yeah,

1:13:59.640 --> 1:14:02.960
<v Speaker 1>they're in different various stages of development. I almost had

1:14:03.000 --> 1:14:07.080
<v Speaker 1>a Lincoln Lawyer show on CBS, but the virus kind

1:14:07.080 --> 1:14:10.120
<v Speaker 1>of killed that, UM and so we'll start over on

1:14:10.200 --> 1:14:13.320
<v Speaker 1>that and see what happens. Okay, So what do you

1:14:13.360 --> 1:14:18.680
<v Speaker 1>do with your money? What I do with my money? UM,

1:14:18.720 --> 1:14:20.880
<v Speaker 1>I give a lot of it away. My wife and

1:14:20.920 --> 1:14:24.120
<v Speaker 1>I have a foundation that we UM support a lot

1:14:24.160 --> 1:14:27.920
<v Speaker 1>of causes. I'm really UM. One of my main focuses

1:14:29.040 --> 1:14:36.880
<v Speaker 1>is journalism and UM supporting journalism schools, supporting investigative news

1:14:36.920 --> 1:14:41.960
<v Speaker 1>sites on the Internet. I think because of the downsizing

1:14:42.040 --> 1:14:44.720
<v Speaker 1>of the newspaper business, a lot of good stuff is

1:14:44.720 --> 1:14:47.720
<v Speaker 1>going out into the Internet and it's hard to be

1:14:47.800 --> 1:14:51.120
<v Speaker 1>profitable or or to even pay the bills, and so

1:14:51.200 --> 1:14:55.680
<v Speaker 1>there's a lot of nonprofit UM news sites with with

1:14:55.760 --> 1:14:59.599
<v Speaker 1>particular focuses. My next book is actually called fair Warning,

1:14:59.640 --> 1:15:03.280
<v Speaker 1>and it's and it has Jack McAvoy, the reporter from

1:15:03.280 --> 1:15:07.200
<v Speaker 1>The Poet, working for a new site called fair Warning,

1:15:07.200 --> 1:15:14.240
<v Speaker 1>which is consumer oriented investigative reporting. UM. And I mean

1:15:14.400 --> 1:15:16.920
<v Speaker 1>I've been involved in supporting that I'm on the board

1:15:16.960 --> 1:15:19.519
<v Speaker 1>and so forth, and so that it filtered into my

1:15:19.600 --> 1:15:22.599
<v Speaker 1>creative process, where you know, I've written about this reporter

1:15:22.720 --> 1:15:25.679
<v Speaker 1>on and off for I don't know, twenty five years,

1:15:25.680 --> 1:15:30.400
<v Speaker 1>and so it was kind of obvious to me that

1:15:30.479 --> 1:15:35.040
<v Speaker 1>while I check in on Jack McAvoy now and have

1:15:35.160 --> 1:15:37.160
<v Speaker 1>them working at one of these news sites, and so

1:15:37.240 --> 1:15:42.080
<v Speaker 1>it's a kind of a blending of of of reality,

1:15:42.920 --> 1:15:46.720
<v Speaker 1>um with fiction. And what about your personal viewpoint on

1:15:46.760 --> 1:15:51.880
<v Speaker 1>the future of journalism, Well, I'm concerned about it, and

1:15:51.920 --> 1:15:55.559
<v Speaker 1>I've voiced that concern I think through Jack, especially in

1:15:55.600 --> 1:15:57.479
<v Speaker 1>this book. But but you know, the last book I

1:15:57.479 --> 1:15:59.920
<v Speaker 1>wrote about him, The Scarecrow, was right in the middle

1:16:00.120 --> 1:16:05.799
<v Speaker 1>the newspaper crunch, and um, I reflected on that. Um,

1:16:05.840 --> 1:16:07.840
<v Speaker 1>you know, in my day, and I'm not one of

1:16:07.840 --> 1:16:09.920
<v Speaker 1>these guys that goes it was always better when nic

1:16:10.000 --> 1:16:12.680
<v Speaker 1>really you know, the old days, in my days, But

1:16:12.800 --> 1:16:16.400
<v Speaker 1>I am from a time in journalism where the newspaper

1:16:16.560 --> 1:16:24.800
<v Speaker 1>was a tent pole in a community for discussions about everything, culture, politics, crime, everything,

1:16:25.080 --> 1:16:30.160
<v Speaker 1>and and that central point of debate and discussion is

1:16:30.200 --> 1:16:33.320
<v Speaker 1>pretty much gone in almost every city except for a few.

1:16:34.200 --> 1:16:37.080
<v Speaker 1>And and that to me, you know, so I think

1:16:37.120 --> 1:16:40.960
<v Speaker 1>that society's loss and like I said, alive it has

1:16:41.000 --> 1:16:44.320
<v Speaker 1>filtered out onto the Internet. But it's almost like, go

1:16:44.439 --> 1:16:47.720
<v Speaker 1>see your question of how do you find how do

1:16:47.960 --> 1:16:51.120
<v Speaker 1>people find Bosh in his early years? It's hard to

1:16:51.160 --> 1:16:54.160
<v Speaker 1>find this stuff, the incredible stuff, the stuff that is

1:16:54.200 --> 1:16:58.320
<v Speaker 1>not um politically biased and so forth, out on the Internet.

1:16:58.400 --> 1:17:01.559
<v Speaker 1>And that's where we are right now, having that issue

1:17:01.640 --> 1:17:06.479
<v Speaker 1>of of trust and media that I think is um,

1:17:06.520 --> 1:17:11.000
<v Speaker 1>you know, a very uh telling issue. Okay, let's just

1:17:11.000 --> 1:17:14.000
<v Speaker 1>say hypothetically, I can snap my fingers. You own the

1:17:14.160 --> 1:17:18.040
<v Speaker 1>l A Times. What would you do differently? Oh man,

1:17:19.800 --> 1:17:23.040
<v Speaker 1>I think I Well, I mean they still I'll probably

1:17:23.040 --> 1:17:25.960
<v Speaker 1>get help for this because they've they've out of pride

1:17:25.960 --> 1:17:30.320
<v Speaker 1>and so forth. They've maintained many of their postings around

1:17:30.320 --> 1:17:33.120
<v Speaker 1>the world and they've cut them back immensely, but they

1:17:33.160 --> 1:17:36.160
<v Speaker 1>still maintain them. And I just think the way to

1:17:36.240 --> 1:17:39.840
<v Speaker 1>survive now as a newspaper, unless you're The New York

1:17:39.840 --> 1:17:44.160
<v Speaker 1>Times in Washington Post, is to really double down on

1:17:44.880 --> 1:17:50.320
<v Speaker 1>local reporting and local investigative reporting, and you know, maybe

1:17:50.360 --> 1:17:53.400
<v Speaker 1>not worried so much about having an office in Beijing,

1:17:53.479 --> 1:17:58.559
<v Speaker 1>but instead have um a reporter who just watches the

1:17:58.600 --> 1:18:01.400
<v Speaker 1>money in the county budget, you know, things like that,

1:18:02.000 --> 1:18:05.840
<v Speaker 1>and I think that would would connect the paper to

1:18:06.040 --> 1:18:11.800
<v Speaker 1>it's populous better. And it can also, um you know,

1:18:12.800 --> 1:18:15.960
<v Speaker 1>serve that function that is I think is being lost

1:18:16.880 --> 1:18:20.479
<v Speaker 1>in terms of being, um a watchdog. And to be

1:18:20.520 --> 1:18:23.519
<v Speaker 1>a watchdog, you gotta start with your own community before

1:18:23.520 --> 1:18:26.679
<v Speaker 1>you start worrying about the world. And I think that's

1:18:26.760 --> 1:18:31.000
<v Speaker 1>where I think the future of newspapers surviving for the

1:18:31.040 --> 1:18:35.280
<v Speaker 1>most part is in that local attention to the local scene.

1:18:36.280 --> 1:18:39.680
<v Speaker 1>And you know what what you said, You write so

1:18:39.760 --> 1:18:41.280
<v Speaker 1>much about l A and you live about live in

1:18:41.400 --> 1:18:44.760
<v Speaker 1>l A. What's your viewpoint on Los Angeles. I'm still

1:18:44.840 --> 1:18:47.400
<v Speaker 1>very enthusiastic about l A, and I think by Harry

1:18:47.400 --> 1:18:51.920
<v Speaker 1>Bosh would be too. To me. It goes back to

1:18:52.000 --> 1:18:53.840
<v Speaker 1>back when I told you about when I was a

1:18:53.920 --> 1:18:56.080
<v Speaker 1>young reporter and I felt like I was a prince

1:18:56.120 --> 1:18:58.040
<v Speaker 1>of the city because I knew things that were going

1:18:58.080 --> 1:19:01.280
<v Speaker 1>on that people didn't know. Yet I feel that way

1:19:01.280 --> 1:19:03.200
<v Speaker 1>about l A. I still feel like it's on the

1:19:03.240 --> 1:19:07.839
<v Speaker 1>front line of change and and trends and culture and

1:19:07.840 --> 1:19:11.599
<v Speaker 1>and there's there's a pride in that that I take

1:19:11.680 --> 1:19:14.760
<v Speaker 1>in as as a writer of this place, as a

1:19:14.840 --> 1:19:18.599
<v Speaker 1>resident of this place, as just someone who loves this place.

1:19:18.680 --> 1:19:20.519
<v Speaker 1>And so I still so I think l A is

1:19:20.520 --> 1:19:23.479
<v Speaker 1>going to be okay no matter, no matter what happens,

1:19:23.640 --> 1:19:27.479
<v Speaker 1>you know, post post Corona. Well, I guess, thinking back,

1:19:27.520 --> 1:19:29.639
<v Speaker 1>the reason I got into Bosh is I knew someone

1:19:29.680 --> 1:19:32.880
<v Speaker 1>who worked at Amazon and they said to watch Goliath.

1:19:33.560 --> 1:19:36.720
<v Speaker 1>And I wrote about Goliah saying how had the l

1:19:36.800 --> 1:19:38.360
<v Speaker 1>A look? And someone wrote to me said, well, if

1:19:38.400 --> 1:19:41.320
<v Speaker 1>you're into the l A look, you gotta watch Bosh.

1:19:41.439 --> 1:19:45.240
<v Speaker 1>Now you really get the richness and the color, the visibility.

1:19:45.240 --> 1:19:47.640
<v Speaker 1>You know, you do this better than any series. To

1:19:47.720 --> 1:19:50.120
<v Speaker 1>what degree is that conscious? And to what degree did

1:19:50.160 --> 1:19:52.400
<v Speaker 1>you try to nail it and get a specific just

1:19:52.479 --> 1:19:56.080
<v Speaker 1>you know, with the DP, etcetera. Well, it started with

1:19:56.120 --> 1:19:59.759
<v Speaker 1>the books, and then it was really surrounding the books

1:19:59.760 --> 1:20:03.679
<v Speaker 1>with people in this industry, the television industry, who wanted

1:20:03.720 --> 1:20:06.760
<v Speaker 1>to get it right, you know. So you know, I

1:20:06.800 --> 1:20:09.800
<v Speaker 1>pretty much consciously when I had choices of going to

1:20:09.880 --> 1:20:12.600
<v Speaker 1>people and eventually it becomes so big that I have

1:20:12.680 --> 1:20:15.840
<v Speaker 1>no no saying a lot of different things, but I

1:20:15.880 --> 1:20:18.519
<v Speaker 1>went to people that knew the books and loved the books.

1:20:18.520 --> 1:20:23.200
<v Speaker 1>So our line producer, which is a usually important nuts

1:20:23.200 --> 1:20:26.479
<v Speaker 1>and bolts producer. Um was a guy who read the

1:20:26.520 --> 1:20:29.160
<v Speaker 1>books and the guy who produced the movie Heat back

1:20:29.200 --> 1:20:33.200
<v Speaker 1>in the nineties, which influenced me as a writer. So,

1:20:33.720 --> 1:20:35.640
<v Speaker 1>you know, you start start with this, you start with

1:20:35.640 --> 1:20:38.519
<v Speaker 1>people who love l A and they want to make

1:20:38.600 --> 1:20:41.000
<v Speaker 1>something that is realistic, but at the same time it's

1:20:41.080 --> 1:20:43.880
<v Speaker 1>also kind of a love letter to l A. And

1:20:43.920 --> 1:20:46.439
<v Speaker 1>then you keep adding to that circle of people of

1:20:46.479 --> 1:20:51.160
<v Speaker 1>the same kind of sentiment and a view of this place. Um.

1:20:51.800 --> 1:20:54.439
<v Speaker 1>And you know, it's a rare thing, I think. Um,

1:20:54.479 --> 1:20:56.599
<v Speaker 1>I don't know if it works every time on every shows.

1:20:56.640 --> 1:20:59.800
<v Speaker 1>I don't I don't have those experiences to to know.

1:21:00.479 --> 1:21:03.639
<v Speaker 1>But but we just have a bunch of people who

1:21:03.680 --> 1:21:07.559
<v Speaker 1>wanted who went to to l A to be a

1:21:07.640 --> 1:21:10.479
<v Speaker 1>character in this show. You know, you mentioned about the

1:21:10.479 --> 1:21:13.200
<v Speaker 1>look of the show. You know, our director of photography,

1:21:13.280 --> 1:21:18.160
<v Speaker 1>Patrick Katie, he works on that so much. You know,

1:21:18.439 --> 1:21:21.519
<v Speaker 1>he's always out there shooting, trying to get the tone right,

1:21:21.560 --> 1:21:23.519
<v Speaker 1>trying to get the tone that we're looking for, that

1:21:23.560 --> 1:21:26.160
<v Speaker 1>he's looking for. And we just have a lot of

1:21:26.200 --> 1:21:30.240
<v Speaker 1>individuals that give their all to the show and it's

1:21:30.280 --> 1:21:32.960
<v Speaker 1>it's amazing to be a part of that. What about

1:21:33.000 --> 1:21:35.600
<v Speaker 1>the house facing l A as opposed to the valley.

1:21:36.040 --> 1:21:38.800
<v Speaker 1>It's funny I mentioned the guy who was the line

1:21:38.800 --> 1:21:42.800
<v Speaker 1>producer of Heat. That house was in Heat and um

1:21:43.720 --> 1:21:46.479
<v Speaker 1>and he you know, I don't know if anyone has

1:21:46.560 --> 1:21:49.479
<v Speaker 1>Roll Indexes anymore, but he's kept every contact he's ever

1:21:49.520 --> 1:21:52.040
<v Speaker 1>made in Hollywood. And so we end up running that

1:21:52.080 --> 1:21:54.800
<v Speaker 1>house because we had a connection to that house through

1:21:54.880 --> 1:22:00.519
<v Speaker 1>this uh producer we have. Um. I think that to

1:22:00.600 --> 1:22:03.040
<v Speaker 1>get back to your question though, I think that's a

1:22:03.120 --> 1:22:06.920
<v Speaker 1>good way of looking at the difference between writing a

1:22:06.960 --> 1:22:09.960
<v Speaker 1>book and making a television show. The visual needs of

1:22:10.000 --> 1:22:13.120
<v Speaker 1>the television show. Harry Bosh and the books has a

1:22:13.120 --> 1:22:17.439
<v Speaker 1>pretty decent view of part of the city and the

1:22:17.479 --> 1:22:20.920
<v Speaker 1>freeway and things that are you know, part parcel of

1:22:21.000 --> 1:22:23.559
<v Speaker 1>the city. But when it came to the TV show,

1:22:23.600 --> 1:22:26.439
<v Speaker 1>we wanted the bright lights and and you know, then

1:22:26.600 --> 1:22:28.679
<v Speaker 1>that sets up a whole question of whether he could

1:22:28.800 --> 1:22:32.320
<v Speaker 1>even afford a place like that, and you know, which

1:22:32.400 --> 1:22:34.599
<v Speaker 1>we I think have taken care of a few times

1:22:34.640 --> 1:22:39.400
<v Speaker 1>in the storytelling. But um, yeah, I think in the

1:22:39.439 --> 1:22:43.120
<v Speaker 1>TV show we have more of guardian of the city

1:22:43.280 --> 1:22:47.240
<v Speaker 1>feel to Bosh, and we wanted a place where he

1:22:47.280 --> 1:22:49.879
<v Speaker 1>would look out on the city that he protects and serves.

1:22:50.320 --> 1:22:52.920
<v Speaker 1>He's a big jazz fan and he plays Vinyl in

1:22:52.960 --> 1:22:56.120
<v Speaker 1>the book. He's playing CDs, So hey, are you a

1:22:56.160 --> 1:22:59.200
<v Speaker 1>big jazz fan? And b was her conscious choice to

1:22:59.200 --> 1:23:01.559
<v Speaker 1>have him play vine, Yeah, that was part of the

1:23:01.640 --> 1:23:04.320
<v Speaker 1>playing in the Vinyl was, you know, part of the

1:23:04.439 --> 1:23:08.839
<v Speaker 1>visual setup. Um, I personally have gone to Vinyl myself.

1:23:08.920 --> 1:23:12.479
<v Speaker 1>I but I'm I'm a newspaper reporter. So I decided

1:23:12.520 --> 1:23:15.280
<v Speaker 1>way back when I was first writing Bosch, I wanted

1:23:15.360 --> 1:23:17.960
<v Speaker 1>him to listen to jazz. It was not because of

1:23:18.040 --> 1:23:22.240
<v Speaker 1>my knowledge or or love of jazz. It was more

1:23:22.320 --> 1:23:26.800
<v Speaker 1>like a creative decision, a character decision. Jazz fit this

1:23:26.840 --> 1:23:30.439
<v Speaker 1>guy who was a loner detective. So being a reporter though,

1:23:30.479 --> 1:23:32.360
<v Speaker 1>I know how to ask questions and I know how

1:23:32.400 --> 1:23:35.759
<v Speaker 1>to find good stuff, and so the jazza Harry listens

1:23:35.800 --> 1:23:38.240
<v Speaker 1>to comes out of my reporting a little bit. It

1:23:38.240 --> 1:23:43.679
<v Speaker 1>comes out of my father's is my father's music. But um,

1:23:43.720 --> 1:23:49.720
<v Speaker 1>it was mostly me finding people that would support the

1:23:49.800 --> 1:23:51.960
<v Speaker 1>character of Harry Bosh as a loner out there in

1:23:52.000 --> 1:23:55.679
<v Speaker 1>the world who has to fight to make his way,

1:23:55.960 --> 1:23:58.880
<v Speaker 1>just as the musicians that he listens to had to

1:23:58.920 --> 1:24:03.360
<v Speaker 1>do Um, So there's a correlation there. Some people who

1:24:03.360 --> 1:24:06.799
<v Speaker 1>read the books get it, some who some don't, but

1:24:06.800 --> 1:24:10.439
<v Speaker 1>but they get the aspect of what the music means

1:24:10.479 --> 1:24:13.519
<v Speaker 1>to him. Well, you know, as I say, the show

1:24:13.720 --> 1:24:17.240
<v Speaker 1>and carry himself certainly in body l A. Especially in

1:24:17.280 --> 1:24:22.759
<v Speaker 1>an era where everyone's attacking California. It certainly makes Los

1:24:22.800 --> 1:24:26.240
<v Speaker 1>Angeles look like a unique police and good In any event, Michael,

1:24:26.520 --> 1:24:29.360
<v Speaker 1>thanks so much for doing this. Hey, thank you for

1:24:29.400 --> 1:24:33.200
<v Speaker 1>having me. I'm sorry for the technical interruptions, but if

1:24:33.240 --> 1:24:35.439
<v Speaker 1>we ever do it again, I'll get it right. Okay,

1:24:35.479 --> 1:24:38.760
<v Speaker 1>that's part of the coronavirus era. Until next time, it's

1:24:38.840 --> 1:25:00.479
<v Speaker 1>Bob left Sex eight