WEBVTT - Harlan Coben

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<v Speaker 1>Welcome, Welcome, Welcome back to the fob Left Sets podcast.

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<v Speaker 1>My guest today is waiter Harlan Covid. Harlan, I'm good

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<v Speaker 1>to be here. So where exactly are you right now,

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<v Speaker 1>New Jersey About a half hour outside of my hat.

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<v Speaker 1>And to what degree is COVID affected you in your lifestyle? Well,

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<v Speaker 1>me personally, not so much. Social isolation is what we

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<v Speaker 1>writers do. Uh, I'm fat. I had more people home

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<v Speaker 1>and was busier because my kids who were all rage

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<v Speaker 1>in age from eighteen to twenty six, and four of them,

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<v Speaker 1>three of them were here. But they've all kind of

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<v Speaker 1>gone back to their lives in various ways. So I'm

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<v Speaker 1>back to being an empty nester. But you know, worried

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<v Speaker 1>about the world, worried about my kids, worried about all

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<v Speaker 1>that stuff. But my day to day life is probably

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<v Speaker 1>less affected than the population. And to what degree are

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<v Speaker 1>you taking all quarantining? Seriously? Very we we do all

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<v Speaker 1>the steps I don't see. And again, you know, to

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<v Speaker 1>be fair and non political, it's easier for me. You know,

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<v Speaker 1>I have a fairly nice set up at home. Um,

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<v Speaker 1>I'm used to being at home. I don't really have

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<v Speaker 1>to go out and see people so I'm not a

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<v Speaker 1>very social person, you know. I think all writers are

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<v Speaker 1>a little bit of introverts, and maybe a socially a

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<v Speaker 1>depth introvert, but introvert after all. So I take it

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<v Speaker 1>very seriously. I haven't done anything at all that one

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<v Speaker 1>might call risky. To what degree do you find the

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<v Speaker 1>pandemic inspiration for your writing? I would say zero. I

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<v Speaker 1>think it's the opposite. In fact, that was I was

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<v Speaker 1>in the middle of a book when the pandemic hit,

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<v Speaker 1>and because you really don't know how the pandemic is

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<v Speaker 1>going to go, and especially back then, I decided instead

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<v Speaker 1>of making I usually did. The book is very contemporary.

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<v Speaker 1>I made it in the year two thousand nineteen, so

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<v Speaker 1>I can make sure I could have boyd the pandemic altogether.

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<v Speaker 1>I think at first, certainly, I felt that my job

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<v Speaker 1>was to give you a divide diversion from the pandemic,

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<v Speaker 1>the shows and the books, to be a diversion from it.

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<v Speaker 1>So right now I don't find it in the least

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<v Speaker 1>bit inspirational, and I think it's hard to write about

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<v Speaker 1>right now except in a very short window because we

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<v Speaker 1>don't know where it's going. You know, I could write

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<v Speaker 1>a book that just took place in the month of

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<v Speaker 1>March or April, but I don't know where we're going

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<v Speaker 1>to be in September, October, and neither is anybody else.

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<v Speaker 1>But you're a last bestseller just recently came out Boy

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<v Speaker 1>from the Woods. You do Virgin too. Politics. How did

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<v Speaker 1>you make that decision? Well? Politics, I really tried very

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<v Speaker 1>hard to be as as nonpartistan as possible. Um I

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<v Speaker 1>do as a writer in general, not because you know,

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<v Speaker 1>because you're gonna turn this. I don't want people to

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<v Speaker 1>go into my books thinking, oh, he's a right wing cook,

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<v Speaker 1>he's a left wing nut, whatever it is. It takes

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<v Speaker 1>away from the story. Um, I try to do it

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<v Speaker 1>in a more subtle way. And the politics here, I

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<v Speaker 1>think we're more about certain extremism than it was, and

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<v Speaker 1>about cult type figures that we take on sometimes every side,

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<v Speaker 1>more than I was saying, you know, the right bad,

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<v Speaker 1>left good kind of thing or left bad, right good.

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<v Speaker 1>So I just you know, my books are contemporary, so

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<v Speaker 1>I'm dealing with what I'm seeing in public. So for

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<v Speaker 1>The Boy from the Woods, it's whatever's kind of going

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<v Speaker 1>on and run away to what was going on in

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<v Speaker 1>the world of seeing a lot of people doing, for example,

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<v Speaker 1>DNA ancestry websites. I thought that would be good. I'm

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<v Speaker 1>seeing people who are doing with viral videos. I see cults.

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<v Speaker 1>I see this sort of political behavior where it's really

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<v Speaker 1>more about tribalism. Um. I think the app thing sometimes

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<v Speaker 1>with the politics is to call like the Yankees and

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<v Speaker 1>the Red Sox. Like, if you're a Yankees fan and

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<v Speaker 1>you find out your manager is a cheat or and

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<v Speaker 1>a horrible person and was killing people, you don't become

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<v Speaker 1>a Red Sox fan, right, You're still going to cheer

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<v Speaker 1>for the Yankees no matter what. And that's where our

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<v Speaker 1>politics has gone. And so I was more exploring I

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<v Speaker 1>think that than you know, tax breaks or whatever else. Well,

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<v Speaker 1>the book only came out recently. When did you start

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<v Speaker 1>writing the book right about now? I would say last year.

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<v Speaker 1>I usually started right about now, which you know we're in,

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<v Speaker 1>uh the summer. Usually lately I've been starting it around

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<v Speaker 1>the summertime, and I finished about nine or ten months later,

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<v Speaker 1>and then it comes out a year after that. So

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<v Speaker 1>it would have been uh, two years ago right around

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<v Speaker 1>now I was started the book, and that is a

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<v Speaker 1>traditional lag time in the publishing industry. How do you

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<v Speaker 1>feel about that in today's digital world, certainly someone of

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<v Speaker 1>your renown. Well, I've done certain ones where I had

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<v Speaker 1>been tighter um, where I finished one book for example,

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<v Speaker 1>I think in July and we had it out in September.

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<v Speaker 1>Publishers can turn it around faster, and they claim and

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<v Speaker 1>we see that like the Bolton book, or we'll see

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<v Speaker 1>that with nonfiction book. There really with fiction book they

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<v Speaker 1>can do it too. They don't want to because they

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<v Speaker 1>want to. They take it's better for marketing if they

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<v Speaker 1>have time to make copies and getting people like your hands,

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<v Speaker 1>so maybe you'll put it on your podcast or or

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<v Speaker 1>or your newsletters. So they're trying to publicity. They want

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<v Speaker 1>it earlier. They can do it. They can do it faster.

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<v Speaker 1>It's not easy in terms of timely. But I hope

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<v Speaker 1>all the novels I write in some way, um, you know,

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<v Speaker 1>last more than six months. Anyway, they're not they're not

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<v Speaker 1>fruit on the shelf. So hopefully you know, you can

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<v Speaker 1>still read my books from when I started, and even

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<v Speaker 1>though they may seem dated, they're supposed to be during

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<v Speaker 1>the year, still capture that year. But the spirit and

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<v Speaker 1>the story and things like that that shouldn't really change.

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<v Speaker 1>The technology might change, the politics might change, but the

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<v Speaker 1>story shouldn't change. Let's just stay with technology, not the

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<v Speaker 1>content of the book. But what's your viewpoint on digital publishing,

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<v Speaker 1>the kindle pricing, accessibility. You have a take on that, Well,

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<v Speaker 1>this may sound a little bit like a duck, but

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<v Speaker 1>it's not. If we are a business, I am the

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<v Speaker 1>content side of the business, and as a content provider,

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<v Speaker 1>I don't care if you listen to it on audio.

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<v Speaker 1>I don't care if you digitally do it. I don't

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<v Speaker 1>care if it's paper, I don't care if it's stone tablets.

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<v Speaker 1>My theory is, if my story is good enough, you're

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<v Speaker 1>going to find it and you're going to want to

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<v Speaker 1>listen to it. So I really focus hard on the story.

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<v Speaker 1>It's all I focus on because matter two, I'm not

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<v Speaker 1>smart enough to be able to tell you what's going

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<v Speaker 1>to happen in the book world. And I've heard of

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<v Speaker 1>my whole career. You know, for a while Barnes and

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<v Speaker 1>Noble was going to destroy the industry about taking over

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<v Speaker 1>and boarders is going to destroy the industry. Oh wait, no,

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<v Speaker 1>it's Amazon. Amazon is gonna destroy the industry. Oh e books,

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<v Speaker 1>E books are gonna put paper out of business, and

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<v Speaker 1>they're all wrong. And if it's I'm like a child

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<v Speaker 1>when I hear that. And I regularly recommend this to

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<v Speaker 1>writers and content producers, creators, whatever you want to call yourself.

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<v Speaker 1>I stick my fingers in a year and I got

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<v Speaker 1>la la la la. I can't hear you. All I

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<v Speaker 1>can control is how good my story is. So if

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<v Speaker 1>my story is going to be good enough, you're going

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<v Speaker 1>to find it. So I don't really worry. I don't

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<v Speaker 1>care how you get it. Um, you know, the last

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<v Speaker 1>few years, audio is really exploded. I don't know exactly why,

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<v Speaker 1>but the last two or three years, audio has really exploded. Um,

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<v Speaker 1>the book had exploded for a while. Now the book

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<v Speaker 1>is actually a little bit on decline, even this last book, Bob,

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<v Speaker 1>but you might find really interesting. So my book came

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<v Speaker 1>out March seventeenth, which is the very start, literally the

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<v Speaker 1>start of when we went into quarantine. So I was

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<v Speaker 1>about to go on book tour. I obviously canceled it,

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<v Speaker 1>and all the stores closed, right, all the stores closed,

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<v Speaker 1>And yet my physical book sales were actually up, and

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<v Speaker 1>my e book was up just a little bit a

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<v Speaker 1>little flatter. But my physical books is actually up more

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<v Speaker 1>than my book. I would have thought it would be

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<v Speaker 1>the opposite. Everybody's staying at home. They're gonna get kindles

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<v Speaker 1>or or nooks or whatever. You're gonna audience on order

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<v Speaker 1>it that way. But that wasn't the case. The physical

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<v Speaker 1>book has come back the last few years after getting

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<v Speaker 1>you know, after the book jumped up to have fifty

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<v Speaker 1>or six even of sales. Now if you flattened or

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<v Speaker 1>moved down where the physical book seems to be going up.

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<v Speaker 1>This is anecdotal information, but that's how I I'm seeing it. Well,

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<v Speaker 1>the music business been the canary in the coal mine

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<v Speaker 1>for digital disruption, and certainly there's been a big issue

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<v Speaker 1>in books talking about this, which is a what is

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<v Speaker 1>the value of a book? And be that leads to

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<v Speaker 1>the pricing. Have you felt any pressure on your end

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<v Speaker 1>or you're so successful that your deals are independent of

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<v Speaker 1>those constraints. Well, I don't know, you know, I'm not

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<v Speaker 1>so successful. I'm sure like everybody everything else, I'm you know,

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<v Speaker 1>price is a factor buying my books or whatever else. Um,

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<v Speaker 1>I don't know, you know, it's a very interesting thing.

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<v Speaker 1>So people will often say the books should be much

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<v Speaker 1>much cheaper because you're not printing any paper. You don't

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<v Speaker 1>have to do this, you don't have to do that,

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<v Speaker 1>and so the books should be much cheaper. But the

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<v Speaker 1>other side of the coin is that twenty years ago,

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<v Speaker 1>I told you, where you're standing right now, you can

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<v Speaker 1>press the button and have a book just appeared to

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<v Speaker 1>you right now the second how much would you pay

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<v Speaker 1>for that convenience? And I bet a lot of people

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<v Speaker 1>would have said, well, hell, that's magic. I pay a

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<v Speaker 1>lot for that. So I don't really know. I find

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<v Speaker 1>the book, you know, again, market, I think maybe it

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<v Speaker 1>works here sometimes, you know, I just so. I think

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<v Speaker 1>The Woods, the one that's the new Netflix series, I

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<v Speaker 1>don't know it still is, but for a little while

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<v Speaker 1>it was being priced the e book form for only cents.

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<v Speaker 1>So if you're you're savvy shopper, you can find things

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<v Speaker 1>like that. Um So you know, if somebody told me

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<v Speaker 1>I can get it that quickly, that automatically I can

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<v Speaker 1>carry you know, if you have a kindle or nook

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<v Speaker 1>or or don't, you can carry a thousand books, a

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<v Speaker 1>thousand books. What would you pay for that if I

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<v Speaker 1>told you that a few years ago. So I'm not

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<v Speaker 1>so sure that it's as simple as you're not made

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<v Speaker 1>using a paper anymore. It should be much cheaper. I

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<v Speaker 1>can't put on my bookshelf afterwards. It should be much cheaper.

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<v Speaker 1>I don't know. Now, going back to your point about

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<v Speaker 1>you don't care how people access your work, let me

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<v Speaker 1>say if I said a hundred million people in America

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<v Speaker 1>would be reading your book, but you'd make a hundred

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<v Speaker 1>thousand dollars, or ten thousand people would read your book

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<v Speaker 1>and you'd make two million dollars. Which choice would you

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<v Speaker 1>make now? I would choose the first. I can't say

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<v Speaker 1>what it before, but right now money is not really

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<v Speaker 1>much of a factor for me. But I'll tell you

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<v Speaker 1>my my, my chicken, my chicken. Ass answer to that is,

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<v Speaker 1>I've never chased the dollar. I've always chased the reader,

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<v Speaker 1>the reader's heart, because I've always found the dollar follows anyway,

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<v Speaker 1>so they really I've always been one and the same.

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<v Speaker 1>I've never made a deal where I tried getting the

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<v Speaker 1>last dollar and not caring. I want readers. Um. If

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<v Speaker 1>that makes me commercial horror, it makes me a commercial horror.

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<v Speaker 1>I think every reader does you know the one the too?

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<v Speaker 1>Every writer has this in common. I don't care if

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<v Speaker 1>you're talking to the most commercial writer for the most

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<v Speaker 1>literary writer. Every writer I know wants better reviews and

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<v Speaker 1>wants more readers. And if they don't, they're lying. I'm sorry,

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<v Speaker 1>they're lying. If you have if you have a guy

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<v Speaker 1>on here saying I just care about you know, really

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<v Speaker 1>great quality, I don't care if anyone reads it their lyne.

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<v Speaker 1>You right to produce, You're you're right to have communication

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<v Speaker 1>with somebody. It's it's the Berkeley tree falling in the woods,

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<v Speaker 1>and nobody hears it doesn't make it sound. Um, So

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<v Speaker 1>I do both. I've always said, if the reader or

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<v Speaker 1>the viewer likes what I'm doing, the money is gonna follow.

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<v Speaker 1>It's just it's gonna follow. If I go out thinking,

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<v Speaker 1>you know what, I could get more money here, but

0:11:45.840 --> 0:11:48.040
<v Speaker 1>less people will see it. I've never made that deal

0:11:48.080 --> 0:11:50.360
<v Speaker 1>in my life, so um, I don't think I would

0:11:50.360 --> 0:11:54.960
<v Speaker 1>do it now. Okay, you're you started before or just

0:11:55.040 --> 0:11:58.400
<v Speaker 1>at the advent of this whole digital craziness in the Internet.

0:11:58.840 --> 0:12:01.600
<v Speaker 1>One thing we know in the last ten years is

0:12:01.800 --> 0:12:05.600
<v Speaker 1>there's a lot more clutter. Everybody's vying for attention. Therefore,

0:12:05.640 --> 0:12:09.280
<v Speaker 1>no matter who you are, it's harder to spread. First,

0:12:09.320 --> 0:12:11.440
<v Speaker 1>there's the issue of reaching your fans, letting them know

0:12:11.520 --> 0:12:14.080
<v Speaker 1>you have new work. Do you feel this at all

0:12:14.120 --> 0:12:18.040
<v Speaker 1>that it is harder. Let's just use the vernacular to

0:12:18.080 --> 0:12:22.880
<v Speaker 1>have virality with your work. Yes, I mean, and first

0:12:22.880 --> 0:12:26.760
<v Speaker 1>of all, everything also is the cycles of life, but

0:12:26.920 --> 0:12:30.280
<v Speaker 1>we know and the media cycles are much shorter, so

0:12:30.440 --> 0:12:34.920
<v Speaker 1>you have a very short window. Book openings have become

0:12:35.040 --> 0:12:38.280
<v Speaker 1>similar to movie openings, where in the old days I

0:12:38.320 --> 0:12:40.720
<v Speaker 1>think you would move up the charts, so to speak,

0:12:40.760 --> 0:12:42.760
<v Speaker 1>you know, and maybe the same with music. I don't know,

0:12:43.000 --> 0:12:44.880
<v Speaker 1>but you start maybe a fift team and move up

0:12:44.880 --> 0:12:47.520
<v Speaker 1>to twelve, up to ten. How is my first New

0:12:47.600 --> 0:12:50.600
<v Speaker 1>York Times bestseller? Now You're opening week is your biggest

0:12:50.600 --> 0:12:53.120
<v Speaker 1>week by far. It's like an opening of a movie.

0:12:53.160 --> 0:12:55.720
<v Speaker 1>So the first week that an author has a new

0:12:55.720 --> 0:12:58.440
<v Speaker 1>book out, if he doesn't hit one, then he's not

0:12:58.559 --> 0:13:00.840
<v Speaker 1>hitting one unless the next week is a real disaster

0:13:00.920 --> 0:13:04.040
<v Speaker 1>for everybody else. You jump on one, then you start

0:13:04.160 --> 0:13:07.880
<v Speaker 1>flipping down, and after a few weeks you know they're

0:13:07.880 --> 0:13:09.760
<v Speaker 1>they're moving on to the next thing. So part of

0:13:09.760 --> 0:13:12.120
<v Speaker 1>it is this whole culture that we see in movies,

0:13:12.160 --> 0:13:14.720
<v Speaker 1>we see in music, and we've seen everything where you're

0:13:14.760 --> 0:13:19.959
<v Speaker 1>just not in the news. Um, quite as long. Books

0:13:20.000 --> 0:13:23.960
<v Speaker 1>are always hard to get attention for anyway. Uh. You know,

0:13:24.080 --> 0:13:26.240
<v Speaker 1>every once in a while, once or twice a year,

0:13:26.280 --> 0:13:29.839
<v Speaker 1>a book seems to get people's attention and and they,

0:13:29.960 --> 0:13:32.000
<v Speaker 1>you know, look at it. But for the most part,

0:13:32.559 --> 0:13:36.760
<v Speaker 1>it's very very hard. So um, I don't really do

0:13:36.880 --> 0:13:40.440
<v Speaker 1>much different myself. Uh. And I recommend to new writers

0:13:40.520 --> 0:13:42.679
<v Speaker 1>don't don't lose your mind with the marketing. I know

0:13:42.800 --> 0:13:46.400
<v Speaker 1>it's so hard, but I haven't seen maybe you have, Bob,

0:13:46.400 --> 0:13:48.920
<v Speaker 1>because you're in a little better at this During this time,

0:13:48.960 --> 0:13:51.240
<v Speaker 1>I haven't really seen like a book that's made it

0:13:51.320 --> 0:13:53.720
<v Speaker 1>just on its in fact, that the guy's got a

0:13:53.720 --> 0:13:57.640
<v Speaker 1>great Twitter account or is really funny on instant I

0:13:57.640 --> 0:14:01.320
<v Speaker 1>think it's the opposite almost. I actually think that Instagram

0:14:01.360 --> 0:14:04.520
<v Speaker 1>and my Twitter accounts are negative. A few years ago,

0:14:04.640 --> 0:14:07.400
<v Speaker 1>giving a quick example, I'm friends with Gillian Flynn, who

0:14:07.400 --> 0:14:09.360
<v Speaker 1>of course wrote Gone Girl, which is a huge book.

0:14:09.880 --> 0:14:11.400
<v Speaker 1>And I would say that people who would ask me

0:14:11.440 --> 0:14:13.720
<v Speaker 1>this question, and people are always looking for the easy out,

0:14:13.800 --> 0:14:15.800
<v Speaker 1>not writing the book, isn't reading that a book. Writing

0:14:15.800 --> 0:14:18.400
<v Speaker 1>on a book isn't easy out. Figuring out that magic

0:14:18.480 --> 0:14:20.480
<v Speaker 1>key that that will get me a lot of readers

0:14:20.520 --> 0:14:23.760
<v Speaker 1>by acute tweet is so I said, well, look, the

0:14:23.760 --> 0:14:26.320
<v Speaker 1>biggest book the last year two has been Gillian Flynn's

0:14:26.320 --> 0:14:28.920
<v Speaker 1>Scout Girls. So look at her Facebook account, look at

0:14:28.920 --> 0:14:31.040
<v Speaker 1>her Twitter, look at her Instagram. See how she's done it.

0:14:31.200 --> 0:14:33.800
<v Speaker 1>She didn't even have one. I think now she hasn't

0:14:33.840 --> 0:14:36.640
<v Speaker 1>a Twitter that she almost never does anything with, but

0:14:36.760 --> 0:14:39.800
<v Speaker 1>she didn't even have when she had zero online presence.

0:14:40.240 --> 0:14:43.680
<v Speaker 1>Dan Brown, I think is very little online presence, um.

0:14:43.680 --> 0:14:47.160
<v Speaker 1>Grisham just starting up a very little online presence. So

0:14:47.240 --> 0:14:50.160
<v Speaker 1>I don't think that there is much of a correlation

0:14:50.240 --> 0:14:53.800
<v Speaker 1>there for books. And again, that's not TV, that's not movies,

0:14:53.920 --> 0:14:57.440
<v Speaker 1>it's not music. But in terms of books, I don't

0:14:57.480 --> 0:15:01.080
<v Speaker 1>think it's It's not helpful that question how active are

0:15:01.120 --> 0:15:03.640
<v Speaker 1>you on social media and what is your intention with

0:15:03.760 --> 0:15:08.600
<v Speaker 1>social media? Um, I'm actually probably more active than most

0:15:08.640 --> 0:15:11.320
<v Speaker 1>best selling authors. Part of it is, UM, I don't

0:15:11.360 --> 0:15:13.200
<v Speaker 1>mind it. I sometimes kind of enjoy it. I have

0:15:13.200 --> 0:15:16.240
<v Speaker 1>a real love hate relationship with it. UM, and I'm

0:15:16.280 --> 0:15:19.640
<v Speaker 1>dealing with it like everybody else. I don't know how

0:15:19.680 --> 0:15:21.160
<v Speaker 1>I feel about it. One day I think it's the

0:15:21.200 --> 0:15:23.240
<v Speaker 1>worst thing in the world that I gotta stay away

0:15:23.600 --> 0:15:26.560
<v Speaker 1>on the next day. I'm a little bit um addicted

0:15:26.600 --> 0:15:30.640
<v Speaker 1>to it, so I don't. I'm still working out where

0:15:30.720 --> 0:15:33.200
<v Speaker 1>I am on that on that spectrum. Um. You know,

0:15:33.240 --> 0:15:35.480
<v Speaker 1>I have a Twitter, I have a Facebook, I have

0:15:35.520 --> 0:15:38.000
<v Speaker 1>an Instagram. I do very little on the Facebook other

0:15:38.040 --> 0:15:42.800
<v Speaker 1>than the mostly it's marketing kind of stuff. Twitter and Instagram.

0:15:43.000 --> 0:15:44.480
<v Speaker 1>I feel like you have to open up a little

0:15:44.480 --> 0:15:48.080
<v Speaker 1>bit more. It's just not fair necessarily. I think people

0:15:48.120 --> 0:15:50.200
<v Speaker 1>get bored if I'm just putting up pictures of my

0:15:50.240 --> 0:15:52.520
<v Speaker 1>books or my TV shows, So you have to be

0:15:52.560 --> 0:15:54.280
<v Speaker 1>a little bit. I'd do a dog a lot, because

0:15:54.280 --> 0:15:57.760
<v Speaker 1>no one gets upset about the dope anything. Political people

0:15:57.800 --> 0:15:59.840
<v Speaker 1>seem to get upset about on one side or the other.

0:16:00.240 --> 0:16:02.840
<v Speaker 1>Now we live in a world where everybody is accessible.

0:16:02.920 --> 0:16:05.440
<v Speaker 1>That does not necessarily mean you need to respond. Do

0:16:05.520 --> 0:16:11.080
<v Speaker 1>you interact with people? I sometimes don't. I always regret it,

0:16:12.120 --> 0:16:15.760
<v Speaker 1>always regret it. I did actually yesterday with somebody and

0:16:15.760 --> 0:16:17.800
<v Speaker 1>I just was after you know, a friend of mine,

0:16:17.880 --> 0:16:21.040
<v Speaker 1>Richard Osmond from England, had tweeted this brilliant thing about

0:16:21.440 --> 0:16:24.080
<v Speaker 1>don't give the idiots, don't respond to the idiots, that's

0:16:24.080 --> 0:16:26.400
<v Speaker 1>all that gives them air, and I did. I responded

0:16:26.400 --> 0:16:28.480
<v Speaker 1>to an idiot, and I gave him a hair and

0:16:28.520 --> 0:16:30.720
<v Speaker 1>then I was like, okay. Now I also block if

0:16:30.760 --> 0:16:34.000
<v Speaker 1>someone will come on, for example and say, uh, someone

0:16:34.040 --> 0:16:36.320
<v Speaker 1>did you well, you know, why did you make the

0:16:36.320 --> 0:16:38.400
<v Speaker 1>woods in Polish? I hate foreign language things. This is

0:16:38.440 --> 0:16:40.920
<v Speaker 1>a piece of ship. I just blocked. I didn't followed

0:16:41.040 --> 0:16:42.960
<v Speaker 1>with it. He's on. He probably is a fan of

0:16:42.960 --> 0:16:45.440
<v Speaker 1>my books. He's been following me a long time, and

0:16:45.640 --> 0:16:47.920
<v Speaker 1>you know, and then of course you get the rep of, oh,

0:16:48.040 --> 0:16:50.000
<v Speaker 1>you can't listen to criticism. I don't have to listen

0:16:50.080 --> 0:16:52.720
<v Speaker 1>to criticism. I don't want to. It's my page. But

0:16:52.960 --> 0:16:55.400
<v Speaker 1>when people are rude like that, now I just now

0:16:55.400 --> 0:16:57.560
<v Speaker 1>I'm trying to reach a state dry, just blocking and

0:16:57.640 --> 0:17:00.440
<v Speaker 1>move on. What I always say is temper center. The

0:17:00.440 --> 0:17:04.080
<v Speaker 1>public is certifiably insane. The only problem is you don't

0:17:04.119 --> 0:17:07.320
<v Speaker 1>know what ten percent that is. People who seem totally

0:17:07.320 --> 0:17:10.000
<v Speaker 1>reasonable end up like you can't get rid of him,

0:17:10.000 --> 0:17:12.119
<v Speaker 1>and it's crazy. The other thing is, even if you

0:17:12.280 --> 0:17:15.280
<v Speaker 1>correct someone on facts, they won't accept it. Well, the

0:17:15.320 --> 0:17:21.160
<v Speaker 1>sky is black today, No it's blue. No, you're wrong, blah. Yes,

0:17:21.200 --> 0:17:23.240
<v Speaker 1>I retweeted some a friend of mine. I put something

0:17:23.800 --> 0:17:28.280
<v Speaker 1>about the Confederate statues, and you know the difference being

0:17:28.359 --> 0:17:30.320
<v Speaker 1>the Confederate statues were to honor these people. You know,

0:17:30.359 --> 0:17:33.320
<v Speaker 1>people keep saying, oh, how can you leave up concentration cancer,

0:17:33.320 --> 0:17:37.520
<v Speaker 1>which is such a disingenuous false equivalency. So the person

0:17:37.560 --> 0:17:39.600
<v Speaker 1>put it and I retweeted it, and somebody says, I

0:17:39.600 --> 0:17:42.479
<v Speaker 1>didn't think you'd want to upset all of your you know,

0:17:42.520 --> 0:17:46.040
<v Speaker 1>your right wing readers or your Republican rea years ago.

0:17:46.280 --> 0:17:48.560
<v Speaker 1>Tell me what that tweet you don't get? I mean,

0:17:48.560 --> 0:17:50.960
<v Speaker 1>tell me what that sweet you disagree with? Do you

0:17:51.000 --> 0:17:54.440
<v Speaker 1>think that the Confederacy and the Holocaust sent No, I'm

0:17:54.440 --> 0:17:57.880
<v Speaker 1>my relatives in the Holocaust, Like, so, what's your problem

0:17:57.920 --> 0:17:59.879
<v Speaker 1>with the actual thing? And then they go off on

0:18:00.080 --> 0:18:02.920
<v Speaker 1>some tangent. You know, it's like they they so there's

0:18:02.960 --> 0:18:05.320
<v Speaker 1>no point in doing it because it doesn't matter. You

0:18:05.359 --> 0:18:08.760
<v Speaker 1>can't win the argument, you know. So I agree, I

0:18:08.800 --> 0:18:11.080
<v Speaker 1>agree totally. But just staying with that one concept, to

0:18:11.160 --> 0:18:14.320
<v Speaker 1>what degree in your books and your interactions, are you

0:18:14.400 --> 0:18:19.960
<v Speaker 1>worried about alienating potential fans potential readers. Um, I don't

0:18:20.000 --> 0:18:25.240
<v Speaker 1>real about alienating potential readers or yes, on internet, on

0:18:25.320 --> 0:18:29.240
<v Speaker 1>social media, do worry about that? In books? I don't

0:18:29.840 --> 0:18:33.359
<v Speaker 1>in books. As I said before, I intentionally don't potentially

0:18:33.400 --> 0:18:36.960
<v Speaker 1>take sides also that I don't necessarily agree with because

0:18:37.040 --> 0:18:39.600
<v Speaker 1>part of being a writer, big part of it, One

0:18:39.600 --> 0:18:41.399
<v Speaker 1>thing I hope we all have is you have to

0:18:41.440 --> 0:18:45.320
<v Speaker 1>be empathetic, not sympathetic, and not necessarily in a positive way.

0:18:45.359 --> 0:18:47.919
<v Speaker 1>But I have to get how that person thinks. And

0:18:47.960 --> 0:18:52.680
<v Speaker 1>I have to create created characters, especially in the villains, um,

0:18:53.080 --> 0:18:55.600
<v Speaker 1>where you should be able to understand them. In fact,

0:18:55.600 --> 0:18:57.200
<v Speaker 1>one of the things I joke is I've been working

0:18:57.280 --> 0:18:59.480
<v Speaker 1>much too hard on my villains over the last few years.

0:18:59.520 --> 0:19:02.240
<v Speaker 1>I realized villains don't have to be all that complex

0:19:02.760 --> 0:19:06.200
<v Speaker 1>or interesting or sympathetic. They could just be complete monsters

0:19:06.240 --> 0:19:09.800
<v Speaker 1>that's we're seeing every day. Um. But I want to

0:19:09.840 --> 0:19:13.600
<v Speaker 1>do that. So UM, I've argued for a lot of

0:19:13.640 --> 0:19:17.440
<v Speaker 1>stuff convincingly, I've taken it. In one book, I took

0:19:17.480 --> 0:19:20.400
<v Speaker 1>a pro hunting side that I thought was really kind

0:19:20.400 --> 0:19:23.439
<v Speaker 1>of fun. So but that's part of the job, is

0:19:23.480 --> 0:19:26.000
<v Speaker 1>you you know you, I'm not. I'm not really here

0:19:26.000 --> 0:19:29.320
<v Speaker 1>to teach you or moralize that. That kills a book,

0:19:29.320 --> 0:19:31.520
<v Speaker 1>and may they may be lessons in it, But if

0:19:31.520 --> 0:19:34.000
<v Speaker 1>you said that, to do that you're right, and you're

0:19:34.000 --> 0:19:36.680
<v Speaker 1>gonna kill yourself. You're gonna really quick kill your book.

0:19:37.080 --> 0:19:40.000
<v Speaker 1>Going back to marketing, you were mentioning that your book

0:19:40.000 --> 0:19:45.120
<v Speaker 1>tour was canceled from someone on the West Coast music

0:19:45.320 --> 0:19:50.840
<v Speaker 1>movie entertainment spectrum. It really looks like bookmarking is antiquated.

0:19:50.880 --> 0:19:53.800
<v Speaker 1>So I must ask when you do these road shows,

0:19:54.680 --> 0:19:58.960
<v Speaker 1>do they have any impact? In my view? No, I

0:19:58.960 --> 0:20:01.800
<v Speaker 1>think there are waste of time. I've told my publishers,

0:20:01.840 --> 0:20:06.320
<v Speaker 1>so I tried cutting them down. Um some years they

0:20:06.440 --> 0:20:09.920
<v Speaker 1>left me. Some years they don't. There's I think there's

0:20:09.920 --> 0:20:12.760
<v Speaker 1>a couple of things that they do. Um one is

0:20:13.160 --> 0:20:15.760
<v Speaker 1>and this is why I personally am not that opposed

0:20:15.800 --> 0:20:17.679
<v Speaker 1>to doing them. And I you know, part of it.

0:20:17.840 --> 0:20:19.080
<v Speaker 1>You know, you're part of the team and you have

0:20:19.119 --> 0:20:21.480
<v Speaker 1>to do that. But I do think it helps the

0:20:21.480 --> 0:20:24.560
<v Speaker 1>independent bookstores. I do think if I can go to

0:20:24.640 --> 0:20:27.919
<v Speaker 1>your store and you can sell four hundred copies of

0:20:27.960 --> 0:20:31.520
<v Speaker 1>a hard covered that cost bucks, that's a big day

0:20:31.520 --> 0:20:34.280
<v Speaker 1>for you as an independent bookstore. That gets people in

0:20:34.359 --> 0:20:37.359
<v Speaker 1>your stores, that gets people interested in reading that. You know,

0:20:37.400 --> 0:20:40.440
<v Speaker 1>it's a way of introducing other authors to people. UM

0:20:40.480 --> 0:20:42.280
<v Speaker 1>So part of it, I think a lot part of

0:20:42.359 --> 0:20:45.359
<v Speaker 1>when when your author, you know, is already selling well,

0:20:45.840 --> 0:20:48.760
<v Speaker 1>that he's doing it is to give cover for other

0:20:48.840 --> 0:20:51.199
<v Speaker 1>writers as well. So I think I think that my

0:20:51.240 --> 0:20:53.400
<v Speaker 1>publishers have never told me this, but I do think

0:20:53.400 --> 0:20:57.879
<v Speaker 1>there's probably something be not not not quit pro quote.

0:20:57.880 --> 0:21:00.000
<v Speaker 1>But I do think there's something where if we send

0:21:00.080 --> 0:21:02.320
<v Speaker 1>you this big name, we will also take this newcomer

0:21:02.320 --> 0:21:04.560
<v Speaker 1>who no one's really gonna know, but you can promote

0:21:04.560 --> 0:21:06.760
<v Speaker 1>them in your story. You can put their book in

0:21:06.800 --> 0:21:09.080
<v Speaker 1>your window for a week. You can make sure you

0:21:09.160 --> 0:21:12.520
<v Speaker 1>get that guy gets attention to. And so in terms

0:21:12.600 --> 0:21:17.480
<v Speaker 1>of the overall ecosystem of independent bookstores and and and

0:21:17.560 --> 0:21:19.640
<v Speaker 1>Barnes and Nobles and the and the chains, because it's

0:21:19.640 --> 0:21:21.919
<v Speaker 1>not many of them left, um, I do think it

0:21:22.000 --> 0:21:24.639
<v Speaker 1>helps them more than it helps me. And I have

0:21:24.720 --> 0:21:27.199
<v Speaker 1>no problem with that. So I'm happy. I'm happy to

0:21:27.240 --> 0:21:31.920
<v Speaker 1>do that. Um. I also don't mind interacting with readers.

0:21:32.840 --> 0:21:36.720
<v Speaker 1>You know, to quote a song, to quote to puteh

0:21:37.200 --> 0:21:45.680
<v Speaker 1>Keed Vogelberg, the audience is heavenly, but the traveling is hell. Right,

0:21:46.040 --> 0:21:48.400
<v Speaker 1>That's right. I love that line. That's how I look

0:21:48.400 --> 0:21:50.760
<v Speaker 1>at torting. I got It's not you know, despite what

0:21:50.920 --> 0:21:54.000
<v Speaker 1>authors a whine about it's not that hard to have

0:21:54.119 --> 0:21:55.760
<v Speaker 1>people walk up to you and say, God, I love

0:21:55.840 --> 0:21:59.320
<v Speaker 1>your books. It's really not that hard. If where's your

0:21:59.320 --> 0:22:02.639
<v Speaker 1>whole freaking for that, enjoy it right and enjoy the

0:22:02.680 --> 0:22:05.120
<v Speaker 1>moment for them. You know it's gonna be different because

0:22:05.160 --> 0:22:07.960
<v Speaker 1>I was always I stand up from my entire book

0:22:08.520 --> 0:22:11.520
<v Speaker 1>book run because I know people want photographs nowadays, and

0:22:11.560 --> 0:22:13.680
<v Speaker 1>I think it's so awkward they do that photograph where

0:22:13.680 --> 0:22:16.840
<v Speaker 1>you're sitting down and they're leaning over awkwardly. So I

0:22:16.920 --> 0:22:19.720
<v Speaker 1>stand up, put my arm around everybody, have the camera

0:22:19.800 --> 0:22:21.679
<v Speaker 1>ready with a guy so they can get the picture

0:22:21.720 --> 0:22:23.960
<v Speaker 1>that they want. They really took the time to come

0:22:23.960 --> 0:22:26.760
<v Speaker 1>out and see me. That's a tremendous on it really,

0:22:26.840 --> 0:22:30.440
<v Speaker 1>and a tremendous drill. So that's the other side of touring.

0:22:30.800 --> 0:22:33.920
<v Speaker 1>But in terms of your overall question, does it help

0:22:34.520 --> 0:22:39.720
<v Speaker 1>Harlan Coben sell books, My view is no, because, first

0:22:39.720 --> 0:22:41.960
<v Speaker 1>of all, if you're coming to a Harlan Coban book signing,

0:22:42.320 --> 0:22:46.000
<v Speaker 1>there's a chance of buying my book anyway. So who

0:22:46.040 --> 0:22:47.960
<v Speaker 1>else comes to my signings? People who don't like my

0:22:48.000 --> 0:22:50.679
<v Speaker 1>books as ever heard of me, So you know what

0:22:50.720 --> 0:22:53.360
<v Speaker 1>I mean. So I think that. I do think it's

0:22:53.400 --> 0:22:56.399
<v Speaker 1>but again, it's probably good for the whole ecosystem, and

0:22:56.400 --> 0:22:59.000
<v Speaker 1>I'm happy to help with that. So what is effective

0:22:59.000 --> 0:23:03.360
<v Speaker 1>marketing for one of your books? The truth is, I

0:23:03.400 --> 0:23:05.919
<v Speaker 1>think with books from my books, I don't know anymore.

0:23:05.960 --> 0:23:08.080
<v Speaker 1>I think in my books it's very hard for me

0:23:08.119 --> 0:23:10.520
<v Speaker 1>to go too far up or too far down. It's

0:23:10.560 --> 0:23:13.920
<v Speaker 1>hard to break out more than once or twice. So

0:23:14.680 --> 0:23:17.040
<v Speaker 1>Tell No One was my breakout book. Tell No One

0:23:17.200 --> 0:23:20.080
<v Speaker 1>changed my life overnight. Was it the book or the

0:23:20.119 --> 0:23:24.400
<v Speaker 1>movie of the book. The movie was out five years

0:23:24.400 --> 0:23:26.960
<v Speaker 1>after the book, so it was Why do you think

0:23:27.000 --> 0:23:31.040
<v Speaker 1>that was your breakout? I had written seven Myron Bolletar

0:23:31.160 --> 0:23:34.520
<v Speaker 1>novels in a row before that, and while they did well,

0:23:35.200 --> 0:23:38.000
<v Speaker 1>it was very hard to convince, especially the female reader,

0:23:38.040 --> 0:23:42.080
<v Speaker 1>who is the majority. I think stole readers. Probably my guests,

0:23:42.920 --> 0:23:46.040
<v Speaker 1>of my readers, and most readers in the world are females.

0:23:46.440 --> 0:23:48.080
<v Speaker 1>And no matter how much they told you, tell them

0:23:48.119 --> 0:23:51.680
<v Speaker 1>you're gonna love this. It's about a sports agent. He's

0:23:51.720 --> 0:23:54.639
<v Speaker 1>a sports agent who solves crimes. That's just not a

0:23:54.680 --> 0:23:57.840
<v Speaker 1>good book. But when you tell somebody here's what. Tell No.

0:23:57.880 --> 0:24:00.480
<v Speaker 1>One's about a man and a woman or married. The

0:24:00.520 --> 0:24:03.399
<v Speaker 1>wife is murdered. Eight years later, he gets an email

0:24:03.480 --> 0:24:05.800
<v Speaker 1>and sees his murdered wife on a webcam. Is she's

0:24:05.800 --> 0:24:09.439
<v Speaker 1>still alive? You're buying the book? That's it in a nutshell.

0:24:09.520 --> 0:24:12.120
<v Speaker 1>That was the poster for the movie eight years ago.

0:24:12.280 --> 0:24:15.040
<v Speaker 1>Dr Beck's wife was Dr Beck's wife was murdered eight

0:24:15.119 --> 0:24:17.040
<v Speaker 1>years ago today you got an email from That was

0:24:17.080 --> 0:24:20.560
<v Speaker 1>the movie poster, and it helped the movie explode out

0:24:20.560 --> 0:24:23.800
<v Speaker 1>in France. So, um, I think that was the reason.

0:24:23.800 --> 0:24:25.040
<v Speaker 1>And then they went back and they were by the

0:24:25.040 --> 0:24:27.560
<v Speaker 1>Myron Boulturs, and then you know, and then the Myron

0:24:27.600 --> 0:24:30.080
<v Speaker 1>Boltar end up having a good following. But that was

0:24:30.119 --> 0:24:35.520
<v Speaker 1>the thing I said. I think I think that's why

0:24:38.560 --> 0:24:42.000
<v Speaker 1>what literally got I mean there's literally millions of books

0:24:42.040 --> 0:24:45.199
<v Speaker 1>a year. What literally got the attention that book? Was

0:24:45.240 --> 0:24:48.320
<v Speaker 1>it hand selling in a bookstore? Was it viralty? Was

0:24:48.400 --> 0:24:51.960
<v Speaker 1>what was done that made that work? No one likes

0:24:52.000 --> 0:24:54.720
<v Speaker 1>to hear this, but it was something in the book, Um,

0:24:54.800 --> 0:24:56.840
<v Speaker 1>because it happened not just here, it happened all over

0:24:56.880 --> 0:24:59.720
<v Speaker 1>the world France. Who became a number one best seller?

0:25:00.160 --> 0:25:02.439
<v Speaker 1>Actually the better Like I remember my publishers saying, well,

0:25:02.440 --> 0:25:03.879
<v Speaker 1>I think it was just great cover. The that a

0:25:04.000 --> 0:25:06.440
<v Speaker 1>really great cover for it, but France had a crappy

0:25:06.520 --> 0:25:09.840
<v Speaker 1>cover that kind of leaked it out. And then one

0:25:09.920 --> 0:25:12.119
<v Speaker 1>magazine wrote it up really well and next thing, you know,

0:25:12.560 --> 0:25:15.440
<v Speaker 1>in France and ended up being doing better relatively speaking,

0:25:15.480 --> 0:25:17.840
<v Speaker 1>and it did in America, it did well in the UK,

0:25:18.000 --> 0:25:20.840
<v Speaker 1>it did well in Spain, it did well in poland

0:25:20.880 --> 0:25:23.639
<v Speaker 1>did well in in a ton of countries. So there

0:25:23.720 --> 0:25:26.600
<v Speaker 1>was something about that hook in that book that made

0:25:26.600 --> 0:25:30.119
<v Speaker 1>it happen. In the end of the day, books are

0:25:30.200 --> 0:25:33.760
<v Speaker 1>all are still still word of mouth are the two

0:25:33.760 --> 0:25:35.600
<v Speaker 1>biggest things that could have happened to her. Being an

0:25:35.600 --> 0:25:39.600
<v Speaker 1>OPRAH book club took now being a Reese Witherspoon book

0:25:39.600 --> 0:25:43.439
<v Speaker 1>club pick. But outside of that, and even then, you

0:25:43.480 --> 0:25:46.240
<v Speaker 1>know how you know, I'll ask you, Bob, how do

0:25:46.280 --> 0:25:49.159
<v Speaker 1>you find your books? It's almost always somebody telling you

0:25:49.240 --> 0:25:52.240
<v Speaker 1>that people. It's almost the opposite. You don't trust people

0:25:52.280 --> 0:25:54.120
<v Speaker 1>who are hyping you. And you see a full page ad,

0:25:54.160 --> 0:25:56.199
<v Speaker 1>you say, who is this impacting? I would listen to

0:25:56.240 --> 0:25:59.639
<v Speaker 1>this right that that it could be, you know, so

0:26:00.080 --> 0:26:02.359
<v Speaker 1>I don't. I think in the case of Tell No One,

0:26:02.440 --> 0:26:04.800
<v Speaker 1>some countries that went slower, some countries that went faster.

0:26:05.440 --> 0:26:09.240
<v Speaker 1>But it's something about that book got people buzzing, and

0:26:09.280 --> 0:26:12.000
<v Speaker 1>I could say, see it. You can almost see it happening.

0:26:12.000 --> 0:26:15.240
<v Speaker 1>I can. I'll tell you an interesting story. I went

0:26:15.280 --> 0:26:18.080
<v Speaker 1>to college. I was a fraternity brother with Dan Brown,

0:26:18.320 --> 0:26:21.040
<v Speaker 1>the Da Vinci Code author um, who was a friend

0:26:21.040 --> 0:26:23.680
<v Speaker 1>of mine. And so tell No One broke out several

0:26:23.760 --> 0:26:26.160
<v Speaker 1>years before DaVinci Code came out, maybe five or six

0:26:26.240 --> 0:26:29.280
<v Speaker 1>years before. And when Da Vinci Code, Dan sent me

0:26:29.320 --> 0:26:31.600
<v Speaker 1>an early copy to blurb, you know, and when you

0:26:31.640 --> 0:26:33.439
<v Speaker 1>get those copies and you write the blurb on it

0:26:33.480 --> 0:26:36.399
<v Speaker 1>if you like it. And I started to see it

0:26:36.480 --> 0:26:40.000
<v Speaker 1>happened to Dan before Dan did. And I remember speaking

0:26:40.040 --> 0:26:41.840
<v Speaker 1>to Dan not long before the book came out, and

0:26:41.880 --> 0:26:44.200
<v Speaker 1>I said, dude, this is going to change your life.

0:26:44.240 --> 0:26:47.399
<v Speaker 1>I can. I'm seeing it. I'm just hearing the industry

0:26:47.440 --> 0:26:49.959
<v Speaker 1>start to buzz about it and talk about it. And

0:26:50.040 --> 0:26:52.119
<v Speaker 1>I don't know how you create that. You can try,

0:26:52.240 --> 0:26:55.760
<v Speaker 1>but it's a book. Isn't resonating. It's not gonna happen,

0:26:55.760 --> 0:26:57.359
<v Speaker 1>which is which is the way it should be, right,

0:26:57.400 --> 0:26:59.680
<v Speaker 1>I mean it should be. I've seen so many books

0:26:59.680 --> 0:27:02.879
<v Speaker 1>that people are trying to hype via money. It doesn't work.

0:27:03.280 --> 0:27:05.800
<v Speaker 1>But when people are telling you they liked the book,

0:27:06.280 --> 0:27:08.879
<v Speaker 1>be it Da Vinci Code, Last few Years, being Gone Girl,

0:27:09.240 --> 0:27:11.400
<v Speaker 1>being a girl on the train, be it this zero

0:27:11.520 --> 0:27:14.359
<v Speaker 1>and the claud Dad sings. Whatever that book is, people

0:27:14.359 --> 0:27:16.480
<v Speaker 1>are liking it and telling their friends. Rarely is the

0:27:16.520 --> 0:27:19.720
<v Speaker 1>book something that people aren't liking and they're managing to

0:27:19.760 --> 0:27:22.960
<v Speaker 1>get people to buy anyway. Well, that begs the question,

0:27:23.080 --> 0:27:25.720
<v Speaker 1>that's a little dicey. What's your view on James Patterson?

0:27:28.160 --> 0:27:30.760
<v Speaker 1>I have no I have nothing negative to say about

0:27:30.840 --> 0:27:33.840
<v Speaker 1>about Jim. I've known I've known Patterson um for a

0:27:33.880 --> 0:27:36.840
<v Speaker 1>long time. He's honest about what he's doing. I think

0:27:36.880 --> 0:27:39.639
<v Speaker 1>at the stage of the game, UM, he was a

0:27:39.680 --> 0:27:44.000
<v Speaker 1>marketing guy. Um from day one he understood he understands

0:27:44.040 --> 0:27:47.879
<v Speaker 1>how to market better than anybody. Uh. He has a

0:27:47.880 --> 0:27:50.280
<v Speaker 1>bunch of different people working. I don't. But I don't

0:27:50.320 --> 0:27:52.240
<v Speaker 1>really study him or follow him. So it's not like

0:27:52.320 --> 0:27:55.480
<v Speaker 1>I know him better than my opinion on him would

0:27:55.520 --> 0:27:58.439
<v Speaker 1>be any better to listen to than anybody else's. I

0:27:58.480 --> 0:28:02.280
<v Speaker 1>don't really, I don't. It sounds maybe I don't really

0:28:02.359 --> 0:28:04.800
<v Speaker 1>care what my colleagues are doing in that way. The

0:28:04.920 --> 0:28:07.359
<v Speaker 1>guys that I do like and then I hang out with,

0:28:07.800 --> 0:28:10.560
<v Speaker 1>I sort of I really do wish them. Well. Um,

0:28:10.760 --> 0:28:12.800
<v Speaker 1>that sounds kind of fake, but there's two signs to

0:28:12.960 --> 0:28:16.360
<v Speaker 1>one is this boat rises and things together. If you

0:28:16.400 --> 0:28:19.280
<v Speaker 1>read a Michael Conley or a Lee Child or whoever

0:28:19.320 --> 0:28:21.720
<v Speaker 1>it else it is, and you like them, you're gonna

0:28:21.760 --> 0:28:23.600
<v Speaker 1>want to read more and maybe that one of those

0:28:23.640 --> 0:28:26.719
<v Speaker 1>books will be mine, and vice versa. Um, no one

0:28:26.800 --> 0:28:29.800
<v Speaker 1>has to fail so that I can succeed. That's my motto.

0:28:30.119 --> 0:28:31.919
<v Speaker 1>I'm not saying I'm not good of a person that

0:28:31.920 --> 0:28:35.000
<v Speaker 1>I always pick it, but it's a great it's a

0:28:35.040 --> 0:28:37.520
<v Speaker 1>great motto to have nobody has to fail so that

0:28:37.600 --> 0:28:40.600
<v Speaker 1>I can succeed. It's really hard in the writing game.

0:28:40.800 --> 0:28:43.200
<v Speaker 1>I think for people who are upcoming not to get jealous,

0:28:43.560 --> 0:28:46.320
<v Speaker 1>not to look at what somebody else has. There's always

0:28:46.360 --> 0:28:48.720
<v Speaker 1>gonna be somebody ahead of you. Do. There's always gonna

0:28:48.720 --> 0:28:51.240
<v Speaker 1>be somebody ahead of you. So I try to use

0:28:51.240 --> 0:28:54.600
<v Speaker 1>that to fuel me and not to get bitter or

0:28:54.680 --> 0:28:57.840
<v Speaker 1>to get angry. Tell no one is your breakthrough novel.

0:28:58.520 --> 0:29:00.920
<v Speaker 1>And of course it doesn't necessarily happen instantly you're already

0:29:00.960 --> 0:29:04.000
<v Speaker 1>working on something else. But frequently when someone has a

0:29:04.080 --> 0:29:07.920
<v Speaker 1>huge success and people are paying attention. It's inhibiting in

0:29:08.000 --> 0:29:12.120
<v Speaker 1>terms of further work. Did you experience that, well? It is.

0:29:12.240 --> 0:29:13.920
<v Speaker 1>I mean, I've seen it happen with a lot of writers.

0:29:13.960 --> 0:29:17.160
<v Speaker 1>I was extraordinarily lucky. I had just finished Gone for

0:29:17.200 --> 0:29:19.200
<v Speaker 1>Good when Tell No One broke out. I had just

0:29:19.320 --> 0:29:22.640
<v Speaker 1>finished the book before because I'll tell you I was

0:29:22.680 --> 0:29:24.800
<v Speaker 1>thirty nine, so I wasn't a kid when it happened.

0:29:24.880 --> 0:29:27.000
<v Speaker 1>And it messes with your head. Success does mess with

0:29:27.040 --> 0:29:29.959
<v Speaker 1>your head. I don't know how these young guys who

0:29:30.000 --> 0:29:33.680
<v Speaker 1>are actors or musicians handle it. I really don't because

0:29:33.680 --> 0:29:36.760
<v Speaker 1>the mess with my head. Luckily, I happily married, I

0:29:36.800 --> 0:29:39.760
<v Speaker 1>had my fourth kid was born the day that I

0:29:39.840 --> 0:29:41.600
<v Speaker 1>hit the New York Times Best Start Let's for the

0:29:41.600 --> 0:29:44.640
<v Speaker 1>first time, Um July eleven, two thousand one, coming up

0:29:44.640 --> 0:29:47.680
<v Speaker 1>on the anniversary. So um, I got all of that.

0:29:48.280 --> 0:29:51.440
<v Speaker 1>So what I did learn and I advised writers if

0:29:51.480 --> 0:29:53.560
<v Speaker 1>I see a writer like my saw DaVinci Code about

0:29:53.560 --> 0:29:55.800
<v Speaker 1>to break out, I'm like, my warning to writer is

0:29:56.040 --> 0:29:58.200
<v Speaker 1>put your head down now and start writing, because once

0:29:58.240 --> 0:30:00.280
<v Speaker 1>it hits, it is going to be tough. If you're

0:30:00.280 --> 0:30:03.360
<v Speaker 1>gonna be paralyzed for a little while. And the advice

0:30:03.400 --> 0:30:05.440
<v Speaker 1>that I give the writer who has this lucky enough

0:30:05.440 --> 0:30:07.560
<v Speaker 1>to have this happen, is just get it out, because

0:30:07.560 --> 0:30:10.040
<v Speaker 1>they're gonna slam it no matter what. I mean, they're gonna,

0:30:10.440 --> 0:30:12.520
<v Speaker 1>you know, the critics are gonna and the same thing

0:30:12.520 --> 0:30:15.320
<v Speaker 1>with musicians, right, they're gonna sharpen depends. They're going to

0:30:15.920 --> 0:30:17.560
<v Speaker 1>crap on you. And then you can have a career,

0:30:17.640 --> 0:30:19.880
<v Speaker 1>get to your third or fourth album, and then you'll

0:30:19.880 --> 0:30:21.960
<v Speaker 1>be all right. You'll be over that, over that home

0:30:22.360 --> 0:30:24.000
<v Speaker 1>to what to do you? Are you a student of

0:30:24.040 --> 0:30:27.320
<v Speaker 1>the game? Do you follow especially now there's so many statistics,

0:30:27.440 --> 0:30:32.760
<v Speaker 1>especially on Amazon. Do you follow that pretty closely? I don't. UM.

0:30:32.800 --> 0:30:36.200
<v Speaker 1>I did for a little while, maybe twenty years ago,

0:30:36.280 --> 0:30:39.160
<v Speaker 1>ten fifteen years ago. Um. You know, I was first

0:30:39.160 --> 0:30:41.200
<v Speaker 1>trying to hit number one, and I was getting close

0:30:41.280 --> 0:30:43.239
<v Speaker 1>a couple of times, so I would sort of follow it.

0:30:43.680 --> 0:30:45.479
<v Speaker 1>This last book, I haven't followed at all. I mean,

0:30:45.520 --> 0:30:47.800
<v Speaker 1>I get a call on a Wednesday saying, you hit

0:30:47.800 --> 0:30:50.880
<v Speaker 1>the New York Times listener X your lot. So but

0:30:50.960 --> 0:30:53.960
<v Speaker 1>either that, I don't anymore, and I tell you for

0:30:54.000 --> 0:30:57.840
<v Speaker 1>them again. The advice for the new writers, don't um.

0:30:57.880 --> 0:30:59.920
<v Speaker 1>I was lucky when I started out. I was a

0:31:00.000 --> 0:31:03.760
<v Speaker 1>paperback original guy at Dell, which is a big name,

0:31:03.840 --> 0:31:07.160
<v Speaker 1>but it's a small I mean, it's a paperback original.

0:31:07.440 --> 0:31:10.840
<v Speaker 1>So I my first Myron Bouletar novel, I got five

0:31:10.880 --> 0:31:13.880
<v Speaker 1>thousand dollar advance, and not to brag, but by the

0:31:13.880 --> 0:31:16.160
<v Speaker 1>time I wrote my fourth, I was up to six thousand.

0:31:18.800 --> 0:31:22.040
<v Speaker 1>So but here's the thing. Because I had no information

0:31:23.120 --> 0:31:25.840
<v Speaker 1>it was a major publishing house. There's two copies in

0:31:25.880 --> 0:31:28.560
<v Speaker 1>almost every bookstore and paperback. I thought I was the

0:31:28.600 --> 0:31:32.080
<v Speaker 1>cat's ass. I couldn't look at my Amazon rankings back

0:31:32.080 --> 0:31:37.000
<v Speaker 1>and this is when I first started Amazon. Really, I couldn't,

0:31:37.560 --> 0:31:40.120
<v Speaker 1>you know, watch the watch my Amazon rankings, like their

0:31:40.160 --> 0:31:42.400
<v Speaker 1>stock ratings, and see how it was going up. And

0:31:42.480 --> 0:31:44.480
<v Speaker 1>now I thought I was doing great. If someone told

0:31:44.480 --> 0:31:46.400
<v Speaker 1>me the aspect, then I probably would have killed myself.

0:31:46.640 --> 0:31:48.560
<v Speaker 1>But I just wrote the next one. I didn't worry

0:31:48.560 --> 0:31:50.760
<v Speaker 1>about how well it was doing. I was still in

0:31:50.800 --> 0:31:53.480
<v Speaker 1>the game, you know. Was that that I hadn't struck

0:31:53.480 --> 0:31:55.560
<v Speaker 1>out yet? I was. I still had my swings left.

0:31:55.880 --> 0:31:58.040
<v Speaker 1>It's like you're a battered I had ten ten swings

0:31:58.040 --> 0:32:00.800
<v Speaker 1>at ten strikes instead of when or too, So I

0:32:00.920 --> 0:32:03.240
<v Speaker 1>just kept put my head down and right. So I

0:32:03.280 --> 0:32:04.640
<v Speaker 1>tell her it's don't you know, don't spend all the

0:32:04.720 --> 0:32:07.200
<v Speaker 1>time looking at Amazon yet book is not going to

0:32:07.280 --> 0:32:09.880
<v Speaker 1>break out. It's not if that book hasn't broken out yet.

0:32:10.280 --> 0:32:12.760
<v Speaker 1>Nothing you do by looking at all these things is

0:32:12.760 --> 0:32:15.200
<v Speaker 1>going to help your career. The only thing that's really

0:32:15.200 --> 0:32:17.440
<v Speaker 1>going to help your career is writing the next one

0:32:17.440 --> 0:32:20.680
<v Speaker 1>and making it better and somehow getting more people to

0:32:20.800 --> 0:32:24.480
<v Speaker 1>read you. So I really I was blessed. We didn't know,

0:32:24.640 --> 0:32:27.080
<v Speaker 1>you know, meals and ratings, We didn't have book scam.

0:32:27.200 --> 0:32:29.640
<v Speaker 1>Now that um, I know, there's people who tell me

0:32:29.640 --> 0:32:31.480
<v Speaker 1>you can call into books scam and find out way.

0:32:31.520 --> 0:32:33.880
<v Speaker 1>I don't. I don't even want to know, because, first

0:32:33.880 --> 0:32:35.280
<v Speaker 1>of all, what number is good? Someone shit to you,

0:32:35.320 --> 0:32:37.480
<v Speaker 1>I sold eight thousand copies of your book last week.

0:32:37.560 --> 0:32:39.240
<v Speaker 1>Is that's a good or bad? I don't know. I

0:32:39.280 --> 0:32:41.720
<v Speaker 1>still don't know, So I don't want to know. As

0:32:41.760 --> 0:32:45.000
<v Speaker 1>long as everybody's happy I'm hitting one my first week

0:32:45.000 --> 0:32:47.880
<v Speaker 1>out usually I'm good. Not I mean to know anymore?

0:32:47.920 --> 0:32:50.440
<v Speaker 1>What else do we need to know? Okay? And do

0:32:50.480 --> 0:32:54.480
<v Speaker 1>you read your reviews? Yeah? Most of the time. I

0:32:54.480 --> 0:32:56.880
<v Speaker 1>don't read Amazon reviews or any of that. Goodness to

0:32:56.920 --> 0:32:59.920
<v Speaker 1>the numbers are too big to even try. I'll sometime,

0:33:00.080 --> 0:33:01.400
<v Speaker 1>so I haven't done it. I don't think for a

0:33:01.480 --> 0:33:03.560
<v Speaker 1>book for Boy from the Woods, I've even looked CHET,

0:33:03.880 --> 0:33:05.400
<v Speaker 1>but I will look every once in a while. But

0:33:05.440 --> 0:33:08.240
<v Speaker 1>it's always the same. I'm always four to five stars.

0:33:08.680 --> 0:33:10.959
<v Speaker 1>Most people are, you know, happy with it. And then

0:33:10.960 --> 0:33:13.560
<v Speaker 1>there's the people who say, oh man, he really changed

0:33:13.560 --> 0:33:15.440
<v Speaker 1>this time that and I hated that, And then the

0:33:15.600 --> 0:33:18.240
<v Speaker 1>person who says he wrote the exact same thing again,

0:33:18.360 --> 0:33:21.080
<v Speaker 1>wasn't gonna change. There's never anything I gotta you're going

0:33:21.160 --> 0:33:23.520
<v Speaker 1>through my reviews for the last twenty books, you'll see

0:33:23.520 --> 0:33:26.320
<v Speaker 1>the exact same thing. I'll be between three point nine

0:33:26.320 --> 0:33:28.520
<v Speaker 1>and four point one, and it will be the exact

0:33:28.600 --> 0:33:31.360
<v Speaker 1>same thing. So if I saw one book and someone

0:33:31.400 --> 0:33:33.000
<v Speaker 1>would tell me that all of a sudden, dope down

0:33:33.000 --> 0:33:35.400
<v Speaker 1>to a one or was at four point nine, I

0:33:35.400 --> 0:33:38.040
<v Speaker 1>guess I would pay a little more attention to why

0:33:38.200 --> 0:33:40.880
<v Speaker 1>or whatever else. Um. And if I'm reviewing New York Times,

0:33:40.920 --> 0:33:43.560
<v Speaker 1>yeah I read it, you know, but I don't. I

0:33:43.560 --> 0:33:45.760
<v Speaker 1>don't take it to heart anymore. I know it doesn't

0:33:45.840 --> 0:33:47.960
<v Speaker 1>change my life. A great review is not going to

0:33:48.120 --> 0:33:49.760
<v Speaker 1>change my life. In A shitty review is not going

0:33:49.800 --> 0:33:52.720
<v Speaker 1>to change my life. I know that now. Uh does

0:33:52.840 --> 0:33:55.480
<v Speaker 1>a review in a major publication, the wallpo of the

0:33:55.520 --> 0:34:00.400
<v Speaker 1>New York Times? Does it help at all? Um? For me?

0:34:00.840 --> 0:34:04.200
<v Speaker 1>I look, everyone has to help. Um how much it helps,

0:34:04.240 --> 0:34:06.000
<v Speaker 1>I don't know if it helps as much as it

0:34:06.080 --> 0:34:09.160
<v Speaker 1>used to. I don't think so. Uh. Like rom was

0:34:09.200 --> 0:34:12.239
<v Speaker 1>starting out or in the mid to late nineties, a

0:34:12.280 --> 0:34:15.000
<v Speaker 1>really good spot would be People magazine. They would do

0:34:15.080 --> 0:34:17.640
<v Speaker 1>four or five books to have a photograph of the book.

0:34:18.080 --> 0:34:20.560
<v Speaker 1>People really paid attention to it. It got a fair

0:34:20.560 --> 0:34:24.680
<v Speaker 1>amount of sales and hits. UM. But there's no one

0:34:24.760 --> 0:34:28.680
<v Speaker 1>thing anymore, not even like my Today Show appearance, that

0:34:28.719 --> 0:34:31.359
<v Speaker 1>makes a book zoom the way it did in the say,

0:34:31.360 --> 0:34:34.719
<v Speaker 1>the early nineties, early the mid nineties. I'm sure if

0:34:34.760 --> 0:34:36.719
<v Speaker 1>you're an unknown you're getting a full page review in

0:34:36.760 --> 0:34:39.400
<v Speaker 1>the New York Times. Um, that's going to help you,

0:34:39.440 --> 0:34:40.960
<v Speaker 1>in the front page of the New York Times, book,

0:34:41.239 --> 0:34:44.200
<v Speaker 1>of course, But other than that, you know, even good

0:34:44.200 --> 0:34:46.920
<v Speaker 1>reviews in the New York Times. I see books vanished

0:34:46.920 --> 0:34:48.960
<v Speaker 1>out of nowhere. So I don't I just don't think that.

0:34:49.320 --> 0:34:50.920
<v Speaker 1>I don't know the answers. I don't know what makes

0:34:50.920 --> 0:34:53.000
<v Speaker 1>it anymore. It seems to be a lot of things

0:34:53.000 --> 0:34:55.959
<v Speaker 1>that have to come together to reach a certain level,

0:34:56.360 --> 0:34:58.400
<v Speaker 1>but be happy at other levels too. It's not everybody

0:34:58.400 --> 0:35:00.640
<v Speaker 1>has to be a number one or number in. I

0:35:00.680 --> 0:35:03.200
<v Speaker 1>wasn't for a long time either a number of top

0:35:03.239 --> 0:35:05.560
<v Speaker 1>best seller. You could just be doing well and eventually

0:35:05.800 --> 0:35:09.440
<v Speaker 1>you're in the game. Maybe something happens movies for a

0:35:09.440 --> 0:35:12.000
<v Speaker 1>long time movie times. I mean, you know how much

0:35:12.000 --> 0:35:14.719
<v Speaker 1>bigger did George R. R. Martin become after the TV

0:35:14.760 --> 0:35:17.239
<v Speaker 1>show Game of Thrones came out? How much bigger did

0:35:17.320 --> 0:35:21.400
<v Speaker 1>Charlene Harris become after True Blood? Sometimes it has a

0:35:21.440 --> 0:35:24.200
<v Speaker 1>big effect on books, sometimes it doesn't. You don't really

0:35:24.200 --> 0:35:27.600
<v Speaker 1>know to what degree are you in news and internet junkie.

0:35:29.960 --> 0:35:32.960
<v Speaker 1>I guess I would say average. I don't know what

0:35:33.000 --> 0:35:36.799
<v Speaker 1>average is anymore. I pay attention to it, especially right now.

0:35:37.200 --> 0:35:40.000
<v Speaker 1>I'm dying to be bored. Though I really wish I'd

0:35:40.040 --> 0:35:41.440
<v Speaker 1>go back to the days might didn't have to look

0:35:41.480 --> 0:35:44.160
<v Speaker 1>at it every day and feel like I'm watching the

0:35:44.200 --> 0:35:48.120
<v Speaker 1>world and uh again. I compared to sports, I think

0:35:48.160 --> 0:35:50.400
<v Speaker 1>sometimes we watch it like it's our team, and did

0:35:50.400 --> 0:35:52.000
<v Speaker 1>our team out a good game? It's good, a good

0:35:52.040 --> 0:35:54.720
<v Speaker 1>inning to be scorning ones that did our team score

0:35:54.760 --> 0:35:57.840
<v Speaker 1>some runs? Um, it's a sad, it's a satisfact. How

0:35:57.880 --> 0:36:01.920
<v Speaker 1>about you know? I don't know? Okay, So what comes first?

0:36:01.920 --> 0:36:04.080
<v Speaker 1>Do you have the idea, do you flesh it out?

0:36:04.200 --> 0:36:08.640
<v Speaker 1>Do you start writing? What's your process? Um? I usually

0:36:08.640 --> 0:36:12.080
<v Speaker 1>start with an idea, um, and then I try to

0:36:12.120 --> 0:36:15.160
<v Speaker 1>figure out, you know, good hook and the ending and

0:36:15.360 --> 0:36:18.960
<v Speaker 1>that's and then I asked, who's going to tell that story?

0:36:19.160 --> 0:36:22.799
<v Speaker 1>So it's usually three steps. So when people say, are

0:36:22.800 --> 0:36:25.120
<v Speaker 1>you going to write more? Myron Bolts, are you're gonna

0:36:25.120 --> 0:36:28.040
<v Speaker 1>write more? When I after I think of the story idea,

0:36:28.080 --> 0:36:30.359
<v Speaker 1>I'll ask who's going to tell it? In the cas

0:36:30.880 --> 0:36:33.080
<v Speaker 1>tell no one. So I had this idea that I

0:36:33.120 --> 0:36:36.279
<v Speaker 1>loved about a man wife is murdered, he can't get

0:36:36.320 --> 0:36:38.560
<v Speaker 1>over her death, he still loves her. Eight years past,

0:36:38.600 --> 0:36:40.880
<v Speaker 1>he gets in the email, he clicks the hyperlink, he

0:36:40.960 --> 0:36:43.680
<v Speaker 1>sees the webcam and his dead wife walks by. I go, oh,

0:36:43.719 --> 0:36:46.320
<v Speaker 1>I love this. But I realized I had written seventh

0:36:46.320 --> 0:36:49.000
<v Speaker 1>straight Myron Boultard. He couldn't tell he didn't have a

0:36:49.040 --> 0:36:51.200
<v Speaker 1>wife who died eight years ago. So who am I

0:36:51.200 --> 0:36:54.640
<v Speaker 1>going to create? Well, let's make him an interstity pediatrician

0:36:54.680 --> 0:36:56.279
<v Speaker 1>because my wife is one of those, so I get

0:36:56.320 --> 0:36:58.640
<v Speaker 1>the research that way. It's just simple, you know. Then

0:36:58.680 --> 0:37:03.040
<v Speaker 1>I started thinking about that character, um, and of course

0:37:03.080 --> 0:37:05.040
<v Speaker 1>I have to know I in my case, I know

0:37:05.200 --> 0:37:08.359
<v Speaker 1>the end most a lot of authors bon't. I know

0:37:08.520 --> 0:37:10.719
<v Speaker 1>the last twist. I knew when you've read The Boy

0:37:10.719 --> 0:37:12.440
<v Speaker 1>from the Woods. I knew it was going to be

0:37:12.520 --> 0:37:15.680
<v Speaker 1>on You know who did it? Who did what? Before

0:37:15.760 --> 0:37:18.000
<v Speaker 1>I started the book, I don't know everything, but I

0:37:18.120 --> 0:37:21.279
<v Speaker 1>know pretty much who did it and the meanning. How

0:37:21.320 --> 0:37:23.279
<v Speaker 1>I'm gonna get there. I have no idea how I'm

0:37:23.320 --> 0:37:25.160
<v Speaker 1>going to travel it. I have no idea about things

0:37:25.160 --> 0:37:27.040
<v Speaker 1>I see on the road, but I usually know the

0:37:27.120 --> 0:37:30.400
<v Speaker 1>beginning of the ending before I started. Okay, how long

0:37:31.200 --> 0:37:33.719
<v Speaker 1>how long does that process take before you actually start

0:37:33.760 --> 0:37:39.759
<v Speaker 1>writing the book? I say to I say, like right now,

0:37:39.760 --> 0:37:42.359
<v Speaker 1>I'm I'm doing one book a year. I would say

0:37:42.400 --> 0:37:46.720
<v Speaker 1>two or three months are downtime thinking about it, coming

0:37:46.800 --> 0:37:50.400
<v Speaker 1>up with the idea, Like I've finished a book, um

0:37:50.680 --> 0:37:54.160
<v Speaker 1>a month or two ago. Uh, which is my next

0:37:54.160 --> 0:37:57.239
<v Speaker 1>one called Win, which is about my character Win for

0:37:57.280 --> 0:37:59.440
<v Speaker 1>the first time, he's going to tell the story himself.

0:37:59.440 --> 0:38:02.440
<v Speaker 1>He's been Myron bulletar sidekick, and now he's gonna tell

0:38:02.480 --> 0:38:05.360
<v Speaker 1>his own story. And when I finished it, you know,

0:38:05.680 --> 0:38:07.400
<v Speaker 1>I thought of nothing for a while. It's like your

0:38:07.480 --> 0:38:09.920
<v Speaker 1>boxer and you just finished the twelfth round and you

0:38:10.000 --> 0:38:12.960
<v Speaker 1>threw everything you could. You've got nothing left, not a thing.

0:38:13.440 --> 0:38:15.920
<v Speaker 1>And then slowly, as time goes on, you know you're recovering.

0:38:16.440 --> 0:38:19.080
<v Speaker 1>You're the bruises are going down in the distance. You

0:38:19.120 --> 0:38:22.839
<v Speaker 1>start seeing another opponent you've gotta start facing. So now

0:38:22.960 --> 0:38:26.520
<v Speaker 1>I've started the wheel to turn. I've decided the next

0:38:26.560 --> 0:38:28.040
<v Speaker 1>book is going to be a sequel to The Boy

0:38:28.080 --> 0:38:30.320
<v Speaker 1>from the Woods. Because I left a lot of this.

0:38:30.560 --> 0:38:32.919
<v Speaker 1>I didn't tell you his origin story, and I feel

0:38:32.920 --> 0:38:35.799
<v Speaker 1>like I should. Um, so his next book will be

0:38:35.800 --> 0:38:37.799
<v Speaker 1>his origin story, which I kind of already knew when

0:38:37.800 --> 0:38:40.160
<v Speaker 1>I started this book. So it's a little bit easier

0:38:40.239 --> 0:38:43.680
<v Speaker 1>to start laying out. Okay, so the wheel start turning.

0:38:44.320 --> 0:38:46.640
<v Speaker 1>Then you see there are two or three months of downtime.

0:38:47.000 --> 0:38:49.960
<v Speaker 1>How long after the wheels start turning do you start

0:38:50.000 --> 0:38:53.719
<v Speaker 1>to actually write the book. It depends. I'm hoping to

0:38:53.719 --> 0:38:57.240
<v Speaker 1>get started in the next week or two. The TV

0:38:57.360 --> 0:38:59.880
<v Speaker 1>stuff interrupts me. Now, which is different from me than

0:38:59.880 --> 0:39:02.640
<v Speaker 1>a has been in the past, um, so I haven't

0:39:02.680 --> 0:39:06.080
<v Speaker 1>found it really hurts it at all. So my guess is,

0:39:06.520 --> 0:39:09.160
<v Speaker 1>I'm hoping, you know, next week of the week after

0:39:09.680 --> 0:39:11.759
<v Speaker 1>I've come up with the idea, I wrote my two

0:39:11.840 --> 0:39:14.919
<v Speaker 1>page synapses that I send my publisher UM to see

0:39:14.960 --> 0:39:16.600
<v Speaker 1>if they liked this idea and make sure that they're

0:39:16.640 --> 0:39:19.160
<v Speaker 1>on board. Two Um, and now I'm sort of I'm

0:39:19.160 --> 0:39:21.640
<v Speaker 1>ready to go. I gotta start. I gotta start, you know,

0:39:21.680 --> 0:39:23.960
<v Speaker 1>thinking about what are the first few chapters going to be?

0:39:24.280 --> 0:39:26.880
<v Speaker 1>How am I going to start it off? Okay? What

0:39:26.960 --> 0:39:29.279
<v Speaker 1>about now? Has your publisher ever said we don't like

0:39:29.400 --> 0:39:35.880
<v Speaker 1>the idea? Never? Okay, not yet? Okay. So when you

0:39:35.960 --> 0:39:40.560
<v Speaker 1>write the book, you're figuring out as you're writing all

0:39:40.600 --> 0:39:45.000
<v Speaker 1>the points in the middle pretty much. I mean again,

0:39:45.040 --> 0:39:47.319
<v Speaker 1>I compare to a journey. I'm in New Jersey, I'm

0:39:47.320 --> 0:39:49.239
<v Speaker 1>coming out to you in l A. I may go

0:39:49.320 --> 0:39:51.520
<v Speaker 1>Route eighty, but chances are i'll go via the Suez

0:39:51.560 --> 0:39:53.480
<v Speaker 1>Canal or stop in Tokyo, but I'll end up in

0:39:53.600 --> 0:39:56.480
<v Speaker 1>l A. But I may know a few places along

0:39:56.520 --> 0:40:00.480
<v Speaker 1>the way I definitely want to stop at, so I'll

0:40:00.480 --> 0:40:03.439
<v Speaker 1>know that, and then some character stuff I will leave

0:40:03.560 --> 0:40:06.239
<v Speaker 1>to the end, not to give anything away. On the

0:40:06.320 --> 0:40:09.480
<v Speaker 1>very last page of Boy from the Woods, I wasn't

0:40:09.480 --> 0:40:11.400
<v Speaker 1>exactly sure what he was going to do with this

0:40:11.440 --> 0:40:13.920
<v Speaker 1>one decision. It's not the answer to the mystery. It's

0:40:13.960 --> 0:40:17.080
<v Speaker 1>a personal decision that wild the Boy from the Woods makes.

0:40:17.560 --> 0:40:19.520
<v Speaker 1>I kind of thought I did, but I said, you

0:40:19.520 --> 0:40:22.120
<v Speaker 1>know what, let's just get there, write it, and as

0:40:22.120 --> 0:40:23.960
<v Speaker 1>you're writing, and to see what he decides to do.

0:40:24.040 --> 0:40:25.600
<v Speaker 1>And he actually did what I thought he was going

0:40:25.680 --> 0:40:28.520
<v Speaker 1>to do. But I wasn't sure until I actually started

0:40:28.520 --> 0:40:31.879
<v Speaker 1>to write it. So some things were organic, something's kind

0:40:31.880 --> 0:40:34.200
<v Speaker 1>of come to you, and some things are planned. And

0:40:35.360 --> 0:40:37.760
<v Speaker 1>is it about rewriting or is it about the first draft?

0:40:39.040 --> 0:40:41.320
<v Speaker 1>In terms of story, it's all about the first draft

0:40:41.400 --> 0:40:45.760
<v Speaker 1>for me. Um in terms of the under the fine tuning,

0:40:46.560 --> 0:40:50.160
<v Speaker 1>UM rewrite and rewrite a lot. I rewrite every day,

0:40:50.200 --> 0:40:53.719
<v Speaker 1>so I don't write, you know, straight ahead. I go

0:40:53.840 --> 0:40:57.560
<v Speaker 1>back at the start of each day and I rewrite, reread,

0:40:57.640 --> 0:41:01.160
<v Speaker 1>and rewrite what I wrote the day before. So I

0:41:01.280 --> 0:41:04.759
<v Speaker 1>start that way, and then every seventy five pages or so,

0:41:05.000 --> 0:41:06.719
<v Speaker 1>I go back to the beginning of the book and

0:41:06.760 --> 0:41:09.600
<v Speaker 1>reread it from there to make sure I still am

0:41:09.640 --> 0:41:12.359
<v Speaker 1>you know, it helps me get momentum. Is like getting

0:41:12.360 --> 0:41:15.680
<v Speaker 1>a running start to jumping, you know, like a long jump.

0:41:16.120 --> 0:41:18.360
<v Speaker 1>So I do that. So at a time I finish

0:41:18.400 --> 0:41:21.520
<v Speaker 1>a book, the first chapter is probably rewritten eight or

0:41:21.560 --> 0:41:25.640
<v Speaker 1>nine times. Ready. Um. Later stuff happens faster, and it's

0:41:25.680 --> 0:41:28.359
<v Speaker 1>easier to write once I get there because I've been

0:41:28.400 --> 0:41:32.799
<v Speaker 1>seeing it emerge for months on end. So the end

0:41:32.880 --> 0:41:34.960
<v Speaker 1>comes a lot faster to write than the beginning and

0:41:35.040 --> 0:41:40.120
<v Speaker 1>needs less rewriting. Do you enjoy this process? It's a

0:41:40.200 --> 0:41:42.680
<v Speaker 1>really good question, and it's one I don't know the

0:41:42.719 --> 0:41:46.520
<v Speaker 1>answer to. UM. A lot of writers have been given

0:41:46.600 --> 0:41:48.640
<v Speaker 1>credits for this. I give it. I first heard it

0:41:48.680 --> 0:41:51.239
<v Speaker 1>from Oscar Madison on The Odd Couple, but I think

0:41:51.280 --> 0:41:54.160
<v Speaker 1>Dorothy Parker probably gets it most where she says, I

0:41:54.200 --> 0:41:58.759
<v Speaker 1>don't like writing. I like having written, UM, and I

0:41:58.760 --> 0:42:00.120
<v Speaker 1>think it's the same for a lot of it. I

0:42:00.160 --> 0:42:01.600
<v Speaker 1>think it's kind of the same for painting, and it

0:42:01.640 --> 0:42:03.560
<v Speaker 1>made me the same for recording. But I don't think

0:42:03.560 --> 0:42:06.400
<v Speaker 1>so not music slightly different. But if I said, you know,

0:42:06.600 --> 0:42:08.320
<v Speaker 1>we have friends and maybe you're one of them that

0:42:08.440 --> 0:42:10.200
<v Speaker 1>love the paint. I love to paint. Oh my god,

0:42:10.200 --> 0:42:11.840
<v Speaker 1>I love the paint. I'll spend the whole day painting,

0:42:12.160 --> 0:42:13.840
<v Speaker 1>But at the end of the day, if that canvas

0:42:13.920 --> 0:42:17.640
<v Speaker 1>is blank, did you enjoy it? If at the end

0:42:17.640 --> 0:42:20.160
<v Speaker 1>of the day, I have no words to show for

0:42:20.239 --> 0:42:22.919
<v Speaker 1>what I did all day, I don't think I would

0:42:22.960 --> 0:42:25.920
<v Speaker 1>say I enjoyed it. So it's a you know, now

0:42:25.960 --> 0:42:30.360
<v Speaker 1>we're getting into philosophical questions of creation versus creating and

0:42:30.360 --> 0:42:34.160
<v Speaker 1>all that. But what I write if no one ever

0:42:34.239 --> 0:42:36.440
<v Speaker 1>saw it, and no one ever read it, and I

0:42:36.520 --> 0:42:41.080
<v Speaker 1>never looked at it again, I don't think I would. Um,

0:42:41.160 --> 0:42:44.600
<v Speaker 1>that's that. That's that's being brutally honest. So I don't

0:42:44.600 --> 0:42:47.760
<v Speaker 1>think i'd necessarily enjoy that. But I love writing books,

0:42:47.760 --> 0:42:50.360
<v Speaker 1>and I love that moment when I'm in the in

0:42:50.400 --> 0:42:51.960
<v Speaker 1>the thralls of it. But I love it because I

0:42:52.000 --> 0:42:54.320
<v Speaker 1>know what's going to be is going to produce something.

0:42:54.840 --> 0:42:56.400
<v Speaker 1>It's like I'm building a house. If I build a

0:42:56.400 --> 0:42:58.000
<v Speaker 1>house and the end of the day I did, I

0:42:58.160 --> 0:43:00.319
<v Speaker 1>was hammering and I'm looking at coming together and I'm

0:43:00.320 --> 0:43:02.160
<v Speaker 1>really thrilled with it. But then the next day it's

0:43:02.160 --> 0:43:05.200
<v Speaker 1>completely gone and nothing's there. Did I enjoy it? I

0:43:05.200 --> 0:43:09.680
<v Speaker 1>don't know. Larger philosophical questions and very interesting in terms

0:43:09.760 --> 0:43:11.920
<v Speaker 1>do you have a rigid schedule in terms of writing,

0:43:12.880 --> 0:43:17.480
<v Speaker 1>I don't. I try, um best now in the mornings.

0:43:17.520 --> 0:43:19.360
<v Speaker 1>When I was younger, I was best in the evenings,

0:43:20.200 --> 0:43:24.239
<v Speaker 1>um my best days. Or when my kids were younger,

0:43:24.320 --> 0:43:26.799
<v Speaker 1>I would take them to whatever school. My wife a pediatrician,

0:43:26.840 --> 0:43:28.759
<v Speaker 1>so she had a real job. But I would take

0:43:28.800 --> 0:43:31.280
<v Speaker 1>them to school and I dropped them off or whatever

0:43:31.600 --> 0:43:33.920
<v Speaker 1>and go to a coffee shop to be there by

0:43:33.920 --> 0:43:36.239
<v Speaker 1>about eight or a fifteen. And if I could work

0:43:36.280 --> 0:43:39.680
<v Speaker 1>eight to noon straight, that would be a fantastic day,

0:43:39.719 --> 0:43:41.719
<v Speaker 1>get a couple more hours in the afternoon if I

0:43:41.840 --> 0:43:46.080
<v Speaker 1>was lucky. Um, Now it's harder, it's a little more hodgepodge,

0:43:46.080 --> 0:43:47.279
<v Speaker 1>and I might have to be a little bit more

0:43:47.719 --> 0:43:50.400
<v Speaker 1>self motivated. You know, a lot of the old motivations

0:43:50.400 --> 0:43:54.320
<v Speaker 1>are gone. It's you know, will you ever be a success?

0:43:54.360 --> 0:43:56.319
<v Speaker 1>Will you ever have in theother novel published? Will you

0:43:56.360 --> 0:43:59.319
<v Speaker 1>ever you know hit a best seller list? We ever had?

0:43:59.320 --> 0:44:02.040
<v Speaker 1>Tenderly ever get to one? Do you know? Are you

0:44:02.080 --> 0:44:04.920
<v Speaker 1>gonna be able to feature family? Those motivations are pretty

0:44:05.000 --> 0:44:08.240
<v Speaker 1>much gone. Um. So the motivation I have left really

0:44:08.280 --> 0:44:10.080
<v Speaker 1>is that I still love to tell stories. I still

0:44:10.160 --> 0:44:14.600
<v Speaker 1>love that communication with people, and also fear the fear

0:44:14.680 --> 0:44:18.040
<v Speaker 1>that what am I if I'm not this? UM? That's

0:44:18.200 --> 0:44:20.320
<v Speaker 1>I think it's a big part of all creative process

0:44:20.800 --> 0:44:24.239
<v Speaker 1>that the fear that we are that, UM, I have

0:44:24.400 --> 0:44:28.000
<v Speaker 1>no other marketable skills. I have to get a real

0:44:28.120 --> 0:44:31.040
<v Speaker 1>job if I didn't do this? What else am I

0:44:31.040 --> 0:44:33.520
<v Speaker 1>if I'm not this? The good things that in my

0:44:33.560 --> 0:44:35.759
<v Speaker 1>life that have come about by being a writer, like

0:44:35.880 --> 0:44:39.000
<v Speaker 1>being on your podcast, vanished if I don't continue to write.

0:44:39.440 --> 0:44:44.600
<v Speaker 1>So those motivations still move me UM as well. Okay,

0:44:44.920 --> 0:44:47.120
<v Speaker 1>do you say, oh, I don't write on the weekends

0:44:47.200 --> 0:44:49.480
<v Speaker 1>or every day is up for grabs? Do you have

0:44:49.520 --> 0:44:51.799
<v Speaker 1>a specific amount you want to accomplish? Are there certain

0:44:51.840 --> 0:44:55.680
<v Speaker 1>days you accomplish nothing? There's certain days I accomplished nothing,

0:44:56.160 --> 0:44:59.640
<v Speaker 1>especially media days. If I'm you know, uh, the Woods

0:44:59.680 --> 0:45:02.640
<v Speaker 1>came out out for Netflix on the maybe three weeks ago,

0:45:02.960 --> 0:45:05.160
<v Speaker 1>so like two or three days trade. I was on

0:45:06.040 --> 0:45:09.680
<v Speaker 1>Zoom with Poland doing you know, in Europe, doing news stories.

0:45:09.680 --> 0:45:11.560
<v Speaker 1>So I know those days it's not gonna happen, But

0:45:11.680 --> 0:45:14.480
<v Speaker 1>I think about it every day. I take notes every day.

0:45:14.520 --> 0:45:16.239
<v Speaker 1>There's never time I'll go out by the pool that

0:45:16.280 --> 0:45:18.760
<v Speaker 1>I won't bring a notebook with me or a laptop

0:45:18.840 --> 0:45:20.960
<v Speaker 1>with me. Even if I don't open it, It's on

0:45:21.040 --> 0:45:23.600
<v Speaker 1>my mind all the time, and I feel tremendous guilt

0:45:24.040 --> 0:45:28.359
<v Speaker 1>if I'm not doing it, if I'm not producing. So

0:45:28.680 --> 0:45:31.920
<v Speaker 1>you write at home, you have four kids, you have

0:45:32.000 --> 0:45:36.560
<v Speaker 1>a wife. Can you be interrupted? Um? Well, for a

0:45:36.640 --> 0:45:38.919
<v Speaker 1>lot of years I didn't. I mean by four kids

0:45:38.920 --> 0:45:41.480
<v Speaker 1>are grown now so they're not home. But when the

0:45:41.560 --> 0:45:44.319
<v Speaker 1>kids were home, it's one of the reasons I used

0:45:44.320 --> 0:45:47.719
<v Speaker 1>to write a coffee shops or libraries or wherever I

0:45:47.760 --> 0:45:51.080
<v Speaker 1>could other than being home. Home is not necessarily the

0:45:51.080 --> 0:45:53.879
<v Speaker 1>best place to write, especially the people around. But here's

0:45:53.880 --> 0:45:57.840
<v Speaker 1>the thing with writing. You'll use any excuse to avoid wedding,

0:45:57.880 --> 0:46:00.960
<v Speaker 1>any excuse. So if I'm home, I'll sit there, I'll go, oh,

0:46:01.000 --> 0:46:03.279
<v Speaker 1>you know, all right, but first, you know what, this

0:46:03.400 --> 0:46:05.800
<v Speaker 1>house needs aluminum siding. I end up put aluminium sliding

0:46:05.840 --> 0:46:08.600
<v Speaker 1>on that house. Then I'll get back to writing. So

0:46:08.800 --> 0:46:11.160
<v Speaker 1>if I'm out of the house in the old days,

0:46:11.239 --> 0:46:13.400
<v Speaker 1>two I would go to places that did not have

0:46:13.520 --> 0:46:17.000
<v Speaker 1>any internet, which the whole world does now, and so

0:46:17.080 --> 0:46:19.480
<v Speaker 1>I wouldn't be distracted or have excuses. A lot of

0:46:19.480 --> 0:46:24.040
<v Speaker 1>that is shutting out that noise um. I always wrote

0:46:24.120 --> 0:46:28.360
<v Speaker 1>on vacation. I used to joke because my kids were

0:46:28.400 --> 0:46:30.680
<v Speaker 1>in college. We took a couple of vacations, and I

0:46:30.680 --> 0:46:32.800
<v Speaker 1>would joke saying, if you wake up at six the morning,

0:46:32.880 --> 0:46:35.000
<v Speaker 1>seven morning, you can get a lot of work done

0:46:35.040 --> 0:46:37.359
<v Speaker 1>before your kids wake up, like six hours work, because

0:46:37.360 --> 0:46:39.120
<v Speaker 1>my kids wouldn't wake up to one and after now.

0:46:39.719 --> 0:46:43.760
<v Speaker 1>So I liked writing on vacation, like wading people's around around.

0:46:44.080 --> 0:46:46.200
<v Speaker 1>My wife used to joke there'd be times that the

0:46:46.239 --> 0:46:49.279
<v Speaker 1>kids would call her work about something and she said, well,

0:46:49.280 --> 0:46:52.080
<v Speaker 1>why don't you have dad? Where's dads me home? Yeah?

0:46:52.160 --> 0:46:54.160
<v Speaker 1>Dad songs the next room, But why don't you ask him?

0:46:54.400 --> 0:46:56.880
<v Speaker 1>I don't know, he looks like he's busy. So sometimes

0:46:56.880 --> 0:46:58.800
<v Speaker 1>my kids really had a lot of respect for my work,

0:46:58.800 --> 0:47:02.920
<v Speaker 1>and sometimes they didn't. Okay, but are you fearful of

0:47:03.000 --> 0:47:05.000
<v Speaker 1>did they mean? You're basically kind of answer the question.

0:47:05.520 --> 0:47:09.040
<v Speaker 1>They knew if you're working, don't interrupt you. There was times,

0:47:09.080 --> 0:47:10.560
<v Speaker 1>I mean, like, especially towards the end of the book,

0:47:10.760 --> 0:47:13.719
<v Speaker 1>I grew a playoff beard. I don't talk to anybody,

0:47:13.719 --> 0:47:17.320
<v Speaker 1>I don't change clothes, I smell they throw a banana

0:47:17.360 --> 0:47:18.759
<v Speaker 1>at me, so I have something to eat and then

0:47:18.760 --> 0:47:22.960
<v Speaker 1>they run away. Um so they yeah, I guess they

0:47:22.960 --> 0:47:24.719
<v Speaker 1>could send to something. I'm not to said they didn't

0:47:24.719 --> 0:47:27.160
<v Speaker 1>do it, but they were pretty good most literally my kids.

0:47:27.640 --> 0:47:29.520
<v Speaker 1>Maybe it says I raised them right in this way.

0:47:29.560 --> 0:47:32.279
<v Speaker 1>They were never very needy. When they were very little.

0:47:32.280 --> 0:47:34.239
<v Speaker 1>It was one thing, but they were like, oh, well,

0:47:34.320 --> 0:47:35.719
<v Speaker 1>you know, we want to talk to dad, we want

0:47:35.719 --> 0:47:38.200
<v Speaker 1>to hang with dad. They were that way. You know.

0:47:38.320 --> 0:47:40.239
<v Speaker 1>I never had to go to their schools. I never had.

0:47:40.719 --> 0:47:42.839
<v Speaker 1>I still can't name one teacher any of the four

0:47:42.880 --> 0:47:45.719
<v Speaker 1>had in high school. Don't just one jerk, but I

0:47:45.760 --> 0:47:47.879
<v Speaker 1>forgot his name right now too. So I was never

0:47:47.880 --> 0:47:49.640
<v Speaker 1>that kind of even though the kids did really well.

0:47:49.800 --> 0:47:52.040
<v Speaker 1>My youngest is a brown and they're kids, you know,

0:47:52.040 --> 0:47:54.680
<v Speaker 1>oh into grade schools. I think it was her mom

0:47:54.719 --> 0:47:57.120
<v Speaker 1>maybe more. My kids just didn't really need me that

0:47:57.200 --> 0:48:02.040
<v Speaker 1>much that way. Okay, So where did you grow Livingston,

0:48:02.080 --> 0:48:04.279
<v Speaker 1>New Jersey was right outside of new Ark. I was

0:48:04.320 --> 0:48:07.080
<v Speaker 1>born in Newark, New Jersey. And what were the circumstances

0:48:07.160 --> 0:48:11.839
<v Speaker 1>of your growing up? Uh, you know, it was sort

0:48:11.880 --> 0:48:16.840
<v Speaker 1>of idyllic. Uh. Sixties and seventies, mostly seventies are my memories.

0:48:16.840 --> 0:48:19.440
<v Speaker 1>Because I was born in sixty two. So I grew

0:48:19.480 --> 0:48:22.200
<v Speaker 1>up in the seventies and the eighties. Um, what did

0:48:22.200 --> 0:48:26.520
<v Speaker 1>your parents? My dad was? My dad worked as he was,

0:48:26.760 --> 0:48:29.160
<v Speaker 1>he was a practicing attorney, but he worked for his

0:48:29.320 --> 0:48:33.040
<v Speaker 1>vice president of a company that did laundry for like

0:48:33.120 --> 0:48:36.040
<v Speaker 1>restaurants and stuff like that. That was that was sort

0:48:36.040 --> 0:48:40.040
<v Speaker 1>of his job. My mother always had different, different jobs.

0:48:40.040 --> 0:48:42.600
<v Speaker 1>She was a school teacher I was very young. She

0:48:43.480 --> 0:48:46.000
<v Speaker 1>ran a travel agency when I got a little bit older.

0:48:46.560 --> 0:48:49.200
<v Speaker 1>She always worked, Um, and she was. My mom was

0:48:49.239 --> 0:48:53.440
<v Speaker 1>a tremendous early feminist. Um you know, our bit of

0:48:53.480 --> 0:48:55.640
<v Speaker 1>bumper sticker when I was a kid, saying, which I

0:48:55.640 --> 0:48:58.200
<v Speaker 1>think is still genius women whose tick to be equal

0:48:58.280 --> 0:49:03.080
<v Speaker 1>to men, lack ambition, which a genius women's place in

0:49:03.120 --> 0:49:04.640
<v Speaker 1>the house and sentate. We had all that stuff in

0:49:04.680 --> 0:49:07.160
<v Speaker 1>these My mom was very much and I wrote an

0:49:07.200 --> 0:49:09.400
<v Speaker 1>est day on her. She was the very first female

0:49:09.719 --> 0:49:13.360
<v Speaker 1>littleague umpire in the early seventies. Really, so she was

0:49:13.400 --> 0:49:17.000
<v Speaker 1>a Yeah, she was a firebrand. Both my parents died young. Um,

0:49:17.239 --> 0:49:20.600
<v Speaker 1>how relatively young. My dad was fifty nine, my mom

0:49:20.680 --> 0:49:22.840
<v Speaker 1>was sixty. Well to what did mean? You know? My

0:49:22.920 --> 0:49:26.359
<v Speaker 1>father died at seventy and when he passed. My mother said, well,

0:49:26.440 --> 0:49:29.080
<v Speaker 1>his dad died at seventy He never thought he'd ce

0:49:29.239 --> 0:49:31.160
<v Speaker 1>seventy two. What degree do you have that in the

0:49:31.160 --> 0:49:34.479
<v Speaker 1>back of your mind? A lot. I'm not turning fifty

0:49:34.560 --> 0:49:39.799
<v Speaker 1>nine next year, so I'm fifty eight right now. So yeah,

0:49:39.400 --> 0:49:43.320
<v Speaker 1>it's a it's a it haunts um he died. You

0:49:43.520 --> 0:49:45.880
<v Speaker 1>had heard issues, and a number of years ago I

0:49:45.920 --> 0:49:50.319
<v Speaker 1>met a great guy who was who was involved in

0:49:50.360 --> 0:49:52.960
<v Speaker 1>the hard stuff, and he said, if thoroughly checked me out,

0:49:53.000 --> 0:49:54.520
<v Speaker 1>and he said, you don't have your dad's heart. So

0:49:54.600 --> 0:49:56.560
<v Speaker 1>that gave me a sense to release because I've always

0:49:56.560 --> 0:49:59.359
<v Speaker 1>felt that was sort of mine, my curse. But yeah,

0:49:59.360 --> 0:50:02.880
<v Speaker 1>it was something that you kind of forget. So how

0:50:02.920 --> 0:50:06.319
<v Speaker 1>many kids in the family. I have four, my butter

0:50:06.560 --> 0:50:09.080
<v Speaker 1>to two butters, one older, one younger, so you're the

0:50:09.120 --> 0:50:11.800
<v Speaker 1>middle kid. I'm the middle kid too, although my siblings

0:50:11.800 --> 0:50:15.759
<v Speaker 1>are girls. So usually the hopes and dreams are in

0:50:15.800 --> 0:50:20.440
<v Speaker 1>the first one. The youngest one wants attention to the baby,

0:50:20.680 --> 0:50:22.760
<v Speaker 1>and you're in the middle, and you're kind of ignored,

0:50:22.960 --> 0:50:27.759
<v Speaker 1>both in good and bad ways. Was that your experience? No? No,

0:50:27.840 --> 0:50:31.080
<v Speaker 1>I mean my older brother my younger brother are both geniuses,

0:50:31.160 --> 0:50:35.360
<v Speaker 1>so both uh. I went to Yale undergraduate of Harvard Law,

0:50:35.880 --> 0:50:39.440
<v Speaker 1>perfect both perfect essay T scores. My brother graduated Harvard Law.

0:50:39.440 --> 0:50:42.319
<v Speaker 1>I think it's twenty one, so both of them were.

0:50:42.360 --> 0:50:46.120
<v Speaker 1>I was, relatively speaking, the dumb one in the family. Um,

0:50:46.320 --> 0:50:50.200
<v Speaker 1>but I also was the one with personality. Uh. I

0:50:50.560 --> 0:50:53.640
<v Speaker 1>don't really think the birth orders were also fairly far apart.

0:50:53.760 --> 0:50:56.319
<v Speaker 1>I was four years younger than my older brother and

0:50:56.520 --> 0:50:59.880
<v Speaker 1>five years older than my youngest brother, so there was

0:50:59.920 --> 0:51:03.960
<v Speaker 1>a pretty good spread there between all of us, so

0:51:04.600 --> 0:51:06.920
<v Speaker 1>we didn't really compete. We never were on the same

0:51:07.000 --> 0:51:11.000
<v Speaker 1>team's UM, so maybe that kind of helped a little

0:51:11.000 --> 0:51:19.280
<v Speaker 1>bit with that sort of a thing. Are you popular?

0:51:19.440 --> 0:51:23.680
<v Speaker 1>You have a lot of friends. I was, I was president.

0:51:24.040 --> 0:51:25.800
<v Speaker 1>You know. The funny thing is my senior year of

0:51:25.840 --> 0:51:28.120
<v Speaker 1>Livingston High School, I was president of the student council

0:51:28.560 --> 0:51:34.000
<v Speaker 1>and Chris Christie was president of the senior class. So um,

0:51:34.360 --> 0:51:36.640
<v Speaker 1>and I was actually practice what he preached. That was

0:51:36.719 --> 0:51:40.240
<v Speaker 1>a lazy affair government. I did not think as president casil,

0:51:40.560 --> 0:51:42.440
<v Speaker 1>I just didn't do a damn thing. But I was

0:51:42.520 --> 0:51:45.520
<v Speaker 1>captain the basketball team. I was president student council, so

0:51:45.840 --> 0:51:47.560
<v Speaker 1>you know, I I would say I was in the

0:51:47.600 --> 0:51:50.359
<v Speaker 1>mix certainly. It wasn't like a nerdy introvert who as

0:51:50.360 --> 0:51:54.319
<v Speaker 1>a writer. I was athletic. I played college basketball as well.

0:51:54.520 --> 0:51:59.200
<v Speaker 1>So how did you decide to go to Amherst Um.

0:51:59.239 --> 0:52:01.080
<v Speaker 1>I wanted a small were school where I could probably

0:52:01.320 --> 0:52:05.600
<v Speaker 1>you know, and actually because of my basketball UM and

0:52:05.680 --> 0:52:08.680
<v Speaker 1>having good grades, I could get into you know, Amerson.

0:52:08.960 --> 0:52:12.239
<v Speaker 1>I wasn't probably good enough to play Division one, so

0:52:12.280 --> 0:52:14.080
<v Speaker 1>I wasn't like I could have used it. I was

0:52:14.080 --> 0:52:16.920
<v Speaker 1>sort of, you know, a very good student, like a

0:52:16.960 --> 0:52:19.360
<v Speaker 1>lot of kids in my school. We're back in those days.

0:52:19.760 --> 0:52:22.799
<v Speaker 1>So what made me stand out was my basketball, and

0:52:22.840 --> 0:52:26.239
<v Speaker 1>Amirst wanted me UM for that, and it was sort

0:52:26.280 --> 0:52:28.680
<v Speaker 1>of the best school I thought I could make academically,

0:52:29.080 --> 0:52:31.400
<v Speaker 1>and I liked the small school environment. I had a

0:52:31.400 --> 0:52:34.040
<v Speaker 1>fairly big high school, one of a few people whose

0:52:34.080 --> 0:52:37.160
<v Speaker 1>college had a lot less people in the class um

0:52:37.200 --> 0:52:39.239
<v Speaker 1>in high school amirates at that time, I think, you know,

0:52:39.239 --> 0:52:41.239
<v Speaker 1>it was a really magical place for me there. I

0:52:41.320 --> 0:52:44.160
<v Speaker 1>learned a lot there, had a great liberal arts education

0:52:44.280 --> 0:52:48.480
<v Speaker 1>with no prerequisites whatsoever. Um, you didn't have to take

0:52:48.520 --> 0:52:50.399
<v Speaker 1>a math, you don't take a science and take any

0:52:50.400 --> 0:52:51.960
<v Speaker 1>of that sort of thing. Well, that bigs a question,

0:52:52.000 --> 0:52:54.919
<v Speaker 1>did you take math or science? I took one math

0:52:54.960 --> 0:52:57.840
<v Speaker 1>class and no science. I basically almost all the classes

0:52:57.880 --> 0:53:01.440
<v Speaker 1>I took were also because I was lazy. Um, I

0:53:01.480 --> 0:53:03.880
<v Speaker 1>took all. I took a lot of political science and

0:53:04.080 --> 0:53:07.440
<v Speaker 1>history and American studies and things. Where yet do I

0:53:07.520 --> 0:53:09.600
<v Speaker 1>two or three five page papers a day, which I

0:53:09.600 --> 0:53:12.680
<v Speaker 1>could a week or a semester, and I can always

0:53:12.680 --> 0:53:14.840
<v Speaker 1>take those, you know, if I did no work, I

0:53:14.840 --> 0:53:17.560
<v Speaker 1>didn't like reading any of the reading or whatever, I

0:53:17.560 --> 0:53:20.000
<v Speaker 1>could always take those and get a B plus versus

0:53:20.000 --> 0:53:21.840
<v Speaker 1>having you to take a test where you really have

0:53:21.960 --> 0:53:24.120
<v Speaker 1>to work. So part of it was being lazy. But

0:53:24.280 --> 0:53:26.600
<v Speaker 1>you know, I already I kind of thought I had

0:53:26.600 --> 0:53:29.759
<v Speaker 1>a knack for writing, necessarily realizing I'd want to be

0:53:29.800 --> 0:53:32.080
<v Speaker 1>a writer. Yet I wasn't one of those guys who

0:53:32.160 --> 0:53:35.400
<v Speaker 1>always knew UM. And I really enjoyed those classes. I

0:53:35.400 --> 0:53:38.919
<v Speaker 1>we had some great professors, small classes where you really

0:53:38.920 --> 0:53:40.480
<v Speaker 1>have a lot of give and take a lot of

0:53:40.480 --> 0:53:43.279
<v Speaker 1>the Socratic method. And really, I think what Amer's taught

0:53:43.280 --> 0:53:45.160
<v Speaker 1>me more than anything else, which has been helpful with

0:53:45.200 --> 0:53:48.520
<v Speaker 1>what I write is critical thinking and problem solving, which

0:53:48.520 --> 0:53:50.680
<v Speaker 1>is a lot of what my books really are. I

0:53:50.760 --> 0:53:53.000
<v Speaker 1>was probably better mess student in high school than I

0:53:53.040 --> 0:53:55.080
<v Speaker 1>was an English student. But it's not really that. The

0:53:55.080 --> 0:53:57.680
<v Speaker 1>writing was really about being able to see problems and

0:53:57.760 --> 0:54:03.040
<v Speaker 1>solve them. Did you play basket ball all four years? Yep? Yep?

0:54:03.560 --> 0:54:08.759
<v Speaker 1>In fact, I was a Jewish All American, Yes, right,

0:54:08.800 --> 0:54:10.720
<v Speaker 1>I was. It was There's not five Jews who played

0:54:10.719 --> 0:54:13.319
<v Speaker 1>college basketball and made a team. I guess. Okay, So

0:54:13.360 --> 0:54:16.680
<v Speaker 1>when your college career is over, do you play anymore ball?

0:54:16.760 --> 0:54:20.160
<v Speaker 1>Do you feel the absence? What goes on? I played

0:54:20.200 --> 0:54:22.319
<v Speaker 1>up until I was in my late forties, and then

0:54:22.440 --> 0:54:25.120
<v Speaker 1>I had a knee injury, and my friend, who was

0:54:25.200 --> 0:54:29.120
<v Speaker 1>a northopedic surgeon, said, you can keep playing like your

0:54:29.160 --> 0:54:31.359
<v Speaker 1>friends and end up on my table where you can

0:54:31.400 --> 0:54:33.680
<v Speaker 1>retire now and maybe not end up on my table,

0:54:34.000 --> 0:54:35.920
<v Speaker 1>and so I retired. I didn't push it after that,

0:54:35.920 --> 0:54:37.800
<v Speaker 1>so I've never had to have any surgery or anything

0:54:37.800 --> 0:54:39.440
<v Speaker 1>like that. But I played up until I was I

0:54:39.440 --> 0:54:42.000
<v Speaker 1>think forty seven or forty eight. I played and pick

0:54:42.080 --> 0:54:43.919
<v Speaker 1>up and I do miss that every once in a a while.

0:54:43.960 --> 0:54:47.600
<v Speaker 1>I still had that yearning, but you know, I've also

0:54:47.640 --> 0:54:50.320
<v Speaker 1>accepted it. It's times. Well, since you're a basketball player,

0:54:50.360 --> 0:54:53.319
<v Speaker 1>that pigs a question. How tall are you I'm six

0:54:53.360 --> 0:54:58.800
<v Speaker 1>f legit six four right right, asupposed everybody that lives. Okay,

0:54:59.000 --> 0:55:02.600
<v Speaker 1>you're in Amherst. What's it like being a Jew and Amherst?

0:55:04.239 --> 0:55:06.400
<v Speaker 1>It was. It was interesting because because I grew up

0:55:06.440 --> 0:55:09.120
<v Speaker 1>in Livingston, New Jersey, which is a very Jewish town,

0:55:09.760 --> 0:55:12.640
<v Speaker 1>so I hadn't really experienced all that much anti Semitism,

0:55:12.680 --> 0:55:15.680
<v Speaker 1>and an Amhurst, I started to a little bit nothing heavy,

0:55:15.760 --> 0:55:17.919
<v Speaker 1>but I remember in the first week or two they're

0:55:17.960 --> 0:55:20.520
<v Speaker 1>hearing people saying, stop trying to jew me down, stop

0:55:20.560 --> 0:55:22.920
<v Speaker 1>being a Joe, gave me the money, those sort of

0:55:22.920 --> 0:55:28.400
<v Speaker 1>things that I found somewhat shocking. Um uh, because it

0:55:28.480 --> 0:55:30.799
<v Speaker 1>was the first time I wasn't in a area that

0:55:30.960 --> 0:55:33.960
<v Speaker 1>was a majority of Jewish. But it really wasn't like,

0:55:34.000 --> 0:55:36.120
<v Speaker 1>you know, it wasn't like the movie school Ties or

0:55:36.120 --> 0:55:39.280
<v Speaker 1>anything like that. It wasn't like it was that horrific.

0:55:39.320 --> 0:55:44.439
<v Speaker 1>And there were other ones, so um yeah, I don't

0:55:44.480 --> 0:55:47.520
<v Speaker 1>think it was been fairly lucky. Also being an athlete

0:55:47.520 --> 0:55:49.919
<v Speaker 1>and that kind of a thing where I never really

0:55:49.960 --> 0:55:55.360
<v Speaker 1>experienced anything dreadful or serious. Okay, so you're in college,

0:55:55.440 --> 0:55:59.200
<v Speaker 1>any thought of what you're going to do for a living. None,

0:55:59.360 --> 0:56:01.960
<v Speaker 1>I mean, I was a political science major, which is

0:56:01.960 --> 0:56:03.960
<v Speaker 1>a euthemism for I have no idea what the funk

0:56:04.000 --> 0:56:06.080
<v Speaker 1>I want to do with my life. I was going

0:56:06.120 --> 0:56:08.520
<v Speaker 1>to go to law school because my brother all Rebutter,

0:56:08.560 --> 0:56:11.120
<v Speaker 1>gone to law school, my father had gone to law school,

0:56:11.120 --> 0:56:13.760
<v Speaker 1>and my aunt, my uncle, everybody had been a lawyer,

0:56:13.760 --> 0:56:17.120
<v Speaker 1>and it just seemed like the natural next step. Um.

0:56:17.160 --> 0:56:19.520
<v Speaker 1>And then my grandfather had a business that he needed

0:56:19.560 --> 0:56:22.320
<v Speaker 1>help with, so I deferred. I was actually gonna go

0:56:22.360 --> 0:56:25.080
<v Speaker 1>to Universe of Chicago law school. I deferred one year

0:56:25.080 --> 0:56:26.560
<v Speaker 1>and in two years, and then I never went to

0:56:26.600 --> 0:56:30.320
<v Speaker 1>think of this. Okay, so you're working in his business

0:56:30.440 --> 0:56:34.080
<v Speaker 1>doing what it's a travel business. I was setting up

0:56:34.120 --> 0:56:37.480
<v Speaker 1>tours overseas and writing the brochure and doing the marketing,

0:56:38.239 --> 0:56:41.120
<v Speaker 1>UM and stuff like that. Base you know, we had

0:56:41.160 --> 0:56:44.120
<v Speaker 1>a travel club. We would set up tours to Italy

0:56:44.360 --> 0:56:49.000
<v Speaker 1>or France or Asia wherever, we packaged them, sell them

0:56:49.040 --> 0:56:52.960
<v Speaker 1>to sell them to different people, to our members. And

0:56:53.040 --> 0:56:56.080
<v Speaker 1>that was what I did, Yeah for eight years? From yeah,

0:56:56.400 --> 0:56:59.359
<v Speaker 1>I did it for how long? Eight years? So when

0:56:59.360 --> 0:57:00.920
<v Speaker 1>did the belt of off that you wanted to be

0:57:00.960 --> 0:57:04.600
<v Speaker 1>a writer? My senior year of college when I first

0:57:04.600 --> 0:57:05.920
<v Speaker 1>started to do and That was how I sort of

0:57:05.960 --> 0:57:08.879
<v Speaker 1>talked about it going to law school. My grandfather sort

0:57:08.880 --> 0:57:10.680
<v Speaker 1>of said, if you go to law school, you're probably

0:57:10.680 --> 0:57:13.399
<v Speaker 1>not gonna ever write here why you're there, you can,

0:57:13.840 --> 0:57:15.480
<v Speaker 1>you know, work in this job, you can, you can

0:57:15.480 --> 0:57:18.480
<v Speaker 1>try to keep writing. Um, And I did, And then

0:57:19.080 --> 0:57:21.000
<v Speaker 1>I guess I had a book or two out before

0:57:21.800 --> 0:57:25.880
<v Speaker 1>that business imploded, and and then I went out on

0:57:25.920 --> 0:57:29.960
<v Speaker 1>my own. Well that begs a question of finances, because

0:57:30.280 --> 0:57:33.680
<v Speaker 1>if you're making five or six K a book, how

0:57:33.720 --> 0:57:36.520
<v Speaker 1>are you making rents? So to speak? Well, it's an

0:57:36.520 --> 0:57:38.920
<v Speaker 1>interesting time. Um. You know, my wife was working as

0:57:38.920 --> 0:57:41.880
<v Speaker 1>a pediatrician. So first of all, made I made. I

0:57:41.960 --> 0:57:43.760
<v Speaker 1>helped grow the business to the point where I was

0:57:43.800 --> 0:57:48.640
<v Speaker 1>making decent money with the family business for a little while. Um.

0:57:48.680 --> 0:57:51.040
<v Speaker 1>But then it did come to a stage when that

0:57:51.400 --> 0:57:53.479
<v Speaker 1>when that left that, I had a very good job

0:57:53.520 --> 0:57:57.240
<v Speaker 1>offer for a regular executive butt on a suit every

0:57:57.320 --> 0:58:01.480
<v Speaker 1>day kind of a job in Stanford, Connecticut. And I

0:58:01.480 --> 0:58:03.720
<v Speaker 1>didn't want to do it. And I was going to

0:58:03.840 --> 0:58:07.040
<v Speaker 1>do it because I had fighting family. My my wife

0:58:07.120 --> 0:58:09.280
<v Speaker 1>is probably their first kid. I guess around then, and

0:58:09.320 --> 0:58:11.160
<v Speaker 1>remember I said to my wife, I'd really like to

0:58:11.200 --> 0:58:14.160
<v Speaker 1>give this writing a shot with what the savings we

0:58:14.200 --> 0:58:17.439
<v Speaker 1>have and what you're making as a pediatrician. She's working

0:58:17.440 --> 0:58:19.360
<v Speaker 1>the publicly, she's working in a hospital. So it wasn't

0:58:19.360 --> 0:58:23.240
<v Speaker 1>like a ton um, can we do? You think we can?

0:58:23.400 --> 0:58:25.360
<v Speaker 1>We can do it, And I don't know how anybody

0:58:25.400 --> 0:58:28.240
<v Speaker 1>does without a supportive spouse. I had a super supportive spouse.

0:58:28.600 --> 0:58:30.840
<v Speaker 1>My wife was fantastic. She said, yeah, I give it

0:58:30.880 --> 0:58:35.080
<v Speaker 1>a go, and you know, but I mean so for

0:58:35.120 --> 0:58:39.959
<v Speaker 1>a little while, I just enough to contribute, not those days,

0:58:39.960 --> 0:58:42.800
<v Speaker 1>not the five or six thousand dollar stage, but then

0:58:42.960 --> 0:58:45.360
<v Speaker 1>you know, obviously became a worthwhile investment in the end.

0:58:45.680 --> 0:58:47.280
<v Speaker 1>But this is another thing that you know, you said

0:58:47.320 --> 0:58:49.080
<v Speaker 1>to right at the point where people sort of think,

0:58:49.120 --> 0:58:52.560
<v Speaker 1>if you don't hit it right away or you're supposed to,

0:58:52.680 --> 0:58:55.880
<v Speaker 1>you gotta move on to something else. And yes, publishers

0:58:55.880 --> 0:58:57.919
<v Speaker 1>may not be as patient as they were in those days,

0:58:58.080 --> 0:58:59.840
<v Speaker 1>but I don't think my publishers were patient. I think

0:58:59.840 --> 0:59:03.280
<v Speaker 1>I just so far under their under their radar, they

0:59:03.320 --> 0:59:05.360
<v Speaker 1>just didn't kind of notice. You know, it just was

0:59:05.960 --> 0:59:08.720
<v Speaker 1>being renewed at five thousand dollars a book for a

0:59:08.720 --> 0:59:11.200
<v Speaker 1>few years, and then I won a couple of awards,

0:59:11.280 --> 0:59:14.440
<v Speaker 1>and you know, I changed agents, and some things happened

0:59:14.480 --> 0:59:17.040
<v Speaker 1>where I made where I was able to to move

0:59:17.120 --> 0:59:18.680
<v Speaker 1>up the ladder a little bit, and then it was

0:59:18.920 --> 0:59:22.120
<v Speaker 1>fifty thousand and a hundred thousand, So you know, it

0:59:22.200 --> 0:59:25.720
<v Speaker 1>was that it was a slower, slower step. But I

0:59:25.760 --> 0:59:28.200
<v Speaker 1>get emails from people it's like, you know, I've written

0:59:28.400 --> 0:59:32.120
<v Speaker 1>three self published books and digital. How can I'm not

0:59:32.160 --> 0:59:34.480
<v Speaker 1>selling like you and Patterson? You know that's not how

0:59:34.520 --> 0:59:39.280
<v Speaker 1>it works. There's as a tremendous impatience nowadays, and um,

0:59:39.720 --> 0:59:42.720
<v Speaker 1>I almost like grumpy old man. But it's okay. It

0:59:42.800 --> 0:59:45.520
<v Speaker 1>was my tell No. One was my tenth published novel,

0:59:45.960 --> 0:59:49.360
<v Speaker 1>was my first New York Times bestseller, my tenth So

0:59:49.440 --> 0:59:51.960
<v Speaker 1>as long as you're let's drew down a little bit.

0:59:52.040 --> 0:59:54.600
<v Speaker 1>When you're working with your grandfather, are you writing at

0:59:54.640 --> 0:59:57.800
<v Speaker 1>that time? I am. My first two books were published

0:59:57.800 --> 1:00:00.240
<v Speaker 1>while I was still working, which is not a thing.

1:00:00.800 --> 1:00:02.439
<v Speaker 1>I don't know. You don't have to quit your job

1:00:02.520 --> 1:00:06.280
<v Speaker 1>to write. I don't know. That's just not true. Um.

1:00:06.400 --> 1:00:08.800
<v Speaker 1>In fact, it's pretty much. I think the opposite. You

1:00:08.880 --> 1:00:10.440
<v Speaker 1>have more of a hunger because you want to get

1:00:10.480 --> 1:00:14.280
<v Speaker 1>the hell out of that job. So, um, I were

1:00:14.400 --> 1:00:16.120
<v Speaker 1>you know, if it was gonna take you twelve months

1:00:16.160 --> 1:00:18.320
<v Speaker 1>to write a book. If you're working full time, maybe

1:00:18.320 --> 1:00:19.960
<v Speaker 1>it's like your four team months. And if you are

1:00:19.960 --> 1:00:21.800
<v Speaker 1>one of those people are gonna tell me you're too busy,

1:00:22.160 --> 1:00:24.360
<v Speaker 1>then writing is not that important to you. I'm sorry,

1:00:24.400 --> 1:00:27.520
<v Speaker 1>it's just not. Mary Higgins Clark is the example. My

1:00:27.600 --> 1:00:30.160
<v Speaker 1>dear friend who passed this yere, who I love dearly,

1:00:30.480 --> 1:00:33.080
<v Speaker 1>taught me so much about life. But Mary Higgins Clark,

1:00:33.640 --> 1:00:36.200
<v Speaker 1>when she was thirty six years old, has five children,

1:00:36.480 --> 1:00:39.120
<v Speaker 1>and her husband died the very next day. Her father,

1:00:39.160 --> 1:00:42.120
<v Speaker 1>her mother in law dies. So Mary, this is back

1:00:42.120 --> 1:00:44.880
<v Speaker 1>in the fifties or early sixties, thing of the fifties.

1:00:44.880 --> 1:00:49.880
<v Speaker 1>Still it's left the five kids, no husband, no prospects,

1:00:49.880 --> 1:00:52.560
<v Speaker 1>no one. She worked full time, so Mary would wake

1:00:52.640 --> 1:00:55.120
<v Speaker 1>up and she would write at her kitchen table from

1:00:55.120 --> 1:00:57.720
<v Speaker 1>five am to seven am before the kids woke up.

1:00:57.920 --> 1:00:59.600
<v Speaker 1>So don't tell me you don't have time to write,

1:00:59.680 --> 1:01:03.080
<v Speaker 1>because it's horseship, you know, turn off the TV, wake

1:01:03.160 --> 1:01:07.400
<v Speaker 1>up an hour earlier, skip lunch. So when I was writing,

1:01:07.480 --> 1:01:09.520
<v Speaker 1>when I was working full time, I was writing almost

1:01:09.560 --> 1:01:11.960
<v Speaker 1>as fast as I'm writing now. I just had it.

1:01:12.240 --> 1:01:14.560
<v Speaker 1>I would be thinking about it when I had that time, boy,

1:01:14.600 --> 1:01:16.960
<v Speaker 1>I would use it. And when did you write when

1:01:16.960 --> 1:01:22.680
<v Speaker 1>you had that full time job? Lunchtime, early mornings, but

1:01:22.800 --> 1:01:25.240
<v Speaker 1>mostly in that day because I was younger, mostly at night.

1:01:25.520 --> 1:01:29.040
<v Speaker 1>So if I finished work at five o'clock or whatever else, Um,

1:01:29.080 --> 1:01:32.400
<v Speaker 1>I would write from you know, seven to ten pm

1:01:32.560 --> 1:01:35.360
<v Speaker 1>or eight to eleven PM or nine to midnight something

1:01:35.440 --> 1:01:41.240
<v Speaker 1>like that. Ye skip the TV. Yeah whatever is How

1:01:41.240 --> 1:01:44.280
<v Speaker 1>did you meet your wife? We've been to get her

1:01:44.320 --> 1:01:46.360
<v Speaker 1>since I was in college where I was. I was

1:01:46.400 --> 1:01:48.520
<v Speaker 1>a sophomore and she was a freshman at Amer's College

1:01:48.600 --> 1:01:52.920
<v Speaker 1>and then both played college basketball. That's how we met. Wow.

1:01:53.160 --> 1:01:56.080
<v Speaker 1>Now that begs a question, especially since you have Jewish

1:01:56.120 --> 1:02:00.600
<v Speaker 1>references in your latest book. Is she Jewish? She is not?

1:02:01.560 --> 1:02:03.960
<v Speaker 1>That was a mixed marriage, early mixed marriage. How about

1:02:03.960 --> 1:02:10.960
<v Speaker 1>the kids? No, do your parents say anything? Um? My

1:02:11.040 --> 1:02:14.160
<v Speaker 1>parents are not very religious people. Um. And again my

1:02:14.240 --> 1:02:18.400
<v Speaker 1>dad died before I got married. Um. They both liked

1:02:18.440 --> 1:02:21.880
<v Speaker 1>their tremendous amount my wife, so it really was probably

1:02:21.880 --> 1:02:24.680
<v Speaker 1>more of an issue on her side where she was Catholic. Um,

1:02:25.560 --> 1:02:27.439
<v Speaker 1>you know, on our side. It was back in those

1:02:27.520 --> 1:02:29.600
<v Speaker 1>days that people it wasn't a mixed marriage, were not

1:02:29.640 --> 1:02:32.480
<v Speaker 1>a big thing. This was I got married. They were

1:02:32.520 --> 1:02:35.040
<v Speaker 1>just starting. It was like I remember, we had a

1:02:35.040 --> 1:02:38.040
<v Speaker 1>search for a rabbi and no rabbis would do it

1:02:38.080 --> 1:02:41.240
<v Speaker 1>because we want to do a mixed ceremony. Um. So

1:02:41.320 --> 1:02:45.160
<v Speaker 1>it was tricky, but it was hard maybe the beginning

1:02:45.240 --> 1:02:48.040
<v Speaker 1>when we first started, but we both I think softened

1:02:48.080 --> 1:02:52.680
<v Speaker 1>our stances on both of those being not very religious. Okay,

1:02:52.720 --> 1:02:55.640
<v Speaker 1>let's talk about telling no one the movie the book

1:02:55.680 --> 1:03:00.320
<v Speaker 1>is successful. What's the genesis of the movie out? First?

1:03:00.360 --> 1:03:03.440
<v Speaker 1>You know, I told the movie rights to that before

1:03:03.480 --> 1:03:06.360
<v Speaker 1>the book came out in America. Had you had you

1:03:06.440 --> 1:03:10.840
<v Speaker 1>sold book right movie rights to any book previously? I

1:03:10.840 --> 1:03:13.560
<v Speaker 1>had had small options on my Myron boultitar series, but

1:03:13.640 --> 1:03:17.840
<v Speaker 1>nothing like this. This was like a three studio auction

1:03:18.480 --> 1:03:22.200
<v Speaker 1>and it went for a lot of money. Um. And

1:03:22.240 --> 1:03:25.000
<v Speaker 1>it was more money than I've ever made on books combined.

1:03:25.360 --> 1:03:29.560
<v Speaker 1>Remember being in a bookstore on book tour in Scottsdale

1:03:29.600 --> 1:03:32.800
<v Speaker 1>getting calls. You know, Columbia moved up to here, Warner

1:03:32.840 --> 1:03:35.360
<v Speaker 1>Brothers moved up to here. So it was this is

1:03:35.400 --> 1:03:37.520
<v Speaker 1>almost a year before the book came out. I'm talking

1:03:37.520 --> 1:03:40.400
<v Speaker 1>about the early buzz. People just read it and saw

1:03:40.520 --> 1:03:43.960
<v Speaker 1>the potential for it. So I ended up selling it

1:03:44.240 --> 1:03:47.560
<v Speaker 1>or optioning a company optioned it in the US. It

1:03:47.640 --> 1:03:50.800
<v Speaker 1>was a long story. It was a weird offshoot company

1:03:51.320 --> 1:03:53.760
<v Speaker 1>and uh, you know, it's kind of The first script

1:03:53.760 --> 1:03:57.000
<v Speaker 1>was written by two well known guys I won't mention

1:03:57.000 --> 1:03:59.280
<v Speaker 1>your names that people can google and sometimes and find

1:03:59.320 --> 1:04:01.160
<v Speaker 1>it and it really they hated the first script. But

1:04:01.280 --> 1:04:05.200
<v Speaker 1>I also I understood right early on that you you know,

1:04:05.200 --> 1:04:07.120
<v Speaker 1>when you sell a book, you don't really get to

1:04:07.240 --> 1:04:11.040
<v Speaker 1>decide that sort of the thing. Um, And here's the

1:04:11.080 --> 1:04:15.280
<v Speaker 1>thing people don't realize. It's really hard. Always been really

1:04:15.280 --> 1:04:18.680
<v Speaker 1>hard to get a movie made from the book, really hard.

1:04:18.840 --> 1:04:21.440
<v Speaker 1>It's hard today still with all the streaming, and it

1:04:21.480 --> 1:04:24.720
<v Speaker 1>was really hard back then with all that money behind

1:04:24.720 --> 1:04:26.520
<v Speaker 1>and all of the meat, all the stuff that was

1:04:26.560 --> 1:04:29.000
<v Speaker 1>going on, all the talent behind it. Um, it was

1:04:29.040 --> 1:04:32.240
<v Speaker 1>really hard to get to that green light. They kept

1:04:32.320 --> 1:04:34.800
<v Speaker 1>changing they changed this director and that, and they kept

1:04:34.840 --> 1:04:38.000
<v Speaker 1>going back and forth. I tell the story too long,

1:04:38.120 --> 1:04:41.120
<v Speaker 1>but there's a there's a moment at the three year

1:04:41.160 --> 1:04:43.600
<v Speaker 1>mark when I had a chance of getting the book

1:04:43.640 --> 1:04:45.120
<v Speaker 1>back for a while, they were willing to give me

1:04:45.160 --> 1:04:47.880
<v Speaker 1>a lot more money to keep it again. But I've

1:04:47.920 --> 1:04:50.000
<v Speaker 1>been starting to get a call from this crazy French

1:04:50.040 --> 1:04:52.680
<v Speaker 1>guy named Gia Ken and I didn't know, you know,

1:04:52.720 --> 1:04:54.680
<v Speaker 1>I don't I don't really follow I didn't at the

1:04:54.720 --> 1:04:58.000
<v Speaker 1>time follow French and had no idea who Ken is

1:04:58.040 --> 1:05:00.400
<v Speaker 1>and somebody. Then then he had a tier in a

1:05:00.480 --> 1:05:03.880
<v Speaker 1>movie called The Beach with Leonardo DiCaprio, and Kennedy was

1:05:03.920 --> 1:05:05.800
<v Speaker 1>the second lead in that. If you've ever seen that

1:05:05.840 --> 1:05:09.280
<v Speaker 1>movie The Beach, he was the French guy that hangs

1:05:09.280 --> 1:05:13.360
<v Speaker 1>out with Leonardo DiCaprio the home movie and version of Ludan.

1:05:13.960 --> 1:05:15.440
<v Speaker 1>So he was, you know, he was sort of the

1:05:15.480 --> 1:05:18.280
<v Speaker 1>Brad Pitt of France, and he was. He had directed

1:05:18.360 --> 1:05:20.360
<v Speaker 1>one movie he sent me a copy of. I was like, wow,

1:05:20.400 --> 1:05:23.560
<v Speaker 1>this is what was really good. It's got tremendous potential

1:05:23.880 --> 1:05:27.120
<v Speaker 1>Pomony Doll and he was telling me his ideas for

1:05:27.560 --> 1:05:30.080
<v Speaker 1>the movie. And it's kind of like it's gonna be

1:05:30.160 --> 1:05:32.000
<v Speaker 1>into an American film. There's nothing much I can do

1:05:32.040 --> 1:05:34.320
<v Speaker 1>about it. But when I had that chance of three

1:05:34.400 --> 1:05:36.360
<v Speaker 1>year mark and I saw how bad the scripts were,

1:05:36.760 --> 1:05:38.880
<v Speaker 1>I just didn't believe they were going to do it.

1:05:39.280 --> 1:05:42.720
<v Speaker 1>I said to Gione, if you can match the option money,

1:05:42.800 --> 1:05:45.080
<v Speaker 1>I'll tell Hollywood no and I'll give it to you,

1:05:45.720 --> 1:05:48.800
<v Speaker 1>and everybody told me I was absolutely nuts. But I

1:05:48.880 --> 1:05:51.080
<v Speaker 1>also knew that if France was going to put up

1:05:51.080 --> 1:05:53.600
<v Speaker 1>that kind of option money, Unlike Hollywood, which could piss

1:05:53.640 --> 1:05:56.280
<v Speaker 1>away that kind of money, the French could not. It

1:05:56.320 --> 1:05:58.320
<v Speaker 1>would have to be made. They just could not do

1:05:58.440 --> 1:06:00.880
<v Speaker 1>that unless they're gonna make the movie. And so I

1:06:00.920 --> 1:06:03.520
<v Speaker 1>went with my gut on it. And it's one of

1:06:03.520 --> 1:06:06.120
<v Speaker 1>the few times my gut was rook because we made

1:06:06.120 --> 1:06:08.560
<v Speaker 1>a really he made a marvelous movie out of it.

1:06:08.600 --> 1:06:10.800
<v Speaker 1>We had a great time making it. We're still friends

1:06:11.240 --> 1:06:13.440
<v Speaker 1>with all the people on and I still communicated with

1:06:13.440 --> 1:06:15.440
<v Speaker 1>a lot of It was a labor of love. No

1:06:15.480 --> 1:06:17.720
<v Speaker 1>one expected it to do what it ended up doing,

1:06:18.200 --> 1:06:21.240
<v Speaker 1>you know. And it ended up being the top grossing

1:06:21.320 --> 1:06:24.160
<v Speaker 1>foreign film in the US that year, which no one

1:06:24.240 --> 1:06:26.600
<v Speaker 1>expected it to do. We couldn't even get anybody first

1:06:26.840 --> 1:06:29.720
<v Speaker 1>to show it in America, um, because I said, oh,

1:06:29.760 --> 1:06:31.920
<v Speaker 1>you know, if if people want to watch a French film,

1:06:32.200 --> 1:06:34.480
<v Speaker 1>they want to watch Emily or something like that. They

1:06:34.520 --> 1:06:36.400
<v Speaker 1>don't want to watch a thriller. Why would they want

1:06:36.400 --> 1:06:39.360
<v Speaker 1>to watch a French thriller? Again, a million American thrillers,

1:06:39.360 --> 1:06:41.200
<v Speaker 1>but once it was shown here. It caught on and

1:06:41.240 --> 1:06:45.000
<v Speaker 1>became the biggest grossing foreign film of the year UM

1:06:45.080 --> 1:06:48.680
<v Speaker 1>that year in America and has become something of a

1:06:48.800 --> 1:06:51.560
<v Speaker 1>of a cult classic, which has really been fun. To

1:06:51.680 --> 1:06:53.680
<v Speaker 1>what degree were you involved in the production of the

1:06:53.720 --> 1:06:58.880
<v Speaker 1>movie more than most writers but not I didn't write

1:06:58.880 --> 1:07:02.920
<v Speaker 1>the screenplay. Giam ran a lot by me. UM. We

1:07:03.000 --> 1:07:06.520
<v Speaker 1>talked about it a lot, but I didn't really have

1:07:06.640 --> 1:07:10.120
<v Speaker 1>an official, an official role. I was on set a

1:07:10.200 --> 1:07:14.280
<v Speaker 1>number of times. We talked about it a lot, UM,

1:07:14.360 --> 1:07:17.480
<v Speaker 1>but this really was Giama's vision for the for the story,

1:07:17.840 --> 1:07:20.560
<v Speaker 1>UM and he kind of he really knew what he

1:07:20.640 --> 1:07:25.200
<v Speaker 1>wanted to do early on, and UM, I didn't really

1:07:25.200 --> 1:07:27.440
<v Speaker 1>have too many disagreements. One of the things, for example,

1:07:27.600 --> 1:07:31.720
<v Speaker 1>was most thrillers are dark. UM and Gillam had this

1:07:31.840 --> 1:07:34.560
<v Speaker 1>idea that we should really have this dark story but

1:07:34.680 --> 1:07:37.080
<v Speaker 1>with huge bright colors, something I still do with my

1:07:37.120 --> 1:07:40.480
<v Speaker 1>shows today. Yeah, you know that the lake is beautiful,

1:07:40.560 --> 1:07:44.720
<v Speaker 1>that seemingly's walking past, the pink roses are exploding out,

1:07:45.120 --> 1:07:50.640
<v Speaker 1>it's colorful, wonderful cinematography by Christopher Austen's time, and all

1:07:50.640 --> 1:07:54.080
<v Speaker 1>of those sort of things, and having the story dark

1:07:54.200 --> 1:07:58.160
<v Speaker 1>underneath it Um, it was really fun. I remember going

1:07:58.200 --> 1:08:00.800
<v Speaker 1>to a dinner in Paris where he had pictures of

1:08:00.840 --> 1:08:02.480
<v Speaker 1>all the actors he was going to show me who

1:08:02.520 --> 1:08:04.280
<v Speaker 1>was going to play the role, and how nervous he

1:08:04.360 --> 1:08:06.240
<v Speaker 1>was to sort of show it to me. Um. So

1:08:06.280 --> 1:08:08.439
<v Speaker 1>we had a great time making the film. I don't

1:08:08.480 --> 1:08:11.040
<v Speaker 1>think any of us. I certainly didn't think it was

1:08:11.080 --> 1:08:14.680
<v Speaker 1>going to be as big as they ended up becoming. Now,

1:08:14.960 --> 1:08:19.679
<v Speaker 1>from an outsider's viewpoint, it's nearly a decade before your

1:08:19.720 --> 1:08:22.600
<v Speaker 1>next visual production comes out, and Tell No One was

1:08:22.640 --> 1:08:24.639
<v Speaker 1>a giant hit. What was going on in that period.

1:08:26.120 --> 1:08:29.120
<v Speaker 1>It's like I said, it's hard to get things made. Um,

1:08:29.200 --> 1:08:31.880
<v Speaker 1>I thought the same thing. I'm like, wow, let Tell

1:08:31.960 --> 1:08:33.880
<v Speaker 1>No One. You know in France that did so well.

1:08:34.280 --> 1:08:36.400
<v Speaker 1>I'm sure Hollywood's gonna be knocking on the door and

1:08:36.439 --> 1:08:39.639
<v Speaker 1>making everything now. It's going to be you know. I

1:08:39.680 --> 1:08:43.040
<v Speaker 1>was feeling very confident, but it didn't happen like that.

1:08:43.439 --> 1:08:46.040
<v Speaker 1>You know, it happens. It's very strange, like we were trying.

1:08:46.040 --> 1:08:48.800
<v Speaker 1>We're still we are still trying to remake Tell No

1:08:48.920 --> 1:08:52.000
<v Speaker 1>One as an English language version of it. That movie

1:08:52.040 --> 1:08:54.519
<v Speaker 1>was made in two thousand six. I think it came

1:08:54.520 --> 1:08:56.400
<v Speaker 1>out it came out in the US and two thousand

1:08:56.439 --> 1:09:01.640
<v Speaker 1>and eight we have had Liam Neeson, ben Athleck um

1:09:02.040 --> 1:09:06.640
<v Speaker 1>uh oh my god z. The names are all passing me,

1:09:06.760 --> 1:09:10.000
<v Speaker 1>passing through me. Um who have been We had like

1:09:10.080 --> 1:09:13.799
<v Speaker 1>four or five major directors, four or five major stars attached.

1:09:13.840 --> 1:09:17.400
<v Speaker 1>We've written, they've written scripts, Chris Terryo who wrote one script,

1:09:17.439 --> 1:09:20.599
<v Speaker 1>the guy wrote Argo. We've had just for some reason,

1:09:20.640 --> 1:09:23.559
<v Speaker 1>it just hasn't happened. And I wish I had a

1:09:23.600 --> 1:09:27.519
<v Speaker 1>better answered meant that that's just the fickle way um

1:09:27.600 --> 1:09:30.240
<v Speaker 1>that Hollywood is. I've had a lot of them close

1:09:31.000 --> 1:09:33.280
<v Speaker 1>and then something would happen and it would fall through

1:09:33.320 --> 1:09:35.519
<v Speaker 1>where it would actually be kind of terrible, and I

1:09:35.520 --> 1:09:37.519
<v Speaker 1>would sort of not necessarily not with tell no when

1:09:37.520 --> 1:09:39.559
<v Speaker 1>something the other ones sort of managed to be able

1:09:39.600 --> 1:09:41.280
<v Speaker 1>to pull the plug myself because I could see it

1:09:41.320 --> 1:09:44.040
<v Speaker 1>was heaving in the direction I didn't want it to go. Now.

1:09:44.080 --> 1:09:46.800
<v Speaker 1>Other than John Grisham, a lot of people write a

1:09:46.800 --> 1:09:51.200
<v Speaker 1>lot of books and they're not made into visual productions,

1:09:51.400 --> 1:09:54.400
<v Speaker 1>whereas What Ship Your Stride? It seems like, you know,

1:09:54.560 --> 1:09:58.960
<v Speaker 1>there's a couple of years, but they're made overseas. Why

1:09:59.000 --> 1:10:06.160
<v Speaker 1>did that happen? Well, the manor receives for now um

1:10:06.200 --> 1:10:10.519
<v Speaker 1>again because I think the French the French movie did

1:10:10.560 --> 1:10:13.360
<v Speaker 1>really well. Tell no One and I joke on the

1:10:13.439 --> 1:10:16.160
<v Speaker 1>Jerry Lewis of crime fiction. I go very well in France.

1:10:16.240 --> 1:10:19.720
<v Speaker 1>For some reason. France is my biggest country relative to

1:10:19.800 --> 1:10:23.280
<v Speaker 1>the size of the population um, Bigger than the US,

1:10:23.360 --> 1:10:26.640
<v Speaker 1>bigger than anywhere else. So I've had a great relationship

1:10:26.680 --> 1:10:29.680
<v Speaker 1>with France. Once I had that movie, I started in

1:10:29.760 --> 1:10:33.280
<v Speaker 1>great relationships with the cinema over there, and so I

1:10:33.320 --> 1:10:36.519
<v Speaker 1>did two other TV series which were both enormous French,

1:10:36.960 --> 1:10:41.679
<v Speaker 1>The Enormous Business in France and Once the British Person

1:10:41.760 --> 1:10:45.639
<v Speaker 1>saw a woman named Nicholas Schindler. One of the things

1:10:45.800 --> 1:10:48.040
<v Speaker 1>is that I decided at some stage of the game

1:10:48.400 --> 1:10:50.400
<v Speaker 1>that I didn't want to just option my stuff to

1:10:50.439 --> 1:10:54.080
<v Speaker 1>Hollywood and and sit back. I was at an age

1:10:54.160 --> 1:10:56.920
<v Speaker 1>right it was not gonna be influenced by Hollywood, so

1:10:56.960 --> 1:10:58.880
<v Speaker 1>it wouldn't affect my book writing, which it would have

1:10:58.880 --> 1:11:00.800
<v Speaker 1>a number of years ago. So I I ignored it.

1:11:00.880 --> 1:11:02.640
<v Speaker 1>Part of the reason why nothing was being made was

1:11:03.439 --> 1:11:05.760
<v Speaker 1>I had the attitude I'm just going to option I'm

1:11:05.760 --> 1:11:07.639
<v Speaker 1>gonna have nothing to do with it after that, which

1:11:07.640 --> 1:11:10.439
<v Speaker 1>is what Hollywood actually want. So there's a joke is

1:11:10.479 --> 1:11:12.760
<v Speaker 1>you run up to a barbed wire fence, you throw

1:11:12.800 --> 1:11:14.800
<v Speaker 1>the book over, they throw the money over. You run away,

1:11:14.840 --> 1:11:17.080
<v Speaker 1>they run away. You know they always joke. You know

1:11:17.120 --> 1:11:20.360
<v Speaker 1>who cares what the movie was? Uh? Cash, there's the check,

1:11:20.400 --> 1:11:22.880
<v Speaker 1>cash clear um. And I reached the stage right, that

1:11:23.080 --> 1:11:25.599
<v Speaker 1>wasn't what I wanted anymore. I wanted good stuff made.

1:11:25.640 --> 1:11:27.280
<v Speaker 1>I didn't care if I made a penny from it,

1:11:27.320 --> 1:11:30.280
<v Speaker 1>but I wanted some good stuff made. So about four

1:11:30.360 --> 1:11:32.040
<v Speaker 1>or five years ago, I decided I was going to

1:11:32.120 --> 1:11:34.840
<v Speaker 1>get involved, and I met some a woman in England

1:11:34.920 --> 1:11:38.120
<v Speaker 1>named Nicholas Schindler who has a happy valley less tango

1:11:38.120 --> 1:11:43.320
<v Speaker 1>in Halifax, queer as folk wonderful quality productions. Uh not

1:11:43.479 --> 1:11:46.000
<v Speaker 1>high budget. We can make it on our own. We

1:11:46.040 --> 1:11:49.040
<v Speaker 1>can make it ourselves. The networks will leave us alone.

1:11:49.640 --> 1:11:52.439
<v Speaker 1>And so I've now done three series with her, we're

1:11:52.439 --> 1:11:55.120
<v Speaker 1>working on the fourth, and they've become bigger and bigger

1:11:55.160 --> 1:11:56.920
<v Speaker 1>as time has gone on, and she's been a pleasure

1:11:56.960 --> 1:11:59.920
<v Speaker 1>to work with. From that, Netflix seeing that, and because

1:12:00.000 --> 1:12:03.920
<v Speaker 1>I sell a lot of books overseas, Netflix realized, well,

1:12:04.360 --> 1:12:07.080
<v Speaker 1>you know, we can make these shows and other countries.

1:12:07.680 --> 1:12:10.880
<v Speaker 1>We can really pound our memberships in those countries because

1:12:10.880 --> 1:12:13.080
<v Speaker 1>they're gonna be so pleased, and yet we can also

1:12:13.120 --> 1:12:15.679
<v Speaker 1>show them all over the world. And this was really

1:12:15.720 --> 1:12:18.200
<v Speaker 1>heavy for me. I love this idea. I don't want

1:12:18.200 --> 1:12:21.840
<v Speaker 1>my adaptations to be the exact same as my books,

1:12:21.920 --> 1:12:24.960
<v Speaker 1>so I've embraced that. That said, there will be some

1:12:25.040 --> 1:12:28.479
<v Speaker 1>American productions down the line as well, but right now

1:12:28.640 --> 1:12:30.360
<v Speaker 1>we just got a Polish one. Next will be a

1:12:30.400 --> 1:12:34.160
<v Speaker 1>Spanish one, probably soon a French one. Um, and I

1:12:34.200 --> 1:12:36.680
<v Speaker 1>love that. I mean, it's been really great for me

1:12:36.720 --> 1:12:38.800
<v Speaker 1>and I've been able. I haven't had a show yet

1:12:38.840 --> 1:12:40.640
<v Speaker 1>where I go. I'm really ashamed to this, so this

1:12:40.720 --> 1:12:43.160
<v Speaker 1>is really really bad. Some shows are better than others,

1:12:43.479 --> 1:12:46.920
<v Speaker 1>but I've I've personally been happy met with them all.

1:12:47.600 --> 1:12:53.759
<v Speaker 1>So the first English production is The Stranger the Five First. Okay,

1:12:54.479 --> 1:12:56.479
<v Speaker 1>now some of these you they were they were not

1:12:56.520 --> 1:13:00.680
<v Speaker 1>based on a previous book, correct, So what was the

1:13:00.720 --> 1:13:05.360
<v Speaker 1>process there? But Nicola came to me she wanted to

1:13:05.360 --> 1:13:07.479
<v Speaker 1>to option one of my books, and one of that

1:13:07.479 --> 1:13:09.679
<v Speaker 1>book was optioned. It did a problem. You option a book,

1:13:10.320 --> 1:13:12.719
<v Speaker 1>somebody will hold on to it for three years or whatever,

1:13:12.800 --> 1:13:15.120
<v Speaker 1>not do anything with it. It tries me crazy, um

1:13:15.160 --> 1:13:18.639
<v Speaker 1>and still pay you. But you know again, I've never

1:13:18.680 --> 1:13:21.080
<v Speaker 1>been driven by the dollar. I've been driven by wanting

1:13:21.120 --> 1:13:23.720
<v Speaker 1>to make something good. So when Nicola came to me

1:13:23.760 --> 1:13:26.479
<v Speaker 1>to want to get this particular story, we started talking like,

1:13:26.720 --> 1:13:29.840
<v Speaker 1>I've always had this idea, but it's it's I've always

1:13:29.880 --> 1:13:32.280
<v Speaker 1>seen it visually. I may write it as a novel,

1:13:32.320 --> 1:13:34.559
<v Speaker 1>but as four lead characters, and it's kind of hard

1:13:34.560 --> 1:13:36.640
<v Speaker 1>as a novel. And I told her the idea for

1:13:36.680 --> 1:13:38.840
<v Speaker 1>the five and our eyes lit up and she's like,

1:13:38.880 --> 1:13:40.040
<v Speaker 1>do you know the ending? I'm like, yeah, I know,

1:13:40.200 --> 1:13:41.559
<v Speaker 1>I know the ending. I know at the beginning of

1:13:41.600 --> 1:13:44.760
<v Speaker 1>the end. And I think fifteen minutes later we had

1:13:44.760 --> 1:13:48.280
<v Speaker 1>Sky Network buying it. It was that very fast Sky

1:13:48.360 --> 1:13:51.760
<v Speaker 1>Network bordered that's down. Netflix hasn't here in the US

1:13:51.840 --> 1:13:55.679
<v Speaker 1>and Sky hasn't in the UK. So that's how it started.

1:13:55.960 --> 1:13:59.080
<v Speaker 1>I had this idea and then um, I had you know,

1:13:59.120 --> 1:14:01.479
<v Speaker 1>we want to do another went together at the time

1:14:01.520 --> 1:14:03.720
<v Speaker 1>we thought it was going to be for Sky. Um,

1:14:03.840 --> 1:14:05.680
<v Speaker 1>so I came up with another another idea that I

1:14:05.720 --> 1:14:07.920
<v Speaker 1>was working on, but I also didn't think would be

1:14:07.920 --> 1:14:10.840
<v Speaker 1>a good novel, necessarily great novel that would be very

1:14:10.920 --> 1:14:13.479
<v Speaker 1>visual and that became a show called Safe, and then

1:14:13.479 --> 1:14:17.640
<v Speaker 1>we did The Stranger. So okay, so these are originals

1:14:18.240 --> 1:14:22.200
<v Speaker 1>other than coming up with a concept. How involved are you? No,

1:14:22.240 --> 1:14:24.320
<v Speaker 1>it's not just the concept, it's the whole story. I'm

1:14:24.520 --> 1:14:27.679
<v Speaker 1>I'm the whole story. I write the whole story pretty much.

1:14:28.080 --> 1:14:31.479
<v Speaker 1>We all have better guys do the actual scripts. Um,

1:14:31.520 --> 1:14:34.240
<v Speaker 1>and sometimes guys who's doing episode six will be doing

1:14:34.280 --> 1:14:36.160
<v Speaker 1>at the same time as a guy doing episode three

1:14:36.760 --> 1:14:38.599
<v Speaker 1>or the woman. We've had half in half pretty much,

1:14:39.120 --> 1:14:41.559
<v Speaker 1>but all the whole story is mine, from beginning to end,

1:14:41.920 --> 1:14:45.240
<v Speaker 1>all the outline, you know, I work with maybe two

1:14:45.320 --> 1:14:47.720
<v Speaker 1>or three other people are the writer's room, but I

1:14:47.800 --> 1:14:50.439
<v Speaker 1>run the writer's room. I run So it's these are

1:14:50.479 --> 1:14:53.200
<v Speaker 1>not like, oh, here's an idea, UM, you guys do

1:14:53.280 --> 1:14:56.760
<v Speaker 1>something with it. I'm on every day. I watched over

1:14:56.800 --> 1:15:00.439
<v Speaker 1>three D audition tapes for the five Safe and The Stranger.

1:15:00.520 --> 1:15:03.040
<v Speaker 1>Each one of them I watched three each to do

1:15:03.120 --> 1:15:06.760
<v Speaker 1>this to do the casting. UM. By the by the

1:15:06.800 --> 1:15:08.160
<v Speaker 1>time we do The Stranger, they would send me hair

1:15:08.320 --> 1:15:10.040
<v Speaker 1>styles in the morning for me to make sure I'm

1:15:10.040 --> 1:15:13.360
<v Speaker 1>okay with UM. I watched the I watch them every day.

1:15:13.439 --> 1:15:15.280
<v Speaker 1>If they're shooting in the UK. Are you in the

1:15:15.360 --> 1:15:18.200
<v Speaker 1>U S Or the UK when they're doing this US?

1:15:18.360 --> 1:15:20.800
<v Speaker 1>But they can every morning. But they just got my

1:15:20.880 --> 1:15:25.040
<v Speaker 1>months from Spain. Every day, like I watched the Russians

1:15:25.080 --> 1:15:28.200
<v Speaker 1>from the day before. We just started refilming. Um, we've

1:15:28.200 --> 1:15:30.240
<v Speaker 1>been doing the show called The Innocence based off my

1:15:30.280 --> 1:15:33.479
<v Speaker 1>book The Innocent in Spain. The last you know, we

1:15:33.640 --> 1:15:37.000
<v Speaker 1>stopped for COVID. We just started up yesterday. So every

1:15:37.040 --> 1:15:38.720
<v Speaker 1>day when I wake up, I have an email in

1:15:38.720 --> 1:15:41.680
<v Speaker 1>the morning that has all three hours of whatever they

1:15:41.840 --> 1:15:44.519
<v Speaker 1>stayed filmed for me to watch the scenes, and I'll

1:15:44.560 --> 1:15:47.400
<v Speaker 1>then comment. I'll say, well, you know what, let's have

1:15:47.439 --> 1:15:49.040
<v Speaker 1>the guy hit a little more of this or do that,

1:15:49.720 --> 1:15:52.280
<v Speaker 1>or it's just perfect, keep doing what you're doing. So

1:15:52.720 --> 1:15:55.240
<v Speaker 1>I watched it. I watched them all every day. For

1:15:55.360 --> 1:15:58.000
<v Speaker 1>the English language ones, I have a lot. I am

1:15:58.040 --> 1:16:00.759
<v Speaker 1>the I am technically speaking, what we call the show runner.

1:16:01.400 --> 1:16:04.720
<v Speaker 1>And someone writes a script, to what degree do you

1:16:04.760 --> 1:16:08.680
<v Speaker 1>tweak that script after it's written completely? I mean as

1:16:08.680 --> 1:16:11.200
<v Speaker 1>a team, because it's very hard they're writing at the

1:16:11.280 --> 1:16:14.240
<v Speaker 1>different times. We have to make sure that you know,

1:16:14.240 --> 1:16:16.120
<v Speaker 1>if you're writing episodes six and someone else is writing

1:16:16.160 --> 1:16:18.720
<v Speaker 1>episode three that you have the same voice, and it's

1:16:18.720 --> 1:16:22.120
<v Speaker 1>a voice that's consistent with what we're doing. I've had

1:16:22.160 --> 1:16:24.160
<v Speaker 1>the same head writer in terms of scripts. The guy

1:16:24.240 --> 1:16:26.960
<v Speaker 1>named Danny Brocklehurst broke with me on all three of

1:16:27.000 --> 1:16:29.680
<v Speaker 1>those English language shows. And the next one we'll do

1:16:29.920 --> 1:16:32.280
<v Speaker 1>the same. We'll I'll rest write the first and the last,

1:16:32.400 --> 1:16:34.920
<v Speaker 1>so we have that kind of bookmark and we have

1:16:35.080 --> 1:16:38.240
<v Speaker 1>the voice that we we want. But Danny that working

1:16:38.520 --> 1:16:40.840
<v Speaker 1>very hard and very close together with a guy named

1:16:40.880 --> 1:16:43.920
<v Speaker 1>Richard C. So you know, it's a very small writer's room.

1:16:43.920 --> 1:16:46.800
<v Speaker 1>Tho shows have on the six A ten writers. It's

1:16:46.880 --> 1:16:50.639
<v Speaker 1>usually um, the three of us with Nicolaus isn't there too?

1:16:50.680 --> 1:16:54.280
<v Speaker 1>And called the core four and we've done basically those

1:16:54.280 --> 1:16:56.880
<v Speaker 1>are people who outline the show most of the story.

1:16:57.200 --> 1:16:59.519
<v Speaker 1>My job is most of the story. Dannie will do

1:16:59.600 --> 1:17:02.200
<v Speaker 1>a lot of the dialogue and the a cute setup

1:17:02.240 --> 1:17:05.080
<v Speaker 1>stuff like that. So it's more of a team effort.

1:17:05.080 --> 1:17:07.240
<v Speaker 1>But the story is usually made. And to what degree

1:17:07.320 --> 1:17:12.880
<v Speaker 1>you involved in editing? All right? Um? You know they

1:17:12.920 --> 1:17:15.720
<v Speaker 1>usually will send me rough edits and we again as

1:17:15.720 --> 1:17:17.240
<v Speaker 1>a team meet and say, you know, we need more

1:17:17.240 --> 1:17:20.639
<v Speaker 1>of this, less of that. Of this of that. Um,

1:17:20.680 --> 1:17:23.439
<v Speaker 1>so I'm not in the editing room, although I have

1:17:23.560 --> 1:17:27.040
<v Speaker 1>been actually sometimes, but um, you know, we we when

1:17:27.080 --> 1:17:29.240
<v Speaker 1>the editor sends the stuff out, we have a lot

1:17:29.280 --> 1:17:32.960
<v Speaker 1>of notes. It's it's a fairly active process. I kind

1:17:32.960 --> 1:17:34.679
<v Speaker 1>of enjoy it. You know, I've spent my whole life

1:17:34.680 --> 1:17:37.320
<v Speaker 1>alone in this room, this room basically you know that

1:17:37.320 --> 1:17:40.439
<v Speaker 1>we're sitting in now, and it's really been kind of

1:17:40.439 --> 1:17:44.320
<v Speaker 1>cool to be able to collaborate with other people. Actors too.

1:17:44.400 --> 1:17:46.760
<v Speaker 1>You know, they contact me because I had the whole

1:17:46.800 --> 1:17:49.360
<v Speaker 1>backstory on the guy, and actors laid backstory that they

1:17:49.439 --> 1:17:53.639
<v Speaker 1>probably not necessarily need to know. But um, it's been

1:17:53.680 --> 1:17:56.200
<v Speaker 1>a it's been a really kind of a cool process.

1:17:56.240 --> 1:18:01.920
<v Speaker 1>But traditionally movies, uh see, these TV shows take a

1:18:01.960 --> 1:18:05.240
<v Speaker 1>lot of time. How has that affected your schedule relative

1:18:05.280 --> 1:18:09.679
<v Speaker 1>to writing books? Polittic Having a team helps. We also

1:18:09.720 --> 1:18:11.880
<v Speaker 1>are all of us are no nonsense. I'll be honest.

1:18:11.960 --> 1:18:15.160
<v Speaker 1>I don't understand why things take as long as they do,

1:18:15.479 --> 1:18:19.719
<v Speaker 1>especially in Hollywood, but just in general, Um, every person

1:18:20.000 --> 1:18:22.160
<v Speaker 1>has written a script based off my one of my

1:18:22.240 --> 1:18:24.840
<v Speaker 1>books has taken longer to write the script than it

1:18:24.840 --> 1:18:26.679
<v Speaker 1>took me to write the books. I can't understand why

1:18:27.240 --> 1:18:29.720
<v Speaker 1>I gave you the whole goddamn story. I shouldn't take

1:18:29.760 --> 1:18:32.760
<v Speaker 1>you more than than six weeks. So part of it

1:18:32.800 --> 1:18:35.000
<v Speaker 1>is that the people that I work with were no nonsense.

1:18:35.040 --> 1:18:38.200
<v Speaker 1>We actually do the work, and so I don't think

1:18:38.240 --> 1:18:40.200
<v Speaker 1>we have to stay up twenty four hours a day,

1:18:40.640 --> 1:18:43.599
<v Speaker 1>laur any of that we'd be I'm completely obsessed with it,

1:18:44.040 --> 1:18:45.960
<v Speaker 1>and so are the people that work with. We all

1:18:46.160 --> 1:18:50.360
<v Speaker 1>hate this term. We all share the vision um. But

1:18:50.640 --> 1:18:54.840
<v Speaker 1>I do think that a lot of writers and screenwriters

1:18:55.800 --> 1:18:58.280
<v Speaker 1>waste time and as part of the business. And it's

1:18:58.320 --> 1:19:00.760
<v Speaker 1>almost like, well, I tell you, sure, I wrote one

1:19:00.760 --> 1:19:02.960
<v Speaker 1>script will mention for who Are based off one of

1:19:03.000 --> 1:19:04.840
<v Speaker 1>my novels and ends up not being made. So maybe

1:19:04.840 --> 1:19:07.360
<v Speaker 1>it wasn't all that good. But when I finished it

1:19:07.840 --> 1:19:09.720
<v Speaker 1>my age at the time, So what do you mean

1:19:09.760 --> 1:19:11.880
<v Speaker 1>you finished it already? Like it was how long it

1:19:11.960 --> 1:19:14.320
<v Speaker 1>was like two months? Two months? Ag? Well, you can't

1:19:14.320 --> 1:19:16.400
<v Speaker 1>say that. Let's just say it's not done yet. We'll

1:19:16.479 --> 1:19:19.080
<v Speaker 1>send it in a few more months later. So I mean,

1:19:19.160 --> 1:19:21.479
<v Speaker 1>let's tell that. So I think a lot of times

1:19:21.479 --> 1:19:23.760
<v Speaker 1>people are hustling for new business and doing other stuff

1:19:23.800 --> 1:19:26.280
<v Speaker 1>other than just sitting and writing. So that's my answer

1:19:26.280 --> 1:19:28.200
<v Speaker 1>to how we're able to do as much as we're

1:19:28.240 --> 1:19:30.280
<v Speaker 1>able to do even though it didn't get produced. Writing

1:19:30.280 --> 1:19:33.960
<v Speaker 1>a script is a different skill, and it's mostly dialogue.

1:19:34.400 --> 1:19:37.360
<v Speaker 1>Did you find that a hard transition? Is it something

1:19:37.400 --> 1:19:39.680
<v Speaker 1>you say? Well, I respect that, but I don't want

1:19:39.720 --> 1:19:44.080
<v Speaker 1>to do it. No, I don't. The problem for me

1:19:44.120 --> 1:19:47.160
<v Speaker 1>for scriptwriting is mostly from adapting my own thing. I'm

1:19:47.240 --> 1:19:49.080
<v Speaker 1>I'm too close to it, and I understand that, and

1:19:49.080 --> 1:19:51.120
<v Speaker 1>maybe I'm not the one who should be doing it.

1:19:51.160 --> 1:19:53.599
<v Speaker 1>But a lot of my books have a tremendous amount

1:19:53.600 --> 1:19:56.840
<v Speaker 1>of dialogue in them anyway. Um, so I didn't necessarily

1:19:57.400 --> 1:19:59.639
<v Speaker 1>find all the difficulty. Maybe that's why maybe it wasn't

1:19:59.640 --> 1:20:03.240
<v Speaker 1>not good of a script. I don't know. Um So

1:20:03.360 --> 1:20:06.599
<v Speaker 1>I don't find I don't necessarily find it difficult. I'm all,

1:20:06.840 --> 1:20:09.040
<v Speaker 1>you know. I tried. It's very hard. I tried, being

1:20:09.200 --> 1:20:11.840
<v Speaker 1>very open minded. I said, I don't want the book

1:20:11.920 --> 1:20:15.080
<v Speaker 1>to be the same as the TV series The Stranger,

1:20:15.160 --> 1:20:18.080
<v Speaker 1>for example. Um, and this, I didn't do this. Everything

1:20:18.120 --> 1:20:20.519
<v Speaker 1>I did to politically correct. That's not the reason. In

1:20:20.600 --> 1:20:23.280
<v Speaker 1>the book The Stranger, the person is giving the secrets.

1:20:23.560 --> 1:20:26.000
<v Speaker 1>It's kind of a nerdy teenage white male, which made

1:20:26.040 --> 1:20:27.960
<v Speaker 1>sense when I wrote the book ten years ago or whatever,

1:20:28.600 --> 1:20:32.559
<v Speaker 1>but visually it didn't work for me. Visually, even when

1:20:32.640 --> 1:20:36.760
<v Speaker 1>we tried men of all sorts, of raised queens and colors,

1:20:36.960 --> 1:20:39.880
<v Speaker 1>were kind of thinking of that person walking in that room.

1:20:39.920 --> 1:20:42.960
<v Speaker 1>In that first scene with which at Armitage they were,

1:20:42.960 --> 1:20:46.000
<v Speaker 1>the stranger drops the bomb about his wife baking your pregnancy,

1:20:46.240 --> 1:20:48.680
<v Speaker 1>and I'm like, I think we need a woman. I

1:20:48.720 --> 1:20:50.320
<v Speaker 1>think we need someone who's going to go in there

1:20:50.680 --> 1:20:54.519
<v Speaker 1>and just be like super cool and super hip. And

1:20:54.520 --> 1:20:56.360
<v Speaker 1>then we got Hinnah John Camman. As soon as I

1:20:56.360 --> 1:21:00.240
<v Speaker 1>saw her performed like, that's exactly what we want. That's

1:21:00.240 --> 1:21:02.040
<v Speaker 1>not how I wrote the character in the book, and

1:21:02.080 --> 1:21:05.439
<v Speaker 1>that's okay. That's it was better. You know. We did

1:21:05.439 --> 1:21:07.360
<v Speaker 1>that with the movie Tell Low One too. I told

1:21:07.400 --> 1:21:09.680
<v Speaker 1>Giam we had this as a Korean hit man in

1:21:09.720 --> 1:21:11.760
<v Speaker 1>the book, and that guy was in other books. I

1:21:11.800 --> 1:21:14.360
<v Speaker 1>said to Gilm, we can't use him. So he ended

1:21:14.439 --> 1:21:17.839
<v Speaker 1>up using this very muscular woman and she was scary

1:21:17.880 --> 1:21:19.840
<v Speaker 1>as hell in the movie Tell No. One. So a

1:21:19.840 --> 1:21:22.120
<v Speaker 1>lot of times we changed things, and in your fourth

1:21:22.160 --> 1:21:26.280
<v Speaker 1>most corners, it makes it stronger, not not not not worse. So,

1:21:26.320 --> 1:21:28.160
<v Speaker 1>what how long does it take to do one of these?

1:21:28.320 --> 1:21:32.800
<v Speaker 1>Uh ten episode series or eight episode series? Um? It

1:21:32.880 --> 1:21:36.920
<v Speaker 1>all depends, I think. Right now we're writing, for example,

1:21:36.960 --> 1:21:39.240
<v Speaker 1>so we're gonna do. I had a choice of the

1:21:39.280 --> 1:21:41.080
<v Speaker 1>other thing. We sort of a choice of doing a

1:21:41.160 --> 1:21:45.080
<v Speaker 1>Stranger season two or a whole new book. And yet

1:21:45.200 --> 1:21:47.080
<v Speaker 1>this is the third time I've kind of had that choice.

1:21:47.080 --> 1:21:49.160
<v Speaker 1>In the third time, I've chosen to go with the

1:21:49.200 --> 1:21:52.559
<v Speaker 1>whole new story. The problem for me is, you know,

1:21:53.280 --> 1:21:56.040
<v Speaker 1>I could do The Stranger again, but I don't know

1:21:56.080 --> 1:21:59.280
<v Speaker 1>if I could do it better. Um. I don't know.

1:21:59.479 --> 1:22:01.720
<v Speaker 1>You know I could if I thought about it. Um,

1:22:01.760 --> 1:22:05.559
<v Speaker 1>So I create the series with one season in mind,

1:22:05.760 --> 1:22:08.240
<v Speaker 1>I don't. I don't think it's fair, for example, to

1:22:08.280 --> 1:22:09.840
<v Speaker 1>not give you the answers at the end of the

1:22:09.880 --> 1:22:12.719
<v Speaker 1>five or The Stranger and just set up the season two.

1:22:13.040 --> 1:22:16.080
<v Speaker 1>That's just not what I'm doing. So I prefer to

1:22:16.479 --> 1:22:18.880
<v Speaker 1>make it just one season, so right, and doing a

1:22:18.920 --> 1:22:20.800
<v Speaker 1>season two of The Stranger, I don't rule it out.

1:22:20.840 --> 1:22:23.479
<v Speaker 1>Maybe one day down the line, but we're doing you

1:22:23.520 --> 1:22:27.440
<v Speaker 1>can do my book stay close. We've written one episode

1:22:27.520 --> 1:22:32.000
<v Speaker 1>so far. We'll probably start filming early next year. Um.

1:22:32.040 --> 1:22:35.200
<v Speaker 1>And then Netflix never. Netflix is very secretive. They never

1:22:35.680 --> 1:22:38.840
<v Speaker 1>I literally find out a month or two beforehand. When

1:22:38.880 --> 1:22:40.680
<v Speaker 1>it comes out, they don't even tell me. They're very

1:22:40.680 --> 1:22:45.360
<v Speaker 1>speaking about releases. Okay, Now recently, as I say, you've

1:22:45.360 --> 1:22:48.400
<v Speaker 1>had this Polish series The Woods, how did it end

1:22:48.479 --> 1:22:51.160
<v Speaker 1>up being made by poll? Into? What degree were you involved?

1:22:51.280 --> 1:22:56.760
<v Speaker 1>To what degree are you happy? Um? So the deal

1:22:56.800 --> 1:22:58.960
<v Speaker 1>that I find a deal with Netflix about it, I

1:22:58.960 --> 1:23:01.559
<v Speaker 1>guess a year or two ago, know, um to have

1:23:01.800 --> 1:23:04.439
<v Speaker 1>all the books that were still available that we're not

1:23:04.520 --> 1:23:08.200
<v Speaker 1>in my series, UM go to Netflix to be made

1:23:08.200 --> 1:23:10.840
<v Speaker 1>into hopefully into series that we can try and develop

1:23:10.880 --> 1:23:13.200
<v Speaker 1>into series. You don't expect them all to be made.

1:23:13.200 --> 1:23:14.920
<v Speaker 1>But we're doing a pretty good clip right now, the

1:23:15.400 --> 1:23:19.880
<v Speaker 1>right we're going. Um. And they were The idea was

1:23:19.920 --> 1:23:23.280
<v Speaker 1>for the International Division to control in the International Division

1:23:23.320 --> 1:23:27.040
<v Speaker 1>to make the decisions. So my first meeting with Netflix

1:23:27.080 --> 1:23:28.800
<v Speaker 1>and I went to their office is is they have

1:23:29.400 --> 1:23:31.519
<v Speaker 1>They just had a lot of brilliant people. And they

1:23:31.560 --> 1:23:33.400
<v Speaker 1>have a guy who does Netflix poem. The guy does

1:23:33.439 --> 1:23:36.680
<v Speaker 1>Netflix Germany, you know, Spain, whatever it is. And we

1:23:36.760 --> 1:23:39.759
<v Speaker 1>sat around and we saw which country would be best

1:23:39.760 --> 1:23:43.320
<v Speaker 1>for which ones, and then well let's see what they

1:23:43.360 --> 1:23:45.799
<v Speaker 1>come up with. Let let them send us in the pitch,

1:23:46.120 --> 1:23:48.599
<v Speaker 1>the producers in the pitch, and it's you know, they

1:23:48.640 --> 1:23:51.840
<v Speaker 1>have appeal, will continue it on our way. So we've

1:23:51.840 --> 1:23:53.640
<v Speaker 1>had a lot and some we've decided to go with,

1:23:53.920 --> 1:23:57.000
<v Speaker 1>some we haven't. And two of the first two well,

1:23:57.000 --> 1:24:00.800
<v Speaker 1>the first we're Netflix Spain looking at the innocent wanting

1:24:00.840 --> 1:24:02.639
<v Speaker 1>to do that, and I love the pitch they came

1:24:02.720 --> 1:24:06.320
<v Speaker 1>up with, and Netflix Poland especially having the idea which

1:24:06.320 --> 1:24:08.799
<v Speaker 1>I didn't write the book doing of the two different

1:24:08.840 --> 1:24:12.120
<v Speaker 1>time zones. Um I flashed back to the camp in

1:24:12.160 --> 1:24:14.200
<v Speaker 1>the in my case of the eighties, but they had

1:24:14.240 --> 1:24:17.960
<v Speaker 1>the idea of doing very Polish kind of summer camps

1:24:19.080 --> 1:24:21.960
<v Speaker 1>and current day with two different casts and all that,

1:24:22.040 --> 1:24:23.800
<v Speaker 1>and I just thought that was a really cool way,

1:24:24.560 --> 1:24:29.000
<v Speaker 1>um of telling the story. So uh, that's sort of

1:24:29.000 --> 1:24:31.080
<v Speaker 1>how we decided that. You know, other countries were looking

1:24:31.080 --> 1:24:33.519
<v Speaker 1>at it too, and then they talked about it. You

1:24:33.520 --> 1:24:36.479
<v Speaker 1>know that the negotiation. This country decided to take that one,

1:24:36.800 --> 1:24:39.720
<v Speaker 1>other countries decided to take that one. I'm happy with

1:24:39.760 --> 1:24:43.080
<v Speaker 1>what the pitches on it. Sometimes I'm not um and

1:24:43.120 --> 1:24:45.120
<v Speaker 1>then we go from there. We tried and we try

1:24:45.200 --> 1:24:47.840
<v Speaker 1>to to to make it good enough that that that

1:24:47.840 --> 1:24:50.720
<v Speaker 1>that Netflix ends up wanting to make it okay. So

1:24:51.080 --> 1:24:54.200
<v Speaker 1>the last one being the Woods. After the pitch the

1:24:54.280 --> 1:24:58.439
<v Speaker 1>pitches accepted, To what degree are you involved that one

1:24:58.800 --> 1:25:02.360
<v Speaker 1>the least? Again, I don't speak any Polish. I don't

1:25:02.400 --> 1:25:07.280
<v Speaker 1>know a lot of the cultural references and significances. You know,

1:25:07.320 --> 1:25:09.559
<v Speaker 1>you're a music guy, so you'll probably appreciate this. I

1:25:09.640 --> 1:25:12.200
<v Speaker 1>look at it like I had a hit single, hit song,

1:25:12.600 --> 1:25:15.120
<v Speaker 1>I wrote and recorded a hit song, and now a

1:25:15.160 --> 1:25:18.120
<v Speaker 1>Polish band wants to cover. I don't want it to

1:25:18.160 --> 1:25:19.760
<v Speaker 1>sound the same as me. I want them to bring

1:25:19.800 --> 1:25:21.960
<v Speaker 1>the Polish into it. I want them to bring Polish

1:25:21.960 --> 1:25:25.960
<v Speaker 1>culture and Polish sensibilities and what makes this band unique.

1:25:26.280 --> 1:25:28.200
<v Speaker 1>I don't who help wants them to cover the song

1:25:28.240 --> 1:25:32.440
<v Speaker 1>and sound exactly the same as my fand so. Um

1:25:32.680 --> 1:25:34.880
<v Speaker 1>there's things about the scripts I did not like when

1:25:34.880 --> 1:25:36.840
<v Speaker 1>they first sun it to me. There were things I

1:25:36.880 --> 1:25:39.800
<v Speaker 1>thought were not gonna work that worked better. Um, there's

1:25:39.840 --> 1:25:42.400
<v Speaker 1>a so some things I'm also wrong on, which I

1:25:42.640 --> 1:25:46.320
<v Speaker 1>find out if you watch the TV show. The lead woman,

1:25:46.479 --> 1:25:50.479
<v Speaker 1>Laura is married to an older man that wasn't the book,

1:25:50.479 --> 1:25:52.400
<v Speaker 1>and the book she was single when I first turned,

1:25:52.439 --> 1:25:54.280
<v Speaker 1>I'm like, why she marries an older man. I kind

1:25:54.280 --> 1:25:57.080
<v Speaker 1>of wanted to have it and that those things work

1:25:57.120 --> 1:25:59.599
<v Speaker 1>the best. I love the guy I want to bring

1:25:59.680 --> 1:26:01.439
<v Speaker 1>I want to bring them back in their own series.

1:26:01.479 --> 1:26:03.919
<v Speaker 1>I'm lovely they're gonna play Leon. He was so terrific.

1:26:04.240 --> 1:26:08.400
<v Speaker 1>So sometimes I'm wrong and and I get that. So um.

1:26:08.439 --> 1:26:10.160
<v Speaker 1>That was one change that they wanted to make. That

1:26:10.200 --> 1:26:12.680
<v Speaker 1>they that they that I wasn't sold on, but they

1:26:12.720 --> 1:26:16.360
<v Speaker 1>convinced me. At the end of the day, I have

1:26:16.479 --> 1:26:18.960
<v Speaker 1>to I I in that case, I didn't stand up

1:26:18.960 --> 1:26:21.599
<v Speaker 1>to a lot. I let them kind of do their things,

1:26:21.920 --> 1:26:23.600
<v Speaker 1>some of which I would would change now, and so

1:26:23.720 --> 1:26:26.320
<v Speaker 1>much I did change in the editen I saw the edit, um,

1:26:26.360 --> 1:26:28.679
<v Speaker 1>but most of which I'm really happy with the series.

1:26:29.360 --> 1:26:33.639
<v Speaker 1>If you like Saithe and and and Uh and The Stranger,

1:26:34.040 --> 1:26:35.960
<v Speaker 1>if you want that fast pacing, this is not that

1:26:36.200 --> 1:26:38.839
<v Speaker 1>the show few. This is a it's more character driven,

1:26:39.160 --> 1:26:42.760
<v Speaker 1>it's more atmospheric. Um, it's deeper. I think in many ways,

1:26:42.760 --> 1:26:46.000
<v Speaker 1>it's more emotional, but it doesn't give that wham bam,

1:26:46.240 --> 1:26:49.439
<v Speaker 1>let's twist here, let's twist there. Um Like my books

1:26:49.479 --> 1:26:51.760
<v Speaker 1>and and and I think The Stranger did so it's

1:26:51.840 --> 1:26:54.120
<v Speaker 1>very which I'm happy about. I don't want to repeat

1:26:54.120 --> 1:26:57.120
<v Speaker 1>The Stranger either, so it's a very different series. I'm

1:26:57.439 --> 1:26:59.840
<v Speaker 1>really happy with how it turned out. I tell people

1:26:59.840 --> 1:27:03.800
<v Speaker 1>that cannot watch it, it's a terrible dubbing job. They

1:27:03.840 --> 1:27:06.320
<v Speaker 1>did a terrible dubbing job. We were very rushed because

1:27:06.360 --> 1:27:09.599
<v Speaker 1>it was COVID going on. Please don't watch it. Please

1:27:09.640 --> 1:27:12.600
<v Speaker 1>watch it in its original polish with subtitles, and I

1:27:12.600 --> 1:27:17.120
<v Speaker 1>think you'll enjoy it. Um just going back again, how

1:27:17.120 --> 1:27:20.920
<v Speaker 1>do you juggle all this with your writing? I do

1:27:21.000 --> 1:27:22.479
<v Speaker 1>that now. I do mornings. That did that, So I

1:27:22.520 --> 1:27:25.880
<v Speaker 1>wake up early and the emails are here from the

1:27:25.960 --> 1:27:28.200
<v Speaker 1>from the TV shows, usually in the morning, and I

1:27:28.240 --> 1:27:30.280
<v Speaker 1>do them first as almost getting a bit of a

1:27:30.360 --> 1:27:33.320
<v Speaker 1>running start, and then I'll do the stuff afterwards. So

1:27:33.439 --> 1:27:35.920
<v Speaker 1>for today, for example, we're working on another show. I

1:27:35.960 --> 1:27:38.840
<v Speaker 1>had a zoom with my Core four about the show

1:27:38.840 --> 1:27:41.000
<v Speaker 1>that we're doing, because we had some questions is what

1:27:41.240 --> 1:27:43.439
<v Speaker 1>you know we're filling in the gaps? And then they

1:27:43.479 --> 1:27:44.840
<v Speaker 1>kind of come to me saying, well, we don't know

1:27:44.840 --> 1:27:46.720
<v Speaker 1>how's he gonna get from here to there. So we

1:27:46.760 --> 1:27:48.920
<v Speaker 1>met for an hour and did that, and that's all

1:27:48.960 --> 1:27:51.800
<v Speaker 1>I did on a TV thing today. Um, I haven't

1:27:51.880 --> 1:27:54.800
<v Speaker 1>yet watched my rushes from Spain, but I don't really

1:27:54.800 --> 1:27:56.680
<v Speaker 1>have to do that much with Spain anyway. We have

1:27:56.680 --> 1:28:00.559
<v Speaker 1>an unbelievable director and unbelievable talent there. I don't really

1:28:00.560 --> 1:28:03.280
<v Speaker 1>have to watch that very closely. So you know, it

1:28:03.400 --> 1:28:05.960
<v Speaker 1>is their shows in the end of the day, it's

1:28:06.000 --> 1:28:09.080
<v Speaker 1>their shows. With my story, I'm more involved than just

1:28:09.120 --> 1:28:11.600
<v Speaker 1>the guy who sold this novel, but it depends on

1:28:11.640 --> 1:28:14.639
<v Speaker 1>the country and what I and what I think they need.

1:28:14.960 --> 1:28:17.439
<v Speaker 1>I I wanted to push the Polish to be a

1:28:17.439 --> 1:28:20.720
<v Speaker 1>little bit more like me in the sense of being

1:28:20.760 --> 1:28:23.920
<v Speaker 1>a little bit faster moving, And what we ended up

1:28:23.960 --> 1:28:26.080
<v Speaker 1>with was faster moving than the first cut, which was

1:28:26.200 --> 1:28:30.360
<v Speaker 1>really really atmospheric. Could you like that atmosphere? You would

1:28:30.360 --> 1:28:32.000
<v Speaker 1>have loved the first cuts? But I'm like, no, dudes,

1:28:32.080 --> 1:28:33.640
<v Speaker 1>we can't have him take two minutes to get to

1:28:33.720 --> 1:28:35.840
<v Speaker 1>his office. It's got to be thirty seconds to get

1:28:35.880 --> 1:28:38.519
<v Speaker 1>to his office. So you know it's a negotiation or

1:28:38.640 --> 1:28:42.080
<v Speaker 1>back and forth. Yes, But in terms of writing your books,

1:28:42.600 --> 1:28:45.200
<v Speaker 1>how do you work that in when you're working on

1:28:45.240 --> 1:28:50.040
<v Speaker 1>all these TV programs. I just do. But so, but

1:28:50.240 --> 1:28:52.840
<v Speaker 1>here's the other thing. Uh, that's all I do. I

1:28:52.880 --> 1:28:55.320
<v Speaker 1>have no other life. I have no I mean I

1:28:55.400 --> 1:28:57.720
<v Speaker 1>golf that a little bit. I don't know. I have

1:28:57.840 --> 1:29:01.640
<v Speaker 1>no hobbies. I don't like to do anything. I'm not

1:29:01.680 --> 1:29:06.959
<v Speaker 1>a collector. Um, I'm a pretty boring guy. I'm not social.

1:29:07.479 --> 1:29:09.320
<v Speaker 1>So how many how many hours do you need to work?

1:29:09.320 --> 1:29:11.040
<v Speaker 1>And all this stuff? That's all I do. So I'm

1:29:11.040 --> 1:29:13.120
<v Speaker 1>home all day to day. Right, I'm taking an hour

1:29:13.200 --> 1:29:15.320
<v Speaker 1>or two doing this stuff, then an the restaurant. Okay,

1:29:15.320 --> 1:29:17.080
<v Speaker 1>your wife is a doctor that tend to seat up

1:29:17.080 --> 1:29:19.160
<v Speaker 1>a lot of time. But in terms of oh, it's

1:29:19.200 --> 1:29:22.320
<v Speaker 1>Saturday night, let's hang with friends. Whatever that does or

1:29:22.360 --> 1:29:26.799
<v Speaker 1>does not happen. Well, not during COVID it hasn't happened.

1:29:27.000 --> 1:29:29.120
<v Speaker 1>But yeah, Saturday night, you know we will we have

1:29:29.200 --> 1:29:31.080
<v Speaker 1>with him a friends who was wedding on a Saturday night.

1:29:31.080 --> 1:29:32.880
<v Speaker 1>I'm not, but I'll wake up early the next morning

1:29:32.880 --> 1:29:35.599
<v Speaker 1>on Sunday and all write why not? What what else

1:29:35.600 --> 1:29:39.080
<v Speaker 1>am I gonna do? All of my down all the downtime,

1:29:39.520 --> 1:29:43.200
<v Speaker 1>you know, I write. I try, and I'm always feeling guilty.

1:29:43.680 --> 1:29:45.599
<v Speaker 1>When I'm on the golf course. For example, I'm having

1:29:45.640 --> 1:29:47.559
<v Speaker 1>a few good moments because it's one of the few

1:29:47.560 --> 1:29:50.040
<v Speaker 1>things I do enjoy. There's always a voice in my

1:29:50.120 --> 1:29:52.840
<v Speaker 1>head that, you know, what, you should be home writing,

1:29:53.320 --> 1:29:55.400
<v Speaker 1>And even when I'm there my friends no one, I

1:29:55.479 --> 1:29:57.599
<v Speaker 1>get distracted, and all of a sudden, I like, go, oh,

1:29:57.880 --> 1:30:00.919
<v Speaker 1>wait a minute. You know if he goes that room instead.

1:30:01.600 --> 1:30:03.360
<v Speaker 1>It's just how you know, it's part of it is,

1:30:03.760 --> 1:30:07.440
<v Speaker 1>It's how the mind works. The views isn't a angelic

1:30:08.160 --> 1:30:11.040
<v Speaker 1>voice sitting on your shoulder. It's more like your mom's voice.

1:30:11.200 --> 1:30:14.439
<v Speaker 1>What no call? It's Friday night? You don't call your mother?

1:30:14.760 --> 1:30:18.640
<v Speaker 1>Why are you going out? What are you going through? So? Um?

1:30:18.720 --> 1:30:20.120
<v Speaker 1>You know, people, I felt tilling, like, how do you

1:30:20.200 --> 1:30:21.360
<v Speaker 1>have to do that? What else do I do it?

1:30:21.400 --> 1:30:24.200
<v Speaker 1>What else do you do? So that's all I do?

1:30:24.439 --> 1:30:27.040
<v Speaker 1>So um, I don't really and I don't go shopping.

1:30:27.040 --> 1:30:28.960
<v Speaker 1>I don't go to the mall. I may have a

1:30:29.000 --> 1:30:31.800
<v Speaker 1>lunch with a friend once a week. Um, but what

1:30:31.840 --> 1:30:35.120
<v Speaker 1>else is there to do? So during that downtime? This

1:30:35.160 --> 1:30:37.840
<v Speaker 1>is why the internet so bad. I kind of stay

1:30:37.880 --> 1:30:39.519
<v Speaker 1>to hell off the internet. That's where you waste How

1:30:39.560 --> 1:30:41.360
<v Speaker 1>many hours do you waste the day looking at your

1:30:41.360 --> 1:30:45.679
<v Speaker 1>social media stuff? Don't do it right? Instead? And how

1:30:45.720 --> 1:30:48.280
<v Speaker 1>have you a reader? Are you both now and through

1:30:48.320 --> 1:30:53.200
<v Speaker 1>your whole life? Um, I've been to I'll tell you now.

1:30:53.240 --> 1:30:56.320
<v Speaker 1>I'm getting better here. Beginning of COVID, I was really distracted.

1:30:56.360 --> 1:30:58.280
<v Speaker 1>I couldn't read, write at all. I'll read it much

1:30:58.280 --> 1:31:00.559
<v Speaker 1>at all. Couldn't write much heat at first few weeks.

1:31:01.000 --> 1:31:04.599
<v Speaker 1>But that settled back in faster than than the reading.

1:31:04.840 --> 1:31:09.160
<v Speaker 1>I think reading is harder than ever. I do think that, um,

1:31:09.320 --> 1:31:11.320
<v Speaker 1>that the Internet is training us not to be very

1:31:11.320 --> 1:31:14.240
<v Speaker 1>good readers, and I think I am sometimes I have

1:31:14.320 --> 1:31:17.080
<v Speaker 1>to guard myself against that where I am stopping every

1:31:17.120 --> 1:31:19.639
<v Speaker 1>two or three pages to check my phone. I don't

1:31:19.680 --> 1:31:21.200
<v Speaker 1>know that I'm checking my phone for. What do we

1:31:21.280 --> 1:31:23.760
<v Speaker 1>check our phones for. It's like the old bays, you remember, Bob,

1:31:23.760 --> 1:31:25.479
<v Speaker 1>when the mail would come and we would go to

1:31:25.479 --> 1:31:27.799
<v Speaker 1>the mailbox excited. I think ever came that was exciting,

1:31:28.360 --> 1:31:30.080
<v Speaker 1>We look at the man. It's the same thing now

1:31:30.080 --> 1:31:31.720
<v Speaker 1>on the internet we have we were looking for that

1:31:31.800 --> 1:31:35.920
<v Speaker 1>little that little hit. But growing up, were you a

1:31:36.000 --> 1:31:40.120
<v Speaker 1>big reader of books? I was a reader. I wouldn't say, yeah,

1:31:40.160 --> 1:31:42.679
<v Speaker 1>it's not if you look back, my friends aren't gonna

1:31:42.680 --> 1:31:44.519
<v Speaker 1>go oh. Harlon always had his nose in a book.

1:31:45.000 --> 1:31:48.519
<v Speaker 1>I was a decent reader above certainly way above average.

1:31:48.880 --> 1:31:52.240
<v Speaker 1>But again I wasn't the nerdy reading kid, the book

1:31:52.320 --> 1:31:54.800
<v Speaker 1>kid that that wouldn't be what I would have been.

1:31:55.439 --> 1:31:58.400
<v Speaker 1>People would know, would would say about me. I read

1:31:58.439 --> 1:32:00.360
<v Speaker 1>a fair but I read a fair amount. I had

1:32:00.360 --> 1:32:03.599
<v Speaker 1>a very active imagination. I was always trying to think

1:32:03.640 --> 1:32:07.200
<v Speaker 1>of stories. My mind works that way. Whenever I'm watching something,

1:32:07.560 --> 1:32:10.040
<v Speaker 1>it's not just figuring out what how that show is

1:32:10.080 --> 1:32:12.280
<v Speaker 1>going to do, which I can usually do, but also

1:32:12.360 --> 1:32:15.639
<v Speaker 1>things are eight other ways they could have done it. Um, well,

1:32:15.720 --> 1:32:17.439
<v Speaker 1>they could have done this, and you know other things.

1:32:17.520 --> 1:32:21.760
<v Speaker 1>That's just how um whatever natural abilities you're giving, that's

1:32:21.800 --> 1:32:23.640
<v Speaker 1>one of the ones. I was good solving, because I

1:32:23.680 --> 1:32:26.160
<v Speaker 1>said word problems in math, had a very good math

1:32:26.320 --> 1:32:29.160
<v Speaker 1>s a T score. I can see those sort of things.

1:32:29.240 --> 1:32:31.920
<v Speaker 1>I can see what's coming ahead, and so that sort

1:32:31.960 --> 1:32:34.120
<v Speaker 1>of stuff always played in my head. And can you

1:32:34.160 --> 1:32:39.000
<v Speaker 1>tell us the exact time and what was going through

1:32:39.040 --> 1:32:43.160
<v Speaker 1>your mind when you decided to become a writer I

1:32:43.240 --> 1:32:46.639
<v Speaker 1>had for the same family business ended up working. When

1:32:46.640 --> 1:32:48.960
<v Speaker 1>I was in college, I spent two summers in Spain

1:32:49.640 --> 1:32:51.960
<v Speaker 1>being the tour guide to the tour escort that watched

1:32:52.240 --> 1:32:55.960
<v Speaker 1>the Americans that came over. So this was eighty one

1:32:56.160 --> 1:32:59.040
<v Speaker 1>eight two right around there. So when you went on

1:32:59.120 --> 1:33:02.120
<v Speaker 1>vacation like this, the strips, you know, groups of fifty

1:33:02.160 --> 1:33:04.759
<v Speaker 1>would come over. I was in Acosta del Soul of Spain.

1:33:05.200 --> 1:33:06.919
<v Speaker 1>I was the guy who picked up at the airport.

1:33:06.960 --> 1:33:08.880
<v Speaker 1>I drove you there. I made sure you've got your room.

1:33:09.240 --> 1:33:11.240
<v Speaker 1>I sold you optional tours. I told you how you

1:33:11.280 --> 1:33:15.080
<v Speaker 1>can go to you know, Marbello or Managa or Seville.

1:33:15.600 --> 1:33:18.880
<v Speaker 1>And my job was to watch you. And I thought

1:33:19.160 --> 1:33:21.960
<v Speaker 1>it was a weird summer. It was a very weird that,

1:33:22.200 --> 1:33:25.120
<v Speaker 1>like most people wouldn't just make an interesting story, I

1:33:25.120 --> 1:33:28.080
<v Speaker 1>should write a book about this experience. And I came

1:33:28.120 --> 1:33:30.559
<v Speaker 1>back my senior year college and I did. I wrote

1:33:30.600 --> 1:33:33.080
<v Speaker 1>an entire novel my senior college on my own. I

1:33:33.120 --> 1:33:36.439
<v Speaker 1>tried getting a professor who would taken on as as

1:33:36.479 --> 1:33:38.760
<v Speaker 1>a thesis or something like that, but I hadn't taken

1:33:38.800 --> 1:33:41.240
<v Speaker 1>English classes, so no one would take me on. So

1:33:41.280 --> 1:33:42.719
<v Speaker 1>I just kind of wrote it myself and the book

1:33:42.760 --> 1:33:46.320
<v Speaker 1>was probably probably complete crap um. But from that I

1:33:46.360 --> 1:33:49.240
<v Speaker 1>got the writing bug um and started to write what

1:33:49.320 --> 1:33:51.439
<v Speaker 1>I loved, which were not what I call a novel

1:33:51.479 --> 1:33:53.160
<v Speaker 1>of the mersion. You can call a mystery or crime,

1:33:53.200 --> 1:33:55.840
<v Speaker 1>but I call it the book that you can't put down.

1:33:55.840 --> 1:33:58.479
<v Speaker 1>The book you take on vacation to santra Pe, but

1:33:58.560 --> 1:34:01.080
<v Speaker 1>you'd rather stay in your hotel because he can't wait

1:34:01.120 --> 1:34:03.880
<v Speaker 1>to find out what happens. And so I wrote three

1:34:03.960 --> 1:34:06.479
<v Speaker 1>or four before one got published when I was I

1:34:06.520 --> 1:34:08.760
<v Speaker 1>think it's twenty six and I was accepted for publication.

1:34:09.240 --> 1:34:10.600
<v Speaker 1>For the best way to learn how to write was

1:34:10.640 --> 1:34:14.240
<v Speaker 1>stact your weather novel. Sort a look at those as failures. Um,

1:34:14.320 --> 1:34:16.160
<v Speaker 1>you know, the first time you got into basketball accord

1:34:16.160 --> 1:34:18.040
<v Speaker 1>and you take a shot, I don't character Michael Jordan's

1:34:18.080 --> 1:34:20.599
<v Speaker 1>if you know, shout a basketball before it's gonna miss,

1:34:21.120 --> 1:34:24.160
<v Speaker 1>You're gonna be terrible. So I thought the best way

1:34:24.160 --> 1:34:27.519
<v Speaker 1>of learning to write, in hindsight is just right, write

1:34:27.520 --> 1:34:29.920
<v Speaker 1>a whole novel, Write two or three whole novels, and

1:34:30.280 --> 1:34:33.120
<v Speaker 1>don't get mad they don't get published. Understand, that's that's

1:34:33.120 --> 1:34:36.800
<v Speaker 1>your apprenticeship. Well, Harlan, this has been wonderful on so

1:34:36.880 --> 1:34:40.080
<v Speaker 1>many levels, the tales of writing, the tales of your life,

1:34:40.120 --> 1:34:43.120
<v Speaker 1>your insight. Thanks so much for coming on the podcast.

1:34:44.120 --> 1:34:46.240
<v Speaker 1>Thanks Bob's great to finally meet you. In person, and

1:34:46.560 --> 1:34:48.880
<v Speaker 1>you have been during uh green the newsletter for a

1:34:48.920 --> 1:34:51.160
<v Speaker 1>long time, so it was great to hang it down

1:34:51.439 --> 1:34:53.840
<v Speaker 1>until next time. This is Bob less sense