Posts Tagged ‘Road to Paradise’

Long and Winding Road

Tuesday, February 14th, 2017

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Thanks to all of you who responded warmly to my update last week about the recently published “new and expanded” Road to Perdition prose novel. The sequel, Road to Purgatory, has just been reprinted by Brash Books in a uniform edition, and Road to Paradise will follow later this year or early next.

So, with your patience, I’ll talk a little about how Road to Purgatory came about, and the challenges involved.

The original graphic novel concept of Road to Perdition was developed for DC Comics editor Andy Helfer. Initially the plan was to do three 300-page graphic novels, each serialized in 100-page installments (the final book as published is in 100-page sections), for an epic 900 pages. I had been in part inspired by the great manga, Lone Wolf and Cub, and the epic nature of that work was something to aspire to.

Andy Helfer and I, however, had not come to terms with what the next two 300-page installments would be. I wanted to keep the father and son outlaws on the road for the full 900-pages, with various adventures not unlike the format of the classic TV series, The Fugitive. Andy had another idea – he thought I should do a generational saga, with Michael Jr. growing up in the middle section, and either aging him further in the final section or following another generation of O’Sullivans into a world of crime and vengeance and (maybe) redemption.

The more I mentally chewed on it, the more Andy’s notion made sense. I still liked my idea, and greedily thought about doing both – a long road saga with Michael O’Sullivan Sr. and son, and a generational saga that grew out of it.

This all became a moot point when DC’s Paradox Press line, designed to do noir graphic novels, sputtered to a premature death. Road to Perdition was the last graphic novel Paradox Press published, so any follow-ups seem unlikely.

Of course Richard and Dean Zanuck deciding to make a movie out of Road to Perdition was even more unlikely, and yet it happened.

With the movie in production, and having written the novelization (even if it was published in a truncated form…until just lately), I thought writing prose sequels, as opposed to graphic novel ones, made the most sense.

Why didn’t I write another graphic novel? Actually, I did – Road to Perdition 2: On the Road (from DC) played out my idea of showing the father and son on the road having adventures while fleeing the wrath of the Chicago mob.

But the generational saga, it seemed to me, would be better served by prose. Also, I was in the position of being primarily a prose writer of crime and mystery fiction, and suddenly the most famous thing I’d ever written was a comic book. I wanted to bring a wider audience to what I do most often: prose novels, where the readers have to provide the pictures in their heads.

Also, I knew I could get a prose sequel (Road to Purgatory) into the marketplace sooner – striking while the iron is hot – rather than go through the longer process of creating a graphic novel. My great collaborator, Richard Piers Rayner, had taken over four years to draw the 300 pages of Road to Perdition.

Another challenge was what to do about the differences between the film version of Perdition and the original graphic novel. I could only write a sequel to the latter – any changes Hollywood had made belonged to them, and anyway, I preferred my own version. The two major changes were the dramatic killing off of John Looney (Rooney in the film) and the inability of Michael Jr. to kill the man who had shot his father. In my world, John Looney didn’t die until many years later (since he was an historical figure and I like to stay true to history) and Michael Jr. indeed shot his father’s killer. His redemption came, not from his dying father doing the killing for him, but many years later.

I dance around this in the novel – I even do some dancing in my Perdition prose novel, which suggests that maybe Michael Jr. did shoot his father’s killer. In my novel Road to Purgatory I own up to that, but suggest that others have assumed the father did the killing. And I don’t mention the real circumstances of John Looney’s death.

That way someone who comes to the three prose novels will not experience jarring differences between the first and second book.

As some of you know, there is also a graphic novel called Return to Perdition, drawn by my longtime Ms. Tree partner, Terry Beatty. This indeed pays off editor Andy Helfer’s generational saga notion by following the story of Michael Jr.’s son in Vietnam and beyond. Some have suggested that I might write a prose version of that story – which I view as a kind of coda to the three prose novels – but it’s unlikely.

Why in doing the last chapter of the saga did I return to the original graphic novel form? Simple. I pitched it to the publisher of the two prose sequels and they weren’t interested. But DC Comics was. So it became a graphic novel.

It isn’t always about “what’s the ideal way to tell the story.” It’s often, who will pay me money to tell the story? That’s why I have gone out of my way to master, as best I can, not only the novel form but comics and movies and for that matter TV. More bites at the apple.

Working in the arts fulltime requires a grasp of reality. For example, I had proposals written for both Road to Purgatory and ROAD TO PARADISE, but did not submit them to a publisher until the movie had come out. In fact, I had to wait to see if the movie opened big before my agent would even contemplate approaching a publisher. When Road to Perdition had a hugely successful opening weekend, we submitted to multiple houses and had an auction with numerous offers. A week before we would have been lucky to get any offer. Reality.

One key thing I failed to mention last week about The New and Expanded Road to Perdition. It’s a simple fact about movie novelizations that seldom gets discussed: when a writer does a novelization of a film, he or she works from the screenplay and almost never has access to anything else. Sometimes some stills from the set are provided, but the writer never sees the movie before writing the novel.

I admit to being proud of myself when I re-read the complete novelization, in getting it prepared to finally be published by Brash Books. The novel really captures the film…and I hadn’t seen it! I “directed” from the screenplay something very similar to the film version that Sam Mendes directed. That alone makes the Perdition prose novel my proudest achievement in the movie tie-in field…particularly now that you can read it!

Road to Purgatory is available right now from Amazon, Barnes & Noble, BAM! and the usual suspects. Your favorite independent bookstore can also order it for you, if you would care to support them, which is a good idea.

* * *

The positive reviews on the Quarry Blu-ray keep coming in. Here’s one.

Here’s another.

And another.

And this one includes a shot at winning the DVD set. [Note from Nate: Contest is for UK residents only.]

Same opportunity here. [Note from Nate: For UK residents only. Also, might be Blu-Ray? Not sure.]

M.A.C.

Road Trip

Tuesday, February 7th, 2017

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One of the nicest things that happened to me last year – acknowledging that 2016 was something of a mine field I barely navigated – was the first-time publication by Brash Books of my complete prose version of Road to Perdition.

Thus far, however, we don’t seem to have sold many copies, and at risk of a hard sell, I want to encourage readers of mine in general and of Road to Perdition in particular that this is a book you don’t want to miss.

Perhaps you’ve read the graphic novel and don’t see the point in revisiting this story, particularly if you’ve seen the movie. Or maybe you read the previously published version and figure that, even though it’s 30,000 words shorter, you’ve already experienced this story in prose.

You haven’t. The Brash publication of Road to Perdition brings into print (and e-book) one of my best novels. And it’s a novel that begins (and in this case completes) the trilogy of Road novels that includes both Road to Purgatory and Road to Paradise.

I should also make clear that the new Road to Perdition novel (and it’s “new” despite having been written in 2001) is not just 30,000 words longer – it’s a different novel entirely. To explain, I have to revisit the painful experience of writing it.

Knowing that someone would write the “novelization” of the film based on the graphic novel by Richard Piers Rayner and me – and being, at the time, a hot property among novelization writers – I lobbied to get the assignment myself. I had already done the very successful novelization for DreamWorks and NAL of Saving Private Ryan. It sold half a million copies and was on the New York Times bestseller list. I got the Perdition assignment.

My approach to writing a movie novelization (I hate that term!) is not entirely standard. Unlike a lot of tie-in writers, I throw out much of the dialogue and write my own. (I’ll speak in the present tense here, though it’s doubtful I’ll ever write another movie tie-in novel.) My reasoning is that movie dialogue and novel dialogue are two different animals. In addition, movie scenes – very short, often two pages or less – need fleshing out.

Similarly, movies tend to skip scenes and let the viewer fill in. A movie doesn’t have to explain how a bunch of characters got from point A to point D, because the movie depicts those characters at point D – so they must have got there, right? But in the novel version, I would write about getting from point A to point B and point C before doing point D. In other words, I add scenes.

I once had a call from director Jonathan Moslow, whose U-571 I had novelized. He told me how much he liked the book – this was the only such call I ever received, by the way – but wondered how I’d known to cut several scenes and also to add several others that had not been in the screenplay. I explained that, in my modest way, I was a filmmaker myself – that I’d directed a handful of indie features. And when I read certain scenes, I’d known they’d be skipped; and when I added certain scenes, I’d known they’d be needed…or at least would flesh out the narrative for a reader of the novel.

In Saving Private Ryan, I not only changed the dialogue and added scenes, I did considerable research and wove all kinds of factual material into the narrative. (Later, when I was signed to write the Windtalkers novel – about the Navajo code talkers – I was specifically asked to give that script the same Saving Private Ryan-style research-driven approach.)

What I had learned, doing a dozen or more novelizations, was that what the Hollywood folks wanted me to do was “follow the script out the door.” In other words, I needed to include every beat of action and narrative in the screenplay, preferably in the same order. A conversation about something could be in different words than the screenplay, as long as it appeared in the same place and covered the same ground.

So when I approached the novel version of Road to Perdition, I took my usual approach. I wrote my own dialogue, and I restored material from the graphic novel that had not been in the screenplay. I provided linking scenes. I also added a lot of period detail and historical material that hadn’t made it into the graphic novel, either. The memoir aspect of the graphic novel I restored by way of italicized first-person openings for each chapter.

The novel was substantial for a movie novelization – something like 80,000 words – and I was proud of it. Felt it was my best movie novel and that it was a real complement to the original graphic novel. I sent it to my agent, who liked it very much (and he’s a tough audience), and the tie-in editor at NAL said it was the best movie novelization he’d ever read. He was thrilled. Ecstatic.

Happy times at the Collins household.

Then the DreamWorks people got hold of the book. They were not pleased. They could not have cared less that I was the creator of the original material. What they wanted – what they demanded – was that all of the dialogue from the screenplay be included, exactly as written. They also wanted any material not in the screenplay removed.

I made my case through my agent, and later directly to the editor. But editors who have a movie novelization on their lists answer to the movie studio, who must sign off on the manuscript before publication. So those editors tend not to rock the boat. Whatever the studio wants, the studio gets.

I went through numerous rewrites. In the first of these I put the movie dialogue in, but retained the extended dialogue of my own that had lengthened the scenes fore and aft. This is a necessary novelization technique because movie scripts tend to run 100 to 120 pages, and by contract the novel usually must reach 300 pages. Simple math means that some material needs to be added.

Nonetheless, I was required to remove any dialogue that had not been in the screenplay. To get the book up to any sort of length at all, I changed patches of my dialogue into third-person interior monologue. That’s one of the reasons why the complete Perdition novel isn’t just longer than the previous version, but substantially different.

The craziness continued. As the movie went through various stages of post-production, I was required to cut any scenes that were cut as the film itself was tightened in editing. Most novelizations include scenes that were cut from the film, and that’s one of the fun of reading them – getting deleted scenes, so to speak. Such cutting made mincemeat of the novel – one chapter was reduced to a page and a half.

When the book was finally published in its truncated, bastardized form, the length was around 40,000 words. I thought of it was the Scholastic Books version. That it made the New York Times bestseller list was a bitter victory.

Throughout the process of aborting my own child, I was told that it was director Sam Mendes himself who was insisting on these changes. I’d met Mendes on set and had a long, friendly, even warm conversation with him. I found it hard to believe he’d behave in this fashion. At the London premiere, we spoke again, and one of the things he said was, “I understand you wrote the novelization. I can’t wait to read it.”

So.

If you like my work, if you like Road to Perdition in any of its previous forms, go to Amazon or Barnes & Noble or BAM! and order Road to Perdition: The New, Expanded Novel. You are unlikely to find the book in any brick-and-mortar store, but I do recommended the physical book over the e-book, as it’s a handsome thing.

[Note from Nate: Actually, buy digital, too, since the e-book is currently on sale for 99 cents on Amazon, Google Play, Kobo, and iTunes. Heck, buy it at all four — who knows, maybe you’ll switch devices one day!]

[Also, Indiebound is a service that helps readers find a local bookstore where the physical novel can be special ordered, often online. Here’s the link.]

The sequel, Road to Purgatory, is also a handsome thing, and it’s just been published by Brash. (Read about it here: http://www.brash-books.com/book/road-to-purgatory-coming-in-february-2017/) Brash will be doing Road to Paradise as well, later this year or early next. The books have lovely uniform covers and will make a nice set for you to place on your bookshelf next to Nate Heller, Quarry and Barbara Allan.

The joy of having the real Road to Perdition novel exist will be greatly amplified if some of you actually read it.

* * *

People are always asking me what I’ve been reading. I know they mean novels, but as I’ve said here many times, I rarely read novels, and when I do, they tend to be older ones (lately Simenon’s Maigret novels).

Here are a few recent reads, all non-fiction:

An Unseemly Man, Larry Flynt – prepping for a Quarry novel about a Flynt-like murder target. Frank and smart, with the court battles over First Amendment issues often riveting.

TV (The Book)
, Alan Sepinwall and Matt Zoller Seitz, opinions and history about “the greatest American shows of all time.” Spotty, but readable.

A Life in Parts, Bryan Cranston. I mentioned this before – an excellent memoir by the Breaking Bad actor.

James Bond: The Secret History, Sean Egan. A decent look at Fleming and Bond, the latter in comics and video games as well as film and novels. No sense at all of the role Spillane played in the creation of the character.

That Kind of Woman – The Life and Career of Barbara Nichols, Richard Koper. A sad, repetitive look at the actress’ life. A lot of work went into it, but not really a professional job. Tons of good photos, though.

Andy & Don, Daneil de Vise – excellent dual bio of Andy Griffith and Don Knotts. Griffith is a fascinating guy, with a “Lonesome” Rhodes dark side.

Spotlight and Shadows – The Albert Salmi Story (2nd Edition), a fine bio by Sandra Grabman of the great character actor whose end was heartbreakingly tragic.

Arthur and Sherlock, Michael Sims. A look at the creation of Holmes by Doyle, ultimately unsatisfying, a detailed bio of the author cutting off after the publication of the initial Holmes stories.

A Mysterious Something in the Night: The Life of Raymond Chandler, Tom Williams. A pretty good bio of Chandler, though unremittingly sad. But for a picture section photo cutline, strangely omits any mention of Murder, My Sweet (a key film) and barely mentions the remake Farewell, My Lovely. Also agrees with any literary opinion of the notoriously cranky Chandler in a knee-jerk fashion. Nonetheless, worthwhile.

Wild Wild Westerners, Tom Weaver. B-movie maven Weaver talks to nineteen actors, writers and directors from the heyday of western film and TV, with standout interviews with Fess Parke, Andrew J. Fenady and June Lockhart.

See? I read.

* * *

Comic Mix has a giveaway contest for a Blu-ray copy of the Quarry Cinemax show.

A wonderful write-up on the Blu-ray release of Quarry is at DVD Beaver, one of my favorite sites (and not a porn one, despite its name).

Finally, here’s another Quarry Blu-ray review (haven’t received a copy yet myself).

M.A.C.

A Brash Preview

Tuesday, October 25th, 2016

Brash Books, who have brought the complete version of my ROAD TO PERDITION prose novel into print for the first time, has put together a terrific trailer for You Tube.

Brash will also be doing ROAD TO PURGATORY and ROAD TO PARADISE, and the two Patrick Culhane-bylined titles of mine now under my own name: BLACK HATS and USS POWDERKEG (previously RED SKY IN MORNING).

Two more movies we walked out of:

THE MAGNIFICENT SEVEN – we barely made it fifteen minutes into this travesty. Everything that made the original work, from the one-ups-manship chemistry between Yul Brynner and Steve McQueen to the theme of the West leaving the gunfighter behind is sadly M.I.A. The opening is stupidly melodramatic with the villain a wimp (the woefully miscast Peter Sarsgaard) and the action over-blown. The introduction of Denzel Washington’s character is silly (people scurry like roaches in fear of him) and Chris Pratt’s character is so poorly drawn, he’s actually given three introductory scenes (none of which work). The art direction, in its would-be Italian Western-ness, is as precious as a Hummel. We went home and watched the original.

KEEPING UP WITH THE JONESES is the kind of unfunny movie that makes you question your previously high opinion of the topline cast members. Zach Galifianakis has nothing to do in the role of a normal suburban spouse/father, and John Hamm looks like Don Draper, half-in-the-bag, wandering onto the wrong set. It’s the wheeze about normal folks wondering what their sophisticated new neighbors are doing in this dull neighborhood (of course that neighborhood exists only in the imagination of Hollywood, as we have a combination of hick types living in very expensive houses supported by jobs they could never hold). Isla Fisher, for example, who channels Debbie Reynolds in her 1960s mode, is some kind of interior designer currently working on a urinal for her “funny” neighbor. How does this shit get made?

* * *

Here’s an okay but patronizing QUARRY IN THE BLACK review. It’s tough to take criticism from somebody who calls The Broker “The Booker.”

For my taste, more on target, here is this great write-up from Ron Fortier, first-rate scribe his own self.

Here’s another fine review of QUARRY IN THE BLACK, although somehow the reviewer mistakes St. Louis for New York City. A Brit, maybe?

The QUARRY TV show gets more love.

And Wild Dog is getting back into the comic books (I wasn’t invited).

More Wild Dog here.

Finally, here’s info on the excellent QUARRY IN THE BLACK audio read by the great Stefan Rudnicki.

M.A.C.

Heart-Felt Part 6

Tuesday, February 9th, 2016

Yes, let’s get on with it already! I should very soon (today or tomorrow) get test results that will immediately pave the way for the heart surgery. In that case, a good chance I’ll be going in yet this week. If that happens, my son Nate will start posting weekly the four updates I wrote in advance, and I should be in shape to get back to the regular stand after that.

Watch here and at Facebook for health updates from me or Nate.

Everybody has been great. Thanks for the love and support. Back at ya.

* * *

Publication of the ROAD TO PERDITION novel appears to be happening. As I was looking for a project to keep me busy while waiting for test results, I decided to prepare the manuscript for Brash Books. For those who came in late, in 2002 I wrote a 70,000-word movie tie-in novel (okay, novelization) of the script for the movie that was based on my graphic novel. In my novel, I attempted to be true to the screenplay while weaving in material from the graphic novel as well as historical material about the real John Looney and his era.

The DreamWorks licensing department put me through hell, making me cut anything – including dialogue! – that wasn’t directly from the script. They could not have cared less that I was the creator of this story and its characters. Even after they had accepted my 40,000-word debasement of my original novel, they kept cutting – if, in the film-editing process, director Sam Mendes dropped a scene or even a few lines of dialogue, they removed that from my novel as well. One chapter was reduced to a page and a half.

I’ve always felt I did really good job on the book, and it really paved the way for my sequels, ROAD TO PURGATORY and ROAD TO PARADISE. So I’ve looked for a way to get the novel into print. Now, enough years have passed that nobody at Paramount (who control DreamWorks) seems concerned about my original version finally being seen.

Quick anecdote. I was told by the DreamWorks licensing people that Mendes himself was making the requests for my drastic cuts of the novel. That he wanted it exactly like the movie. Then when I talked to Mendes at the London premiere, he said, “I hear you’ve written the movie novel – can’t wait to read it!”

So, anyway, back in 2016, I was faced with looking at my 2002 manuscript and dealing with it. Making decisions, doing tweaks, ferreting out typos and missing words. This was my original manuscript, after all, not any published version.

My first decision was to change the slightly revised movies names of several central characters back to my version of them – “Michael Sullivan” was restored to “Michael O’Sullivan” and John (and) Connor “Rooney” again became “Looney.” (The change from “Looney” to “Rooney” was done when either Mendes or the screenwriter assumed the former was a comic-booky name provided by a graphic novelist, when of course the latter is historically accurate.)

My second decision was to get rid of two major plot changes. (SPOILER ALERT: skip this paragraph if you haven’t read the graphic novel and/or seen the film). In the graphic novel, as in history, John Looney is not killed. And in the graphic novel, the boy Michael kills the hitman who has shot Michael’s father. In the film, Looney memorably dies in the rain, and a Hollywood ending has the boy unable to shoot the hitman and the dying father being pleased. I had already restored the envelope of first-person narration by the grown Michael, Jr., and a last-page revelation of what became of him.

So I spent a day rewriting those scenes, taking them back to my original intention. But it didn’t work. The screenwriter had done too good a job of laying the groundwork for his version of my scenes. And I had done a really good job in the novel of doing the same, including fixing some plot holes in the script. Re-doing those scenes to make them consistent with the graphic novel created a domino effect of terrible proportions. The next work day, I restored the scenes as I’d originally written them (faithful to the movie script).

It quickly became clear that I had no business doing any significant rewriting. The point of the exercise was to get what I wrote in 2002 into print. This is not to say that I didn’t do some tweaking, but it was mostly a few word choice changes. I did fix a couple of things that bothered me in the movie that I had let pass in the novelization.

An example – in the film, Mike Sullivan has just offered his services to Frank Nitti if Nitti will give up Connor Rooney. Nitti turns Sullivan down, then after Mike has gone, we find that in adjacent room both Connor and John Looney are waiting. In what I think of as the Dr. Evil and Scott scene, Connor tells his father that they should take Mike down right now – he’s in their grasp! Rooney, again like Dr. Evil in Austin Powers, says something like, “You just don’t get it, do you son?” As much as I love the film, this makes me cringe. So I revised it with the father telling his son why it would be unwise to kill Sullivan, specifically that in a busy hotel during the day, the resultant melee would be a disaster. Those who’ve read the graphic novel know that I did have O’Sullivan shoot his way out of the hotel. Not staging that scene was a rare misstep and a missed opportunity.

On the whole, I was very pleased by what I wrote in 2002, and again I did very little rewriting or additional writing. Since Brash Books also intends to bring out ROAD TO PURGATORY and ROAD TO PARADISE in new editions, I feel confident that the prose novel of ROAD TO PERDITION will be a good lead-in – that it forms with the two sequels a trilogy that will please readers, particularly those who became familiar with PERDITION via the film.

One final note: one of the trickiest things had to do with converting between word processing programs. You want to know how long ago 2002 was? The book was written in WordStar! I had to convert it to Word Perfect, my preferred program, after which my revised manuscript had to be converted to Word. That meant, as a final step, going through and eyeballing each of around 400 pages, looking for glitches.

* * *

Check out this nifty cover of the mass-market edition of KILL ME, DARLING. By the way, I don’t recall whether I’ve mentioned it or not, but several goofs in the hardcover of COMPLEX 90 were corrected in the paperback version – making it the author-approved text of that novel.

The DARLING paperback will be out this month (the 23rd).

Speaking of my collaborations with Mickey Spillane, I urge you to check out the article at Great Writers Steal that happens to be one of the smartest examinations of either my work or Mickey’s that anybody has ever written.

Less smart is the favorable but patronizing review at the normally more reliable UK site, Crime Fiction Lover. Once again, it turns out that a book written in the ‘70s includes some ‘70s attitudes. And once again, the reviewer troubled by that doesn’t mind at all Quarry killing people.

Speaking of smart reviews, here’s a great one about the Heller novel ASK NOT, from Frank the Movie Watcher.

Let’s wind up with a great piece on THE MALTESE FALCON, from a writer smart enough to quote me.

M.A.C.