Like many novelists – all the way back to F. Scott Fitzgerald -- writing for film and television has been my day job. The pay is obscenely good, and it leaves you time to write what you really love – fiction. Most writers in Hollywood have a love/hate relationship with the movie business – described by some wit as “a crapshoot masquerading as a business masquerading as an art form.” And the books I am recommending express this mixture of scorn and reverence with humor and compassion. In my book The Deal I am clearly biting the hand that fed me over the years – but why not? As that old humorist Albert Camus said, “There is no fate that cannot be surmounted by scorn.”
Hollywood is full of bottom feeders and lowlifes, and nobody does these types of characters better than Elmore Leonard. His dialogue is spot on and his situations comically dark. A Florida loan shark chases a deadbeat customer all the way to Hollywood and winds up getting involved in a complex film deal that makes his life as a mobster seem tame by comparison.
A thriller filled with Leonard's signatures - scathing wit, crackling dialogue, twisted plot, mad scams - and set in the drug sodden world of Hollywood.
This poorly known novel by a television writer deserves more attention. It concerns a writer on a TV sitcom that is plagued by an impossible actress/star who makes everybody’s lives miserable by her egotistical behavior. The revenge that the writer, Jimmy Hoy, contrives for her is both funny and appropriate. There are laugh-out-loud moments in this book that will make you roar.
When the disarmingly charming and ruthlessly domineering Geneva Holloway lets her star temperament get out of hand, Jimmy Hoy, a writer for the "Geneva Holloway Show," joins with the show's other writers in plotting the perfect revenge
A witchy paranormal cozy mystery told through the eyes of a fiercely clever (and undeniably fabulous) feline familiar.
I’m Juno. Snow-white fur, sharp-witted, and currently stuck working magical animal control in the enchanted town of Crimson Cove. My witch, Zandra Crypt, and I only came here to find her missing…
This is the classic Hollywood novel, written by a superb writer who knew the territory. Set in the thirties, it features the minor people who make movies – the extras and out-of-work actors who are nourished by the elusive dream of being discovered and living the life of fame and fortune. The ending is one of the great comic-apocalyptic scenes written about Hollywood or about anywhere else in America.
Admired by F. Scott Fitzgerald, Dorothy Parker, and Dashiell Hammett, and hailed as one of the "Best 100 English-language novels" by Time magazine, The Day of the Locust continues to influence American writers, artists, and culture. Bob Dylan wrote the classic song "Day of the Locusts" in homage and Matt Groening's Homer Simpson is named after one of its characters. No novel more perfectly captures the nuttier side of Hollywood. Here the lens is turned on its fringes - actors out of work, film extras with big dreams, and parents lining their children up for small roles. But it's the…
Screenwriter/director Michael Tolkin writes of a world that he knows very well. His protagonist, a successful and ambitious film studio executive, makes promises he has no intention of keeping. When he does this to a writer who has pitched him a story and to whom he has promised to get back with some sort of answer and doesn’t, the writer threatens his life. Suspenseful, dark, and funny in its own troubling way.
Griffin Mill is senior vice president of production at a Hollywood studio. Obsessed with his career, dedicated to his success and riveted by paranoia, he is the ultimate player. But now he is in trouble. He has been getting postcards from a writer he rejected, who threatens to kill him.
This is the fourth book in the Joplin/Halloran forensic mystery series, which features Hollis Joplin, a death investigator, and Tom Halloran, an Atlanta attorney.
It's August of 2018, shortly after the Republican National Convention has nominated Donald Trump as its presidential candidate. Racial and political tensions are rising, and so…
Any book that starts with the line, “Who do you have to fuck to get off this movie,” has to be terrific, right? Terry Southern, the iconic writer of Candy, writes about a bunch of Hollywood characters who decide to make the perfect X-rated movie and sell it to a mainstream studio. The book is completely outrageous, in the same vein as Southern’s black humor film Dr. Strangelove.
“Terry Southern writes a mean, coolly deliberate, and murderous prose.” ―Norman Mailer
King B., an Oscar-winning director, is now determined to shoot the dirtiest and most expensive X-rated movie ever made. Displaced to Liechtenstein (which, in order to boost tourism, has negotiated the exclusive rights to show the film for ten years) and fueled by suspiciously rejuvenating vitamin B-12 injections, the set of The Faces of Love is fraught with monstrous egos and enormous libidos ― the kind of situation that could only come from the imagination of the irrepressible Terry Southern.
Washed up film producer Charlie Berns has mailed in his updated obit and is about to suck his Mercedes tailpipe and fade to black when a miracle materializes: his nephew, a wannabe screenwriter from New Jersey, has scripted the life story of Queen Victoria's prime minister Benjamin Disraeli, which Charlie manages to turn into a hot property that reinstates him as a player. But as the deal heats up, a few conceptual changes morph the project into Lev Disraeli: Freedom Fighter, an action thriller with a black Jewish superstar, a Yugoslavian location, a mad Polish director, and even a real-life kidnapping. Is Charlie Berns being eaten alive by the system? Or is he giving the Hollywood hotshots a run for their money?
Peter Lefcourt's hilarious satire proves the old adage that in Hollywood you're never quite as dead as people give you credit for.
In an underground coal mine in Northern Germany, over forty scribes who are fluent in different languages have been spared the camps to answer letters to the dead—letters that people were forced to answer before being gassed, assuring relatives that conditions in the camps were good.
