The story within THE DELIVERY MAN started in the early 2000’s and was one cathartic sonofabitch to create and complete. Having moved to Los Angeles in 1999 to write (and foolishly think I would swiftly sell) the manuscript detailing a slice of my life called THE BOSS ALWAYS SITS IN THE BACK, I had the good fortune to meet Ashley Rogers at a Beverly Hills party peppered with screenwriters, directors and producers.

After Ashely read the recently-completed 279 pages of THE BOSS, she immediately became a fan. At the time, I didn’t know how fortunate I was to have her in my corner. From the start she knew my story and I needed representation. I was then taught that prior to venturing into the murky, cannibalistic, shark-infested waters of managers, agents, producers and publishers, having an experienced attorney was the only way to start.

And she was right.

Think about it. Who’s going to read and negotiate the contracts you sign with those managers, agents, producers and publishers? You? Fugedabowdit!

Ashley took me to the Century City office of Howard Frumes, to whom I presented a copy of my hefty manuscript, followed by him presenting me a litany of reasons why I’ll “…never get a book like this sold in L.A.”

The story of how small and insignificant I felt after that meeting has been told many times in a variety of circles. Yet, the lessons I learned during that 30 minute meeting will stay with me for a lifetime.

Fortunately, I included a slick multi-colored cover showing the title and my name in large bold letters over silhouettes of a limousine and a naked woman with a nice pair of dice. In what I still refer to as “A very lucky moment for me,” he looked at the cover, became intrigued, picked up the manuscript and started reading.

Since then, Howard Frumes has been my literary attorney, source of moral support and a friend. And after the experiences I’ve had with attorneys, coming from me…those words mean something.

At the time, and considering where I resided, I was meeting people whose lives were as interesting as mine (or at least the part I wrote about in THE BOSS), yet I observed a stream of recurring “personal reasons” for their relocation to Southern California…and those “reasons” weren’t always the happiest of stories.

They were stories many have lived through.

I decided to write THE DELIVERY MAN based on those who weren’t able to make it through the hard times. The stories within it were written for all those with similar tales and experiences. As I said, it was painfully cathartic to write these accounts and convey them in a way everyone would like to see them told and unfold, while also being entertained.

Howard’s support and knowledge guided me through the releases and tours for THE BOSS ALWAYS SITS IN THE BACK, DEADFELLAS, and now THE DELIVERY MAN.

And it’s all been a slice.