by Tara O'Shea

Recently, writer and producer Lawrence Hertzog took the time out from his insanely busy schedule (which consists of spending hours upon hours online asking people what they're wearing) to answer a few fan questions about La Femme Nikita, Nowhere Man, writing, and cheese. Larry Hertzog has been writing television for 20 years, and has worked on series such as profiler, Stingray, The Raven and the features Deadly Encounters, Escapade and Down Delaware Road. However, he is best known and beloved by the online masses as the creator of Nowhere Man, which ran for one season on UPN and was hailed by TV Guide as the coolest show of 1995.

What have been your favourite series to write?

My favorite, without a doubt, was my series Nowhere Man. It was a series dream come true. Too bad we had constant fights with the network and studio (but that's not unusual). Probably my next favorite was Stingray, a show I did at Steven Cannell Productions.

How did your involvement with Nikita come about?

Joel was my Supervising Producer on Nowhere Man. Sometime during Nikita's season three I got a call and was asked if I'd do three scripts for the season. I did. The rest, as they say, is history.

What were the first drafts of "Love and Country" and "Beyond the Pale" like, and were you pleased or displeased with how they turned out?

I was pretty pleased with both shows. "Love and Country" was bleak and mean and unrelenting. I liked Maddy out in the field, showing her true, cruel colors. It was kind of interesting to watch our guys "dissemble" another human being (while questioning Operation's motives). As for "Beyond the Pale"—I had initially pitched the idea of Michael and Nikita "playing house." I feel that was intact, but given series budget, time limitations, etc. I wish more of what was originally intended had been there. More of Nikita and Michael on the run (suspense) and more of them together, alone. Most of the changes, however, were done by me so I wasn't surprised. Of course, the show staff always takes the final draft and there was nothing that I found unusual there.

The premises of Nowhere Man and Nikita—an innocent swept into a life of intrigue, danger, and conspiracy against their will—are very similar. What do you think are the challenges of writing this type of drama?

Each show has a style or a "voice." For me, Nikita's brevity—almost no one speaks more than a line or two at a time—was something to tackle. I'm not sure it's specifically "this type of drama" as it is each individual show.

The 1990s has so far seen an explosion of spy-themed series that owe a great deal to the premiere series of the 1960s such as The Prisoner, The Avengers, Man from UNCLE, Mission Impossible and I Spy. Do you believe the espionage drama has found a new life in the post-Cold War era? And how has it evolved over the past 30 years?

Y'know, the truth is, I don't watch much episodic television. I'm not sure which series are on and whicht aren't. Nowhere Man (which owes much to The Prisoner) was a fluke. Mike Sullivan, the then President of UPN had a vision and guts and there you go. I don't think we'll see the likes of it again.

As for an explosion of spy-themed series—well, like I said, I wouldn't know. Most episodic television leaves me pretty cold. And, from what I can tell, there's a movement back toward '70's TV. Personally, I was a fan of The Prisoner, The Avengers, Secret Agent, The Rockford Files and The Twilight Zone. From that point on—I get lost! :-)

Some fans have found Nikita too unrelentingly dark, and ambiguous for the sake of ambiguity—while others have revelled in the elaborate Machiavellian plots and shades of grey. What do you believe is the right balance for the series, and what kinds of stories would you say are examples of Nikita at the very best it can be?

This question is best left to Joel and Bob. The show is their vision. Examples of the show at its finest? Personally, I was a big fan of "Rescue."

Fans are drawn to the series for a variety of reasons—Nikita's attempts to retain her humanity and compassion in an atmosphere of utter ruthlessness, the action and intrigue, the '20-minutes into the future' tech and, the slick production design of the series, the on-going character arcs that continually develop the supporting cast and explore the premise. Some have admitted to tuning in solely to watch Roy Dupuis' character of Michael. But as a producer, writer, and a viewer, what makes it attractive to you personally?

I'm not sure I can answer that in print. It's more of a subject for discussion than for "typing." But for sure—the darkness, the things you refer to above, make it a whole lot more appealing than another season of Hart to Hart.

If the first season was about Nikita wanting to escape Section, the second season was about Nikita and Michael's relationship, and third season about Nikita finding a place for herself within Section without betraying her humanity and compassion, where do you see the character heading in the 4th season?

That would be telling.

How would you like to see Nikita as a series evolve over the course of the next season?

Nikita's course for season four was pretty well determined even before I came aboard. I certainly wouldn't mind a peek beyond the ambiguity, however, into the heart and soul of some of the characters. We get to see them behave the way they behave—I'd like to "feel" a little bit more about why they are the way they are.

All that said, however—I'm not aboard to bring a "new vision" to Nikita. The show's done smashingly well without me. I'm here to keep the boat afloat. And, if Joel's vision continues, I'll be more than happy to see it through. If we happen to go to Season Five—well—we're gonna have to do something to break off course. What that would be—it's too early to say.

Television being such a collaborative medium, how important is it to find people to work with who "get it"—who truly understand the tone and pace of a particular series? How closely do you as a writer interact with the directors, in determining the final feel of a show?

It's critical to find people (particularly directors) who "get it." Without that—we're looking at a car wreck—a salvage job.

Historically, I've been very, very, very involved with all aspects of the shows that I've been involved with. It's too early to say what will happen vis a vis Nikita. The show has a very competent staff in place and Jamie [Paul Rock] is our virtuoso in Canada. As the season begins production, I'll have a better view of just what's needed from me. And, at that time, I'll be happy to take another look at this question.

Who are your favourite directors to work with, both as a writer, and as an executive producer and creator?

There's no doubt that at the top of the list there are two Brits. David Hemmings (who is also a talented actor, "Blow Up," "Camelot," etc.). And Ian Toynton who I met while doing Nowhere Man. Hands down, my faves. After twenty some odd years, the list isn't long. There are certainly others (James Whitmore, Jr. comes to mind) who have done a great job for me. But David and Ian top the list by far.

It's been said that, if you have to force your characters to act out of character in order to make your plot work, then your plot does not work. But there are also times when taking a character in a direction that no one else expected can result in added depth and resonance within a series. How do you believe can a writer or producer ensure such twists and turns become an organic part of the character's development, rather than a jarring or cheap device? And what rabbits have you pulled out of hats that you have been particularly proud of, and felt really worked?

As I said in response to one of the earlier questions—I don't have a very intellectual approach to my writing. I tend to write from "inside." If you can really "feel" your characters and you write and plot from that feeling, it's unlikely that you'll "force" them in the wrong directions. The trick is to find situations that call on different sides or aspects of your characters and then let them go to town.

I can't think of any rabbits, per se, but Nowhere Man gave me a chance to explore more than one facet of my lead character's dilemma. Surely, he was a hero and he was, most often, pitted against the wiles of "Them" (the opposition), but some of my favorite episodes were "off concept" and explored the weaknesses in the main character. Surely we are all flawed and it's interesting to explore human nature.

So, I don't look for rabbits. And though it sounds really pretentious when it's written in print—in a satisfying series, with a good character(s), you get to look for truth. And, really, that search is the writer's search within themselves, manifested by their characters.

Who has been your favourite character on Nikita—so far—to write for?

I like 'em all. Not a political cop out—they've all been fun. Exploring Maddy in "Love and Country", Birkoff has a good stint in "Any Means Necessary" (not aired yet) and certainly Michael and Nikita in "Beyond the Pale." All have places to go. Let's hope we get a chance to go there.

Do you feel any affinity for one character over another?

As a man, I'm intrigued by Madeline. We're all susceptible to female wiles and it's scary to think (or wonder about) being "wiled" by the likes of her. Just how much of her is basic "female?" and just how much of her is "just Maddy?" But that's a personal reaction. It might be interesting to see just what makes this woman tick. And what might "get to her." And what qualities in a man might she fall vulnerable to. But then again, I'm a guy—can't help it. Blame my mom and dad.

Nikita, of course, continues to drive the show and we hope to find some places inside her that we haven't explored.

What are the advantages and disadvantages of a series having an open dialogue with its fans?

Since Nowhere Man was my series and a very personal one at that, the fact that I was involved with the fans meant more to me than I can tell you. It made the entire experience even that much more personal. I made a lot of good "friends" and the camaraderie was beyond compare. Besides, how often does one really get to know just how their "stuff" is being responded to?

I will remain connected with the Nikita fans, though I suspect that, given that the show is not my creation, on a somewhat different level. But, hey—where else can I find a group and go online to ask, "what are you wearing?" Sometimes they even tell me! :-)

What was the best advice about writing you ever received?

You need to have the courage to write badly. (To avoid getting "stuck" or writer's block or whatever. Just "write through" the difficult times. You can always go back and make it better.)

What advice would you offer a fledgling writer about how to hone her or his craft?

Write. Write. Write. Write.

If money were no object, what would be your dream project?

I'm not sure my dreams are ready for prime-time. Depends on what everyone's wearing.

So, who's better to work for? Michael Eisner or Steven Chao? Or should I, considering how Nowhere Man ended, not even ask?

I haven't worked for Steven Chao yet. As for "The Mouse"—I came out alive. Barely, but here I am. As a note, though—when you offer Mickey some cheese, watch your fingers.