Friday, November 20, 2009

AEI Clients Gerald Blaine and Lisa McCubbin's The Kennedy Detail Sells to Simon and Schuster


North American rights to former Kennedy-detail Secret Service Agent Gerald Blaine and journalist Lisa McCubbin’s The Kennedy Detail, with exclusive interviews from surviving members of the detail including foreword by Clint Hill (Jackie’s personal agent) by auction, to Simon and Schuster’s Gallery Books (Mitch Ivers) by Atchity Entertainment International (Ken Atchity). Foreign rights managed by Baror International, dramatic rights by AEI.

New Orleans Opera’s ROMEO AND JULIET to be presented IN HONOR OF DR. NICOLAS BAZAN


FOR IMMEDIATE RELEASE—NEW ORLEANS AND LOS ANGELES
In honor of Dr. Nicolas Bazan’s novel and film project, Una Vida: A Fable of Music and the Mind, the literary management and motion picture production company, Atchity Entertainment International, Inc., is co-sponsoring New Orleans Opera’s upcoming production of Charles-Francois Gounod’s “Romeo and Juliet,” with performances on November 20 (8 p.m.) and 22 (2:30 p.m.) at the Mahalia Jackson Theater for the Performing Arts in New Orleans.The opera will be conducted by New Orleans Opera General and Artistic Director Robert Lyall, with tenor Paul Groves as Roméo and soprano Nicole Cabell as Juliette.Bazan, the head of LSU School of Medicine’s Neuroscience Center for Excellence, has written a novel that explores the emotional and spiritual aspects of Alzheimer’s utilizing the lush setting of the New Orleans underground music world, to “show his love for his adopted city and State which is so vividly depicted in its pages,” according to Dr. Kenneth Atchity, Louisiana native and chairman of AEI. “We’re delighted to be able to bring Dr. Bazan’s first novel to the attention of the community he serves and to announce that a film based on it is in development as well.” The screenplay for Una Vida has been completed and offered by AEI to directors, cast, and financers.In the novel, neuroscientist Alvaro Cruz finds himself haunted by the recurring, yet elusive, dream of a banjo player in a cornfield, an image that leads him on a personal quest to uncover the mysterious past of a New Orleans street blues singer known as Una Vida. Stricken with Alzheimer’s, Una Vida can offer only tantalizing clues about her past, expressed through her mesmerizing vocals, incredible recollection of jazz lyrics, and the occasional verbal revisiting of a fascinating life that’s fading quickly and forever into the recesses of her mind. As Cruz searches for Una Vida’s true identity, he confronts the darkness within himself and learns profound lessons about the human psyche, the nature of memory—and about the human soul. In the end, Una Vida represents a triumph of the spirit and sends an intensely personal message of hope to the world even as scientists like Dr. Bazan continue their search for answers to one of life’s most devastating diseases.”Leeza Gibbons, founder of Leeza’s Place for the families of Alzheimer’s victims, calls Una Vida “a hero’s journey that leads a haunted neuroscientist through the mystery of jazz, the alleys of New Orleans . . . and the labyrinth of the mind.”Seating for this celebratory event is limited. Click here to order tickets or call the box office (504) 529-3000. For additional information please visit www.neworleansopera.org.

Thursday, November 19, 2009

New Orleans Opera’s ROMEO AND JULIET to be presented IN HONOR OF AEI Client DR. NICOLAS BAZAN


FOR IMMEDIATE RELEASE—NEW ORLEANS AND LOS ANGELES
In honor of Dr. Nicolas Bazan’s novel and film project, Una Vida: A Fable of Music and the Mind, the literary management and motion picture production company, Atchity Entertainment International, Inc., is co-sponsoring New Orleans Opera’s upcoming production of Charles-Francois Gounod’s “Romeo and Juliet,” with performances on November 20 (8 p.m.) and 22 (2:30 p.m.) at the Mahalia Jackson Theater for the Performing Arts in New Orleans.The opera will be conducted by New Orleans Opera General and Artistic Director Robert Lyall, with tenor Paul Groves as Roméo and soprano Nicole Cabell as Juliette.Bazan, the head of LSU School of Medicine’s Neuroscience Center for Excellence, has written a novel that explores the emotional and spiritual aspects of Alzheimer’s utilizing the lush setting of the New Orleans underground music world, to “show his love for his adopted city and State which is so vividly depicted in its pages,” according to Dr. Kenneth Atchity, Louisiana native and chairman of AEI. “We’re delighted to be able to bring Dr. Bazan’s first novel to the attention of the community he serves and to announce that a film based on it is in development as well.” The screenplay for Una Vida has been completed and offered by AEI to directors, cast, and financers.In the novel, neuroscientist Alvaro Cruz finds himself haunted by the recurring, yet elusive, dream of a banjo player in a cornfield, an image that leads him on a personal quest to uncover the mysterious past of a New Orleans street blues singer known as Una Vida. Stricken with Alzheimer’s, Una Vida can offer only tantalizing clues about her past, expressed through her mesmerizing vocals, incredible recollection of jazz lyrics, and the occasional verbal revisiting of a fascinating life that’s fading quickly and forever into the recesses of her mind. As Cruz searches for Una Vida’s true identity, he confronts the darkness within himself and learns profound lessons about the human psyche, the nature of memory—and about the human soul. In the end, Una Vida represents a triumph of the spirit and sends an intensely personal message of hope to the world even as scientists like Dr. Bazan continue their search for answers to one of life’s most devastating diseases.”Leeza Gibbons, founder of Leeza’s Place for the families of Alzheimer’s victims, calls Una Vida “a hero’s journey that leads a haunted neuroscientist through the mystery of jazz, the alleys of New Orleans . . . and the labyrinth of the mind.”Seating for this celebratory event is limited. Click here to order tickets or call the box office (504) 529-3000. For additional information please visit www.neworleansopera.org.

Tuesday, November 17, 2009

New Orleans Opera’s ROMEO AND JULIET to be presented IN HONOR OF DR. NICOLAS BAZAN


FOR IMMEDIATE RELEASE—NEW ORLEANS AND LOS ANGELES
In honor of Dr. Nicolas Bazan’s novel and film project, Una Vida: A Fable of Music and the Mind, the literary management and motion picture production company, Atchity Entertainment International, Inc., is co-sponsoring New Orleans Opera’s upcoming production of Charles-Francois Gounod’s “Romeo and Juliet,” with performances on November 20 (8 p.m.) and 22 (2:30 p.m.) at the Mahalia Jackson Theater for the Performing Arts in New Orleans.The opera will be conducted by New Orleans Opera General and Artistic Director Robert Lyall, with tenor Paul Groves as Roméo and soprano Nicole Cabell as Juliette.Bazan, the head of LSU School of Medicine’s Neuroscience Center for Excellence, has written a novel that explores the emotional and spiritual aspects of Alzheimer’s utilizing the lush setting of the New Orleans underground music world, to “show his love for his adopted city and State which is so vividly depicted in its pages,” according to Dr. Kenneth Atchity, Louisiana native and chairman of AEI. “We’re delighted to be able to bring Dr. Bazan’s first novel to the attention of the community he serves and to announce that a film based on it is in development as well.” The screenplay for Una Vida has been completed and offered by AEI to directors, cast, and financers.In the novel, neuroscientist Alvaro Cruz finds himself haunted by the recurring, yet elusive, dream of a banjo player in a cornfield, an image that leads him on a personal quest to uncover the mysterious past of a New Orleans street blues singer known as Una Vida. Stricken with Alzheimer’s, Una Vida can offer only tantalizing clues about her past, expressed through her mesmerizing vocals, incredible recollection of jazz lyrics, and the occasional verbal revisiting of a fascinating life that’s fading quickly and forever into the recesses of her mind. As Cruz searches for Una Vida’s true identity, he confronts the darkness within himself and learns profound lessons about the human psyche, the nature of memory—and about the human soul. In the end, Una Vida represents a triumph of the spirit and sends an intensely personal message of hope to the world even as scientists like Dr. Bazan continue their search for answers to one of life’s most devastating diseases.”Leeza Gibbons, founder of Leeza’s Place for the families of Alzheimer’s victims, calls Una Vida “a hero’s journey that leads a haunted neuroscientist through the mystery of jazz, the alleys of New Orleans . . . and the labyrinth of the mind.”Seating for this celebratory event is limited. Click here to order tickets or call the box office (504) 529-3000. For additional information please visit www.neworleansopera.org.

WITH AEI NOVELIST JOCK MILLER CELEBRATING FOSSIL RIVER

Sunday, November 15, 2009

December 2009 Indie Next List






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The December 2009 Indie Next List

November 04, 2009

Here's a preview of the titles on the December Indie Next List flier, now on its way to ABA member stores in the IndieBound movement. A downloadable PDF version of the list will also be available beginning December 1 on BookWeb.org and IndieBound.org.

The December 2009 Indie Next Great Reads

Under the Dome: A Novel by Stephen King
(Scribner, $35, 9781439148501)
"Imagine a small town in Western Maine that is suddenly cut off from the rest of the world. Now, imagine what would happen next. King's latest is a story of good versus evil; the helpless and the helpful; people facing a terrible, senseless reality. This is Stephen King's best book since The Stand, and is destined to be a classic. Really." --Rita Moran, Apple Valley Books, Winthrop, ME

Wishin' and Hopin': A Christmas Story by Wally Lamb
(Harper, $19.99, 9780061941009)
"Wally Lamb's Wishin' and Hopin' is a sure winner for laughter and fun this holiday season." --Margaret Osondu, Osondu Booksellers, Waynesville, NC

A Good Fall: Stories by Ha Jin
(Pantheon, $24.95, 9780307378682)
"Ha Jin never fails to amaze. His newest work, a collection of short stories, focuses on individuals who struggle to reconcile their cultural identities with their new and disparate surroundings. A Good Fall is at times tragic, at others humorous, yet persistently enchanting." --Bridget Allison, Phoenix Books, Essex, VT

Bright-Sided: How the Relentless Promotion of Positive Thinking Has Undermined America by Barbara Ehrenreich
(Metropolitan Books, $23, 9780805087499)
"Barbara Ehrenreich strikes a blow against the tyranny of the relentlessly cheerful! From cancer patients to corporations, the lemon-into-lemonade philosophy is being used as a weapon to place the blame for troubles on the victim. Bright-Sided is an erudite examination of the negative side of positive thinking." --Lisa Wright, Oblong Books & Music, Rhinebeck, NY

Crush It! Why NOW Is the Time to Cash In on Your Passion by Gary Vaynerchuk
(HarperStudio, $19.99, 9780061914171)
"Refreshingly free of BS jargon (that would stand for Business School, of course!) Crush It! explains exactly why your business should engage in the world of social media, and it tells you how to do it. Vaynerchuk (better known as @GaryVee -- if you don't know what this means you need to read this book) built a $60 million wine business largely using free Internet tools, and his book will convince you that you can too." --Rich Rennicks, Malaprop's Bookstore/Cafe, Asheville, NC

The Gift: A Novel by Cecelia Ahern
(Harper, $19.99, 9780061706264)
"Every holiday season, people watch It's a Wonderful Life, and now readers will add The Gift by Cecelia Ahern to their seasonal calendar. It is sure to become an annual ritual and a holiday classic with a message -- that time is the greatest gift you can give." --Karin Beyer, Saturn Booksellers, Gaylord, MI

Wherever I Lie Is Your Bed: Two Lines World Writing in Translation by Margaret Jull Costa and Marily Hacker
(Center for the Art of Translation, $14.95 paper, 9781931883160)
"On rare occasions, a book can have a visceral impact on a readers, and that's the case with Wherever I Lie Is Your Bed, a beautiful anthology of world literature in translation. Every translation in this volume is a gem, every piece its own little bit of light on a culture and a language." --Cathy Langer, Tattered Cover Bookstore, Denver, CO

Dracula The Un-Dead: The Sequel to the Original Classic by Dacre Stoker and Ian Holt
(Dutton, $26.95, 9780525951292)
"This sequel, based on Bram Stoker's handwritten notes, will make you rethink all you thought you knew about Dracula." --Kristy Cate, Kristy's Bookshelf, Morganton, NC

The Dreaded Feast: Writers on Enduring the Holidays by Michele Clarke and Taylor Plimpton (eds.)
(Abrams, $15.95, 9780810982659)
"Those of us who approach the holidays with more trepidation than glee finally have a holiday book to call our own! Humor writers both classic (Robert Benchley, Corey Ford, James Thurber) and contemporary (David Sedaris, Augusten Burroughs, Dave Barry, Jonathan Ames) weigh in on the dark side of the holidays." --Carol Schneck, Schuler Books & Music, Okemos, MI

Double Take: A Memoir by Kevin Michael Connolly
(HarperStudio, $19.99, 9780061791536)
"Kevin Connolly was born without legs, but raised to believe he is no different from anyone else. He graduated with a degree in photography and now travels all over the world on a skateboard taking pictures of peoples' reactions to him. Connolly is a great writer, and Double Take is entertaining, funny, and enthusiastic. I can't stress enough how entertaining it is." --Mary Jane DiSanti, Country Bookshelf, Bozeman, MT

La's Orchestra Saves the World: A Novel by Alexander McCall Smith
(Pantheon, $23.95, 9780307378385)
"As WWII begins, Lavender Stone's life in London comes to an abrupt end when she learns that her husband has run off with another woman. Seeking refuge in the countryside, Lavender (La to her friends) moves into her father-in-law's house in Suffolk, where, among other things, she starts an orchestra -- and discovers a friendship that proves to be the most important thing to her in a world turned upside down. You will adore this story." --Anne Holman, The King's English, Salt Lake City, UT

Lying With the Dead: A Novel by Michael Mewshaw
(Other Press, $14.95 paper, 9781590513187)
"Told alternately from the points of view of three adult children whose emotional scars are worse than the physical ones they received from beatings their mother administered, Lying With the Dead will get to you. Far from being sad, however, it's often funny, and it draws you in, making you fond of the three misfits and wonder if the truth can ever be discerned through the controlling mother's lies." --Nancy Fontaine, The Yankee Bookshop, Woodstock, VT

My Bread: The Revolutionary No-Work, No-Knead Method by Jim Lahey, with Rick Flaste
(Norton, $29.95, 9780393066302)
"It is easy for me to recommend My Bread because I have been using Jim Lahey's recipe for no-knead bread ever since the flawlessly simple and versatile recipe was published in the New York Times. My Bread includes more than 40 bread variations, recipes for sandwich ingredients, recipes for his classic panini, and suggestions for what to do with left over stale bread. This is the bread book to end all bread books." --Janina Larenas, Logos Books & Records, Santa Cruz, CA

Pops: A Life of Louis Armstrong by Terry Teachout
(Houghton Mifflin Harcourt, $30, 9780151010899)
"Terry Teachout has written an amazing biography of New Orleans' native son Louis Armstrong. Drawing on newly available primary sources, he weaves together a biography that is both illuminating and inspirational. Armstrong's contributions to jazz, pop culture, and breaking the color barrier are well told in a crisp, clean prose. Highly recommended!" --James Wilson, Octavia Books, New Orleans, LA

Too Much Happiness: Stories by Alice Munro
(Knopf, $25.95, 9780307269768)
"A new work by Alice Munro is always cause for celebration, and this collection of stories is no exception. These stories are like smooth, fast rivers on the surface, hiding a deep turbulence. Each cool and intelligent voice lures me deep into the tale, but never fails to deal a swift jerk and embed a hook deep and permanent." --Karen M. Frank, Northshire Bookstore, Manchester Center, VT

Wolf Hall: A Novel by Hilary Mantel
(Holt, $27, 9780805080681)
"In Wolf Hall, Mantel offers a new view of the reign of Henry VIII: from inside the head of Thomas Cromwell, as he ponders ways to increase the size of Henry's exchequer and aid the king's efforts to get Anne Boleyn into his bed through the sanctity of marriage. Mantel exposes Cromwell's thoughts as he frets over his family, his friends, even his enemies. A brilliant novel that encapsulates the Tudor era in the lushest of evocative prose." --Kathy Ashton, The King's English, Salt Lake City, UT

The Tyranny of E-mail: The Four-Thousand-Year Journey to Your Inbox by John Freeman
(Scribner, $25, 9781416576730)
"The Tyranny of E-mail is a riveting read and a clarion call to pay attention to the downsides of our increasing addiction to e-mail, and the subsequent loss of social connection and empathy. Freeman's fascinating book does not advocate abolishing e-mail, but rather gives insightful new ways to look at it. This is a tipping-point book for sure, as Freeman calls for a slow communication movement." --Sheryl Cotleur, Book Passage, Corte Madera, CA

The Wolf at Twilight: An Indian Elder's Journey Through a Land of Ghosts and Shadows by Kent Nerburn
(New World Library, $14.95 paper, 9781577315780)
"The Wolf at Twilight continues the story begun in Neither Wolf Nor Dog. Nerburn and Indian elder Dan embark on a journey into Dan's past, facing a painful legacy as they search to discover the fate of Dan's sister. If you have read Nerburn's earlier works, you'll want to read this beautifully told book. If you're not familiar with Nerburn's writing, this book will be a good place to start." --Sally Wizik Wills, Sister Wolf Books, Park Rapids, MN

The Darkness by Jason Pinter
(MIRA, $7.99 paper, 9780778326717)
"Jason Pinter's The Darkness is a fast-moving mystery featuring Henry Parker, a young reporter who keeps finding himself in dangerous situations and dark places. Pinter is an exciting young writer, and his Parker character is growing and developing with each book." --Terry Lucas, Open Book, West Hampton Beach, NY

The Red Velvet Turnshoe: A Mystery by Cassandra Clark
(Minotaur, $24.99, 9780312537364)
"It is the year 1383. Hildegard, a widow who has taken holy vows to preserve her independence, is asked by her abbess to undertake a mission to bring the Cross of Constantine to England. When a dead body is found en route and an innocent lad is accused of murder, Hildegard sets out to clear the boy's name and save him from the gallows. Clark does a brilliant job of recreating Medieval Europe with a wealth of historical detail." --Jennie Turner-Collins, Joseph-Beth Booksellers, Cincinnati, OH

The December 2009 Notable Titles

Fiction

But Not for Long: A Novel by Michelle Wildgen (Thomas Dunne Books, $24.99, 9780312571412)

The Casebook of Victor Frankenstein: A Novel by Peter Ackroyd (Nan A. Talese/Doubleday, $26.95, 9780385530842)

Demon Bound: A Black London Novel by Caitlin Kittredge (St. Martin's, $7.99 paper, 9780312943639)

In the First Circle: The First Uncensored Edition by Aleksandr I. Solzhenitsyn (Harper Perennial, $18.99 paper, 9780061479014)

Pariah by Dave Zeltserman (Serpent's Tail, $14.95 paper, 9781846686436)

The Pursuit of Other Interests: A Novel by Jim Kokoris (St. Martin's, $24.99, 9780312365486)

The Shadow of Sirius by W.S. Merwin (Copper Canyon, $16 paper, 9781556593109)

A Year of Cats and Dogs by Margaret Hawkins (Permanent Press, $28, 9781579621896)

Nonfiction

America's Prophet: Moses and the American Story by Bruce Feiler (Morrow, $26.99, 9780060574888)

The Art of the Bookstore: The Bookstore Paintings of Gibbs M. Smith by Gibbs Smith (Gibbs Smith, $35, 9781423606437)

Children of Dust: A Memoir of Pakistan by Ali Eteraz (HarperOne, $25.99, 9780061567087)

Everything Will Be All Right: A Memoir by Douglas Wallace (Greenleaf Book Group Press, $21.95, 9781608320042)

Get Cooking: 150 Simple Recipes to Get You Started in the Kitchen by Mollie Katzen (HarperStudio, $24.99 paper, 9780061732430)

Our Choice: A Plan to Solve the Climate Crisis by Al Gore (Rodale, $26.99, 9781594867347)

Roll Around Heaven: An All-True Accidental Spiritual Adventure by Jessica Maxwell (Atria Books/Beyond Words, $25, 9781582702360)

Scroogenomics: Why You Shouldn't Buy Presents for the Holidays by Joel Waldfogel (Princeton University Press, $9.95, 9780691142647)

The War That Killed Achilles: The True Story of Homer's Iliad and the Trojan War by Caroline Alexander (Viking, $26.95, 9780670021123)

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Saturday, November 14, 2009

Oscar watch: Going crazy over 'Crazy Heart'







The Big Picture

Patrick Goldstein on the collision of entertainment, media and pop culture

I'd be lying if I didn't admit to having a serious bout of trepidation when I headed off the other night to see "Crazy Heart," the new Fox Searchlight film that stars Jeff Bridges as Bad Blake, a hard-drinking, faded country star relegated to one-night gigs at bowling alleys and dingy saloons. After all, if there's ever a subject that been mined deeply in movies, it's the saga of the self-destructive country music singer. With so many real-life role models, from Hank Williams to George Jones to Waylon Jennings to Steve Earle (and about 100 others), it's a trajectory that's hard to avoid.

And after you've seen Robert Duvall as the broken-down Mac Sledge in "Tender Mercies," you know that it's a hard act to follow. But I'm here to say that "Crazy Heart" is the real deal. It's a beautifully told story (by first-time writer-director Scott Cooper) made even better by a terrific performance by Bridges, who does a wonderful job of showing us a good man who's hit bottom, having run through five or so wives and boozed away all the money he made when he was riding high. If Cooper was worried about any comparisons with "Tender Mercies," he doesn't show it, especially since he cast Duvall in a nice small role as a bar owner who doubles as Bridges' fishing buddy. Maggie Gyllenhaal costars as a vivacious small-town reporter who wheedles the skittish Blake into giving her a series of interviews, which turn into a surprisingly affecting relationship.

I'll leave the serious reviews to the critics, but as a country music fan, I was especially impressed by the film's attention to musical detail. It's pretty obvious that Bridges' performance will catapult him into the best actor Oscar race, but it's also the kind of performance that will impress musicians with the way it captures the idleness of life on the road as well as the angst of a performer who sees how his core audience has blithely deserted him, opting for a new kind of air-brushed, "American Idol" style of country over the rough-edged grit of Bad Blake's era.

Bridges' Blake is full of echoes of a host of old country icons. When I was a young rock writer, I spent a lot of time in smoky clubs, interviewing some of the unadorned original C&W luminaries. Once, preparing to interview Jerry Lee Lewis at a club in Memphis in the 1980s, I put my tape recorder on the table. Glistening with sweat from the pills and alcohol in his system, Jerry Lee said, "Son, a tape recorder is a dangerous weapon," reached around behind his back and pulled out a pistol, which he set lightly on the table, explaining "Now we're even."

Bridges has a little bit of that edge in his performance too. In fact, there were times when he seemed to be channeling a big chunk of the outlaw country vibe from the 1970s and '80s. To see him on stage singing, sweat dripping off his beard and seeping through his open-neck shirt, is to see someone who's a dead ringer for the ghost of Waylon Jennings, whose own personal life -- booze, cocaine and lots of wives -- isn't that far from the character Bridges plays in the film.

The music in the film is killer old-school country, written by T Bone Burnett and Stephen Bruton, a Texas musician who died earlier this year after spending nearly 40 years playing with Kris Kristofferson (who many will say Bridges resembles at times in the film as well). And as if acknowledging its debt to Jennings, the film has a scene scored to Jennings' own "Are You Sure Hank Done It This Way."

The film opens in New York and L.A. in mid-December for an Oscar-qualifying run before going wider after the first of the year. The highest praise I can offer is that "Crazy Heart's" music wonderfully embodies the spirit of the film and the film itself captures the bittersweet, soulful life force of country music.

Photo of Jeff Bridges and Maggie Gyllenhaal in "Crazy Heart" from Fox Searchlight


AEI CLIENT NOVELIST RON WEAVER USES TAROT TO WORK HIS MAGIC

In the second novel that I’m writing, I was inspired to have my characters, David and Desiree, deal a Tarot card spread. They’d just met in the Rome airport on the way to Venice, Italy, and Desiree is going to a Tarot Ball during Carnival. She produces a deck of Tarot cards, showing David her costume–a nearly naked lady called The World. The cards’ instruction booklet explains how to use them to answer questions. At this point, as yet unknown to the characters, I intended to map out a direction for these soon-to-be lovers. I shuffled then dealt the cards for them, asking David’s question about why he was driven on a quest to visit Venice during Carnival. I was blown away by how close the progression of cards came to the direction I felt the story was headed. But that was nothing compared to what happened last Saturday!

Weeks ago, while writing a scene, I needed an appropriate costume for 20-year-old David to wear to the Tarot Ball. I looked through my deck of Tarot cards and, on a whim, decided on the Page of Cups. The image of a youth in a blue and yellow striped tunic holding a golden cup with a fish sticking out the top somehow felt right.

Saturday, as I plotted out the next scenes, I decided it was time for David and Desiree, now becoming a romantic item, to do another Tarot spread. I asked their question: “What is the future for us?” and dealt the cards. The progression of the seven cards had warnings of foes pretending to be friends and dire obstacles ahead, perfectly synchronized with the story in my mind. AND the Final Outcome card was the Page of Cups.

Sometimes I feel like unseen forces are guiding my imagination. I think I know what I’m going to write then something entirely unexpected will end up on the page. I enjoy the surprise and marvel that it came from me. What fun!

Friday, November 13, 2009

Gumbo Writers.com Interviews Ken Atchity

Ken Atchity - AEI

Ken Atchity is probably one of the most prolific manager/producers I know. He's an amazing man who is brilliant in every way. I had the opportunity to speak with him over the phone about something I thought many writers would find interesting, how to turn your book into a film. Here's a glimpse into our conversation:

Jeff Rivera: I'm talking to Ken Atchity from Atchity Entertainment, and he’s going to be talking to us about how to translate your novel from the get go to be ready for film and television. So Ken welcome very much to the teleseminar.

Ken: Hey, Jeff. It’s great to be here. I hope everything is going well with you.
Jeff Rivera: It is, thanks Ken. So let’s start from the beginning. So suppose I’m a writer and I really want to have a novel that’s going to be cinematic ready. What should I do from the concept on to think about that sort of process?
Ken: Well that’s a great question because very few writers have that foresight and as a result 90% of the novels that we see for some films are ones that we have to turn down because they don’t follow film rules or consideration. So, the first thing a writer should think about is what does he like to see in a film. What do audiences respond to in a film? A little background on the business is also good. Today, there are three kinds of markets that has a means to writer. The first kind of market is the big Hollywood studio market, with a number of mini studios playing the same game, which is the game of a movie that costs above $25 million and goes up to a couple of $100 million. And that’s what we’re going to mainly talk about today. Let me tell you about the other two markets and why we’re not going to talk about them. The other two markets are the Indie markets, which is divided into (A) the commercial Indie market and (B) the artistic Indie market. I think everybody knows what an artistic Indie movie is, everything from The Reader to Revolutionary Road back to the Crying Game. Very few artistic Indies are marketable on a commercial level. The commercial Indie market, on the other hand, are the thrillers, action and martial pieces that you see that are clearly designed and created for a commercial market. They’re called genre movies. And they are the ones that get made and sold in the foreign market most easily. The art movies have a very hard time selling in those markets, including both foreign and domestic. In both cases, what’s missing in the Indie market is [development] money and because development money is missing, it's very very difficult to sell a novel into that market because you can’t shoot a novel, you have to shoot a script. So, for a novelist who is hoping to make an Indie movie because their novel is so unique and non-mainstream, their best bet is to find a screen writer to collaborate with or to become a screen writer themselves and to write to their own screenplays.
Jeff Rivera: That makes a lot of sense. So when you say mainstream market, are there any specific genres within that mainstream market that people should really focus on if they’re really looking to have a novel that will turn into, or turn well into something cinematic?
Ken: Yeah, well, that’s another good question. I mean what the mainstream market is looking for in novels are action thrillers, sci-fi thrillers and family adventures, like our movie Ripley’s Believe or Not with Jim Carrey directed by Chris Columbus coming up. They look for romantic comedies but unfortunately, there is virtually no romantic comedy book business. They look for dramas or even romantic dramas like the Bridges of Madison County, for example. But very few of those actually get made in the movie unless the writer is a bestseller. So you see Nicholas Sparks’ you know movies like The Notebook. The big market is looking for those kind of books, The Bourne Identity, etc. But they are looking for books that are a number one concept. Maybe I’ll just go through a few numbers of things you should jot down if you’re a writer trying to plan your book. And we’ll talk about them separately later. So, number one is a high concept. Number two is a male lead in a star castable age range. Number is a very clear-cut, three act structure, even if that structure is hidden in your novel. Number four is a happy ending. Number five is having a major American component or a major American setting. Number six is having a focus on the broadest possible audience. So, urban novels for example as much as they are bought in their particular niche like the ones by our clients for example, they don’t make an easy translation in the movie because there is a very narrow movie niche for that market and that particular niche doesn’t have a lot of development money. So, with those seven things in mind, you can sit down and you can start thinking about your novel and if you can turn it, you can make a novel that follows those seven rules, it will standout immediately from the pack of novels that break anywhere from one to all of those rules.
Jeff Rivera: One of the questions I want to ask you, I was kind of surprised with some of the genres you said that are really considered mainstream and sellable or cinematic. I’m not surprised by the actions or the thrillers and that sort of thing. But you brought up romantic comedies and romantic dramas, that’s interesting.
Ken: All you have to do is look at the box office when they do a really good book like The Notebook or Message in a Bottle, it does very well at the box office. And romantic comedies are rarely based on novels because there is no real novel market for comic romance. The general romance market that novelists write for is not really romantic comedy and doesn’t follow the rules of romantic comedy. So, that’s a difficult area to work in as a novelist hoping that your book will be made into a film. But all the other ones I mentioned including family drama are very strong in film and they love to based the film on a novel. Then fantasy, sci-fi action and of course graphic novels and comic books, that’s why Hollywood loves those kind of things because they have broad audiences and are based on preexisting material. That preexisting material in the case of comic book or graphic novel is very well aware of the three act structure and very focused on a viable film audience. They have heroines and heroes at the right ages that work in the same demographic that the film people are looking for.
Jeff Rivera: Right. So I’m just going to just kind of mechanically and strategically choose a genre that is easiest sell to go from book to film would be to choose an action and a thriller, a family drama, a romantic comedy or a romantic drama.
Ken: Yeah. I wouldn’t do a romantic comedy. As I said, it doesn’t work in the book business so that really isn’t a novelist’s choice.
Jeff Rivera: Okay. So don’t choose romantic comedy.
Ken: No, don’t choose romantic comedy because you wouldn’t be able to sell it as a book.
Jeff Rivera: Okay. So stick to the main genres that basically you’re going to sell big.
Ken: Right.
Jeff Rivera: Big price.
Ken: Yeah. Sci-Fi, action, big drama, family drama, romantic drama and fantasy.
Jeff Rivera: So lets say in this case we chose romantic drama as a writer. That’s the genre I want to write to go from book to film. What do I next now that I’ve chosen my genre that I want to write?
Ken: Okay. The next thing you do is you make sure your hero and your heroine are in the right age range. And the age range for romantic drama would be young, 20 something. For a moment we’re not talking about the teen audience. But, for the adult audience it would be 20 something up to say the oldest 40 something. After that it becomes more and more difficult to make into a movie partly for casting reasons, and partly because the studios have discovered that as much as the audience over 55 needs movies, very few of them will actually go to a movie theater. They’ll get it on the Netflix or watch it or on a pay per view but they’re not going to march out to the theater. Recently I turned down a romantic drama from a publisher because the two main characters were in their 60s. It’s too hard a road to hope to go out and say okay, I got Harrison Ford in a role that he will admit that he’s over 60 or a female lead who’s going to admit that she’s over 60, like Glenn Close you know for example. Everybody is going to look at me like I’m crazy.
Jeff Rivera: Right.
Ken: On the other hand you have a drama like Elegy with Ben Kingsley, who is older than I don’t know, if he’s 60, but he’s getting up there. You match him with Penelope Cruz and now you have a really good movie. Although that movie I think had limited if no theatrical release. It primarily went straight to DVD. It’s a very good movie based on a book. So, that’s the next thing to consider. In other words, find a castable protagonist and antagonist. Castable primarily means make sure you have a strong male lead and make sure they’re in the right age range. Now, why is that a strong male range? Because that’s the sexist because women don’t want to go to a movie to see women. They go to a movie to see men.
Jeff Rivera: Interesting.
Ken: They drag their sweetheart along to a movie because there’s also a sexy woman in it. But basically, they go to see the man. So it’s much harder to set up a movie even like a thriller. We’ve been working on several thrillers with female leads and its very hard to convince the distributors to put the money, the prints and advertising necessary behind this script because the lead isn’t a male lead that will bring women into the box office. See what I mean. Its women…
Jeff Rivera: Right.
Ken: Making the decision.
Jeff Rivera: And Ken, since we’re being blunt and honest about this. This male lead 18 to 40 years old probably needs to be white.
Ken: Yeah. If you want to play in the Hollywood mainstream business, he needs to be white because that is it’s the broadest audience. Movies that are specifically black, for example, get a very small portion, which is something like 4% of the overall box office. Will Smith, who is the most popular actor in America today, will not play a role that is specifically African-American. He wants to play a role where the character could be anyone. In other words, he wants to play white if white is defined in Hollywood terms, which means broadest audience possible. Will, because he’s so great, has been accepted into the white audience without even a ripple. It's like racists have disappeared at the billion dollar box office, and that’s kind of what the situation is. So, you write it without the need for it to be black or the need for it to be Latino or the need for it to be Asian and now you have a real shot at setting up your movie.
Jeff Rivera: Great. So we need to have a male lead. Race not really defined but most likely white who’s 18 to 40 years old.
Ken: Exactly. What we mean by white here is not specifically ethnic.
Jeff Rivera: Okay. Okay. Not specifically ethnic. So Will Smith can play, Denzel Washington can play, but it’s not specifically a black male lead anybody can play.
Ken: Right.
Jeff Rivera: So now that we’ve got the genre. We’ve chosen, we’ve chosen the genre and we’ve chosen our male lead, what do we do next?
Ken: Well the next thing is to really make it clear that there are three acts in your story. And oddly enough novels don’t really think that way. Novelists don’t usually think that way but a movie has to think that way. And the big problem with novels usually has act 2, usually a novel has act 1 and then some big turning points happens that takes you into act 2 and then there is not act 3. I mean it just keeps going and going then the ending feels tacked on. But this can easily be fixed on the drawing board or in retrospect when you edit your first draft by saying, you know, what is the twist at the end of the book that makes the third act even more riveting and compelling than the second act was. So reason the screen writers are brought in the novels if a novel doesn’t have a clear cut act 3 then a screen writer is brought in whose job it is to find act 1, 2 and 3 and make sure that they can be clear in the audience’s mind.
Jeff Rivera: Right. So we need to have a clear three act structure.
Ken: Right. And then of course the next step is to make sure you have a happy ending; not an ambiguous ending, and not a tragic ending. Very few movies that you go to the box office to see have a tragic ending. But, there are exceptions and some of the exceptions almost proved the rules. For example, my favorite exception is Witness. Let’s call it a romantic thriller. In the last scenes of Witness, you have the Philadelphia detective falling in love with this innocent Amish, handmaiden on a farm. You’re really rooting for them to be in love because its so sweet and its so innocent and unusual. They seem to be soul mates. In the last scene of the movie as he leaves, the director put a very long shot of his drive away because as they part the audience’s heart is breaking when the detective decides he has to go back to Philadelphia and the car goes very slowly as though he was thinking it over. The audience is about halfway down the road rooting for him to make a U-turn and come back and stay with her forever on the Amish farm. But we don’t really believe in our hearts that would make any sense. Their cultures are just too different. So, in the second half as he continues to the highway, we’re now giving up that fantasy because we realize it doesn’t work and as he turns right and enters a highway and leaves forever. We know that was the right ending and then we feel this big gulf of anguish. It's one of the very few movies that manages to have an unhappy ending by traditional definition, but a right ending doing honor to the romance because not every romance is forever, and that’s what this movie is saying. Some romances are what they are when they are. They don’t have to be eternal to be valid. But normally what we want is a happy ending. We want the runaway bride to finally stop running and get married.
Jeff Rivera: Right. Could we go back just a little and talk about two genres that we didn’t cover. That could I’m thinking possibly be good for translation from book to film.
Ken: Sure.
Jeff Rivera: What about horror?
Ken: That’s a very good question. Horror films are made all the time. Although, the genre is currently in the down swing because so many of them are made. But, horror is very hard to write and to be an original horror novelist now. If you are a horror novelist and you haven’t yet made the swing into movies then you could design your next horror book, so that it follows the rule and yet it is one of the genres that will be considered. But again, the big studios, when they think about horror, they think about Anne Rice and Stephen King and a few others. And they’re basically rarely picking up original horror from writers they haven’t heard of, no matter how good it is. Of course there are exceptions. Peter Blatty’s Exorcist was picked up by the studios even though nobody have heard of Peter Blatty. The book became a bestseller and sudden it doesn’t matter that he wasn’t Stephen King. That he was possibly the next Stephen King.
Jeff Rivera: Right.
Ken: And it was such a great book and such a great story.
Jeff Rivera: So if they’re interested in the writing, should they then just brand it as thriller instead of horror.
Ken: Yeah, yeah. What’s very high in the film business right now is supernatural thrillers.
Jeff Rivera: Okay.
Ken: And I think that’s a very good idea of selling that even to the publisher of the supernatural thriller and not using the word horror. But because publishers don’t know what to do with new horror either. They all say they’ll look at it but the truth is when you send it out; they say well we don’t know what to do with this cause we don’t know who the author is. You know they do know what to do with the Stephen King even if it’s in published four times, they’ll publish it again, you know.
Jeff Rivera: Right.
Ken: We’re living, the publisher in their own way are up against the same thing the studios are. The publishers are up against the brand mentality of the American marketplace and so are the studios, which is why they buy books to begin with because they figured if somebody bought it as a book. For example Demonkeeper, we had the writer develope a script into the book. Then we sold the book and the minute we should the book within weeks, two weeks, I think. We sold it to Fox and it's now in development. So that’s an example of the kind of endorsement that the studios see books as being.
Jeff Rivera: Right. So we talk about selecting the right genre, we talked about selecting the right type of male lead. Where do female leads come in here, or co-stars? What type of female should be attached? Should there be a love story element. Like how does the female come into lead with that?
Ken: Well, I mean female lead is the same thing. It’s a castable lead. The more castable it is. Set your novel up as a movie. You know, all the way from Titanic where you have two people from different social classes but their roles were equally important roles in the story. So yes, you want a female lead who’s hopefully as strong as the male lead. And you can reverse that and have a female with the antagonist, a male protagonist a female antagonist. Then you have another kind of thriller that can also work something like Fatal Attraction, for example.
Jeff Rivera: Right. So in a sense there’s probably a good five to ten real A-list box office actors and actresses. So when I’m designing a character should I be designing it with while keeping in mind Tom Hanks or Tom Cruise? Should I keep that I mind. Is that a good idea?
Ken: I hear that question all the time and I think the best idea is no. It’s not a good idea. Because, after all, these people are actors and they like to become different people. So I wouldn’t worry about that too much. But I would avoid physical handicaps that are impossible to play without being physically handicapped. Children of a Lesser God for example had a female lead who, you know, was hearing impaired and only Marlee Matlin can play that role. I mean she hunted down and found that book so she could play it.
Jeff Rivera: Right. I know you talk about certain genre like action and thriller. Should I be concerned about budget? For example, writing a book that’s too big or should I not even worry about that.
Ken: Well, you should not worry about it because there is nothing too big in Hollywood. The bigger the better, as far as they’re concerned. They would rather spend over $100 million if its going to be bring in a billion dollar audience than spend too little on it. I mean only, in the Indie world do you worry about budget. Yes, don’t worry about budget. But that doesn’t mean you start throwing the kitchen sink in. It means you don’t hesitate to create a world that we’ve never seen before because Hollywood loves to create those worlds.
Jeff Rivera: You brought a good point Ken, which brings a question. You know we’re crafting this from scratch, the story. You know from genre pick to casting pick in a sense. Does that take the love out of the writing? Is it all too mechanical? Is it all too cookie cutter?
Ken: I know you don’t mean this cause you’re a very commercial guy. But you sound like a writer who doesn’t really care about money.
Jeff Rivera: Right.
Ken: In other words, were not talking about artistic consideration here. We’re talking about commercial writing for audience.
Jeff Rivera: Right.
Ken: And you can feel anyway you want to feel. You can feel like you hate this or you can feel like you love it. We don’t really care. We just want to see a great riveting book that does the job. So if you’re one of those people who can’t really follow the rules, well that’s fine. But I really doubt that you’re going to be selling your book quickly to Hollywood. Do you know what I mean?
Jeff Rivera: Right.
Ken: Nothing is easy but you, with every one of those attitudes that you have, you handicapped yourself further.
Jeff Rivera: And that’s sort of the whole point of this teleseminar. Is that you’re writing it to get sold. You’re writing it to become a film, it’s not all fulfilling your…
Ken: Yeah and the way, the way I put that in non-financial terms is that you are writing for audiences. You want the biggest audience you can get. You’re not just writing to please yourself. I mean in one of my books on writing, A Writer’s Time, I say that there’s a bunch for fourth grade myth that screw writers up terribly. And one of them is write from the heart, period. And what I add to that is write from the heart about things that matter to the rest of us. You know what I mean?
Jeff Rivera: Right.
Ken: There’s a big difference. So the first part of your question was it sounded like I just want to write from heart. I don’t want to think about rules or people or anybody else. Well okay that’s fine but don’t do be upset if 20 years later you still haven’t sold your book or your film, you know, if that’ what you were doing. But write about things that matter and suddenly you’re on the right track at least.
Jeff Rivera: Right. Are there any other rules that you think we should be aware if you want to go from book to film?
Ken: Well yeah I think that we should say they’re not God-given rules. There was no, you know, set of commandments that somebody took down from a mountain and bought down to the rest of us. These are just common sense principles of storytelling that go back as far as the Iliad and Odyssey in the Bible. As one Italian filmmaker once said, does every film have to have a beginning, middle and end. The thought goes yes, but not necessarily in that order. The point is yes we do need beginning, middle and end. You can be experimental with them as long as you’re successful. Like there’s a great book novel named Birdie that got turned into a movie with a very unconventional way of constructing the beginning, middle and end. There was Looking for Mr. Goodbar by Judith Rossner. Great novel, great movie. It was very unconventional because the end and the beginning were identical, but so powerful is the middle that you forget about the beginning until you get it again in the third act and you still don’t remember it and it’s too late and now, you know, these terrible things happened. So these are not rules. These are reflections on commercially successful storytelling. You know whether storytelling is [followed] by Alfred Hitchcock or Walt Disney or any of today’s great writers, they all tell the same principle. So they’re not rules. I want to emphasize that because writers naturally react to the word rules and say I’m an artist, I don’t follow rules. These are not rules. These are observations about what makes successful commercial storytelling in Hollywood movies.
Jeff Rivera: So they’re principles not rules.
Ken: Yes, they’re just observations. Instead of rules that somebody makes up and creates the world out of them, these are just – the world has already been created, now lets look at what the world consist of and see if we can distill them into principles that we can pass on to everybody out there who’s disappointed their novel hasn’t been sold as a film, yet.
Jeff Rivera: Right. Right.
Ken: I will say, if writers know this before they start writing their novels, they might decide to make their main character 40 instead of 82.
Jeff Rivera: Right.
Ken: And if they can’t do it, they have to – there’s a great book that I reviewed years ago at the Los Angeles Times where the main character was 80. I auctioned it and tryed to make it into a movie. I worked on it for five years and I just couldn’t get anybody interested in taking a risk on an 80 year old lead. A lot of 80-year-old actors are around who would love to do it, but not a lot of people want to spend millions of dollars taking the risk that (A) the actor will make it through the movie and (B) people will show up in the theater to see him.
Jeff Rivera: Right. But what about teen movies, Ken? I mean, like a young adult novel - is that a good genre to think about that could transition well from book to film?
Ken: That’s right. Young adult movies are extremely hot these days. As witnessed Twilight or our book, Demonkeeper by Royce Buckingham. He keeps writing them. He just came out with Goblins. His third book is called the Under [Bed] Goblin. And he’s a, you know, young adult couldn’t be hotter than it is now. So, many movies are made up for teen audiences. And the only difference is, obviously, you have younger kids. But you have to be careful that your kids are not too young because if you have 12 years old heroines and heroes there isn’t much market for them. You know the viewer almost needs to be 16 with a few exceptions before the studios will take it seriously.
Jeff Rivera: That’s what I was going to ask you. I was going to ask you, what’s the perfect age if you are going to write a young adult novel for the character to be?
Ken: I’d say between 16 to 18, maybe 17 is the right age. And they can go as high as 20. But the older, in the middle to late range of teen-hood, is what we want, not 10, 11 or 12 year old.
Jeff Rivera: So, would you say a male or a female character will be best for your lead in that case?
Ken: That can kind of go either way, depending on the kind of movie it is.
Jeff Rivera: Okay.
Ken: We are developing a story, it’s about a 17-year-old rock star who gets some bad news at Thanksgiving, leaves her life, goes off into the country side, runs into a situation that changes her life and it's a big tear jerking Christmas movie. And obviously it's meant for young people to give them a hip alternative to their parent’ Christmas. So it started as a young lady, you know, teen. And that element, I mean the teen thing, I think it’s pretty obvious when you think about it. Everybody knows…
Jeff Rivera: Right.
Ken: Teens go to see the movies. They’re the biggest spenders in the box office.
Jeff Rivera: Right. Right. That’s great. What other rules would you say that, I’m sorry, principles would you say that an artist should consider when they’re coming from book to film and thinking from the very concept to the execution? That, you know in order to actually be taken seriously and actually acquired a production company?
Ken: Well, one of the others that we mentioned but didn’t talk about was a need for an American dimension.
Jeff Rivera: Okay.
Ken: The foreign market is very strong on buying American movies. Primarily they’re in love with American stars and with Hollywood production quality. So a movie has got to have either have American lead at least or be set in America to have a really good chance. Now, The Bourne Identity is the obvious exception because it’s set all over the world. But there’s always an American dimension and the lead is American. But generally, if you want to have the better, set your movie in the United States. I mean I can’t tell you how many potential novels I get that are all set in South America with no America leads. Basically, these get made, especially if they’re by major authors, in South America. But those movies as Indies movies, it takes years. I mean Love in the Time of Cholera, one of the greatest novels written in the last century, finally got made into a movie that did not do it justice and did not make any money at the box office. It wasn't really that good because for one thing the leads were very old. But nonetheless, those movies could get made but it’s a long stretch to getting made whereas, if it’s an American theme with the right age protagonist you have a much better chance. Hollywood is prejudice against setting things in foreign land that don’t have a direct appeal and tie-in to the American audience. Which is, whatever you want to say about it, either hopelessly provincial or love its own country. And the world loves, I mean, as much the world might hate our political from time to time, the world loves American subjects and American action.
Jeff Rivera: Right. And what else would you say definitely an American leader set in America and do you think that covers…
Ken: Well we talked about the genres already right. We talked about the happy ending. I mean the reason for the happy ending is you’re paying a lot of money for a theater ticket and you are probably depressed by stuff going on during the day. You don’t want to go out and pay to be depressed than that.
Jeff Rivera: Right.
Ken: It’s really simple. So you want a positive, uplifting ending that doesn’t mean you have to be giggling at the end. You want something that inspires you to feel better. That’s what Hollywood is all about. That’s not what the Indie world is all about but what Hollywood is all about.
Jeff Rivera: All right, great. So, just to reiterate something, you mentioned before about the romance scene. So, romantic comedy is difficult to find anyway in publishing but they do translate well into film. Is that correct?
Ken: Yeah, they really do. You could say The Devil Wears Prada was a romantic comedy, but that’s because the screen writer turned what was the novel into a comedy.
Jeff Rivera: In a romantic drama will you say the same thing? Romantic drama turns well into a film but publishers aren’t always…
Ken: You know I think publisher love it too. I mean everything from Love Story to Bridges of Madison Country are romantic drama and so is, you know, The Notebook and as mentioned before. They translate well into books too. The romance world is divided into genre romance and mainstream romance. And Hollywood almost never buys genre romance. They buy mainstream romance. So that’s what you’d be writing. If you’re a genre romance writer for example, you need to write a mainstream romance story like the Bridges of Madison County to break into Hollywood.
Jeff Rivera: And, just so people know, there’s a difference between a love story and romance right?
Ken: Well, yes. I mean a love story, the way you’re defining it is more realistic than a romance. A romance is more fantasy based. In a love story, like the book Love Story, does not have a happy ending. It was reality based and it was based on the reality of the heroine dying at the end of the story. Yet, it became a hugely successful book and because of that it became a movie which was successful, although not very good in my opinion.
Jeff Rivera: Right.
Ken: But nonetheless, it was a good example of turning the book into a movie. A better example, you know, was Prince of Tide which was a brilliant, romantic and dramatic book. You know 650 pages long that Barbara Streisand adapted, you know got adapted down to the size of a movie that capture, still capture the spirit of that book wonderful and was a very powerful movie. So books can be movies but the, again, the book had a happy ending. It had very clear dramatic structure, fantastic structure, had the right castable age. You know what I mean. Had all the criteria.
Jeff Rivera: Right. And what about a graphic novel, I mean why is a graphic novel a good idea and and is that – I’m asking you an obvious question Ken for a reason for people who don’t know the stuff. But why is that graphic novel a good idea to think about in terms of going from book to film?
Ken: Well, a graphic novel is what everybody is looking for. We work with graphic novels all the time. That’s what everyone in the film industry is looking for because they already understand the nature of Hollywood movies, which is things are simplified in a movie and they’re always simplified in graphic novel. They’re clearly dramatic in a graphic novel and characters are reduced down to a few characters or a handful of characters. So, a lot of the homework is already been done in the graphic model. But if you’re a good storyteller and you want to decide which underlying wright you should be creating so you could make a movie. We urged you to write graphic novels because a higher percentage of graphic novels are successful movies. Maybe 7% of all novels published by major houses are picked up by movie. And graphic novels by, you know, the important publishers is more like 70%.
Jeff Rivera: How much?
Ken: Maybe 70%.
Jeff Rivera: 70%?
Ken: 70% of graphic novels…
Jeff Rivera: Ah 30% okay.
Ken: Yeah.
Jeff Rivera: But still I mean 30% compare to what do you say was 7% of the regular novels.
Ken: No, I said 70, 7-0, 70%.
Jeff Rivera: Wow.
Ken: Yeah.
Jeff Rivera: So 70% of graphic novels are picked up by film in some way compare to what percentage of regular novels again?
Ken: Maybe 7%.
Jeff Rivera: Wow. 7% or 70%, its like if you’re going to choose which genre, you might as well, I mean the math is there.
Ken: Yeah. I mean it’s hard to find. I mean we have people looking all the time for comic books and graphic novels. Very hard to find once that aren’t already pick up for film.
Jeff Rivera: Wow.
Ken: You start looking for novels you’d have 200 on you desk 2 hours later.
Jeff Rivera: Wow. Wow. It’s amazing.
Ken: It is amazing and anybody out there who heard this and wrote a graphic novel, send it to us first please.
Jeff Rivera: Right. That’s a good idea. So if somebody has a novel that’s been all right but maybe hasn’t been picked up by film it might be a good idea for them to start thinking about translating their novel into a graphic novel.
Ken: Yeah, the problem is that graphic publishers don’t like to publish novels based on novels that are already published.
Jeff Rivera: Right.
Ken: Because they like the originals. And the other thing is to make sure you have the right to do that cause you may have already given them to a novel publisher.
Jeff Rivera: Right.
Ken: If you’re starting out at the age of 19 writing novels I’d say do a graphic novel first if you are interested in money.




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Thursday, November 12, 2009

DRACULA THE UN-DEAD IN FRANKFURT

Interview mit Dacre Stoker

Frisches Blut für den Grafen

Dacre Stoker, der Nachfahre des Dracula-Autors Bram Stoker, holt den Ober-Vampir zurück. Im FR-Interview spricht er über den Hype und die Auferstehung des "wahren Draculas".
Mr. Stoker, Sie sind der Urgroßneffe von Bram Stoker, dem "Dracula"-Autor. Mussten Sie sich aufgrund dieser Verwandtschaft in der Schule oft Witze anhören?

Oh, ja. Vor allem an Halloween hieß es immer: "Huhu, wer traut sich in das Haus der Stokers?" Aber alle kannten Dracula nur aus Filmen. Keiner hatte das Buch von Bram Stoker gelesen. Ich habe es selbst erst im College gelesen für eine Arbeit über seine Motive, den Roman zu schreiben.

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Wednesday, November 11, 2009

AEI Client Faith: An amazing two-legged dog provides hope and inspiration




http://www.moderndogmagazine.com



FAITH

By Corey Van’t Haaff


Photographs by Anthony Tortoriello


Frankie was a young soldier serving in Iraq when he was seriously injured by an improvised explosive device and lost both legs. While recovering at the Walter Reed Army Medical Center back in the USA, Frankie was despondent about his injuries. All he had ever wanted was to be a soldier. Now, with no legs, unable to walk, his dream had died. A general on the base told him that once a soldier, always a soldier, even if you’re not in the field. The words probably meant little at the time.

Then Sergeant Faith came to see him. She walked in, upright and proud, and in that moment, everything changed. Sergeant Faith, a mixed-breed dog, was also missing two legs, yet was walking just as a human walks, on two strong back legs. Missing limbs were not holding her back.

“I know he was absolutely moved,” said Jude Stringfellow, Faith’s owner. “He said ‘I know if a dog can do it, I can do it.’”

Frankie continued with his rehabilitation and received two artificial limbs. Before he left Walter Reed, he called Stringfellow on the phone.

“He said, ‘I’m walking out of the hospital, put Faith on the phone.’”

There are other soldiers with similar stories of Faith. Greg, a 19-year-old, had also lost his legs while in Iraq. He met Faith just after his amputation and, said Stringfellow; the dog helped him in his recovery.

“People like to talk to Faith,” said Stringfellow. “It teaches them they’re going to be okay. It brings a smile to their face.”

Jude Stringfellow’s first glimpse of Faith was as a squirming ball of something under her son Reuben’s jersey. Reuben had gone to help a friend bury a litter of puppies that had died nearby in their Oklahoma City neighbourhood, but it turned out that one pup was still alive. The boy couldn’t turn his back on what he saw: a puppy with two big, pleading eyes, two floppy ears, and only two working legs. One front leg was missing completely and the other was misplaced and deformed, ultimately atrophying and being removed while she was still a pup.

Stringfellow, a struggling single mom of three, already had a family dog and surely didn’t want another dog to care for and feed.

“Having another dog was out of the question,” said Stringfellow. But when her son asked, “Can we fix her?” Stringfellow changed her mind, though she “didn’t think she would live through the night. The vet said it didn’t look good.”

But Faith did live through the night. Following veterinary advice, Stringfellow propped little Faith up with pillows to get her off her chest. With constant encouragement, Faith started to develop strength in her back limbs and started moving.

“We put peanut better on the end of a spoon and held it above nose level,” she said. “She’d try to lick it and fall over, like any other toddler. Eventually her back legs became strong enough to sit up like a squirrel then her belly muscles became stronger so she could sit straight up. That took about three weeks.”

One day, the family took Faith out outside, where there was deep snow. To their utter amazement, she started hopping. The family went wild with excitement.

“She kept doing it over again,” said Stringfellow. “Then we watched her hop in the house. She’d hop over shoes and pillows. She’d hop from the floor to the couch.”

As surprised as she was, Stringfellow said she saw from the first moment the determination, intelligence, and ambition in Faith’s eyes.

“I’d watch her play with the other dogs and she didn’t care that she didn’t have legs. They didn’t care either.”

But hopping wasn’t to be Faith’s preferred mode of mobility. Reuben’s birthday was coming up and Stringfellow didn’t have money for a present. Faith provided one—she started to walk.

“She walked upright like a human,” she said. Stringfellow called a local TV station and by that evening, the story of Faith’s walking was being disseminated by the Associated Press.

Stringfellow said Faith has a profound affect on everyone she meets. Three years after the dog came to live with her, Stringfellow started doing motivational talks throughout the country, with Faith as proof that anything was possible.

It was at Fort Lewis, an army base near Seattle, while visiting soldiers stationed there, that Faith became an honourary sergeant for the day. But as she continued to do her military work, everyone continued to refer to her as Sergeant Faith. A general told Stringfellow that was just fine, because once you’re in the army, you’ll always be in the army.

Of course, it isn’t just soldiers who benefit from Faith’s message of hope and determination. A 13-year-old girl in Panama City who was in a wheelchair played hooky from school to meet Faith about two years ago.

“She spent all day with Faith,” said Stringfellow. “She felt important and needed and hadn’t felt that way in a while. She learned that being handicapped doesn’t stop you from doing what’s needed. She became a spokesperson for handicapped kids in her area and ultimately ran for school council and won.”

As much inspiration as Faith has brought to the strangers she has met, this amazing dog saved her best work for home. Stringfellow explained that just prior to Faith’s arrival, her family had endured the awful after-effects of a messy divorce, including a five-year custody battle. She was only working part-time as a teacher and was not receiving any child support for her kids, then aged 17, 13, and 12.

“Before we got her, we were looking and acting like a hand without a thumb. We were working independently. I couldn’t make anyone do anything,” said Stringfellow. Once Faith arrived, the family had to work collectively to make sure Faith got everything she needed.

“Faith is like a thumb—she forced us to be a family.”

Update: Shortly after Christmas, Jude was contacted by a pet rescue organization that had received a litter of pups—including one little guy with only two legs. Tanker, as he is now named, came to live with Jude and her family. Jude plans to love him, hug him, squeeze him, train him, spoil him, and put him in the same category as Faith—a natural dog with a purpose. Like Faith, Tanker will travel around the world making soldiers (and others) smile, teaching that if a dog can do it, you can do it, too.


Sunday, November 8, 2009

Steven Pressfield (Gates of Fire) is writing a great advice series for writers on his blog called Writing Wednesdays.













Check it out here

Saturday, November 7, 2009

Dracula The Un-Dead Makes Time Magazine's Short List


































Visit Dracula the Un-Deadwebsite.

Friday, November 6, 2009

Penquin Group Canada Showcases Dracula The Un-Dead

Dracula: The Un-Dead in downtown Toronto (Dundas Square and John St /Adelaide)





















Visit Dracula the Un-Deadwebsite.

Thursday, November 5, 2009

TRULY EXCELLENT WRITING MEMOIRS FROM VIRGINIA GUNN DIEHL

The Press, The Pharmacy, and the Plumber


Have you ever tried to plan a trip, and you swear that this time it will be different? You will make all kinds of lists of things that must be done. You start a week ahead of time, planning each day, so that this time it will go more smoothly. I was on top of it this time. I knew what had to be done, on which day. I would not become stressed.

Nancy Grace's first novel is out. It's number six on the New York Times list. There are two main characters in her book, and I'm the second one. She uses my real name, and one of my best old dogs is in it. His name was Sidney Sea Biscuit. Charleston, my twenty year old parrot is in it, too. She couldn't remember his real name, and she calls him some girl name, but I know it's him.

The first time I went out of town after Bill died, Montana, my white German Shepherd died in his sleep, and I spent many days on the phone with the dog mortician.

The second trip I took, Apache, his sister had a stroke.

This time, two of the wiener dogs backs went out. They are eleven years old, so this is no surprise. It happens every now and then. They may know that they aren't going, so it may be in their minds, but I knew I needed to get meds for them. I called the vet and she said she would call the pharmacy and I could pick it up later.

In the meantime, every faucet in the house became haunted. I couldn't turn them off. The kitchen and the bathroom. The hot water faucet in the shower came off in my hand. Labor Day was coming up and I knew I needed a plumber now. If I didn't hurry, it would cost twice as much because of the holiday.

I forgot about my many lists, and got to work on other stuff. Stuff happens.

The press down on the island got in touch with me for an interview. At least itwas via computer, so I could have a cup of coffee and actually think a little before I answered her questions. There was lots of going back and forth on questions and answers.

This particular paper is not fond of me. They were on the other side of the "beach battle" that we fought and won. Movers and shakers and politicians wanted to pump our beaches with dredge material. We fought the good fight for years and finally stopped the project, but only after I had to run for islands commissioner, and won. So, I'm pretty much on the skids with the press. It will be interesting to see how the article compares to what I actually said to her. At least I have a written copy of what I said, not that it will make any difference.

Nancy Grace couldn't go to the island to sign her books. She's too busy with her show and her twins, so I told Beachview Books that I would come down, and sign for her since half of the book is set on St. Simons Island.

The interview took the good part of one day and into the next, then it was the running water and the meds that needed to be picked up. Not on my list, damnit.

I had no idea the plumber was going to be here two days. The first day, he fixed everything for six hundred dollars. Gasp.

He was a charming guy. So unlike other plumbers I had dealt with. He actually knew what he was doing. How did that happen? As I was writing the check, I noticed his fly was down. I told him and he got so embarrassed. He said these particular pants just couldn't hold his fly up. Then he says he has to check the pressure. He comes back in and says the water pressure is 150 and it should only be fifty, and that he can't guarantee the work if the pressure isn't right. I told him to talk to the landlady about this, as it was going to cost another four hundred fifty dollars. His company talked to her and arranged for him to come back the next day. He was under the house for hours. No one in their right mind would go under the house. It's a tiny crawl space. Nasty place. But with a big smile he goes in and starts taking away my water pressure.

I don't know if you remember from a previous chapter that my first landlord was foreclosed on last December. The hot water heater died forever and I had no hot water for a month.

I moved back to the island into a house I couldn't afford with lots of dogs, cats and a parrot. I talked to the woman that bought this house after I left and she invited me to come back. Even though it was costing thousands of dollars to do this, I knew I couldn't live in a subdivision. I needed my five acres back, so I agreed and headed back to Woodstock. The last thing I said to the new owner was, "Please don't mess with the water pressure. It's the best shower anywhere around."

After a few hours, he comes back in. He's really dirty, so he takes his shirt off. No big deal. He has an under shirt on underneath. I told him that was fine. So, I thank him, and he says, " How about a hug?" A hug?! Is it appropriate to hug the plumber? I don't think so, although for a second I considered it. Someone told me once that we would die if we didn't get six hugs a day. If I knew six people to hug, it would take me all day to track them down to get six hugs. So, I ignored his request for a hug. A little later we were talking about something else, and I mentioned that any minute now I was going to be turning sixty. It was really hard to say that. It stuck in my throat. I had my back to him. I turned around just as I said it, and I thought the poor guy was going to throw up. It turns out he was born either in 1983 or 1985. I can't remember which year, as I was still in shock myself realizing I was going to turn SIXTY very soon. In 1983, I was busy marrying Bill when this kid was born. If it was 1985, I was in Africa shooting a television show on the Silverback Gorillas. At any rate, it was pretty damn depressing to think that this sweet, articulate guy was being born at the time I was fast approaching middle age.

He even gave me a present. He found a four foot long snake skin under the house. We decided to leave it in front of the door to scare anyone that dared to come visit. It was fun to have company for two days, but I knew that there would be no happy ending. The landlady had just paid this guy a thousand dollars to take away the only thing that I loved more than anything. Water pressure.

After he left, I couldn't wait to take a shower. I knew that the faucet was not going to come off in my hand ever again, and nothing was going to drip or flow when it shouldn't.

I got in my new shower, and sure enough, it was like taking a shower in a third world country. No pressure. The one thing that had convinced me to come back to this house. It seemed kind of strange to pay someone a thousand dollars to take away something you loved. I didn't have much time to cry about lost pressure. I had to get the dogs their meds.

It took the pharmacy three days to get the stuff. I don't know. Maybe they mixed it up in Mexico and sent it via donkey. I had to use a pen attached to a machine to sign my name. I knew that this was one of the quickest ways to get sick. Use the same pen that everyone else was using, when picking up their medications. I suggested to her that they put out some hand sanitizer so that people wouldn't pass germs on to others. She looked at me like, "Listen bitch, I'm young and kinda pretty, and I don't have time to mess with your meddling." She pointed out that they had wipes for people to use if they wanted to, half way around the corner. If I didn't have so many lists to get back to I would have told her that most people don't know that you can die from using other people's pens, and that she should put out some hand sanitizer with a sign to protect them from dangerous pens. Plus, I'm almost SIXTY so how could I know better than her? The twenty something, kinda pretty girl, busy mixing up doggie drugs.

So, here I am, writing a chapter. I haven't even looked at the list. I'll be running my ass of at the last minute, just like always. I'll forget to do a million things.

The plumber has gone to Disney World.

I probably picked up Swine Flu at the pharmacy, and the doggie meds cost a hundred dollars.

Lists are a complete waste of time. The Travel Gods are laughing at me again.

I just bet ya, it rains all week.

Wednesday, November 4, 2009

AEI Ally Informant Media's Crazy Heart Jumps into Oscar Season



‘Crazy Heart’ has the goods

Posted by Kristopher Tapley · 2:31 pm · November 4th, 2009

(from left) Maggie Gyllenhaal and Jeff Bridges in Crazy Heart

It’s not just Jeff Bridges who leaps onto the Oscar landscape with Scott Cooper’s “Crazy Heart.” It’s possible in a few months that we’ll be talking pretty seriously about Maggie Gyllenhaal in the supporting actress race and, most certainly, T-Bone Burnett’s contributions as the film’s music supervisor.

Fox Searchlight screened the film this morning to a handful of press and will do so again this evening, looking to gauge reactions to what could be a big boost both on the awards front and commercially. With “Amelia” losing money at the box office and a dwindling slate of product for the Oscar push, it seemed almost inevitable that this little mid-summer pick-up would find its way onto the 2009 schedule. More and more, that’s looking to be the case.

But back to the film. I would rather not offer up a proper review for a movie that hasn’t been color-timed, still has some sound mixing work to be done and, on the whole, just isn’t finished yet, but I feel comfortable calling it a slow burn that settles warmly in the tradition of “Tender Mercies” or “Nobody’s Fool.” While it might be unfair to reduce it to a “country-music ‘Wrestler’” (as The Hollywood Reporter’s Steven Zeitchik did yesterday without having seen the film), that is nevertheless a pretty streamlined way of describing the narrative.

More importantly, however, that “performance of a lifetime” from Jeff Bridges that Fox Searchlight was on about when the studio bought the film nearly four months ago? I think it could be this year’s Oscar-winning lead actor turn walking away.

Bridges fully embodies the broken but spirited Bad Blake, an alcoholic country singer touring the Southwest in his 1970-something Suburban, playing any dive that’ll have him. He brings every inch of charisma and charm he has to a role that certainly doesn’t seem made for him on the surface, but somehow ends up entirely owned by the actor come film’s end.

Bridges haunts the stage behind a dark pair of aviator sunglasses, under a silvery, unshampooed mane, unmistakably conjuring the image of Hank Williams Jr. as he belts out a number of tunes from gig to gig. He shares the screen with Maggie Gyllenhaal, who plays Jean, a journalist and single-mother love interest. Gyllenhaal holds her own and provides a complex, emotional core to the story that could also nail down a few kudos here and there.

Colin Farrell has something of a glorified cameo as Tommy Sweet, a famous modern country star who owes his career to Blake, while Robert Duvall (who also serves as one of the film’s producers, along with Burnett, in fact) offers a small but meaningful supporting turn as Blake’s confidante.

Speaking of Burnett, it’s entirely likely (barring any unforeseen music branch silliness…which, you never know) he and his team will be recognized for the original songs that appear in the film, something like seven or eight tracks that should make for a wonderful soundtrack. The title song, “Crazy Heart,” is probably the best bet, as a number of moments in the film’s third act are dedicated to Blake’s writing the song, which draws upon his emotional journey as an alcoholic seeking sobriety. The tune also plays in the final scene and through the closing credits. I couldn’t get it out of my head on the drive home. “Pick up your crazy heart and give it one more try.” (Check out one of the songs, performed with Farrell, in the clip below.)

Other nods could follow. Best Picture might be a longshot given the scope of the film, though an adapted screenplay notice for Cooper is certainly possible. But the story here, it goes without saying, is Jeff Bridges.

From where I sit, I’m having a hard time arguing with his potential as this year’s Best Actor Oscar winner — especially when you look at the competition. George Clooney, Daniel Day-Lewis, Morgan Freeman — they all have their Oscar. The potential for a big awards comeback from Robert De Niro was considerably muted when “Everybody’s Fine” landed with a thud at AFI Fest last night, while other contenders just won’t have the strength of “The Story” that a Bridges campaign will have.

The man is one of the great unrecognized American actors. “Crazy Heart” will give voters a chance to both remember his consistency, recognize that he remains Oscarless and, best of all, feel good about checking the box next to his name. Because this really is one of his finest moments.

I imagine we’ll be talking about “Crazy Heart” more and more in the coming weeks and months, but those hoping for a last-minute shake-up certainly look to get their wish. These are the moments I live for in an Oscar season.



Fox Searchlight jumps 'Crazy Heart' into Oscar season

The Big Picture
Patrick Goldstein on the collision of entertainment, media and pop culture

We knew Fox Searchlight was in love with "Crazy Heart," the low-budget country music drama that stars Jeff Bridges as a faded, booze-fueled singer named Bad Blake who's trying to get his career back on track. Written and directed by first-time filmmaker Scott Cooper, the film costars Maggie Gyllenhaal (playing a small-town reporter), Robert Duvall and Colin Farrell.

Searchlight acquired the film in July, taking it off the market with a low seven-figure bid, enamored by the film's acting and nuanced storytelling. Its original plan was to release the movie in the spring of 2010. But the studio must be smelling award-season gold, because my sources say the movie is moving into Oscar territory, with Searchlight now planning a limited Dec. 11 release in Los Angeles and New York before taking the film wider early next year.

Since Searchlight's only serious Oscar contender, as of now, is its well-reviewed summer release, "(500) Days of Summer," the studio must be betting that Bridges -- always a favorite with the academy, especially as he's aged into Nick Nolte-style gray-bearded grizzly guy -- could land some best actor nominations. Searchlight suddenly sent out screening notices today, another tipoff that the movie is looking for some early word-of-mouth enthusiasm from the blogosphere.

My favorite movie-music magician, T Bone Burnett, supervised the film's soundtrack, so I'm betting it will have some real C&W authenticity. As soon as I get a chance to see it, I'll report in on whether we've got another serious Oscar candidate or not.

Photo of Jeff Bridges by Kirk McKoy / Los Angeles Times.


http://latimesblogs.latimes.com/the_big_picture

Tuesday, November 3, 2009

PROMOTE YOUR NOVEL.







Visit Jeff Rivera's Promote Your Novel website.

Monday, November 2, 2009

Beginning Sanskrit - An 8 Week Course

TODAY'S ZAMAN INTERVIEW - THE MISSING ROSE



Sunday, November 1, 2009

KJA, Kayoko and artist Romero Britto


Saturday, October 31, 2009

Dracula The Un-Dead featured on CNN.com







A bloodier Dracula rises again

By Doug Gross

October 31, 2009 8:41 a.m. EDT

(CNN) -- Move over, Edward Cullen.

Tell those bayou bloodsuckers from "True Blood" to step aside, too.

More than 112 years after he first climbed out of the coffin, the world's most famous vampire is back -- and he's bloodier than ever.

"Dracula the Un-Dead," released this month in the United States, is a sequel to Bram Stoker's 1897 classic written by Dacre Stoker, the original author's great-grandnephew.

The book, co-written by Dracula historian Ian Holt, picks up 25 years after the Victorian-era monster is supposedly killed in the original and is based in part on 125 pages of handwritten notes that Bram Stoker left behind.

Click Here to read more ...

Friday, October 30, 2009

5-STAR REVIEW OF DR. NICOLAS BAZAN’S UNA VIDA ON AMAZON.COM



A tour of New Oleans and the people who made and make it special, October 13, 2009

By

David S. Papermaster (Farmington, CT USA) - See all my reviews

Una Vida is a masterpiece of plot development and the name of the lead character in this remarkable novel. Dr. Bazan introduces us to the interstices of the troubled mind of Una Vida (One Life) a wonderful early jazz singer from New Orleans who now has Alzheimer's disease. While she cannot always recognize those who care for her or love her, her recall of the early Jazz music and those who created it Una Vida: A Fable of Music and the Mind leads her to sing openly along the frequently walked byways of her home. As we meet the companions on her journey we are taken on a tour of that magnificent city, its early history, the remarkable story of the free blacks who lost their rights in the post-Civil War Jim Crow era and the impact of segregation of the development of Jazz. Occasional introductions of seemingly unrelated works of art drive you to search the Web for more background. And then, as we watch the impact of Una Vida on those who grow to love her or who have loved her for decades we are humanized to gain more understanding and a sense of participation in her journey and the journeys of those, similarly troubled, who surround us. I could not put it down and read it in one thrilling day.


David S. Papermaster, MD.
Solomon Professor of Vision Research and Eye Diseases, Emeritus
University of Connecticut Health Center
Farmington CT 06030-3401

Thursday, October 29, 2009

JOIN ME AT AUTHORS 101 LAS VEGAS OCTOBER 31st WEEKEND


"Top Publishing and Marketing Experts Reveal Tools and Techniques to Get Your Book Published and Double or Triple Your Income as an Author or Publisher."

Author101 University is coming October 30 & 31, 2009 to Las Vegas





Join Mark Victor Hansen, Rick Frishman, Ken Atchity, David Hancock, Alex Carroll, and more... (read more below to see why you won't want to miss what they have to share with you)

Mark Victor Hansen
Mega-Best Selling Author

Rick Frishman
Public Relations Expert and Best Selling Author

Ken Atchity
Literary Manager
David Hancock
Morgan James Publishing, Author and Speaker
Alex Caroll
Best Selling Author, Radio Interview Expert





James Malinchak
"The Big Money Speaker™"
Stefanie Hartman
“The Expert’s Expert”
Scott Hoffman
Folio Literary Management
Berny Dohrmann
Craig Duswalt
RockStar Speaker and Author






Loren locum
Master Trainer
Tom Antion
Internet Marketing Expert
Mike Koenigs
Brendon Burchard
Best Selling Author, Speaker and Coach
Gary Spirer
Entrepreneurial Leverage Expert


Are you curious about what publishers like Harper Collins, Morgan James, Adams Media, Wiley, Random House, and Simon & Schuster are looking for? What is the best way to get your manuscript read when you're an unpublished author? Want to know the biggest mistakes to avoid when writing book proposals? You'll be engaged as these top pros share their expertise, reveal the inner workings of the publishing industry, and discuss various approaches to common marketing and publishing challenges.

Additional bonus after hours cocktail party where you'll have the opportunity to network with speakers from the day, industry experts and other attendees.


This is a small intimate event and will sell out quickly

SPACE IS LIMITED - ONLY $399

VIP PASS $149 INCLUDES PREFERRED SEATING, SPECIAL ACCESS TO AGENTS AND PUBLISHERS, FREE DRINKS AT THE EVENING COCKTAIL PARTY, AND AUTHOR 101 2008 7 CD SERIES - A $200 VALUE


Register yourself and a friend and save!!
Only $399 plus a $50 reservation deposit refunded at the event.

Some of the key topics that will be covered include:

  • How to write and present your book proposal to an agent so that your book can be sold to a publisher.

  • What are publishers looking for in a new book? What separates "yes" from "no" and what you can do
    to get the best advance.

  • What do you need to do to make your book a best seller.

  • How to promote yourself using low-cost means online to catapult your sales and exposure into the stratosphere.

What you'll learn

How to create "hooks" for yourself and your business that will make you virtually irresistible to every media outlet and make coverage for yourself a virtual certainty.

How to get rich and become famous by being a guest on radio show without spending a dime on advertising.

How to create promotional materials (media kits, etc.) that will have the media running to you for your opinion every time a story in your area pops up

How to quickly and easily create an automated process to capture leads and sales and to up-sell and cross-sell these people with a minimum of effort.

How to make any book you write or publish an Amazon best-seller with a system that has been PROVEN to work.

If you'd like to learn the secrets of getting your book published or how to turn your book or publishing business into a money machine, this course is for you. Keep reading to find out more.

You'll get more out of this $399 seminar than any event this year offered at any price in the publishing industry. http://www.author101university.com

Wednesday, October 28, 2009

Dracula The Undead Featured at The Literary Guild.com




Order From The Literary Guild NOW!








































Visit Dracula the Un-Deadwebsite.

Tuesday, October 27, 2009

JOIN ME AT AUTHORS 101 LAS VEGAS OCTOBER 31st WEEKEND


"Top Publishing and Marketing Experts Reveal Tools and Techniques to Get Your Book Published and Double or Triple Your Income as an Author or Publisher."

Author101 University is coming October 30 & 31, 2009 to Las Vegas





Join Mark Victor Hansen, Rick Frishman, Ken Atchity, David Hancock, Alex Carroll, and more... (read more below to see why you won't want to miss what they have to share with you)

Mark Victor Hansen
Mega-Best Selling Author

Rick Frishman
Public Relations Expert and Best Selling Author

Ken Atchity
Literary Manager
David Hancock
Morgan James Publishing, Author and Speaker
Alex Caroll
Best Selling Author, Radio Interview Expert





James Malinchak
"The Big Money Speaker™"
Stefanie Hartman
“The Expert’s Expert”
Scott Hoffman
Folio Literary Management
Berny Dohrmann
Craig Duswalt
RockStar Speaker and Author






Loren locum
Master Trainer
Tom Antion
Internet Marketing Expert
Mike Koenigs
Brendon Burchard
Best Selling Author, Speaker and Coach
Gary Spirer
Entrepreneurial Leverage Expert


Are you curious about what publishers like Harper Collins, Morgan James, Adams Media, Wiley, Random House, and Simon & Schuster are looking for? What is the best way to get your manuscript read when you're an unpublished author? Want to know the biggest mistakes to avoid when writing book proposals? You'll be engaged as these top pros share their expertise, reveal the inner workings of the publishing industry, and discuss various approaches to common marketing and publishing challenges.

Additional bonus after hours cocktail party where you'll have the opportunity to network with speakers from the day, industry experts and other attendees.


This is a small intimate event and will sell out quickly

SPACE IS LIMITED - ONLY $399

VIP PASS $149 INCLUDES PREFERRED SEATING, SPECIAL ACCESS TO AGENTS AND PUBLISHERS, FREE DRINKS AT THE EVENING COCKTAIL PARTY, AND AUTHOR 101 2008 7 CD SERIES - A $200 VALUE


Register yourself and a friend and save!!
Only $399 plus a $50 reservation deposit refunded at the event.

Some of the key topics that will be covered include:

  • How to write and present your book proposal to an agent so that your book can be sold to a publisher.

  • What are publishers looking for in a new book? What separates "yes" from "no" and what you can do
    to get the best advance.

  • What do you need to do to make your book a best seller.

  • How to promote yourself using low-cost means online to catapult your sales and exposure into the stratosphere.

What you'll learn

How to create "hooks" for yourself and your business that will make you virtually irresistible to every media outlet and make coverage for yourself a virtual certainty.

How to get rich and become famous by being a guest on radio show without spending a dime on advertising.

How to create promotional materials (media kits, etc.) that will have the media running to you for your opinion every time a story in your area pops up

How to quickly and easily create an automated process to capture leads and sales and to up-sell and cross-sell these people with a minimum of effort.

How to make any book you write or publish an Amazon best-seller with a system that has been PROVEN to work.

If you'd like to learn the secrets of getting your book published or how to turn your book or publishing business into a money machine, this course is for you. Keep reading to find out more.

You'll get more out of this $399 seminar than any event this year offered at any price in the publishing industry. http://www.author101university.com

Monday, October 26, 2009

UK's Wide World Features The Thrillionaire











http://www.wideworldmag.co.uk

Titanic Journey

Visiting the world's most famous wreck


By Nik Halik

It was a moonless night, and quite foggy. Visibility was terrible. It was just as the conditions would have been on the fateful night of April 15th, 1912. I slept lightly that night, thinking about the lives lost, and the ghosts of that catastrophe.

Next morning, the carefully choreographed MIR support teams of the Akademik Keldysh hoisted our eighteen tonne submersible over the side, into the water with apparent ease. Victor opened up the ballast tanks, the submersible took in the seawater, and we started to dive and sink down to the murky depths of the Atlantic Ocean.

Within ten minutes, the ambient light from the portholes disappeared. As we dived, we felt a surreal experience, as if we were travelling through outer space. As aquanauts, we were descending into an alien environment so potentially hostile, with close to zero chance of assistance from the outside world if we required rescuing.

PILOT GUIDES

We had some guides for the early part of the journey. Victor illuminated the pitch-black environment with the piercing lights of the MIR. A pod of pilot whales swam alongside our craft. They were attracted by the sonar navigation of our submersible. The pilot whales escorted us down to about 300 metres – like caretakers of the ocean – giving us a personal tour of their domain. It was fantastic. But, as we went below 300 metres, they ditched us, as if to say: ‘You guys are going far too deep.’

To conserve power, the MIR submersibles run without external lights. However, Victor occasionally switched them on to allow us to observe passing marine life. The dive down into the abyss took under four hours. The sea life was unlike anything I’d ever seen. When we descended below 1,000 metres, the bioluminescent creatures started to come into view. They virtually lit up themselves, like Christmas trees, becoming transparent.

TITANIC PRESENCE

After three and a half hours, we finally observed it on the radar screen. My heart was rapidly pounding. It was an outline of the most awe-inspiring structure I have ever witnessed in my life. We were still twenty-eight minutes from reaching the ocean bed, yet the bow of Titanic was clearly visible on the Titanic was clearly visible on the radar screen.

The image grew more vast and clearer. Exactly twenty-eight minutes had passed and then, in a moment of sheer ecstasy, we came upon the bow of Titanic. The bow looked even larger than I expected. As we motored around it, up and down, I was struck by just how vast it was. And yet we were seeing only a third of the bow. The lower two thirds are embedded into the sea floor.

Titanic was over 300 metres long. Every metre that we travelled, we came upon some relic, some treasure. We saw an old chest, suitcases that once belonged to immigrants, china cups, mugs, plates, wine bottles, ceramic tiles, toilets, bathtubs, light fixtures and shoes. We saw pairs of shoes, side by side, seemingly trapped together. At that depth in the salt water, bodies and bones would have decomposed within a couple of years. Those shoes, I realised, were what remained of human bodies.

THE ROCKS THAT STRUCK

Thousands of small rocks are littered around the wreck of Titanic. They are called Ilulissat rocks because of the town of Ilulissat on Greenland’s west coast. Experts believe that these rocks beside the wreck were part of the iceberg that the Titanic struck, and that the iceberg most likely travelled all the way from the polar ice caps of Greenland. In effect, Titanic hit a gigantic mass of stones glued together by Ilulissat polar ice cap.

As we skimmed the ocean floor, the two MIR submersibles stayed reasonably close to each other. The amazing sights we saw teased us. We came across Captain Smith’s cabin, with its own bath. We knew where it was located from drawings of the wreck, and the contents confirmed it was indeed the captain’s. We cruised past his marble bath and all the copper piping, still connected.

A CHAOTIC RUIN

Travelling the length of Titanic, we moved from the bow section through the debris field until we eventually came to the stern. It’s quite hard to work out which pieces belong to the stern. It looks like the entire stern had gone through a food processor.

The chaos actually surprised me. It’s obvious the stern imploded on impact. When Titanic hit the iceberg, the ship buckled, and thousands of rivets came undone. The impact was on the starboard side. Resting on the ocean floor, the bow and stern lie about 600 metres apart, facing in opposite directions. The stern must have twisted on the way down and imploded. There are thousands of items shattered all over the place.

At the stern section, when we were viewing the propellers, we had a very close call. In order to get down to the propellers, we went deep into the aft section of the stern, beneath the overhanging promenade decking which – at any time – could have entombed us. No-one mentioned the risk. A piece of promenade decking dropped on our MIR, smashing into pieces because of its decayed state. We were forced to use the manipulator arm to wrestle off the remaining piece of promenade decking

THE AQUANAUTS RETURN

After a late lunch, Victor blew the ballast tanks using compressed air, and the MIR became positively buoyant again, allowing us to rise to the surface. Victor was quite relaxed about everything. So calm in fact that he and Reda both seemed to nod off to sleep during parts of the slow journey ascent to the mother ship. Reda was exhausted. I was wide-awake, kicking back and listening to music on my iPod

I sat there thinking about all the marvellous sights I had just witnessed, and staring at the luminescent fish, flicking the lights on myself.

ABOUT THE WRITER
Nik Halik is a professional adventurer and author of The Thrillionaire (buy it here). He has climbed the highest mountains in four continents, trained for spaceflight and chased tornadoes.



Visit The Thrillionaires website: thethrillionaires.com



Saturday, October 24, 2009

JOIN ME AT AUTHORS 101 LAS VEGAS OCTOBER 31st WEEKEND


"Top Publishing and Marketing Experts Reveal Tools and Techniques to Get Your Book Published and Double or Triple Your Income as an Author or Publisher."

Author101 University is coming October 30 & 31, 2009 to Las Vegas





Join Mark Victor Hansen, Rick Frishman, Ken Atchity, David Hancock, Alex Carroll, and more... (read more below to see why you won't want to miss what they have to share with you)

Mark Victor Hansen
Mega-Best Selling Author

Rick Frishman
Public Relations Expert and Best Selling Author

Ken Atchity
Literary Manager
David Hancock
Morgan James Publishing, Author and Speaker
Alex Caroll
Best Selling Author, Radio Interview Expert





James Malinchak
"The Big Money Speaker™"
Stefanie Hartman
“The Expert’s Expert”
Scott Hoffman
Folio Literary Management
Berny Dohrmann
Craig Duswalt
RockStar Speaker and Author






Loren locum
Master Trainer
Tom Antion
Internet Marketing Expert
Mike Koenigs
Brendon Burchard
Best Selling Author, Speaker and Coach
Gary Spirer
Entrepreneurial Leverage Expert


Are you curious about what publishers like Harper Collins, Morgan James, Adams Media, Wiley, Random House, and Simon & Schuster are looking for? What is the best way to get your manuscript read when you're an unpublished author? Want to know the biggest mistakes to avoid when writing book proposals? You'll be engaged as these top pros share their expertise, reveal the inner workings of the publishing industry, and discuss various approaches to common marketing and publishing challenges.

Additional bonus after hours cocktail party where you'll have the opportunity to network with speakers from the day, industry experts and other attendees.


This is a small intimate event and will sell out quickly

SPACE IS LIMITED - ONLY $399

VIP PASS $149 INCLUDES PREFERRED SEATING, SPECIAL ACCESS TO AGENTS AND PUBLISHERS, FREE DRINKS AT THE EVENING COCKTAIL PARTY, AND AUTHOR 101 2008 7 CD SERIES - A $200 VALUE


Register yourself and a friend and save!!
Only $399 plus a $50 reservation deposit refunded at the event.

Some of the key topics that will be covered include:

  • How to write and present your book proposal to an agent so that your book can be sold to a publisher.

  • What are publishers looking for in a new book? What separates "yes" from "no" and what you can do
    to get the best advance.

  • What do you need to do to make your book a best seller.

  • How to promote yourself using low-cost means online to catapult your sales and exposure into the stratosphere.

What you'll learn

How to create "hooks" for yourself and your business that will make you virtually irresistible to every media outlet and make coverage for yourself a virtual certainty.

How to get rich and become famous by being a guest on radio show without spending a dime on advertising.

How to create promotional materials (media kits, etc.) that will have the media running to you for your opinion every time a story in your area pops up

How to quickly and easily create an automated process to capture leads and sales and to up-sell and cross-sell these people with a minimum of effort.

How to make any book you write or publish an Amazon best-seller with a system that has been PROVEN to work.

If you'd like to learn the secrets of getting your book published or how to turn your book or publishing business into a money machine, this course is for you. Keep reading to find out more.

You'll get more out of this $399 seminar than any event this year offered at any price in the publishing industry. http://www.author101university.com/

Friday, October 23, 2009

Dracula The Undead Featured in UK's The Independent





http://www.independent.co.uk


Dracula revived by Bram Stoker descendant

Relax News

Monday, 19 October 2009

"When people think of Dracula they think of handsome Bela Lugosi," said Holt, a gothic type wearing a T-shirt featuring the 1920s Hungarian actor heart-throb who starred in the first Broadway play based on Stoker's book, as well as the subsequent 1931 movie.

"Dracula was nothing like that. He was old and hunched over, had hair on his palms, and bad breath," Holt told AFP in an interview.

"He was out of the grave, he smelt like death," added Stoker. "We're going back to the original characters."

It was Holt -- whose passion for the theme stems from Francis Ford Coppola's 1992 "Dracula" movie -- who initially came up with the idea of a sequel to the Irish writer's 19th century work.

In search of data, he stalked descendants of the historical Transylvanian-born Vlad III Dracula of Wallachia, better known as "Vlad The Impaler", toured Europe on the vampire's tracks, met with scholars, and joined the Transylvanian Society of Dracula.

In 2003, he said, he came up with the idea of getting backing for a sequel novel from the Stoker family, who had lost the copyright early in the 20th century.

And Dacre, one of a score of close family scattered across Britain, Ireland, Canada and the United States, signed on. "He had Bram's genes and the name," said Holt.

From then on, the two worked together, studying notes left for the original work by Bram Stoker, writing the plot and building characters.

"We go back to the original but we don't leave it at that," Stoker said.

The sequel is set in 1912, 25 years after the finale of the first epistolary novel, as a series of chilling murders in London and Paris triggers a vampire hunt across Europe and unleashes terror of "the prince of darkness."

After careful analysis of 19th century notes left by Stoker, a theatre director who minutely researched background for the original novel, the two revived one of the old characters and added in a few, including a Scotland Yard detective and a lesbian vampire countess.

More significantly perhaps, Dacre Stoker also opted to throw his ancestor into the novel.

Why create a Bram Stoker character? "He was misunderstood, mysterious, no one knows why he wrote Dracula," the great-grandnewphew said. "He died without knowing the success of his iconic character. His life was a struggle."

Talks are under way to produce a movie version of the book, though the authors refused to say who with.

But if they have their say then Johnny Depp could play Dracula and Catherine Zeta-Jones star as the blood-sucking lesbian countess.

"When people think of Dracula they think of handsome Bela Lugosi," said Holt, a gothic type wearing a T-shirt featuring the 1920s Hungarian actor heart-throb who starred in the first Broadway play based on Stoker's book, as well as the subsequent 1931 movie.

"Dracula was nothing like that. He was old and hunched over, had hair on his palms, and bad breath," Holt told AFP in an interview.

"He was out of the grave, he smelt like death," added Stoker. "We're going back to the original characters."

It was Holt -- whose passion for the theme stems from Francis Ford Coppola's 1992 "Dracula" movie -- who initially came up with the idea of a sequel to the Irish writer's 19th century work.

In search of data, he stalked descendants of the historical Transylvanian-born Vlad III Dracula of Wallachia, better known as "Vlad The Impaler", toured Europe on the vampire's tracks, met with scholars, and joined the Transylvanian Society of Dracula.

In 2003, he said, he came up with the idea of getting backing for a sequel novel from the Stoker family, who had lost the copyright early in the 20th century.

And Dacre, one of a score of close family scattered across Britain, Ireland, Canada and the United States, signed on. "He had Bram's genes and the name," said Holt.

From then on, the two worked together, studying notes left for the original work by Bram Stoker, writing the plot and building characters.

"We go back to the original but we don't leave it at that," Stoker said.

The sequel is set in 1912, 25 years after the finale of the first epistolary novel, as a series of chilling murders in London and Paris triggers a vampire hunt across Europe and unleashes terror of "the prince of darkness."

After careful analysis of 19th century notes left by Stoker, a theatre director who minutely researched background for the original novel, the two revived one of the old characters and added in a few, including a Scotland Yard detective and a lesbian vampire countess.

More significantly perhaps, Dacre Stoker also opted to throw his ancestor into the novel.

Why create a Bram Stoker character? "He was misunderstood, mysterious, no one knows why he wrote Dracula," the great-grandnewphew said. "He died without knowing the success of his iconic character. His life was a struggle."

Talks are under way to produce a movie version of the book, though the authors refused to say who with.

But if they have their say then Johnny Depp could play Dracula and Catherine Zeta-Jones star as the blood-sucking lesbian countess.


Visit the Dracula the Un-Dead website.

Thursday, October 22, 2009

JEFF RIVERA LAUNCHES PROMOTEYOURNOVEL.COM





Visit Jeff Rivera's Promote Your Novel website.