"The universe is made of stories, not of atoms."
—Muriel Rukeyser
____________________________
Showing posts with label Atchity Productions. Show all posts
Showing posts with label Atchity Productions. Show all posts

Celebrating Atchity Production’s Tobe Roberts’ Innovation in Storytelling & Visual Effects

 Congratulations to Tobe Roberts, Senior Associate Manager at Atchity Productions on being featured in this insightful interview following his Best Visual Effects Award win at the LAAIMPA. In this conversation, Tobe shares his creative journey, his passion for emerging technologies, and how AI is opening exciting new possibilities for filmmakers and storytellers.

Watch the interview and hear Tobe’s insights on creativity, visual effects, and the future of AI-powered storytelling.

 

Tobe A. Roberts IV  obtained his Master of Fine Arts degree at  New York University’s Tisch School of the Arts (TSOA) Graduate Film Program. Tobe entered Graduate School as one of the top six applicants to spearhead the first TV & Film Producers Training Program of the University.  He gained experience in publicity at Paramount Pictures East Coast Publicity, became the East Coast Editor for an online film E-Zine, and eventually became co-producer of a New York-based video production company specializing in Indigenous programming.​

Tobe was an adjunct Professor in the Visual and Performing Arts Department at Fairleigh Dickinson University in Madison, NJ sharing his knowledge with aspiring filmmakers.  He has worked with an NYC/CA-based VFX company in several positions on commercial and film projects. He currently  serves as an Art Curator and Consultant in NYC.

At Atchity Productions, we’re proud to champion creators who embrace both innovation and great storytelling. Tobe’s work demonstrates how technology can enhance imagination while keeping the human element at the center of the creative process.

As the entertainment industry continues to evolve, conversations like these help illuminate the future of filmmaking—and the opportunities available to visionary storytellers willing to explore new frontiers.

 

The Power of How Stories Change The World with Ken Atchity

The Write Mindset | Thomas J. Bellezza






With fifty years’ experience in the publishing world and thirty-five years in entertainment, Dr. Ken Atchity is a self-labeled “Story Merchant” author, professor, producer, career coach, teacher, and literary manager, responsible for launching dozens of books and films.

Performentor Shorts: Dr. Ken Atchity on Rejection as an Illusion

Well-known writers throughout history have shared their perspectives on the inevitable rejection that comes with the profession. Their insights often emphasize the importance of persistence, self-belief, and finding a valuable lesson in every "no."

Listen to Dr. Ken Atchity reframe rejection as an illusion we can see past, instead of an unmovable barrier. It matters. Find out why.


via @peopleenergyprinciples

Revisting: Myth to Movie: Pygmalion By Ken Atchity



The wish-fulfillment archetype —the dream become flesh—finds perennially poignant expression in stories based on the Pygmalion myth.

A Cyprian sculptor-priest-king who had no use for his island’s women, Pygmalion dedicated his energies to his art. From a flawless piece of ivory, he carved a maiden, and found her so beautiful that he robed her and adorned her with jewels, calling her Galatea (“sleeping love”). His became obsessed with the statue, praying to Aphrodite to bring him a wife as perfect as his image. Sparked by his earnestness, the goddess visited Pygmalion’s studio and was so pleasantly surprised to find Galatea almost a mirror of herself she brought the statue to life. When Pygmalion returned home, he prostrated himself at the living Galatea’s feet. The two were wed in Aphrodite’s temple, and lived happily ever after under her protection.

Though it was never absent from western literature, this transformation myth resoundingly entered modern consciousness with Bernard Shaw’s Pygmalion, which enlisted it to explore the complexity of human relationships in a stratified society. My Fair Lady, based on Shaw’s retelling, took the myth to another level of audience awareness.

The obligatory beats of the Pygmalion myth: the protagonist has a dream inspired by encounter with an unformed object (“Look at her, a prisoner of the gutter!”), uses his skills and/or prayers to shape it into a reality; falls in love with the embodiment of his dream, and lives happily ever after, or not.

Essential to the pattern is that the dreamer-protagonist is rewarded for doing something about his dream, for turning it from dream to reality with or without a dea ex machina. Thanks to the infinite creativity of producers, directors, and writers, Pygmalion has generated countless wonderful movie story variations: Inventor Gepetto, in Pinocchio (1940--with numerous remakes), wishes that the wooden puppet he’s created could become the son he never had; a department store window dresser (Robert Walker), in One Touch of Venus (1948, based on the Ogden Nash/S. J. Perelman musical), kisses a statue of Venus (Ava Gardner) into life— trouble begins when she falls in love with him. In 1983’s thenEducating Rita (from Willy Russell’s play), a young hairdresser (Julie Walters), wishing to improve herself by continuing her education, finds a tutor in jaded professor (Michael Caine), who’s reinvigorated by her. In a reverse of the pattern, as quickly as she changes under his tutelage he resents the “educated” Rita and wants her, selfishly, to stay as she was.

Alvin Johnson (Nick Cannon), in 2003’s Love Don’t Cost a Thing, a remake of Can’t Buy Me Love (1987), comes to the rescue of Paris (Christina Milian) when she wrecks her mother’s Cadillac and can’t pay the $1,500 for the repair. Alvin fronts the cash with his savings and, in return, Paris has to pretend to be his girlfriend for two weeks; Alvin becomes “cool” for the first time in his life, but learns that the price of popularity is higher than he bargained for. In She’s All That (1999), the pattern is reversed as Freddie Prinze, Jr., is a high school hotttie who bets a classmate he can turn nerdy Rachel Leigh Cook into a prom queen but, of course, runs into trouble when he falls in love with his creation. In The Princess Diaries (2001), Mia (Anne Hathaway), a gawky Bay Area teen, learns her father was the prince of Genovia; the queen (Julie Andrews) hopes her granddaughter will take her father’s rightful place as heir, and transforms her from a social misfit into a regal lady but discover their growing love for each other is more important than the throne.

Pretty Woman (1990) is my second favorite example of the tirelessness of the Pygmalion myth. Taking the flower-girl motif of My Fair Lady to the extreme, Vivian (Julia Roberts) is a prostitute (albeit idealized) and Edward (Richard Gere) a ruthless businessman with no time for real love. As he opens his credit cards on a Rodeo Drive shopping spree, we experience a telescoped transformation-by-money accompanied with the upbeat music that reminds us that we love this highly escapist part of the Pygmalion story, the actual process of turning ugly duckling into princess swan.

My favorite example is La Femme Nikita (remade as Point of No Return, 1993, with Bridget Fonda), because it shows the versatility of mythic structure, taking Pygmalion to the darkest place imaginable as it fashions of street druggie Nikita (Anne Parillaud), under Bob’s merciless tutelage (Tcheky Karyo), a chameleon-like lethal sophisticate whose heart of gold allows her to escape both her unformed past and her darkly re-formed present.

So popular is the Pygmalion myth with audiences that it crops up in the most unlikely places. In Pao zhi nu peng you (My Dream Girl, 2003), Shanghai slum-dweller Cheung Ling (Vicki Zhao) is thrust into high society when she encounters her long-lost father, who hires Joe Lam to makeover his daughter to fit her new status. In Million-Dollar Baby (2004), the unformed matter (Hilary Swank) reports for duty and demands to be transformed. Instead of falling in love, the boxing instructor (Clint Eastwood) is reborn, reinvigorated, re-inspired, learns to feel again—thereby revealing the underlying emotion that drives the Pygmalion myth for both protagonist and the character he reshapes: rebirth into a more ideal state of being.


First published in Produced By, the official magazine of the Producers Guild of America

Most Important Lesson Every Screenwriter Should Learn: Don't Wait

 Every project has its own clock!

~ Ken Atchity




In 2015 I, and my dear producing partner Norman Stephens, produced a sweet little Christmas movie called Angels in the Snow for UPnetwork. I had only been trying to get that movie produced for twenty years! I sold it to TNT once and came close to a deal at Hallmark another time. My client Steve Alten’s Meg after twenty-two years, finally premiered in 2018. What was I doing for the last twenty years? Not Waiting!

Newtown screenwriter creates her own path to success, markets her own work


Daina Ann Smith, of Newtown, is a screenwriter who got her start right from her kitchen table. Most recently, she had two of her original feature scripts brought into development. Smith also is working as a creative lead at an audio storytelling company. Photographed on Wednesday, July 16, 2025, in Newtown, Conn.  H John Voorhees III/Hearst Connecticut Media



NEWTOWN — When Daina Ann Smith first sat down at her kitchen table nearly a decade ago to work on screenplays, she said she was in “steep student loan debt.”

And now, the first screenplay she completed, called “Student Loans,” is in development to be made into a full-length feature film with the producers of “Sonic the Hedgehog” and “Magic Mike.”

“Student Loans” will hit theaters sometimes in 2026. “It’s been an eight-year-long journey,” said Smith, who works from home as a creative lead at Pocket FM, an audio storytelling company.

In 2018, she began working with “The Meg” producer Kenneth Atchity, who took one of her scripts into development. In 2021, Smith signed a contract for another original feature screenplay.

To get noticed by Hollywood producers, Smith said she looks for those involved in similar types of projects as the one she’s pitching, and emails them her queries.

Over the years, Smith said she has sent out thousands of emails and built an “amazing network.”

Her advice to fellow writers? Don't become obsessed with getting someone to represent your work.

“It’s very hard to get an agent,” Smith said. “You have to have a proven track record of selling work.


“Instead of focusing so much on that, I will continue to write and continue to build relationships," she said. "Don’t think that it can’t be you.”

Produced BY: Mentoring Matters by Kia Kiso

 

Mentoring Matters - Developing A Career: Learning To Identify The Story You Want And Go After It

By Kia Kiso,

I have more than 90 credits as an AC/Loader, Telecine Colorist and VFX Coordinator, but eight years ago I heeded my lifelong calling to produce. Since then I have shepherded award-winning videos, promos for CBS and launched two feature documentaries on Netflix. In 2013 I joined the PGA because I knew of its many benefits, and I wanted to be part of a community of like-minded creatives. Currently I have focused on building my production company to develop fictional content, with an aim at creating compelling and unique stories in order to make the world a better place. 

When I applied to the 2016 PGA Mentoring Program, I had just walked away from the option on a book into which I had put a lot of time and resources. I was disappointed and wished I could have saved the project. The experience led me to realize that development was an aspect of producing I was less familiar with. I was looking for expert advice on how to assess opportunities, set up a project for success, handle relationships with authors, lawyers and talent, and run a production company.

Thankfully the PGA Mentoring Program paired me with producer Ken Atchity. I was thrilled to be matched with Ken for a lot of reasons, among them his industry experience and teaching background. However I admit, I was especially attracted to his philosophy—“I believe in the power of stories to change the world.”

Our first connection was an in-person, 90-minute meeting, in which he gave me feedback on a particular project of mine. Ken had some great advice about pitching—if a project tackles potentially controversial or delicate issues, Ken advised weaving some well-researched statistics or facts into the pitch to send the message that the material wouldn’t suggest a problem for the network and lead to a premature no. He wrapped up the meeting saying I could contact him about the project at any time, even after the mentorship ends. Very generous. Since that first meeting, we’ve had a pivotal phone conversation during which he suggested I was in a great position to go after an option I was very excited about, helping me to design a strategy on how to move forward quickly—starting with enhancing my relationship with the rights owner. He’s been ready to answer any questions by email. Even as recently as this morning, we were in touch to discuss a lunch I was preparing for with a writer who wanted to work with me.  

Ken has been wonderful. He celebrates my triumphs and brainstorms solutions to my challenges. I am very grateful for his willingness to participate in the Mentoring Program and to the Producers Guild for providing it

Tobe Roberts, Senior Associate Manager at Atchity Productions Joins Kevin Smith's Birthday Bash!

Tobe Roberts joins Kevin Smith's 55th Birthday Bash at his comic book store, Jay and Silent Bob's Secret Stash in Red Bank, New Jersey.  



A comic book writer, author, comedian/raconteur, and internet radio personality, he is best known for his films "Clerks" (1994), "Jay and Silent Bob Strike Back" (2001), and "Clerks II" (2006) and his character Silent Bob. "Clerks: The Animated Series" (an adult sitcom) aired for a short time on ABC-TV starting in May 2000. (In 2019, "Clerks" was selected by the Library of Congress for preservation in the United States National Film Registry for being "culturally, historically, or aesthetically significant.")



WRITE THE WORLD!

TAP-DANCING ON THE RAZOR’S EDGE




If you’re an authorpreneur, a writer, an artist trying to make it in today’s toughly competitive global market, you’re tapdancing on the narrowest bridge in the world—spanning the cactus fields of the UNKNOWN world and THE PROMISED LAND where the grass is greener, and the trees are tall and mighty.

It’s the smallest and most dynamic and most important bridge in human experience—one that everyone would like to be standing on, but few have the courage to attempt:

It’s the bridge of VISION--that links dream with reality.

It’s a very small bridge and very narrow and uncomfortable when you first step onto it. But the longer you’re on it, the more maneuvering room you realize you have. The more comfortable it becomes standing on what you recognize as the razor’s edge.

You learn to tap dance.

You learn to laugh and cry again.

You learn to enjoy the dance, to sing while you dance.

You learn perspective. You build character. You turn from butterfly to lioness.

Sooner or later, you should begin to feel, as I do, incredibly fortunate to be doing what we love the most—storytelling—and getting paid to do it. As a producer, editor, literary manager, author consultant, and brand launcher, I get to be an alchemist, turning stories into gold.

And as someone who tries hard to always think OUTSIDE THE BOX—especially since the boxes either are crumbling or have already crumbled--it has been thrilling to see my clients’ DRACULA THE UNDEAD on page one of cnn.com and on the New York Times extended list—after I added a brand name to the mix; and to be producing my clients’ Jerry Blaine and Lisa McCubbin’s THE KENNEDY DETAIL, which appears from Gallery Books/Simon & Schuster after we found a way to get Clint Hill to write the forward, and we managed to set up, with our reality partner Renegade83 a 2-hour Discovery Sunday special which garnered an Emmy nomination. These clients danced the danced successfully, and because they, like all storytellers, are inveterate masochists are already back on that bridge dancing that crazy dance again.

No one is forcing you to do this. Remind yourself of that when the going gets toughest. You’ve chosen this career, and you can only lose at it if you quit.

What you are doing, in business terms, is creating the most valuable commodity on earth, “intellectual property.” And today that is worth more than real property! 

You are entering an infinite profession, of unlimited potential. Not even the sky is the limit—my client Nik Halik’s The Thrillionaire has been in outer space! In this world of studios crashing, networks retrenching, publishers conglomerating, where everything is changing all the time—at least one thing is constant: the need for stories never ceases.

“Trackers” are highly paid by the major studios to find stories and bring them in.

No wonder storytellers were considered sacred among the ancient Greeks--because they were the channelers of STORIES, stories that described reality in terms humans can relate to.

Therefore don’t let your ego prematurely destroy your career, as I have seen it do for so many writers. “No ego” should be your mantra, as you take your WORK, not YOURSELF, seriously.

Eventually, on that razor’s edge, you’ll learn that though the Promised Land IS worth the promise it’s the struggle to get there that is the most valuable experience of your life.

As storytellers who are here this weekend because you actively pursue your vision, you know full well how narrow the bridge we stand on is, how fragile. But you should also know that we’re heroes for even attempting to cross this bridge. 

I’d like read a tribute to your work by the greatest Greek poet since Homer and Sappho. His name was Constantine P. Cavafy, and he lived in Alexandria, Egypt, and died less than a hundred years ago:

The First Step


The young poet Evmenis
complained one day to Theocritus:
"I've been writing for two years now
and I've composed only one idyll.
It's my single completed work.
I see, sadly, that the ladder
of Poetry is tall, extremely tall;
and from this first step I'm standing on now
I'll never climb any higher."
Theocritus retorted: "Words like that
are improper, blasphemous.
Just to be on the first step
should make you happy and proud.
To have reached this point is no small achievement:
what you've done already is a wonderful thing.
Even this first step
is a long way above the ordinary world.
To stand on this step
you must be in your own right
a member of the city of ideas.
And it's a hard, unusual thing
to be enrolled as a citizen of that city.
Its councils are full of Legislators
no charlatan can fool.
To have reached this point is no small achievement:
what you've done already is a wonderful thing."

So let’s pause to celebrate--and applaud ourselves right now--for even being here today, on this step—whether it is your first, or whether you’ve taken a few steps already. If you are among the latter, you’ll appreciate the words of the great playwright-poet Samuel Beckett: “Do not come down the ladder. I have taken it away.”

Let’s also face it: you’re in “show BUSINESS,” as my client and partner Michael A. Simpson constantly reminds me; and you must deal with it as the BUSINESS of SHOW. What years have taught me is how important it is, never more so than today, to understand the BUSINESS of being a visionary, a person others call “mad” or “insane.” Remind them of Salvador Dali’s response: “The difference between myself and a madman is that I am not mad.”

I always say that the difference between a visionary and a con man in the creative world is SUCCESS. No one believes you can really do it, because everyone has told them how hard it is—and they themselves are too fearful to try.

Yes, it is difficult. That’s why, though everyone in the world has a story, NOT everyone—only YOU—are doing something about it.

Your personal cutting edge difference will be dealing with your career as a business on all fronts. Business requires a plan, an investment, a marketing program, and unceasing determination to move the flag across the field, remembering, for consolation, that if you die in the midst of your own dream that, by definition, has to be a happy death!

As Muriel Rukeyser said, for us humans, “the universe is made of stories, not of atoms.” Whatever it’s really made of, all that matters is how we perceive it. And it’s through stories that we form our perception.

When you’re standing on the razor’s edge in fear, or complaining—as all of us constantly do--remind yourself:

No one is FORCING you to tell your stories to the world. No one is holding this gun to your head but yourself.

You’re here by your free choice, while they are behind their counters or their commuting dashboards or their tellers’ windows because they are afraid to take the chances you are getting used to.

Meanwhile, you are following your dream.

Welcome to the world of storytellers:

What is a storyteller? A storyteller is a simply a communicative dreamer—a person who dares to learn how to communicate her dreams to all of us.

Doing so is not only his privilege, it’s his responsibility. I always told my Occidental College students, “If you have a dream, and fail to express it, you have denied all of us a unique vision that only you can bring us.”

But Aristotle said, “Excellence is not a plan.” Dreamers need to plan. An authorpreneur who truly wishes to succeed in the commercial world of storytelling needs to analyze it from a business point of view. AMBITION and VISION are NOT ENOUGH. You must equal them with CRAFT, TECHNIQUE, AND SKILL.

In my book, A WRITER’S TIME, I wrote that four things are needed to succeed in Hollywood:

1) Persistence (endurance, determination)

2) Contacts (networking)

3) Being a fun person to work with (and its corollary, “Staying off everyone’s life is too short list”) and

4) TALENT

It’s sobering to realize that any one of the first three are sufficient in themselves. Bad movies can be made through sheer persistence; mediocre books can be published just through strong contacts. But the 4th, the one we’re all looking and hoping for, is NOT sufficient. Talent alone must be combined with the others.

And add LUCK or GOOD TIMING and, remembering what someone said that the “harder I work the luckier I get.”

You might also add ORIGINALITY—which Joe Roth defined as “being able to think of something that hasn’t been on TV!”

Recently, trying to maintain the business of show business, my company has evolved. We raise independent financing for films, and encourage writers to become filmmakers to move their projects forward. We consult with writers on their career strategies one on one. We launch brands. As literary managers, we look for the next Sue Grafton or Robert Ludlum whose vision CLEARLY extends into the future.

What we learn from the tap-dance on the razor’s edge is:


TOUGHEN UP.

KEEP MOVING FORWARD DESPITE YOUR PRESENT MOODS. A week from now, you won’t even remember how you feel today; so don’t let it stop you from working. My wife Kayoko is always reminding me that Gandhi said, “Full effort is full success.”

PERSIST. NEVER GIVE UP. Yes, you may be going through hell. But “if you’re going through hell,” Winston Churchill advised, “keep going!”

NEVER PUT DEADLINES ON YOUR CAREER.

TAKE YOUR CAREER, NOT YOURSELF, SERIOUSLY. Don’t go from saying “I just want to be better” to “I just want to write what I want to write.” I’ve repeatedly seen clients lose the humble perspective created before success hit them, and sabotage their careers.

NEVER PUT ASIDE YOUR VISION, BUT PERFECT IT, PERFECT IT, PERFECT IT and make allies of those who can help you do that to bring your craft and skills to the level of your talent and ambition. If you continue pursuing your dream no matter what until you achieve it—and then you’ll have bigger dreams, of course—by definition, YOU CAN’T FAIL. Carlyle put it this way: “Success is steady progress toward a worthy goal.”

Walt Disney was turned down 302 times before he got financing for Disneyland.

Frank Herbert’s DUNE was rejected 36 times. Don’t let your representative give up at 32!

George Lucas was forced to put up his own money to pay for “Star Wars” because NO ONE believed in his vision. By the time the film came out, he was bankrupt. He is now fabulously wealthy of course—PRECISELY BECAUSE HE WAS UNABLE TO SELL ANY OF THE RIGHTS TO THE FILM OR ITS SEQUELS. Shakespeare played politics to get the Globe Theater built for his own plays. Sophocles and Aeschylus had to do the same thing in the time of classical Greece. Jane Austen, Thomas Hardy, in fact most late nineteenth century novelists began their careers SELF-PUBLISHING.

Jerzy Kosinski’s STEPS won awards, but was rejected by publishers 34 times—once by its very own publisher, after it had already been published.

Remember what William Goldman observed, in his Adventures in the Screen Trade: NOBODY KNOWS ANYTHING.

In today’s tough world of authorpreneurship, be flexible and always THINK OUTSIDE THE BOX.

Yes, the business of becoming and being a professional writer is hard. The hard part is the great part. That’s why you’ve chosen to do it. The river is wide between where we are now and the success and attention we want is on the other side. The razor’s edge is thin and dangerous. You don’t NEED to do this. You’re DESTINED to do this.

What could be a happier mission in life?

How can you fail at being yourself?

And now you know what the bridge is—a razor’s edge--and how to dance on it, just promise me and yourself that you won’t fall off.


From Page to Screen: The Cloud Hits Hollywood | Robert Rivenbark Interview


Robert Rivenbark discusses his novel The Cloud, themes of AI and surveillance, and a Hollywood film adaptation.


In this video, host Jorah Kai sits down with Robert Rivenbark, author of the sci-fi thriller The Cloud, to talk about its journey from novel to screen. 

Robert's debut novel The Cloud is not only an award-winning story but is also in development as a feature film. In this insightful interview, we cover: Inspiration behind The Cloud – How a big “what if?” and real-world tech trends sparked this thrilling story.

Creative writing process – Robert’s writing routine, from daily word counts to turning first drafts into polished prose. Hollywood adaptation journey: How The Cloud caught Hollywood’s attention and the role of legendary literary manager Ken Atchity in its film development. 

Transmedia storytelling – Expanding the story universe beyond the book, and what it means to take a tale from page to screen (and beyond). 

Modern writing landscape – Insights on being an author today, from working with a literary agent to navigating publishing in the digital age. 

Whether you’re an aspiring writer, a passionate book lover, or a fan of film adaptations, this conversation is packed with tips, inspiration, and behind-the-scenes stories you won’t want to miss.



Via Jorah Kai, Existential Detective

@jorahkai


 AVAILABLE ON AMAZON




Guest Post: Can We Grow Our Spirits As Fast As Our Tech?

by Bob Rivenbark 


Get The Cloud: A Speculative Fiction Novel On Amazon Today!


We’re plunging into a future of stupendous technological wonders. AI. VR. Bioengineering. Can we manage these breakthroughs wisely—or will they destroy us?

After Europe rediscovered classical Greek philosophy through medieval Arabic translations, it sparked the Renaissance, Enlightenment, and Industrial Revolution. Stupendous achievements. But at what cost?

As literacy, technology, and science expanded, so did the human ego. Eventually, many felt the ego had replaced God.

But humanity can’t live without worship. The result: disastrous social and political revolutions: fascism, communism, Nazism—regimes worshipping strongmen such as Hitler, Stalin, and Mao.

Those who don’t worship charismatics tyrants can worship science and technology instead. Science and technology answer the deep human yearning to know “How can we do it?” But they can’t answer, “Why should we do it? And what will it mean if we do?”

Robert Rivenbark’s speculative fiction novel THE CLOUD dramatizes the horrors we may face if we can’t reconnect with our spiritual roots. We’re becoming a race of technocratic supermen with the maturity of infants. Can we save ourselves in time? 

Visit www.thecloudnovel.com to learn more.





ROBERT RIVENBARK INTERVIEW WITH THE HAMMER

Check out Robert Rivenbark's interview with Brian The Hammer Jackson, host of Hammer Blog Talk Radio Podcast!


Robert's prize-winning novel THE CLOUD. THE CLOUD was honored as one of the 20 best books of 2023 by Bookworm Reviews, and it's currently in development as a feature film with manager/producer Ken Atchity, CEO of Atchity Productions and Story Merchant books.

Robert is is launching a crowdfunding campaign to raise the budget to shoot a three-minute film trailer with an A-list actor attached to trailer and feature film. Stay tuned for future broadcasts to learn how you can participate and become a producer on the project.



When Everyone's A Virtual Reality Slave, Who Can Free The Human Soul?



Get The Cloud: A Speculative Fiction Novel On Amazon Today!

Julie Sara Porter of Bookworm Reviews Robert Rivenbark's The Cloud: Involving High Tech Science Fiction Excels at Presenting Microcosms of Futuristic Tech Heavy World

The Cloud is an expansive Science Fiction that is effective in world building and how each character is a microcosm of the world around them.

In 2040 California, VR designer Blaise Pascal is an employee of The Cloud, a tech corporation that practically runs the world. He is assigned to tweak a game which contains an addictive drug that controls The Slags, the lower classes. As he ascends higher within The Cloud, he is made aware of the company's nefarious schemes while he is torn between two women: Mitsuko, his ambitious supervisor and Kristina, a member of the Resistance against the Cloud.

The book is excellent at capturing the futuristic world from the oligarchical structure to the little details like wardrobe, slang terms, and recreational activities. Rivenbark put a lot of care and effort into this world.

One of the ways that he accomplishes this is to portray each character as representations of their world. Mitsuko represents The Cloud: narcissistic, cold, artificial, and dehumanized. Kristina represents The Slags: selfless, warm, authentic, and completely human. Blaise is both, a former Slag who worked his way up to The Cloud and now is compelled to fight against it.

The Cloud presents a world that is so caught up in technology, that only a few remember a world without it. It is those people who will rebuild society when the technology is gone.


Get The Cloud: A Speculative Fiction Novel On Amazon Today!


FULL REVIEW:


Spoilers: It's always a treat when I read one book, then I read its polar opposite. I read two books set in the 2040s, Mark Richardson's Malibu Burns and Robert Rivenbark's The Cloud. Both are set in California, both after times of political and environmental unrest and both have worlds in which technology and AI have taken over. However, in execution the two books go in opposite directions. Malibu Burns doesn't concentrate on the futuristic world so much as it does on the mindscape of its lead protagonist. The Cloud does involve interesting characters but it concentrates more on how this futuristic world affects them. Malibu Burns is strong on character and The Cloud is strong on setting and world building.

Blaise Pascal is a VR designer who works for The Cloud, the tech corporation that practically runs the world. He is currently working on Gilgamesh V, the latest game to appeal to The Slags, the lower classes who aren't connected to The Cloud (like Blaise once was). His director, Minsheng is impressed with Blaise's work but wants him to tweak the game to include an addictive drug which will control The Slags. As Blaise climbs higher in the corporation and spends time with the Slags, he begins to see the corruption, dehumanization, and mass murder that his superiors are planning. He is caught between the luxurious technology driven world that he wants and the honest connections of the human driven world that he needs.

Many of the characters are well written, Blaise in particular, but mostly they serve as microcosms of the society in which they live. They are shaped and changed by the universe around them and we see the strengths and weaknesses of the world because of how it affects them.

Blaise is the person in the middle. He came up from the low tech Slag world leaving behind a missing father, a mentally ill and deceased mother, and intense poverty to move to the high rise Cloud world. He hooked himself up to the devices that monitor his actions and created VR simulations for the people that he was once a part of.  

While Blaise is a huge part of how the Cloud works, he is not exactly enamored with his surroundings. He is a military vet who has seen his share of bloodshed in the name of the corporations and governments who pulled the strings. He also is mourning the deaths of his wife and daughter, the last people he felt connected to. Now he buries himself in work and a sardonic attitude. While his remarks are humorous (for example when his immediate supervisor, Mitsuko gives him an order, he remarks, "I ignored you the first time."), they reveal a cynical detachment for a lifestyle that provided him with creature comforts but little else.

Blaise's only relief is the downtime he gets when he goes to the Slags towns, perhaps his only means of any type of companionship and the only time that he can be himself without being spied upon. It is here that he meets Kristina, who is part of a resistance group against The Cloud. She tells Blaise some important information about his mother and what his role is to be in this revolution. As Blaise starts to see the Cloud for its true colors, as a dictatorship, he becomes an active participant in ending it by being the revolution's inside person and saboteur. 

Unfortunately, Blaise's new role as rebel coincides with his promotion through The Cloud and his involvement with his supervisors, Mitsuko and Minsheng and the shady directors behind them. The threats and underhanded deals that collapse the lower classes are made all too real. In one chapter, Blaise is nearly tortured by mantises, cybernetic insects which inject their victims with a painful venom. He then watches in horror as those mantises are then used on people including many of the rebels.
Blaise becomes involved in a love triangle between Kristina and Mitsuko. While normally, I don't like love triangles because I find them cliched and often unnecessary with The Cloud, I will make an exception because of what each character represents. 

Mitsuko represents The Cloud. She is a narcissistic ambitious person who uses many that come near her. In her world, relationships can only be made on a superficial shallow level. Because of this, terms like "friends, "family," and "lovers" are mere words. Because they are just words without feeling around them, those terms can be redefined however they see fit as Mitsuko reveals during one of the few times when she displays some reality beyond the materialistic driven persona that we have already seen. She is a woman who has been hurt in the past, knows what it's like to struggle to get to where she is, but doesn't care. She lost her humanity and compassion for others and sees the people around her as allies for or obstacles against the company that she reveres and even worships. She represents the worst that Blaise could be.

Kristina represents the resistance, the rebels that are still in touch with their humanity. They have technology in that they were able to build a functioning self-sustaining community, but all of their technology is used to benefit a larger society, rather than controlling it. They, particularly Kristina, haven't lost who they are or the love for those around them.
Kristina cares about her fellow rebels and family. Even though she is in love with Blaise, she isn't afraid to call him out on the actions and the people behind The Cloud's actions.

Kristina has a strange ability to read into other's souls. This ability opens up possibilities that when society heads further into progress and science, what was once considered magic could be rediscovered.
It also gives Kristina deeper insight into people. She sees beyond the surface that Mitsuko sees. She sees into Blaise's past and how he really feels. She makes a real connection with him, a connection that Blaise thought was lost.

The Cloud shows us a world that becomes so intertwined with its technology, that only the very few remember what it means to be human and it is them who will rebuild the world once that heavily technological superficial world is gone.


Read Snowblind's Prologue and Sample Chapters!





There is a wolf in me... fangs pointed for tearing gashes... a red tongue for raw meat... and the hot lapping of blood — I keep the wolf because the wilderness gave it to me and the wilderness will not let it go.
from WILDERNESS by Carl Sandburg

PROLOGUE
His mother saw him staring and turned her eyes away.
He could see she was afraid. Afraid of his hunger. Afraid of the wrath of the silver-bearded Father.
The night wind howled over the sod roof, moaned at the icy window. Three days had passed, and still the old man had not returned. They feared, again, he would come back with nothing. The traps had been covered in snow. They had no bait left — they had eaten everything.
On the table the sacred candle burned brightly. The candle could only be burned when the Book was being read. This was a Law of the Father. The Law could not be broken.
The eight-year-old boy read the Book aloud:
"What are human beings, that you make so much of them, that you set your mind on them, visit them every morning, test them every moment?"
The boy paused, gazed at the candle's dancing flame. The Father had said the words of the Book would fill his empty belly. If he did not learn them, he would not eat.
In his mind he repeated the words he had read. What are human beings...
He looked down at his mother. She sat on the caribou rug, on the dirt floor, in the light of the flickering flame. Her dark skin glowed warmly, her hair hung black as night.
How could her belly grow so large when they had no food to eat?
The Father had taken her from an Inupiat village, on an island in the Arctic sea. She had long ago learned the language of the Book, but when the Father was out on the hunt, she would speak to herself in a tongue the boy did not understand. When he questioned her, she would point to the scar on her face, the scar from the Father's knife.
The boy was not allowed to know her words. The Book would tell him everything. The Book was all he would need.
He turned a page and read another passage.
"A mortal, born of woman, few of days and full of trouble, comes up like a flower and withers, flees like a shadow and does not last. Do you fix your eyes on such a one? Do you bring me into judgment with you?"
He paused again, gazed absently at the flame, his lips moving in silence. Still the hunger gnawed.
He looked again at his mother. She was stringing tiny blue snail shells on stiff threads of sinew. The shells would adorn the sackcloth doll that rested on her lap, a family heirloom whose ivory head had lost its amber eyes.
She noticed the boy staring. Again she looked away.
His hunger had turned on itself, clawing in his belly like a ravening wolf. He fed the wolf the words of the Book.
"Why is light given to one in misery, and life to the bitter in soul, who longs for death but it does not come, and digs for it more than for hidden treasures, who rejoice exceedingly and are glad when they find the grave?"
The boy stopped reading. He closed the Book. His pulse pounded, his hands trembled. The wolf would not be sated.
He stared until his mother finally looked at him.
For a long moment she peered into his eyes. Then she rose to her feet, holding her swollen belly, and went to the window. Out in the cold night, wind-blown ghosts of snow whirled over moonlit tundra.
Surely he would not return tonight.
She walked to the table, leaned over and blew out the candle. The sod house fell into darkness.
The boy waited anxiously.
His mother's hands were always warm. Even in the cold she wore no gloves. She held his face tenderly, then took his trembling hand and led him through the darkness of the room.
Faint gray moonlight fell across the bearskin bed. His mother lay on her side and pulled him down to her, speaking the strange, forbidden words.
She opened her dress, lifted out a pale, pendulous breast. His hands groped hungrily. He pressed his wet mouth to the dark aureole, his strong teeth seizing the nipple. The boy sucked ravenously. Soon, warm gorging milk flowed forth, bathing his tongue, filling his mouth, seeping out over his chin. He sucked the breast and lapped the milk, and held her body tight.
Minutes swiftly passed, the boy's hunger unrelenting. At last he pulled away, panting, his open mouth dripping spittle. Slowly, his languid eyes opened.
He froze, gaping into the morbid light of the moon.
"What is it, Job?" his mother asked. She turned to the icy window.
Outside, in the darkness, the Father stood staring, his starving eyes glaring like a wolf.

1.
Sunlight flared off the glistening snow, blinding her path to the turn. For a flashing moment, fourteen-year-old Kris Carlson couldn't see the flag. She cut too late, displacing snow instead of arcing the curve, and for a few frightening seconds lost her balance, nearly spilling over the icy curl. She recovered quickly into the flat, her new stiffer skis gaining speed and stability for the run into the next turn. With luck, she'd pick up the lost seconds in the final sprint. She'd have to. Six points behind the fifteen-year-old downhill leader, Claudia Lund, she couldn't afford another mistake.
The next turn, even tighter than the last, glittered with surface ice, sheered to a sheen. Kris leaned deep into the arc, adjusting her radius in the middle of the turn with a subtle twist of her ankles. Her shoulder banged the flagpole as she cleared the twist, hopping into a quick series of steep moguls, her knees bobbing like a set of springs.
Final turn. She knew this one, she'd skied it in her mind a hundred times. She heard her father's voice: "Load the tail, skid the shovel." There was a fine line between going all out and not making any mistakes. It was a line she'd have to cross. She banked full speed into the long turn, loading up her tail, building critical power for the final sprint.
Kris shot out of the turn at record speed. The crowd roared — she had it locked. Soaring into the final run, she hugged her knees and schussed for the finish.
A grin grew across her face. Her dad would be at the bottom. He was always there, waiting for her.
She wanted nothing more than to make him smile.
*  *  *
The old moose trickled a bright red trail of blood in the snow. Hunks of flesh had been torn from its body, its matted fur glistened with sweat. It lumbered into the narrow ravine, tottering, weaving, out of breath, stopping at last at the frozen bank of the surging Sawtooth River.
Ice floes churned and heaved in the current with a roar like muffled thunder. The moose drew a kind of power from the sound, the vibrations rising up through the animal's trembling limbs. The surge of strength suffused its body, steeling the beast for battle. The regal moose raised its crown and turned to face the wolves.
Loping lightly over the shelf ice at the shore, the five silver, silken hunters quickly circled their prey. They snarled, salivating, growling guttural and wild. The moose whirled, stumbling, its labored breath trailing dragon clouds of fog. They had circled before, and the bull had escaped. Now they were closing in for the kill.
The dark-eyed lead wolf lunged, tearing a gash in the great beast's rump. Another seized its leg, its razor fangs cutting deep. The moose groaned and scooped its towering head, impaling the animal in its tangled rack. The wolf yelped, staggered back. The moose charged, stomping, its pounding hooves crushing the cowering wolf's ribs.
The pack backed off. The wolf was dead. The moose trotted off up the frozen shore.
Snow fell softly in the windless ravine. Ahead, high above the rumbling Sawtooth, a black wooden bridge spanned the gorge. The moose clambered up the craggy slope as the wolves resumed their hunt.
*  *  *
Kris was traveling with her father and her seven-year-old brother, Paul, in her father's red Chevy pick-up, coming down through the mountains from Garrison Pass. Her new skis rattled in the bed of the truck. Kris had kept on her lilac snowsuit, zippered to the neck; her black hair hung straight to her shoulders, her bright blue eyes were smiling. She had won the Women's Junior Downhill race, first place in the girls' twelve-to-fifteen year age bracket, setting a personal best on the half-mile course down the north slope of Dome Mountain. The ski resort, on the edge of the Alaska Range, fifty miles from their home in Healy, always held the first downhill races of the Spring season. Kris was already looking forward to the next. She had her eye on the Alaska Alpine Championships.
"Dad? Do you think Mom will come to the Winterhaven trials?"
Her father studied the oncoming road through the falling veil of snow. "She won't want to miss it, Sweety. Not after we show her what you won today."
Paul sat between them, twisting the trophy in his small hands, trying to unscrew the tiny gold skier from the mount.
"Pauly!" cried Kris, pulling the trophy away from him.
"It's a boy, it's not a girl," he said.
Kris examined the figure. "You can't tell," she said.
"I can tell," said Paul.
Kris ruffled his hair with her hand. He grabbed her wrist, pretended to bite it, growling. Kris tickled him.
"No no no!" he shouted, squealing with laughter.
Kris turned back to the road, a smile on her face. A black bridge appeared through the falling snow.

2.
"The 'woo' bridge!" Kris exclaimed.
"'Woo' bridge!" echoed Pauly.
The truck rolled onto the bridge, and a resonant "woo" sound rose up from the tires. All three passengers grinned, staring into the white wall of snow as the deep bellow of the bridge filled their ears.
Then the blood drained from their faces.
The colossal moose came charging out of the whiteness directly toward them. Kris's father instinctively slammed the brakes and pulled the wheel. The truck careened across the bridge, just missing the bloody, frothing bull, sliding past it through a madhouse of leaping wolves. He hammered the brake, but the ice had them. They continued to slide, smashing through the guardrail and out over the gorge.
Kris screamed, a high shrill scream of unblinking terror, as they dropped through the air toward the river of ice.
The truck pierced the tumbling floes with a bone-crunching jolt. Kris's head bounced against the dash, her body flung wildly as the seatbelt grabbed. She glimpsed her father's bloody, vacant face as the truck plunged headlong into the frigid water. They plummeted swiftly, sinking in the current, the cab raging with the inflowing torrent.
Paul screamed and gurgled as the water engulfed him. Her father tossed about, limp and unconscious. Kris tore at her seatbelt. The water rose quickly to her chest, neck, chin, mouth —
She was underwater, the truck tumbling in the current. The snowsuit miraculously kept her from freezing. Feeling blindly, she found the buckle, unlatched her seatbelt. Pauly clawed at her side. She opened her eyes to see him, and the frozen water clamped her eyeballs with icy talons. She saw her brother thrashing in the glacial murk. She reached for him, fought to undo his seatbelt. Her eyes went gelid, seared with the cold. She undid the belt, then turned, grabbed for the door handle. The door was jammed. She yanked on the lever, it wouldn't budge. The window crank, too, was stuck. The door had been crushed when they'd broken through the rail.
Kris's lungs burned. Her vision darkened.
Out of the dark came a glimmer of gold. She grabbed the trophy, slammed it against her window. Once. Twice. The third time the window shattered. She scrambled out quickly, shards of glass tearing her snowsuit, frozen fingers of water gripping her. She reached back through the window for Paul.
He was gone.
She peered into the murk, her eyes stinging, the icy water clawing her corneas. Groping wildly, she could not reach her brother.
Kris was out of breath.
She pushed away from the truck, pulled frantically for the surface, ramming hard into a ceiling of ice. Unable to see, she groped along, feeling for a gap. Her hands fell on the snaking roots of a tree trunk. She climbed the roots, an ice floe pounding at her back. At last she emerged from the teeth of the river, gasping, coughing, screaming for air. She crawled off the log onto the broad snow surface of a massive floe.
Pitch-black night had fallen in the middle of the day. Kris could not see — her eyeballs had been frozen into rocks by the cold. With a violent shiver, she collapsed, and the raging Sawtooth carried her away.
Two hours later, in the river town of White Circle, Kris Carlson's body was hauled from the ice.

3.
They fear me. I have torn them in my wrath.
They have no hunger these men who hunt with dogs.  They tear me from my mother's womb and drag me through the snow. They gape at me with their mouths. They strike me with their fists. They mass themselves against me. They seize me by the neck and dash me to pieces. They cast me into the mire, and I become like dust and ashes. My skin turns black and falls from me, and my bones burn with heat.
Let them hope for light but have none. They'll never see the eye of day, the eye of day is shut. I know there is no light. I know freedom comes with blood. I know the wolf. The wolf will not betray me.
I slash open their kidneys and show no mercy. I pour out their gall on the ground. I burst them again and again. I sew sackcloth upon my skin. I eat flesh like a wolf. My strength is in the ice. My strength is in my loins. My strength is in the muscles of my belly. I make my tail stiff like cedar; the sinews of my thighs are knit together. My bones are tubes of bronze, my limbs like bars of iron.
I am the firstborn of Death.
These men are full of fear. They will know my power. They will die, just like the rest.
All of those who fear the wolf will perish by my hands.
I will eat them. All of them.
*  *  *
In the clear, cold, aurorean night, across the frozen tundra, three Inuit dog sleds glided over the snow. The stampeding teams of Alaskan huskies pumped clouds of steam into the brisk night air, while two Inuit mushers ran, rode, and pushed the sleds behind them.
In the first sled, Shakshi, a large Yakuutek hunter with high Mongolian cheekbones, leathery, wind-burned skin, and an icy black moustache, locked his dark eyes on his wheel dog, Tiuna, whose silver tail hung low. Roluk, the huge Siberian lead dog at the head of the team, threw a glance back at the freeloader, yapping in complaint. Shakshi shouted a command, yanking his tugline. The dogs came to a halt.
The second and third sleds drew to a stop behind him. The musher of the second, Anokuk, a broad-faced Yakuutek with a rifle over his shoulder, turned his slitted eyes behind him. The third sled, with its full gangline of panting dogs, was riderless.
Lashed to the sled was a giant cage.
Shakshi dismounted. He walked up the line of his dogs, slowly, menacingly. When he came to Roluk he paused; like a priest giving benediction, he touched the lead dog's head with the back of his hand. The dog barked sharply, once. The musher continued slowly down the other side, past the swing dogs, the team dogs, the heavy pullers in the middle of the line. He paused at last beside Tiuna, staring down at her. The wheel dog whimpered, sullenly. She knew she had offended. Shakshi leaned over and smacked her — a wallop on her rump. Tiuna snapped back to life.
Shakshi returned to his sled, eyeing his comrade. Anokuk nodded back toward the third sled. A guttural groan like the sound of an animal emanated from the giant cage.
The two hunters approached warily, Anokuk un-slinging his rifle.
The cage, tightly lashed to the sled, was made of thick, interwoven saplings. Inside, barely visible in the feeble light of the moon, a massive form lay bound in hides and chains.
The creature stirred.
Shakshi nodded to Anokuk. The narrow-eyed hunter raised his rifle barrel, aimed through the bars, and fired.
The shot rang out across the tundra. The dogs grew silent. Shakshi and Anokuk glanced at one another — the groans had stopped.
The hunters drew close to the bars, peered into the darkness of the cage. A blood red tranquilizer dart had stuck through the pile of hides. The mammoth body lay still as a corpse.
Shakshi nodded to his comrade, and the two men returned to their sleds. The dogs jumped to their feet, barking with freshened vigor. Tiuna, of all of them, looked most ready to go. As he mounted the whalebone runners and reached for his tugline, Shakshi noticed something on his sled. A hide had blown loose. Beneath it, the lifeless eyes of a Yakuutek stared out at him. A chunk of the dead musher's cheek was missing, gouged from his face. Shakshi touched the wound with his gloved hand. Teeth marks scarred the torn flesh.
Shakshi covered the head, lashing the hide securely to the sled. Then he gave the command to his dogs and they bolted into the night.

4.
Fairbanks International Airport had just come into view when the air traffic controller's voice came over the headset. "Charlie Five-five, this is Fairbanks Tower, do you read me, over?"
Josh Marino recognized Dean Stanton's voice, gravelly and low like the grumbling of a lion. "Roger, Fairbanks," Josh replied, "this is Charlie Five-five, requesting landing, over." He pictured the cotton-haired old man sitting in the tower, his crumpled brown-bag face and heavy-rimmed glasses, a cigarette dangling from his lips as he growled into the mike.
"Charlie Five-five, drop to twelve hundred and turn right zero-three-zero. You have Runway Three."
"Roger, Fairbanks," Josh answered. "When are you gonna quit smoking?" he wanted to add, but didn't. The old man will probably die with a cig in his mouth. "Descending to one thousand two hundred feet," Josh repeated. "Turning right zero-three-zero for the straight-in to Number Three, over."
The twenty-four-year-old pilot flew his company's single-engine Cessna back and forth from Anchorage to Fairbanks so often that hearing Dean Stanton's voice was like hearing the subway driver call out your stop. "Charlie Five-five, you're cleared for landing." Josh wore a khaki jacket, high leather boots, and a belt-sheathed jackknife. His tousled black hair stuck out in feral profusion from his red headband and his over-size earphones. He worked for a small electronics company down in Anchorage, but still kept his one-room apartment in Fairbanks, still considered the central Alaskan city his home. He was working toward his Masters in electrical engineering, and flew back to take classes at the University of Fairbanks on Saturday mornings twice a month. And he taught some classes at a local school, too, though that was more a labor of love than anything else.
Josh adjusted the flaps, grabbed the control yoke in his left hand and eased the throttles back with his right. The plane banked and angled down toward the broad stretch of runway ahead. The snow had been cleared and the black asphalt glistened. I could land this baby with my eyes closed, he thought, and for a moment, he actually tried it. One second the runway was fast approaching, the next second everything went dark. A shiver of fear shot through the pilot; his eyes popped open despite himself.
Must be how my students feel, he thought, and wondered if he could teach them how to land a light plane. This would be quite a feat even with their eyes wide open — considering the fact that his students were blind.
*  *  *
Dean Stanton watched the Cessna 207 Skywagon roll to a stop on Runway Three, then removed his glasses, rubbed his eyes, and crushed his cigarette out on the linoleum floor. Behind him stood David Adashek, the Fairbanks Chief of Police, a large, rock-chested man, bursting from his jacket and tie. Adashek was scratching his gray-haired head, staring down with a grimace at the collection of smashed butts scattered around Stanton's feet.
Stanton noticed him looking. "Cleaning crew'll get 'em. Albert and Ace — Spic'n'Span. They get 'em every night."
"Why don't you just find yourself an ashtray, Dean?"
Stanton lifted the headset off his ears, laid it around his neck. "FAA won't allow ashtrays." He pointed to a sign next to the door. NO SMOKING.
Adashek's eyebrows went up. He scanned the rest of the room. Three other controllers were at work in the tower; all of them were smoking. The place had a heavier haze in the air than the strip bar on Wolf Run Road. "I thought you boys had to follow the letter of the law in here."
Stanton lit up another one and blew out a lungful of smoke. "How long you been in Alaska, Chief?"
Adashek nodded wearily. The ‘80’s seemed like a lifetime ago. "Long enough to know I shouldn’t ask," he said.
He stepped up to the broad window, his eyes squinting into the arctic light. Josh Marino's tiny white Cessna was taxiing off the field. Beyond him, far off on the horizon, silver clouds were forming above the snowy peaks. Adashek stared at the mountains, and for a long moment, didn't speak.
"It's been two hours since they touched down," he said at last. "What do you suppose is going on out there?"
Stanton leaned back in his swivel chair, folded his hands behind his head. "Knowing Jake, he's probably trying to make a deal on some furs."
"Knowing the Yakuutek," said the Chief, "he better not be looking for any bargains."

5.
The Yakuutek hunter pointed his rifle at Jake O'Donnell's head. Jake's eyeballs were wrenched to his temple, locked on the tip of the barrel. Not much more than a four-inch gap between the cold steel and the red-haired pilot's brains. This made using the brains an even more difficult task than usual.
"Say something, Donny! He's gonna kill me, for Chrissake!"
"Say what?" asked his copilot. Donny was facing the other Yakuutek, who was holding a gun to Donny's chest. "I been talkin'. Nobody's listenin'!"
"Tell 'em I ain't lyin' goddammit!
"He 'ain't lyin'! Goddammit."
The hunter pressed the barrel of his gun into Jake's ear. Jake shuddered. Then, slowly, he turned his head, looked up the barrel into the Inuit's eyes.
"I... I told you. I 'ain't got the goddamn money!"
The hunter didn't speak. He wiped his brown hand down his shaggy black moustache. Was this fella angry or just trying to make up his mind?
"Believe me, amigo. It's the truth, so help me God."
The barrel didn't move. The Inuit's eyes stared deeply into Jake's. Jake struggled to take in a breath. If the gun hadn't unnerved him, the man's stare certainly did.
Jake glanced at the big cage lying on the snow under the right wing of the Goony Bird, his aging twin-engine DC-3. Inside the cage, the mountain of a creature lay barely visible, asleep under its cocoon of chains and hides.
"Look," Jake said in a calmer voice, "you can keep the son-of-a-bitch. We'll send somebody back with the money."
"Yeah, that's right!" chimed in Donny. "Keep the fucker. We'll let the Sheriff collect him himself."
The two big hunters held steady.
Jake shot a nervous glance at Donny. "I don't think they want to keep him."
Donny looked at the cage. "Can't say I can blame 'em. Fucker don't look too friendly."
A voice crackled from the empty cockpit.
"Hey," Jake said, suddenly lighting up. "I bet that's the Chief now!"
Dean Stanton's voice continued sputtering from the radio. The hunters looked mildly curious... or suspicious — it was hard for Jake to tell.
"That's him, ain't it, Donny?"
"Yeah, that's Adashek all right. I can tell by the voice."
"He's the badge with your money," Jake said. "We can talk to him, he'll tell you all about it." Jake began slowly backing toward the door to the plane. The hunter followed him with the barrel of his gun.
"Come on," he said, leading him slowly back. "Right up here, we'll talk to the man himself, I swear to God."
Donny started moving with Jake, then stopped abruptly. His hunter had poked the barrel of his gun into Donny's considerable belly. Donny raised his hands in surrender. "Okay, okay... you're right, you're right. It's only the Chief of Police, no big deal, just a whole big pile of money waiting for you, waiting back there with your name on it and all you gotta do — " he suddenly gasped as the man again jabbed his gut with the rifle. Donny coughed, put his hand on the barrel, eased it gently back. "Okay, I'll shut up."
Jake was backing up through the doorway into the plane, the hunter following him with his gun. Stanton's voice was still crackling through static on the cockpit radio. "Whiskey Four-O — ... do you... over."
The hunter followed Jake through the cockpit door into the nose of the DC-3, his gun held to him like metal to a magnet.
"Nice and easy," Jake said, reaching for the radio mike. He slowly unhooked it and adjusted the frequency. Then he thumbed the button and spoke to Dean Stanton.
"Fairbanks Tower this is Whiskey Four-O-Three, over."
Jake watched the hunter's black eyes as the air traffic controller's voice came through in reply. "Whiskey Four-O-Three this is Fairbanks Tower. We read you loud and clear."
*  *  *
Dean Stanton handed his microphone to Chief Adashek.
"Are you all right, Jake? Did you find—"
Jake's static-broken voice interrupted him. "Just fine, Chief, except for the .22 your friend here's been pointing in my face for the past half hour. Apparently you and your Eskimo friends had a little miscommunication."
"I don't understand," the Chief said.
"Well neither do I!" Jake shouted. "Mr. Yackety-Yack here thought he was supposed to collect his reward money upon delivery of the prisoner."
The Chief glanced uncomfortably at Stanton. "It's not money he's looking for, Jake."
"What?!"
"There's a Yakuutek man in jail here for manslaughter. If we get the prisoner back here alive, their man will go free. That's the arrangement we made with the tribe."
"Manslaughter, huh. Gee, that's great, that's really great. Tell me, Chief, who'd the guy kill — a pilot?"
"If you just explain to him—"
"Goddammit, you explain it to him! He sure as hell ain't listening to me!"
Adashek glanced at Stanton, who shrugged his shoulders.  The Chief raised the mike to his lips. "Shakshi, are you there? Can you hear me?"
Adashek waited, but heard no reply. "Is he there, Jake?"
"Yeah, he's here. He just don't talk much."
"Then listen to me, Shakshi, please. It's very important that you do not cause any further delay. We will release your friend when the prisoner arrives here alive. That was the deal. I urge you, he is extremely dangerous and must—"
A howl came over the radio, followed by a blast and a burst of static.
"Jake? Do you copy?"
There was no reply, just the steady crackle of static. The Chief looked frightened. "Whiskey Four-O-Three, do you copy, over."
Stanton took the mike back from him, played with the frequency. "Whiskey Four-O-Three this is Fairbanks Tower, do you read me, over."
Nothing.
Adashek and Stanton looked at one another.

6.
Jake's face had gone white. He stared speechless at the radio. The hunter had slammed it with the butt of his gun, knocking it loose from the console.
Jake looked up at him. "That little yell o’ yours is the most you've said all day."
The Inuit, standing bent in the low doorway, wiped his long moustache again, glaring at Jake.
Jake looked past the hunter into the cargo hold. It was crammed full of bags, crates, packages, and mail. "Look, Shocky, or whatever-your-name-is, I don't know what happened out there to your friend, but you captured this goddamn lunatic and now me and my partner gotta take him to the Chief. So why don't we see if we can strike ourselves a little bargain here."
Jake moved gently past him into the cargo hold. He pulled a large box out of a sack and ripped it open. "It's coming on Christmas, Shocky. Why don't we celebrate a couple weeks early?" Inside the large box was another box wrapped with ribbons and gold paper. Jake tore it open and pulled out...
A Dustbuster.
He held it up for the hunter, turning it in his hands. "Whaddya think, Shocky? Your wife, maybe? Tidy up the igloo real—"
The Inuit swung his rifle, batting the Dustbuster, crashing it against the wall. He anchored the gun on his shoulder and advanced toward Jake.
Jake crawled backward in terror, stumbling over the mounds of baggage and boxes. "Wait a minute!" he cried desperately. "I’m sure we can work somethin' out!"
The hunter aimed his gun.
Jake grabbed a stuffed duffel bag and hugged it to his chest. "Donny! Help! Somebody! Please!"
Shakshi noticed something and relaxed his hold on the rifle.
"What... what is it?" Jake stammered.
The Inuit was staring at the top of the duffel bag.
Jake looked at the opening. A small furry white tail was sticking out. "What...this? This here?" Jake clawed open the bag. The Yakuutek's face widened in amazement.
A litter of half a dozen snow-white fur balls spilled out onto Jake O’Donnell's lap. They couldn't have been more than a few weeks old.
The Yakuutek stared at them, his mouth agape. This proud hunter from the Arctic Circle had apparently never laid eyes on a cat.
Jake held one out in his trembling hands. "You like the kitty, Shocky? She’s one o’ Lily's litter. Lily is Frank Dieter’s cat. We were taking 'em back to the pound in Fairbanks."
The Yakuutek hunter set down his rifle. He took the tiny creature into his arms as if some great miracle of the Earth Mother had been handed him, a precious gift from the White Spirit of the North. A small smile crossed his face, a smile of awe that Jake thought he'd probably not forget for a long, long time.
"You all right in there, Jake?" he heard Donny shout.
"Yeah," he called back.
He watched the Inuit cradling the kitten. "What do you say, Shocky. Wanna trade the monster for the kitties?"

7.
The snowman had no head.
Three children, bundled in parkas and scarves and boots and gloves, were on their knees rolling a ball of snow across the white-blanketed schoolyard. They stumbled over each other like puppies, the sound of their laughter echoing sharply off the high brick wall of the schoolhouse.
Kris could hear them from the parking lot. She was sitting in the car with her mother, Linda Carlson, a 42-year old widow whose raven-black hair had already begun to gray. Linda was talking to her, but Kris was no longer listening to her words. Carried away by the echoing shrieks of the children, she had drifted off to another time and place, far away in a distant corner of her memory, where her tiny brother Paul was searching for a carrot he'd dropped in the snow.
Gradually she became aware of her mother speaking her name.
"You see, honey, that's exactly what I'm talking about."
"What?" said Kris irritably, turning from the window. She wore a stylish pair of sunglasses that reminded Linda of pictures of her own mother from the 1950's.
"Now don't get defensive. You weren't listening, that's all."
"I was listening."
"You were a million miles away."
"No, I wasn't," Kris mumbled. In her mind she saw Paul gleefully holding up his carrot.
"I'm not going to argue," said her mother. "We've already decided about this."
"You decided about it."
"You had your say. I listened. I determined that you're just giving up. I won't let you do that."
"Mom, I'm eighteen years old. I can make my own decisions. I always have to do it your way."
"That's not true. You didn't want a dog. Did I force you to get a dog?"
"I don't like dogs," Kris said emphatically. "And they don't like me."
"Honey... the Burton's Shepherd didn't know you, that's all."
Kris rubbed her hand nervously. "I don't want to depend on an animal like that."
Linda looked at her daughter. She reached out, took one of her hands tenderly in her own. "It's okay to admit you're afraid of dogs. There's nothing wrong with being afraid." She continued to hold her daughter's hand, gently caressing it. "Don’t you think that might be what's happening here, too?"
Kris pulled away. "Spare me the psychotherapy, Mom."
"You loved the cross-country. What's so different about this?"
"What's wrong is that this is what you want. You couldn't care less about what I want. You're treating me like a child."
"Well, maybe if you didn't act like such a..." She stopped herself. "Someday you'll thank me, Krissy."
"Right, Mom. So original."
Linda sighed. She yanked on the door handle and climbed gruffly out of the car. Kris heard her walk to the trunk. She's probably forgotten something, Kris thought. She's always forgetting something. She didn't used to be like that...
"Kris, where's your bag?" She was rifling through the messy trunk.
"I put it out, Mom. Did you take it?"
"I thought I told you—. Oh. Here it is."
Linda slammed the trunk shut, walked around and opened Kris's door.
"Give me your hand."
For a long moment, Kris didn't budge. Then she suddenly remembered something, the reason she'd finally agreed to come here at all. She reached for her white cane, took her mother's hand, and climbed carefully out of the car.
"Mom?" she asked as her mother shut the door. "Do you see a Beetle in the lot?"
Her mother looked at her, puzzled. "A beetle?"
"Yeah, you know, the car, the old Volkswagen Bug."
"Oh, uh..." She scanned the parking lot. Next to the schoolyard, where the children were jamming a stick nose into the snowman's eyeless head, she spotted a rusty, mustard VW Bug.
"Yes, over there, there's a yellow one in the corner."
Kris's heart skipped a beat.
"Why?" her mother asked. "Whose is it?"
"Oh... nobody," said Kris. Her mother eyed her inquisitively as they headed into the school.

8.
"I wish you'd sit down and relax." Andrea Parks had been watching Linda pace the floor since she'd come into her office.
"I'm fine," said Linda.
"You don't look fine. You look worried."
Linda stopped walking and turned to her friend. Andrea, as always, looked cool, casually elegant, and efficient. She wore a short white blazer, a fitted skirt, and a pale blue silk scarf beneath her short blonde hair. Sitting, legs crossed, on the edge of her desk, she looked like a woman in complete control of her life.
Linda had felt that way, once. She wanted to feel that way again.
"What?" asked Andrea. "What is it?"
Linda shook her head. After a moment she started to speak, but was interrupted by the ring of the telephone.
Andrea reached across her desk. "Director Parks. Oh, hi George." She raised her finger and nodded to Linda, indicating the call would be short.
Linda turned to the window that overlooked the training room. A fifty-foot-long simulated ski slope dominated the enormous room. Slick white carpet covered the slope, with a handrail along one edge and safety nets mounted under each side. Two blind children, not more than ten years old, were clinging to the railing halfway down the slope, their skis splayed out awkwardly beneath them.
At the bottom, loudly coaxing them on, stood a compact, muscular African-American woman with extremely short-cropped hair, wearing Spandex and bright red high-top basketball shoes. Linda had seen the woman before at the school. Andrea had said she was a veteran of Iraq. She was surrounded now by half a dozen children of various ages, all in skis, flopping about like penguins while waiting their turn on the hill. Linda could not find Kris among them, and wondered if she was still in the waiting room.
The Blind Learning Center was the only one of its kind in the entire state of Alaska. The school was widely renowned for the range of its programs and the quality of its well-trained staff. Many of the students' families had moved to Fairbanks from other parts of the state so their children could regularly attend.
Linda and her daughter lived in the town of Healy, at the northeast corner of Denali National Park. Fairbanks was only 70 miles away, an easy drive up Highway 3 along the frozen banks of the Nenana River. Linda had made the drive a thousand times. She was a part-time social worker carrying a case load at a community mental health clinic in the city. A year after Kris lost her sight in the accident, she'd begun taking her along on the commute, leaving her for cross-country lessons at the school while she went to work at her job in town. It had been good for Kris, she'd thought. It had helped her to forget.
"Well, at least you've stopped pacing."
Linda turned.
Andrea was hanging up the phone. "Won't you please sit down?" she said.
Linda shrugged. She took a seat on a Wassily chair beneath a framed poster of a sand beach rimmed with palm trees.
"I want you to stop worrying," Andrea insisted. "Kris had a great time cross-country skiing with us."
"She did," said Andrea. "But lately she's been... I don't know — pulling back again. She won't take even the slightest risk. It's like she's lost all her self-confidence."
"You know that's not the least bit unusual at this stage. It takes years—"
"It's been four years since the accident, Andrea. She's stopped making any progress. She sits around moping, feeling sorry for herself. I can't seem to do anything right. I'm walking on eggshells."
Linda stood again and walked to the window. She watched the kids on their skis, tacking their way down the make-believe hill. "You didn't know her before," she said thoughtfully. "She was so... exuberant. So full of life. Just like her dad."
Andrea left her desk and walked over to stand by her friend. They'd known each other for three years now and the two women had grown close. "I'm sorry, Linda," she said. "I know how you feel. But it takes time. You know that better than anyone."



Copyright © 2012 by Michael Abbadon All rights reserved.