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

Story Merchant Book Deal: Writing Treatments to Sell by Kenneth Atchity and Chi-Li Wong

$.99 September 9 - September 13!



Writing treatments that sell is a first book of its kind devoted entirely to the function of treatments in film and TV and how to write and present effective ones. The book is a collaboration by Kenneth Atchity and Chi-Li Wong, partners in Atchity Productons.

Kenneth and Chi – MA
AVAILABLE ON AMAZON
is sincerely honored by your willingness to share your knowledge and adventure relating to this new book. So without any further ado here are all our questions.

What made you initiate the idea of providing a guide like Writing Treatments to Sell? 

The most frequent question we were getting from clients—novelists as well as itinerant screenwriters was “what is a treatment?” We realized that book answering this question would be helpful.

Who was your target audience? 

The book’s target audience is anyone who wants to write or sell a story to the motion picture or television world.

Who ended up putting pen to paper?  

We have a process where we outline the content together, Chi-Li takes a shot at the first draft, then Kenneth does the next, etc.

Is the book specifically targeted for the film industry only? 

Although we targeted the book to the film industry, in the years since it was first published we've learned that its useful to writers of all kinds—children’s books, novels, etc.—because it helps them to “get the story straight” before launching into the actual drafting.

Why a book based specifically on treatments? 

Because a treatment is a unique creature that will never itself see publication or production, and therefore everyone wonders why it even exists.

What is a “treatment?” 

To quote directly from the book: “A treatment is a relatively brief, loosely narrative written pitch of a story intended for production as a film for theatrical exhibition or television broadcast. Written in user-friendly, dramatic, but straightforward and highly visual prose, in the present tense, the treatment highlights in broad strokes your story’s hook, primary characters, acts and action line, setting, point of view, and most dramatic scenes and turning points.” The book goes into detail about the meaning of each phrase in this definition, distinguishing the treatment from “coverage,” “synopsis,” “outlines,” among others.

The Story Merchant itself is all about content, branding and consultation in the entertainment and media arena. How does this book tie into the bigger plan of Story Merchant? 

This book, like Atchity’s How to Publish Your Novel or Write Time: A Guide to the Creative Process, from Vision through Revision is a tool by which the Story Merchant shares experience in the commercial world of stories with aspiring storytellers.

Does reading the book create a sense of more business for Story Merchant or is it more directed towards internal growth for each and every writer / screen writer? 

We can’t spend time with every storyteller out there who needs guidance, so we wrote this book to  help anyone who’s motivated enough to buy it—now available in ebook for the first time. But that’s not to say Story Merchant has found coaching clients through this and Atchity’s other books.

Being an aspiring author myself, I find that optimism and endurance are two of the main things to hold onto while craving for acknowledgement towards your own work, what is your advice towards fellow aspirers who look up to yourselves for hope? 

We’ve learned that hope is great, but determination is even better, when it comes to success. Just keep working on your career, whether you’re in a good mood or not, whether you’re hopeful or not. Work is the only sure road to success.

In general how has publishing and moving into the entertainment industry changed for writers. I mean – I myself sometimes wish that I had started writing ten years earlier as it seems as if the market might have been less chaotic. In today’s time it’s as if everyone can put pen to paper and call themselves an author. How do you define the word author, writer? 

A writer is someone who WRITES, and who cares enough about her writing to find an audience for it. While everything else has changed, that definition has not changed and will not change.

Last but not least, what else can people look forward to? Being in the industry you are it is important to recreate your image and stay in the zone with current trends, how do you intend on moving forward while carrying the weight of years and years’ experience in the existing field? How do you mould yourself to be eye catching and present in the future?  

We've just launched Story Merchant Academy a brand new online course designed for writers to improve their storytelling.  Sign Up Now

As always, thanks a lot for your presence and willingness to Share.  

Thanks for providing this wonderful forum.

 

Interview – Ken Atchity on Brae MacKenzie

 
Kenneth John Atchity Author of Homer’s Iliad: The Shield of Memory – Which was his Ph.D. Dissertation. The work was awarded Yale Graduate School’s Highest Academic Honor – The Porter Prize; and was later published by Southern Illinois University Press (Edited by John Gardner).  Mentors at Yale Included Thomas Ber.

Kenneth John Atchity Author of Homer’s Iliad: The Shield of Memory – Which was his Ph.D. Dissertation. The work was awarded Yale Graduate School’s Highest Academic Honor – The Porter Prize; and was later published by Southern Illinois University Press (Edited by John Gardner).  Mentors at Yale Included Thomas Bergin, Thomas Greene, A. Bartlett Giamatti, Richard Ellinger, Eric Segal and Lowry Nelson Jr.

His Twenty Books Include:

Homer: Critical Essays (G.K.Hall), The Renaissance Reader (HarperCollins), The Classical Greek Reader (Harper-Oxford University Press),Italian Literature: Roots & Branches (Yale University Press), A Writer’s Time (W.W. Norton) Seven Ways to Die (with William Diehl) (Story Merchant Books) The Classical Roman Reader (Harper-Oxford), The Messiah Matrix.

Kenneth represents writers of both fiction and nonfiction. He accounts for numerous bestsellers and movies both produced in television and on the big screen. In 2011 he was nominated for an Emmy Award for Producing “The Kennedy Detail.”

We are very pleased to introduce our readers to his latest addition to storytelling which is called Brae MacKenzie.


Ken, Brae Mackenzie is a romance of Mythic Identity. What inspired her story?

I had it in the back of my mind for years, ever since I did a driving tour of Scotland and fell in love with the place and its mysterious past.

What made you decide to try out Romance?

Actually romance, for me, is a ‘return to the old neighborhood.’ My first film project after leaving academia was a series of sixteen romance movies (“Shades of Love”) that allowed me to explore romance from every angle. I’ve been in love with romantic literature since college when I read Denis de Rougemont’s Love in the Western World and realized the power of romantic love over our western imaginations. I conceived of Brae Mackenzie as the first of a series of romances about American women returning to the countries of their origins to discover their true selves in the myths of that country.

How has the audience received the book since its launch last week?


It’s too early to tell. It hasn’t been out long enough for anyone even to read it. I hope your followers will take a look—and write a review on amazon.com

What made you decide to give it a mythical underline?

It wasn’t really a conscious decision. I’ve always loved romance and when I wrote one I wanted to explore my equal fascination with local myths, which form such a strong part of our unconscious minds, our yearnings and questionings.

Can you tell us a bit more about your main character? What makes her relatable?

Like so many contemporary women Brae is juggling so many balls she doesn’t have time and space to question what she’s doing. Beneath it all, though, is that nagging feeling that she’s missing out on life—that there’s something in her depths that isn’t being satisfied.

Can you give us a bit more insight into what it takes for you to write your stories?

I realize, after readying this book for publication, that it takes courage among other things. What if no one likes the story? What if there’s no audience for it? At the end of the day, though, it’s a story that has haunted me for years and I felt it deserved to be out there to make its own way in the world.

Does it involve a lot of research and planning?
I tend to start with a bunch of facts that intrigue me, then find a story to incorporate them. As I write the story, I don’t stop to check out the veracity of the details—I just imagine what the story needs. Then, when I get stuck somewhere, I turn to serious research to get me unstuck and generally discover that the facts I imagined are more accurate than I could have predicted; I also discover facts that I had not imagined, and work them into the story as I go along. Finally when the first draft is done, I do the most serious checking and research which tends to enrich the story. That’s where the serendipity happens—when you discover facts you had no idea were out there and they somehow magically seem to work in your story.

How long does it take from an idea to a full book?


In this case it’s taken 30 years or so. I did the first draft when I was teaching mythology at Occidental College, shoved it in a drawer somewhere as other things took my attention. Found it, when cleaning out my drawers and asked my top editor to read it and tell me what she thought. She insisted I finish and publish it, so I spent a year revising it repeatedly until it was at the point where I needed to get it born and out there on its own to find its fate.

What’s next for Ken the author?

I just finished the first volume of my memoirs, A Story Merchant’s Story: Growing up Atchity. Now I’m working on the second “novel of mythic identity,” this one about a Sicilian-American woman, faced with a crisis in her career, who turns her back on it to go to Sicily for the first time and discover her origins. I love Sicily so much I couldn’t resist it.
What other romance novels are you thinking of?

I love to travel, to learn new things, to eat the local cuisine so I’m hoping to do a Japanese novel, as well as ones set in Ireland, England, France, Spain, Mongolia, maybe Brazil and Mexico.

Where can people look forward to meet you?

I’ll be meeting and assisting writers at the Dublin Writers Conference in June, hosted by Laurence O’Bryann of booksgosocial.com.  Sign up at http://thebookpromoter.com/conference/ I’d love to meet your readers there!

Where can readers find the books?

Brae MacKenzie Available on Amazon

Read More at Nadine Martiz's My Addiction-Novels


AUTHOR INTERVIEW – BILL BORCHERT – HOW I BECAME MY FATHER ... A DRUNK!

There are a few times in life when you meet someone and you just know it’s an honor. You are not sure why you deserve the honor, all you know is that it’s here, you are presented with it and now you better use it. This is how it feels to interview someone called William G Borchert. Willian – or Bill as many know him was nominated for an Emmy in 1989 for Screenwriting the commendable Warner Bros/ Hallmark hall of fame movie, My name is Bill W. 

The film starred James Garner, James Wood and Jobeth Williams and was based on material gathered and personal interviews. Bill also wrote “When love is not enough,” starring Winona Ryder and Barry pepper. Over the years he has written a number of books, "The Lois Wilson Story: When Love Is Not Enough, Sought Through Prayer and Meditation, 50 Miracles That Changed Lives," and "1,000 Years of Sobriety." 

Bill, thanks so much for setting out some time to share your story with our readers. 

Your latest novel is a very intimate journey called, “How I Became My Father…A Drunk.” Can you tell our readers more about your journey and why you decided to share it with the world?

WB: There has been one primary goal of my journey over the last 50 years or so as a writer who has recovered from the disease of alcoholism.  That goal has been to share my experience, strength, and hope with others suffering from the same malady to show them from my own personal experience that there is a pathway to recovery and a life beyond their wildest dreams.

There was a time as a young man when drinking meant fun, parties and freedom.  It enabled me to do things I was too shy or too timid to do sober. I thought it made me a better dancer, a better writer, a better lover. It was my friend until it turned against me and began taking away everything that was near and dear to me in my life. Then it tried to kill me. That’s why I willingly share my story with others going through the same thing—so they can find what I have found, a new way of life.

However, my new book, “How I Became My Father…A Drunk” is one I never intended to write. I guess I didn’t want to re-live a rather painful and shameful past after years of making peace with it and with those that were involved. But when several very close and loving friends, including my wife, convinced me that my experience growing up with an alcoholic father and then becoming an alcoholic myself could help families better understand the disease and its solution, I put pen to paper.

Alcoholism, like many addictions, is a disease many humans can’t comprehend. How much of what you suffered was heredity?

WB: From my own personal experience as well as from sharing with other recovered alcoholics over some years now, I’m convinced that alcoholism is definitely a family disease.  First of all, science has discovered that it’s in the genes. They say that anyone with one parent who is alcoholic has a 40-50% chance of becoming addicted themselves.  If both parents are alcoholic, there’s an 80-90% chance that one or more of the children will follow suit.

Not only is alcoholism hereditary, it is also environmental. What I mean is, the shameful and harmful behavior of every alcoholic affect, at least, seven other people in their lives—parents, spouses, children, other relatives and friends and even co-workers. 

So, with more than 40 million alcoholics in the United States alone, that means more than 250 million people are impacted in some way by the disease of alcoholism and  most don’t know  what to do or where to go for help. That’s another reason I wrote my latest book—to show that there is a solution.

How have you dealt with the part of society that doesn’t understand what an addict goes through or how he sees the world?

WB: Despite the continued attempt by many in the recovery field to educate the world about the fact that alcoholism is a disease, there’s still a terrible stigma attached to it. Many people still consider abusive drinking a moral weakness or the lack of will power. That’s why so many addicts deny they are addicts and why this terrible denial keeps them sick, makes them sicker and sadly kills too many.

I have been through this myself more than once. Even though I have become a successful author and screenwriter, I can still see people pause and reflect when, should the occasion call for it, I tell them I am a recovered alcoholic.

So I keep on writing about recovery from addiction, hoping that someday it might help reduce the denial among alcoholics and lessen the stigma that surrounds them. The more people who come to know “the sober alcoholic,” the more the stigma will subside. At least, that is my hope.

Has this book had any effect on others who struggle with alcoholism?

WB; I am pleased to report that it has. Even though the book was only published three months ago, I am already getting emails and phone calls from people telling me how much they “identified” with my story, how much it helped them, their parents or siblings and how they are telling all their relatives and friends to get a copy.

Some admitted they had a similar problem with a drunken father, swearing never to be like him and then becoming the same or worse. Several women said it was a drunk and abusive mother that caused the problems in their homes. I really wasn’t that surprised to hear those kinds of stories since, as I said before, alcoholism is a family disease.

One lady told me very excitedly: “This book should be must reading in every home in America.” I should have been embarrassed by such a laudatory remark, but I wasn’t. Since I believe in what she said, I simply replied, “Thank you very much.”

As a world class writer, your success continued throughout your struggle, how did you manage to focus on your work while the balance of your family had to live in the wake of your own destruction?

WB: As we know today, alcoholism, like any other disease, only gets worse not better when left untreated. So as my disease progressed, my success digressed.

By the age of 22, I had become a by-line feature writer for the largest evening newspaper in the world, based in New York City. I was covering and writing some of the major stories of our time. By the age of 25, as a result of my abusive drinking and erratic behavior, I was on my way out the door. I began bouncing from one job to the next, writing for magazines, radio shows, and small public relations firms.

I tried focusing on my work. I knew I was a good writer when I was sober. I knew I was a young man who had been given tremendous opportunities to achieve significant success and financial reward in a career I loved. But I had no idea that my disease made me powerless over alcohol. I walked around with a mental obsession for booze that turned into a physical craving once I picked up the first drink. As a result, my whole life became unmanageable and my wife and children suffered the consequences.

By the age of 27, I was just about unemployable in the media world of New York City. I had developed a reputation as an unreliable drunk who turned in phony stories and cheated on his expense account. I was deeply in debt, drank up two lovely homes and was now living with my wife and four children in my mother-in-law’s basement.

Why my wife stayed with me I couldn’t understand. I would have been long gone. But she says she still loved me and prayed that the good Bill she knew was deep inside would one day come out. And I thank God every day that her mother was kind, generous and understanding enough to take care of my family when I couldn’t. I also thank God for being able to make amends to them all when I finally got sober.

If you grew up feeling the power of addiction, seeing the dark veil it had over yourself, your family—what made you fall into the same trap?

WB: That’s a question most addicts, if not all, find almost impossible to answer—at least in a way that non-addicts can understand.

You would think, for example, when an alcoholic reads in the newspaper or sees on TV that a drunk driver killed three small children as they were crossing the street that he would never again get behind the wheel when he’s drinking. But he does.

Alcoholism is a three-fold disease. It affects one physically, mentally and spiritually. It’s that mental part that triggers the kinds of decisions and actions that can lead to disaster—the kinds of decisions non-drinkers cannot understand. But neither can the addict.
I promised myself I would never be like my father. But one night in a crowded saloon, surrounded by the camaraderie of other newspaper reporters, I gave in to the peer pressure and had a few drinks.  Little did I know the exuberance I felt was from my alcoholic genes coming to life. Those damn genes told me I could handle few drinks now and then, particularly on special occasions.  They lied to me. Soon every day was a special occasion. 

Soon one drink was too many and a thousand weren’t enough.
As a result, there were many things that I began doing over and over again that I never wanted to do in the first place. But I was now powerless over alcohol. My body craved it. And once I took that first drink, all bets were off.

When did you know you wanted help?

WB: As I began to feel things slipping away and couldn’t understand why I was unable to stop drinking, I tried many different ways to help myself—taking pledges, pleading with God, going to church, trying harder to focus on my job and on my family.  But nothing worked. Things continued to get worse.

It wasn’t until thoughts of suicide started to invade my booze-soaked brain that I finally reached out beyond myself for help. I discuss that period of my life in some detail in my new book.

How has this mindset changed your life?

WB: Despite my thoughts of suicide, deep inside I knew I really didn’t want to die. The real problem was I didn’t know how to live. I had no goals, no direction, no guidance and no support. All I had was fear and a lack of hope.

Then I came into a Twelve Step recovery program.  I was now ready to admit I was powerless and willing to do whatever it took to get sober and stay sober.  At the suggestion of a sponsor, an older man who had nearly experienced his own demise from booze, I made a decision to turn my will and my life over to a God of my own understanding.  Gradually a whole new pathway opened up.

Through the Twelve Steps of recovery my thinking changed, my actions changed and I was able to once again use in a positive and productive way the talents I had been given.  Today I live an entirely different life, one that is truly beyond my wildest dreams.

Do you feel you have been given a final chance at life?

WB: I no longer think about fate or how much longer I might be around. Therefore I don’t see anything, be it life, work, relationships or even the lottery, as a final chance. I try to live my life one day at a time, not in the past or in the future but in the now. However, the one thing I am absolutely sure of is—to drink again is to die.

When you realized this is it, you want to live, what did you decide to do with your life?

WB: In early sobriety, my brain was very muddled. I just hung in there and tried to follow the suggestions of others who had much more sobriety such as the man I had asked to be my sponsor in recovery.  One of the most important things I was told was not to make any major decision during the first year of my sobriety.

As the mist cleared, I knew I wanted to write again. I did, and after a while became rather successful as an author and screenwriter. Then one day I came to realize what a great debt I owed for this great gift of sobriety I had been so freely given. That’s when I began to dedicate myself to writing books and movies about recovery from addiction, hoping that others might find the unbelievable life I have found as a sober man.  It has given me the kind of satisfaction that money can’t buy.

Has writing been a big healing point in your life?

WB: When you are able to do what you love to do in life, I believe it makes you happy, healthy and very grateful.  At least that’s what has happened to me. So yes, my writing has not only been healing but it has helped expand my horizons far beyond where they were when I was nothing but a selfish, centered alcoholic pounding on the bar in a sleazy saloon for another drink.

How much does sharing your journey as a well-known artist contribute to the sales of your books?

WB: That’s a difficult question to answer. I guess when people read one of your books and enjoy it that may prompt them to buy another. I have met people who told me they have read all my books and seen my movies. I also know that many well-known major authors have large followings. So I guess the answer is yes.

Are there any events where people can reach out to you?

WB: When I am asked to speak at business, professional or social meetings or conventions or hold book signings, these events are usually posted on Facebook or on my website, williamborchert.com.

What’s next in line for Bill?

WB: There’s a major film producer already interested in making a movie based on my new book, “How I Became My Father…A Drunk.”  In the meantime, I am finishing several magazine articles and meeting my commitments for a number of speaking engagements. Then I’ll take a deep breath and choose from four very interesting ideas what will be my next book.My wife, Bernadette, says I’d rather write than breathe. But we always manage to spend some fun and loving time together.

Where can readers go to buy your books?

WB: First, if readers would like to find the books and movies I have written, they can go to my website, williamborchert.com and click on “books and movies”

Should they like to purchase any of my books, they can do so directly from my website or they can find most of them in bookstores as well as on Amazon.com, Hazelden.com or Hallmark Hall of Fame.com. There is one exception however. My new book, “How I Became My Father…A Drunk” can only be purchased from Amazon.com or from my website, williamborchert.com.

Do you have any place where people could contact you or someone who may feel they need help?

Definitely. I can be reached by email at: williamgborchert@aol.com or on my cell phone: 843-855-9747. And I always answer or return messages since there was a time when I needed to reach out too.

Read more at My Addiction Books

AUTHOR INTERVIEW: RACHEL WALSH – THE LAST SCRIBE

Rachel Lee Walsh, is one of those all inspiring women that has covered and conquered various obstacles and still stands tall  in sharing and inspiring life for others. As M.A is a reflection of so many artists’ journeys, it is once again a huge honour to be able to share details on Rachel’s latest release – The Last Scribe.

Thanks for sharing your story.

As a start, can you tell our readers a bit more about yourself?

I would be delighted, Nadine. Thank you so much for asking.

I guess I would say that I'm first and foremost a mother and second of all an artist, poet and storyteller. I live in a small town in North Idaho and have two beautiful and talented daughters who are also artists in their own right.  I also have two adorable but lazy dogs, a kamikaze cat and a reclusive hamster named Wink. For the last several years I've also been the caretaker for my grandfather who suffers from advanced Alzheimers. 

Any, weird and wacky author habits?
When I edit my manuscripts I have to go into my bedroom closet.  It's the only place in my house where there's no distractions or interruptions.  Some of my best ideas have come to me while sitting in a pile of shoes with a rack of clothes touching my head.

What inspired the Last Scribe?
A great deal of what I've written in the past is stories from my own life, but I had this fiction story always in the back of my mind. I envisioned a heroine who questioned everything yet stood strong in what she truly believed in. One day I was in a second hand book store and saw the Apocrypha. As someone raised in a very religious environment, of course I'd never been allowed to read it.  I took it home and read through the whole thing in a few days and when I was done, I knew I had my story.  It took three years of development and another four years to actually write it but as of now, The Last Scribe Series includes three full length novels and seven novellas and I've loved every minute of it.

Your novel includes history on the Book of Enoch, a book we all know was banned from the bible, how has readers reacted towards your story?
So far I've had two different reactions. Most people have no idea what the Apocrypha is, let alone the Book of Enoch.  Those who do are either fascinated by what I've done or scared to even read it. I've had a few people accuse me of treading on dangerous ground by using this as a story basis. However, I've yet to have anyone complain or question my motives after they actually read it.

Your main character – Hope Matthews - takes a strong female lead, can you tell our readers a bit more about her.
Hope is the last surviving descendant of Enoch and the epitome of an imaginative, passionate girl who struggles with feelings of inferiority and personal rejection. Being left by her father at a young age and forced to conform and compete in another family, she has identity crises that cause her to act irrationally. She is tremendously strong willed, but also fearless which gets her into trouble on a regular basis. By her very nature she is the perfect example of the fight between good and evil in all of us.

The last Scribe is not your first novel, can you tell our readers a bit more about your other published books and where they can find them.
Currently, I have three prequel novellas available on Amazon. You can find them here: http://www.amazon.com/-/e/B00L31D45I



Will you ever allow your novels to branch over to film?
Absolutely! The Last Scribe is currently represented by Ken Atchity of Atchity Entertainment and he has high hopes of seeing this series developed into a feature film.

Will there be more of Hope Matthews?
I like to say there will always be Hope. Before she fades into memory I like to think her adventures will be exciting and entertaining readers for many, many years to come.

What does the future hold for Rachel lee Walsh?
Stories and more stories, I hope. I truly love what I do and can't imagine doing anything else with the rest of my life. Right now I have at least ten other story ideas waiting for me to sit down and bring them to life.

Where can readers connect with your work?
You can find me at www.thelastscribe.com or www.rachel-walsh.net or on Facebook at or on Twitter @4wings4u and on Pinterest. Also, don't forget you can always find me on Amazon!

Are there any tips and tricks you’d like to relay to other aspiring authors?
Don't give up! I can't tell you how many writers I know who have given up on their stories without ever finishing them. Join a writing group with people you don’t know (objectivity) and really invest yourself in it. Listen to advice and critiques with an eye for improving your writing, not just arguing your point. If you want to be good at any craft, connections, and commitment and ongoing education is paramount.
 
 


Synopsis? Teaser? Timeline?

Agents and publishers may ask you for a synopsis, or a teaser, or a timeline. What do these terms mean?

A “synopsis” is a relatively brief narrative outline of your story, from first to last. It’s a detailed description of the action line and character development, especially for the major characters. The purpose of the synopsis is to provide its reader with an overview of what the story’s all about in enough detail that he or she can be confident that the story makes sense—that all its parts fit together.  Note that a synopsis is not a “treatment.” A treatment is a dramatic narration of the story elements to convince the reader of its film or television potential, forcefully emphasizing only highpoints of drama and character; while a synopsis is more matter of fact and thorough. The synopsis of Doug Fetterly’s Breach of Justice sounds like this:


LISHAN AMIR, an Ethiopian born child of a black father and white mother, is an ambitious and dedicated newspaper reporter at the Washington Mirror in D.C. She’s attempting to

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expose the corrupt connections between big Food Co. mogul JACK CONNER and top FDA officials. Her bad tempered editor, JERRY, who’s in Conner’s pocket, is doing everything he can to keep her story out of the paper.  
   
Lishan illegally lives in an upscale student housing apartment building thanks to her ex-professor, ERIK, who manages the building and lies about her eligibility. They have a troubled relationship, BFFs with occasional sex that might be more, but she constantly sleeps around and he’s jealous. She’s equally jealous of him, leading to a long cycle of fights and reconciliations in between her investigation activities. They also discuss the crimes of the FDA.



Her search for dirt on the FDA leads her to a book banned by the FBI, whose author, FRAZIER, is in prison for defamation of character against Conner. She reconnects with an old colleague she slept with and dumped, RAFAEL, and sleeps with him again unaware he’s still mad. He steals the hard to find book to spite her…

A “teaser” (aka “sell-sheet”) is a one-page-maximum pitch of your story that leaves the reader longing to read the whole story. Where a synopsis is complete, a teaser is not—a teaser leads the reader to wanting to read the whole manuscript. Here’s how the teaser for “Dark Surf,” a film we’re developing, begins:


Great white sharks are on the attack on beaches around the world, and a surfer falls bloody victim in a Southern California paradise.  But, something is suspicious, and beautiful Leilani Marley, a former surfing champion, is now an oceanographer investigating the attacks.  She runs into Tristan and the Nomads, night surfers who seem to show up within days of a shark kill.  Infatuated by his sheer power and good looks, Leilani begins to fall for Tristan and soon

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learns his true identity as the creator and leader of vampire sharks, who are the guardians of the oceans and who perform righteous kills on any who pollute the waters or threaten its species.  He has loved her since saving her life off a reef accident twelve years earlier in Hawaii.  She bonds with the Nomads to fight the rogue vampire sharks who are killing for blood with a view to dominate the oceans, and possibly the entire world. ..

A “time-line” simply lays out the events of your story by reference to the story’s own clock or to the clock on the wall. In other words, a time-line may reflect the fictional world of a story or the real world surrounding it. Like a synopsis, the time-line contains all the chronological elements from first to last. Here’s an example of the first few lines of a time-line from the film in development, “Andrew Jackson—Battle for New Orleans”:


1814
March, Northern front – Admiral Alexander Cochrane assumes command of the British North American Station based in Halifax.


March 27, Southern front – U. S. force under General Andrew Jackson surrounds and crushes the Creek Indians at their stronghold at Horseshoe bend in Alabama effectively ending the Creek Indian War, and eliminating the Indians as allies to the British army.


April 1, Paris – Napoleon abdicates ending the Continental War freeing British troops for the American War.


May 10, Southern front – British party lands at Pensacola to recruit and supply Creek Indians that had escaped Horseshoe Bend for their upcoming offensive to capture Mobile and New Orleans.  Captain Thomas Woodbine in charge and is to report to Admiral Cochrane.


May 28, Southern front – After defeating the Creek Indians Andrew Jackson is commissioned in the regular army to command the 7th Military District, which included Tennessee, Louisiana, and the Mississippi Territory.  


June 20, Northern front – Cochrane submits to the Admiralty, his plan for the invasion of United States including a southern campaign to seize New Orleans.


July 8 – In New Orleans, Pierre Lafitte is arrested and jailed for smuggling.  Secretary of the Navy, William Jones orders Commodore Patterson to crush the pirates’ operations at Grande Isle and orders the schooner Carolina to New Orleans for that operation.


August 8 – British and American negotiators begin talks in Ghent, Belgium….

I hope these definitions help you understand terms you’ll definitely hear at some point as your career progresses.


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Connecting the World in film - Ken Atchity on My Addiction Books

Ken, as usual it’s a huge honour to host you on M.A. With all that’s happening in our local film industry, I thought it good to do an interview on America’s interest towards filming in S.A.


Filming in South Africa appears to have blossomed exponentially within the past two to three years. I think for me, being an absolute outsider in the industry, it appears that interest has deepened since the release and success of District 9.  What is your take Ken?

I think the interest has always been there, and in direct proportion to the SA Government’s film incentive program. Filmmakers throughout the world choose locations not only for their natural beauty and appropriateness but also because a goodly portion of the film’s budget is covered by local governments wanting to attract the business. That’s why so many films are being made in Canada, Louisiana, Georgia—and Bulgaria.

We started 2014 off with hype around parts of the new Avengers being shot in Johannesburg, with the balance of interest moving towards the story about Angelina Jolie and Brad Pitt coming to stay close-by for a few months. Does America have a new found interest towards filming in SA?

Again, the answer lies in the government’s incentive program.

If you look at one of our latest films, Konfetti and our own actress Casey B Dolan, who just won the Best Actress award at the Julien Dubuque International Film, it’s clear that local South African films are being nominated for notable awards. What does this mean for our local film industry?

It adds to its credentials, though awards aren’t as important to us as the financial and physical conditions of the shooting location.

From my point of few, it appears as if Australian actors have saturating the American film industry. If you think of Hugh Jackman, Cate Blanchett, Nicole Kidman, Jai Courtney, the dearly departed Andy Whitfield and our favourites Chris and Liam Hemsworth – do you think South African talent could be looking at similar exposure?

It could be, if your government continues supporting film-making, thereby introducing your talent to the world market. That’s how the Australians broke into the global awareness—so many films were being made there, and it was economically feasible to hire local talent in addition to the stars we drag along from Hollywood. Now some of those stars—like Jackman and Kidman and Crowe—are from Australia. No reason why SA shouldn’t follow the same pattern.

Based on everything that’s happening right now, where do you see the future for South Africa’s film industry?

It’s bright if the government stays with it.
You harbour a close relationship between novel-to-film adaptations. Do you ever see yourself investing time and energy towards one of our local published authors whose work might hold international appeal?


 Absolutely. If the story truly stands out as high concept from a global perspective. Or if it comes with development funding to enable us to do our thing in putting the film together on the global scale.

How has getting noticed in the film industry changed over the past 10 years?


 It really hasn’t. It all starts with a great story, then depends on an excellent director who appreciates it and excellent actors who bring it to life.

What does local talent – actors, authors, screenwriters, directors etc need to do to get noticed by the American industry?

Do excellent work in films that have guaranteed distribution from major global distributors. Local distributors are of little use in this regard.

Something I always wanted to know – What is the difference between a screen writer and just a writer?

A screen writer writes just for the screen.  Writers is a general category that includes novelists, screenwriters, poets, children’s, and textbook writers among others.

Can an author write a screenplay? Has any author ever written a screenplay which was produced?

Authors regularly attempt screenplays, though they’re usually the worst possible ones to adopt their own work. Yet it’s happened repeatedly. William Faulkner himself, for example, wrote the screenplay for “The Sound and the Fury.”


A while back you did an interview called Turning Writers into Filmmakers. You stood firm behind the norm that writers should write good male leads, since majority of the viewership will always be female. Since the success of films like, Twilight ( and yes, I know not everyone would agree- but the fact remains that this film is what started the latest hype, even if it is among the Young Adult genre), Hunger Games, Buffy, Electra, Lara Croft and the latest The Divergent Series, these days it appears as if woman love female heroines equally. Do you still stand firm on that norm?

I stand firm on it only because it ups your chances of getting a deal since there are far more male stars available for roles than female stars who can carry a movie.

What does the success of YA adaptations mean for the existing film market?

It means we’re always looking for successful YA novels to translate into film.

Ever since the completion of the Twilight series, it does appear as if new YA films are struggling to remain as popular. Apart from the Hunger Games and maybe Divergent the balance of the releases appear to have fallen flat, what do you think is the reason for that? 

I think people are spoiled by excellence. Twilight did well enough but it wasn’t as excellent as Hunger Games, nor was Divergent—and none as good as the Harry Potter books, not to mention Lord of the Rings.

Ken, as usual it’s been a huge honour to pick your brain on local trends in the market. Thanks so much for setting aside some time and sharing your views. 


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