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

Dr. Bazan New Book: Brain Aging and Resilience

In his new book Dr. Bazan explores the Adaptability of the Human Brain in the Face of Aging and Adverse Conditions.




Brain Aging and Resilience explores how amazingly adaptable our brains can be—even as we grow older or face difficult conditions. Drawing on decades of research, personal stories, and historical insights, Dr. Nicolas Bazan challenges common myths about aging. He shows that our neural networks can keep changing and supporting a rich, meaningful life well into old age.

The book traces how scientific understanding of the brain has evolved—from early beliefs about inevitable decline to modern discoveries about plasticity and regeneration. Dr. Bazan breaks down key topics like oxidative stress, neurogenesis, lifestyle factors that influence cognitive health, and new therapies that could boost brain resilience. He also offers practical, science-based tips readers can use to strengthen their own cognitive well-being.

Experts around the world praise the book. Nobel laureates describe it as a unique, enlightening, and inspiring guide to healthy aging—highlighting Dr. Bazan’s rare combination of scientific expertise, personal storytelling, and deep humanity.

The cover features a remarkable MRI scan of a 103-year-old man who maintained normal cognition. Despite age-related brain atrophy, his anterior cingulate cortex—an area linked to emotion, decision-making, and social behavior—remained strikingly well preserved. This real-world example underscores the book’s central message: the aging brain can be far more resilient than we once believed.


Check out this interview with Dr. Bazan about his research for this book: https://www.fox8live.com/video/2025/11/03/dr-bazan-new-book-brain-aging-resilience/





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.”

Famous Author Mentorships: William Faulkner and Sherwood Anderson

Anderson, an established writer in New Orleans, encouraged Faulkner to focus on novels and write about his native Mississippi region, leading to works like The Sound and the Fury.


 

Faulkner reflects on the most important thing Anderson taught him about being a writer:


"I learned that, to be a writer, one has first got to be what he is, what he was born; that to be an American and a writer, one does not necessarily have to pay lip-service to any conventional American image… You had only to remember what you were."


Decades later, Faulkner would remember Anderson as his sole important mentor in a beautiful 1953 piece originally published in The Atlantic as “Sherwood Anderson: An Appreciation.” 

Ken Atchity – Embracing the Insecurity of Freedom

 





Behind Greatness sits down with Dr. Ken Atchity at his home in California. Ken started his adult life on an academic stream and he eventually became what he personally dreaded: a tenured professor. But, shortly after his tenure-ship, he decided to breakup with his career and start anew. Already an author, Ken decided to write screenplays and produce films – not ever looking back for over 30 years. as been producing films since 1996.


He talks about his thoughts on competition, creativity and what it hinges on, doing great work in isolation and how he turned around his accountant dad to seeing the freedom and beauty in insecurity.

He talk staring at fire and mountains, dying by committee, the perfection of Dante’s Divine Comedy, chopping wood – and the Rose Café.

Seeing the David before carving it.





How to Design Your Novel For Film Adaptation



Mid-career novelists seeking representation complain that none of their books have been made into films. At any given moment, we in Los Angeles have literally stacks of novels from New York publishers on our desks. Going through them to find the ones that might make motion pictures or television movies, we—and other producers, managers, and agents—are constantly running into the same problems.

If you regard your writing career as a business, you should be planning your novel at the drawing board to make it appealing to filmmakers. Here's how.

Common Problems in Novel-To-Film Adaptation

  • “There’s no third act…it just trickles out.”
  • “There are way too many characters and it’s not clear till page 200 who the protagonist is.”
  • “I can’t relate to anyone in the book.”
  • “At the end, the antagonist lays out the entire plot to the protagonist.”
  • “There’s not enough action.” Not just action but dramatic action.
  • “There’s nothing new here. This concept has been used to death.”/“We don’t know who to root for.”
  • “The whole thing is overly contrived.”
  • “There’s no dialogue, so we don’t know what the character sounds like.”
  • “There’s no high concept here or a new way into a familiar concept. How do we pitch this?”
  • “There’s no real pacing.”
  • “The protagonist is reactive instead of proactive.”
  • “At the end of the day, I have no idea what this story is ”
  • “The main character is 80, and speaks only Latvian.”
  • “There are no set pieces.”

Of course anyone with the mind of a researcher can list a film or two that got made despite one of these objections. But for novelists who are frustrated at not getting their books made into films that should be small consolation and is, practically speaking, a futile observation. Yes, you might get lucky and find a famous Bulgarian director, who’s fascinated with the angst of octogenarians, studied pacing with John Sales or Jim Jarmusch, and loves ambiguous endings.

But if you regard your career as a business instead of a quixotic crusade, you should be planning your novel at the drawing board to make it appealing to filmmakers.

Characters

Characters are the most important element of the story and should generate the action, the setting, and the point of view. Your job as a writer is to give us insight into each and every character in your story, no matter how evil or virtuous his or her actions may be. Characters are the heart of the drama.

  1. Give us a strong protagonist whose motivation and mission shape the action and who, good or bad, is eminently relatable—and who’s in the “star age range” of 35-50 (where at any given moment twenty male stars reside, and maybe ten female stars; a star being a name that can set up the film by his attachment to it).
  2. Make sure a dramatist looking at your book will clearly see three well-defined acts: act one (the setup), act two (rhythmic development, rising and falling action), and act three (climax leading to conclusive ending).
  3. Express your character’s personality in dialogue that distinguishes him, and makes him a role a star would die to play.
  4. Make sure your story has a clear-cut dramatic premise, e.g., unbridled ambition leads to self-destruction or you can’t go home again.

Have someone in the film industry read your synopsis or treatment before you commit to writing the novel.

Revise accordingly.


Though I’ve observed the phenomena for several decades now, it still surprises me that even bestselling novelists, even the ones who complain that no one has made a film from their books yet, don’t write novels dramatic enough to lend themselves easily to mainstream film. It’s a well-known, but lamentable, phenomenon in publishing that, with very few exceptions, the more books a novelist sells the less critical his publisher’s editors are of his work. So time and again we read novels that start out well, roar along to the halfway point, then peter off into the bogs of continuous character development or action resolution.

A publisher invests between $25,000 and $100,000 or more in publishing your novel. A low-budget feature film from a major Hollywood studio today costs at least $50 million. There is, from a business point of view, no comparison. Risking $50 million means the critical factor is raised as high as can be imagined when your book hits the “story department”—much higher than the critical factor of even the biggest publishers. Hollywood studies what audiences want by keeping track, in box office dollars, cents, and surveys–what they respond best to.

If you want to add film to your profit centers as a novelist, it would behoove you to study what makes films work. Disdaining Hollywood may be a fashionable defense for writers who haven’t gotten either rich or famous from it, but it’s not productive in furthering your cinematic career or building your retirement fund.


via Writer's Digest



Brian A. Klems is the editor of this blog, online editor of Writer’s Digest and author of the popular gift book
Oh Boy, You’re Having a Girl: A Dad’s Survival Guide to Raising Daughters.
Follow Brian on Twitter: @BrianKlems
Sign up for Brian’s free Writer’s Digest eNewsletter: WD Newsletter
Listen to Brian on: The Writer’s Market Podcast



50 Irrelevants Who Changed the World with Ken Atchity



 

How Outsiders Change the World: Dr. Ken Atchity on Storytelling, Underdogs, and 50 Irrelevants Who Rocked History

Dr. Ken Atchity is a renowned Story Merchant—an author, producer, literary manager, and former professor with a Yale PhD. He’s written over 20 books, produced more than 30 films (including The Meg and Life or Something Like It), and launched dozens of bestselling authors and screenwriters. Ken’s career spans teaching, publishing, and Hollywood, all driven by his passion for finding and championing great stories and storytellers.

Ken has been a guest on Your Partner In Success Radio before, and it’s always an honor to welcome him back. I have many of Ken's books in pride of place in my entrepreneurial library, a testament to the value and inspiration they bring. Today, we’re diving into his powerful new book, '50 Irrelevants Who Rocked the World!'—a deeply inspiring tribute to outsiders, underdogs, and unlikely changemakers who reshaped history on their own terms. The “irrelevants” come from sports, science, the arts, activism, business, and more—demonstrating that underdogs can emerge anywhere.

Connect with Ken Atchity online: Website | LinkedIn | Facebook | Instagram | X | Amazon


50 Irrelevants Who Rocked the World Reviewed!




50 “Irrelevants” Who Rocked the World by Kenneth Atchity & Chi-Li Wong is a compelling, uplifting collection of short biographies that celebrates the human spirit’s ability to transcend obscurity, doubt, and adversity. Authors Kenneth Atchity and Chi-Li Wong profile fifty individuals from all walks of life—athletes, activists, entertainers, scientists, and entrepreneurs—who were once dismissed, overlooked, or labeled “irrelevant,” yet defied expectations to make a profound impact on the world.

From household names like Michael Jordan, Harriet Tubman, and J.K. Rowling to lesser-known but equally inspiring figures like José Hernández, Janet Guthrie, and Khaby Lame, each story is framed around four key elements: Dream, Drive, Audience, and Fortune. The authors explore how these components interweave in each life, showing that greatness often stems from relentless belief, hard work, and the refusal to give up.

What makes this book particularly resonant is its unflinching look at rejection and failure as integral steps on the path to relevance. Atchity and Wong do not romanticize struggle; they honor it, spotlighting perseverance over perfection. The narratives are brief but rich, ideal for readers who want bite-sized yet meaningful doses of motivation.

Perfect for young adults, professionals at a crossroads, or anyone seeking a reminder that obscurity is not a life sentence, 50 “Irrelevants” delivers powerful proof that relevance is earned—not bestowed. It’s a tribute to the underdogs, the dreamers, and those brave enough to dance on the razor’s edge of uncertainty.

Recommended for fans of motivational storytelling, educators, entrepreneurs, and readers looking for inspiration that honors both struggle and success.




This book is available on Amazon, as are most of Ken's books. I highly recommend anything and everything he writes!

Listen as Ken and I discuss this book on the podcast.

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.


Robert L. Rivenbark, Jr. Reviews Vincent Atchity's Story Merchant Book Romeo's Beat



How delightful to discover in the #MeToo age, when trust between men and women—and romantic love itself—has reached its nadir in our dysfunctional culture, that it’s still possible for an American novelist to write a literary love story that celebrates the eternal bond between man and woman. That’s precisely what Vincent Atchity has achieved with Romeo’s Beat. His novel has a deceptively simple premise—until you let it enfold and lift you into regions rarely explored in contemporary fiction. The points of comparison I can think of in terms of Atchity’s style are Ernest Hemingway (particularly in A Farewell to Arms) and Anaïs Nin (particularly in her Ladders to Fire). But Atchity has his own distinct voice, well-suited to his subject matter, giving his book a rhythm and cadence that make it a prose poem of unsurpassed beauty.


I had the honor of hearing Atchity do a live reading from his novel. During the Q&A afterward, he mentioned that given his responsibilities running a psychological clinic and raising three children with his wife, he had only been able to devote sixteen minutes day to his novel, beginning in 2007. Thankfully, he persisted, and the result is exquisite.

Set in the early 1980s, an era when great rock anthems resounded from FM stations, Romeo’s Beat follows the journeys of Juliet, a beautiful young Kansas botanist possessed of a mystical bond with nature; and Colin, a young singer/lyricist/guitarist who’s postponed recording his first record album in L.A., despite a lucrative recording contract, in a quest to find something enduring in his own music.

Juliet meets Colin while she’s on a solo pilgrimage to Salamanca, Spain, the city of her philosophical hero, Miguel de Unamuno. In her strolls through Salamanca’s cobblestone streets, she returns often to the Calle de Bordodores to see Pablo Serrano’s monumental statue of Unamuno. Yards away is one of her favorite shrines to Mary. Juliet considers her own personal religions to lie “suspended in a continuum between Unamuno and the Virgin Mary.” Unamuno scribed these words: “My religion is to seek for truth in life and life in truth.” Juliet believes this, too. “Even knowing that I shall not find them while I live,” she sadly concludes.

She’s at a crossroads. Having won a scholarship to begin her doctoral studies in botany in a month, she’s also engaged to Brad, a pleasant enough young man who brings solid financial prospects, given his upscale family roots. But Brad operates on a plain of consciousness that can’t begin to approach Juliet’s capacity to blend romantic and sexual passion with mystical intimations that take her into realms of awareness lightyears beyond Brad’s conventionality. She tells herself that she loves Brad, but that affirmation has started to ring hollow. Then she meets Colin in Salamanca, during his stopover on a peripatetic journey through Europe in search of his musical voice. The thunderbolt strikes them both. Juliet is powerfully drawn to this stranger in a way wholly unacceptable to her trajectory in life, so soon to be devoted to study, teaching, and a conventional marriage.

Colin, for his part, is strongly attracted to Juliet as well, but he’s obsessed with his own search, expressed in this reflection while he samples garlic-fried Champiñones mushrooms in a Salamanca tavern: “Colin had learned to cook from his father, and had a deep appreciation for dishes that brought together fundamental elements. The smell of olive oil and garlic had won him over before he’d even realized its source. It had grabbed something inside him that was older than he was, something that was inside everyone, and that would outlast any individual. For lyrics to last, Colin thought, they had to incorporate something as fundamental as olive oil and garlic.”

What follows is an elegantly articulated dance of love that focuses on the internal journeys of the two lovers, as they gradually come to accept that their meeting is going to disrupt their lives and change them both profoundly. The pace of this change unfolds slowly—perhaps too slowly for modern readers (though the novel is a quick read at 144 pages). But despite this minor pacing issue, Atchity does a magnificent job of dramatizing how, as their relationship becomes more intimate, Juliet’s and Colin’s hearts and souls are embroidered together, giving special significance to the Calle de Bordodores (which means “embroiderers”) that Juliet visits so often. From their love grows intimacy, the birth of a daughter, and a tragedy that raises the tale to classical stature.

It’s remarkable how Atchity occupies the minds, hearts, and souls of Juliet and Colin, particularly since we live in an age where writing from the point of view of the “other”—men writing from a feminine point of view, or women writing from a male point of view—is a taboo that often reduces our literature in a way that great writers of previous ages didn’t have to contend with (imagine Shakespeare hesitating to write Romeo and Juliet because he wasn’t a woman). Atchity’s insights are those of a mature artist who’s achieved a measure of wisdom about the eternal truths of life and love. At the end of the novel, I found myself hungering for more of this gifted writer’s work. Highly recommended reading.

Story Merchant E-Book Deal: FREE May 19 - May 23! Ariadne: A Tale of the Minotaur by SD Hines

Three thousand years before The Hunger Games, a conquered nation was forced to send their finest youths to fight and die, facing an invulnerable creature they had no chance of defeating.

ARIADNE: A Tale of the Minotaur--one of Hines' Heroines of Classical Greece series--is a contemporary retelling of the classic tale of Theseus and the Minotau.



ARIADNE
A Tale of the Minotaur
Heroines of Classical Greece #1
S. D. Hines




Prologue

Malanus, High Priest of Tauros and thus titled the holiest of all men born, breathed a sigh of relief. The island was finally in sight. He could make out the misty silhouette of land arising through the dark seascape lit only by a few of the brighter stars that managed to shine through the gray, dank clouds. He was a man of the city, and had little experience with the sea. He knew that under other circumstances the sailors charged with bringing him to this destination would have chortled at his retching and heaving throughout the voyage. Instead, they turned their faces and absorbed themselves in their work, rubbing talismans and muttering charms against misfortune.

He shook the nausea from his head and belly. He didn’t know if their fear was of him, or the purpose of the journey. On brief refection, he noted with some satisfaction that he didn’t really care. In their entire, pitiful lives, they would never be on a voyage as important as this. And worse yet, they would never appreciate their singular fortune as those who helped forge a new god.

The mariners silently went about the tasks that it took to keep a military galley afloat. The painted eyes on the prow seemed to stare through the fog but the mist-shrouded land seemed even more hidden. Unnoticed, burly Nostrisus materialized beside him, hand on the hilt as always. “High Priest Malanus, the Cursed Isle lies before us. Shall we anchor offshore and approach the village in the morning or land tonight?” Nostrisus, head of the temple guard, had been described as a shaved bear with half the looks and twice the ill-temperament. His impassive face bore a crisscross of scars courtesy of blades turned against him for reasons other than shaving. Their wielders had all crossed the River Styx, the river of death.

Malanus shifted the white linen robes embroidered with figurines of bull heads. Never tiring of the sensual feeling of flowing linen on his bare skin, he willed his eyelids to flutter open. “We shall enter the village immediately after landing. Believe it or not, there have been … tales of resistance among the Cursed when we have landed in the past.” Malanus stood half a head shorter than Nostrisus and was of middle age, portly and pale. Bald but for a rim of hair that traveled behind one ear and meandered to the other, he was a man who appeared nondescript until one looked at his eyes. His cold, black pupils were that of a predator’s. Men whispered he was the most dangerous man in all of Crete.

Nostrisus let his hand grip the sword hilt tighter as a word hissed from his lips. “Resistance? Blasphemy!”

“You speak the truth. But parents will always seek to protect their offspring from the uncertain, even if the purpose is to elevate their children.”

His comment was met with a snort, but the hand gripped the bronze sword all the tighter.

***

The little isle held a single village and a smattering of huts at the periphery. Shunned by traders, its inhabitants lived the rudest of lives. Their houses were built of the local stone and wood, not a pebble of marble. The pottery was plain and adorned with only the native clays as pigments, none of the fine Egyptian inks. The villagers wore wool from the native goats. From the look of the dilapidated hovels, their lives were hard ones: there was little but the bare essentials for survival displayed in the ugly hamlet. Malanus shook his head at the poverty and squalor. Such a place should have been wiped clean of its human cancer long ago, but it was left untouched for a single reason: one of its inhabitants was prophesied to help give birth to a god.

He smiled maliciously, raising the bronze horn to his mouth, puffed out his cheeks, and exhaled.

The ship had landed at the darkest hour just before dawn. The cadre of temple guard had gratefully disembarked from their floating home for the past several days and encircled the sleeping village. No dogs barked warning. Malanus suspected that the place was too poor even to support pets. It was likely that any dogs had been long ago eaten.

As the horn blew, the soldiers put coals to their pitch-dabbed torches. Tendrils of flame flared, swords left scabbard with a spine-tingling rasp, and shouts rose in a chorus of threats, curses, and bellows. Spears and blades crashed against bronze shields, and the villagers spilled out into the flickering light with fear and confusion on their sleep-besotted faces. Malanus noted with amusement that the few men who stumbled from their huts bore little more than sharpened sticks for protection.

The villagers understood a smattering of Minoan Greek, and other than a few resistant young men, were easily herded into the center of the village. As the dawn broke, the fog lifted and eyes were wide at the might of the navy of Crete, two dozen war galleys moored with the appropriate guard, flames reflected off drawn weapons.

A white-haired man was brought before Malanus, eyes appropriately downcast and assuming the position of supplication. Good. There was at least one inhabitant who was not a worthless inbred moron. “What is your name, swine?”

The man didn’t raise his eyes. Good. “Master, my title and name is Viceroy. I was chosen by lot to serve as head of our people and our representative to the King of Crete.” He paused, and with effort and fear, posed a question. “Many years ago, when we last had a ship land, the king of Crete was Minocea. Does he still rule?”

“No. Minocea died long ago. After his death King Minos assumed the throne. As the lawful king and with the need proscribed by the gods, he has come to take the levy from your village as is his right.”

Viceroy cringed. “My lord, we have little or nothing of value on this island …”

“Oh, but you do.” Malanus touched an olive tree, withered like the island’s inhabitants. “The fruit you bear does not grow from a tree or in fields. The riches you harbor are not mined from the ground. What we seek is a child of immense potential, one among you destined to a greatness that can scarcely be imagined.”

Viceroy paled. “You must be mistaken, my lord. We are a small island, and without outside mates, our lineage weakens with time. We are not allowed concourse with others …”

“And for good reason. Your little isle has a reputation for breeding those like the one we now seek. I will inspect your people.”

Flanked by soldiers, Malanus walked slowly up the line of villagers, eyeing each one in turn, but his attention focused on the youths. Centuries of inbreeding had given them a frightening homogeneity: broad of face and form, muscled but perhaps a little intellectually dull. Foreheads unnaturally broad and with frontal bossing, many of the young men were tantalizingly close but not quite …

There was a scream. A woman in rags, wild greasy hair slinging around her, was dragged by a soldier. A child, face hidden in flickering shadow, trailed her, moaning and gurgling. She began pleading. “Mercy, oh great lord. My son is all I have. I only hid him under the bedding for fear you were brigands.”

“His father?” Malanus’ voice was impassive.

“He died last year, great lord. The gods afflicted him with headaches and they finally killed him. Please, mighty lord, let me bring him back to my hut. He is a simple lad and is terrified.”

The priest’s voice was neutral, eyes narrowed. “Bring the boy forward with the others.”

Rough hands reached into the darkness and grabbed the wailing child. His mother screamed and briefly grappled with a soldier. In the dawn’s light a blade flashed and the woman’s struggles were silenced in a wet gurgle. The stunned boy was pushed roughly into the firelight.

There were a half-dozen other young boys around the fire. When the newcomer was thrust into their midst, they sidled away, made signs against evil, and turned their faces.

The darting flames revealed a boy of perhaps four years, but much larger than the others. His head was huge, eyes very wide set and sunken deep into the skull. His temples were enlarged, his chest wide. The nose was broad and flat, nearly devoid of cartilage. The huge, dangling arms were almost the length of a man’s, and held claw-like appendages. Alone, the eyes were normal. They peered with confusion from the events, unable to comprehend the reality of his mother slain before his eyes. He sobbed pitifully. In the eyes of every man, woman, and child assembled there, he was the ugliest human being that the gods had ever being assembled.

Malanus finally raised his eyes, tremulous, and he fought to keep from quavering with excitement. It was beyond his wildest hopes. He spoke on behalf of his entire assemblage. “Child, your name is irrelevant, as you are now a new being. Your old mortal skin will be shed, and you will be brought to Crete and refashioned into something new and wonderful!”

There was a moment of confusion and the boy wiped his eyes. Crete. He had heard of it. But never before had he been allowed outside the confines of his village because of his deformity, ensconced in his hut where he was rarely seen by others. Was Crete another village on the other side of the hill?

Led gently by Malanus, the malformed child stood in front of the fire, his visage revealed to all. The villagers slunk back in revulsion, but to their astonishment, the soldiers dropped to their knees and bowed their heads in supplication, the same honor they gave a king.

Malanus led the prayer. “Hail son of Tauros, god of strength, virility, and war …”

Tears streaming down his face, the boy looked disbelievingly at the worshipful throng, his face finally turning to the unmoving, bloody body of his mother, the sole person who had loved him.

Chapter 1

Ariadne gazed at the bars of her prison, as she had a thousand times before. She wiggled the sand between her bare toes and pushed her lip out in a pout. The bars were not those of metal or even ironwood, but the waves lapping at the shoreline were just as effective at hemming her in. On the horizon she saw a triangular white sail and sighed. Even the fishermen had more freedom than she.

Her musings were rudely interrupted by a handful of wet sand that pounded her in the neck and slipped down the back of her shift. Her wavering shriek was a blend of the reactions to the shock of the blow, that of cold water trickling between her shoulder blades, and righteous anger. “Phaedra! I’ll whip your legs with willows when I catch you!” She stooped to grab a fistful of sand but was stopped cold by a commanding voice.

“You shall do no such thing, young lady. The task of discipline is mine, and mine alone!” The stentorian voice, so startling in a woman, froze her blood and stiffened her spine. Even her giggling little sister froze in the act of scampering away, her wide eyes betraying her panic. A thought shot through Ariadne that if their nanny, Stelith, had been born a man instead of a woman, she’d have been a personage of power. A sailing captain, a general, maybe even a king!

Stelith took a full moment’s measure of Ariadne and shook her head. The girl was in the prime of her youth, with a figure that would make the best Athenian sculptor hopeful of capturing her form and symmetry as a token to a goddess. Oval face with a snub nose and green eyes, she had auburn hair that caught the sun’s light that at times surrounded her head with a golden halo. Though a beauty beyond compare, she was lonely as few girls were on Crete: she was watched day and night by the guard, with little concourse among young men of her own age. As the princess and heir to Crete, her beauty was only valued by her father, King Minos, as currency to be bartered with foreign lords.

Stelith took a linen cloth and wiped Ariadne’s back as best she could, shaking her head and occasionally fixing Phaedra in a withering stare. “Phaedra, such behavior is not appropriate in a princess of the house of Minos. Sooner than you think, you will be of marriageable age. What prince will have a fool for a wife? Now, you will finish scouring the rock bed for scallops and then spend the rest of the afternoon scrubbing pots in the palace kitchen.” Phaedra’s indignant shrieks fell on two sets of deaf ears. After a minute, Stelith shushed her.

“Now, let’s suppose that one of you wanted to harass a rival on such an outing. How would you do it properly?”

Phaedra’s indignant cries stopped and she grinned. These trips often were excuses for instruction in palace intrigue, and she gloried in it, unlike her sister. “I could have faked a stumble and stepped on the back of her sandal, kicking her heel tendon in the process, leaving her bruised and limping for the day.”

“Good. Then how would you disguise your action?”

“I’d apologize and would tend to her wound, weeping the whole time. Then I’d feign a limp the rest of the day and grimace with each step, as if the stumble had hurt me more. But I’d make sure that she and she alone saw me grin.”

“Good. What do you think of this, Ariadne?”

“Stelith, I love you, but I consider this foolish. I will not engage in such petty behavior.”

The nanny gave an icy look. “I love you too, girl, and that is why you must learn to manipulate men, just as men learn to manipulate blades. Your destiny is to be a queen, but a queen does more than bear a king’s children. The day-by-day running of a kingdom is hers to do, and her tools are not mortar and hammer, but the flesh and blood of her subjects.”

Ariadne shrugged and picked up a wicker basket and twisted the lid so the clacking crabs inside wouldn’t escape. She muttered to herself, “nobody asked me if I wished to be a queen at all” but she dared not voice the words audibly. She turned to the north and looked at the white-washed castle walls surrounding the central compound. In the center was the royal house, rising to three stories and easily the second largest structure in all of Crete, if not all of Greece.

Just below and inland to the rise of the castle was a rocky plateau. She could vaguely remember it as a pasture for goats and cattle when she was a little girl. Now, it held a roofed structure of marble and granite that seemed to expand daily, like the tendrils of an octopus. Hundreds of workers, most of them slaves, toiled at loading the blocks one upon the other. The sprawling Labyrinth was said to be the largest structure man had ever constructed, at least since the days of Atlantis.

A deep bellow seemed to echo from the distant walls. For a moment even the gulls were silent. Was it a man or beast? She shuddered and turned her face back to the frothy bars of her prison and waded in the surf, alert for another scuttling crab.

Chapter 2

He could barely see. Little enough light filtered through the vents cleverly hidden above, but for some time he had been aware of his vision narrowing from the sides. Subtle at first, his sight constricted until he was now only left with a pinprick directly ahead. Hearing and smell became augmented senses, and he had mastered their use to the point that he wasn’t handicapped. After all, what was there to see? Only gray, monotonous walls.

He stopped and clutched hands to his temples, bellowing from the pain. When the tears stopped, his knees buckled and he breathed heavily, moaning. Why did the gods hate him so?

***

Daedalus wiped sweat from his brow and made some deft changes to the papyrus. Brought from the far Nile, it was worth more than gold and could be carefully wiped clean of its thin chalk lines for later re-use. The design was like nothing the world had ever seen or ever would see again: parallel lines depicting passageways converged, diverged, branched, split, reformed and occasionally swelled to chambers and rooms both square and rectangular. He stood on a sturdy platform of his own design that soared nearly a hundred cubits into the sky, the platform itself a masterpiece that could never have been replicated elsewhere. The design on the paper was an exact duplicate of the walls being constructed below. This had been the greatest work of his lifetime, over a dozen years in the making.

Unquestionably the greatest mind in Crete, many whispered Daedalus possessed the mightiest intellect of all time, at least since Atlantis fell. But if Daedalus heard such whispered praise, he would blush and politely disagree, citing the works of others in Athens, Thrace, and Memphis in far Egypt. In his prime of life, he was already nearly bald and wore ragged tunics that rarely surpassed the quality of the lowliest slave. But his eyes were bright and searching, and his eyes and broad forehead bore concentric circles of wrinkles formed both by smiling and the frequent furrowing of his brow in contemplation. Though technically ranking high in the nobility, Daedalus’ talents were distributed to the commoners as well and he was beloved by all in Crete.

He looked towards the sea and saw the palace at Knossos perched atop the rock outcropping. It had been remodeled to his specifications so radically that there was almost nothing left of the original structure. Granite clad in white marble, he winced as it reflected the sunlight. The central structure, surrounded by walls thrice the height of a man, was serviced by both a sewage system and warm bathing water available from huge copper cauldrons perched atop the roof warmed by the Mediterranean sun. High ceilings moved air upwards in the summer and cunningly devised fireplaces reflected warmth to the interior in cold weather.

The construction area was a flurry of activity. Donkeys and mules hitched to log rollers dragged massive granite blocks that were hoisted to lifts utilizing counterweights to swing the several-ton pieces into place. Each was fitted so perfectly that mortar was not necessary, the center of each block having identically placed holes that were joined by ironwood pegs: his own design. Then slabs of marble were laid piece by piece atop the completed sections. This was the largest roofed structure in the entire world, with more stone used than the grandest pyramid in Egypt. Workers in loincloths toiled with ropes and animals, and obsessively maneuvered blocks so they were perfectly set. There was more than pride in workmanship involved: each man was a slave, and his freedom would be purchased by the speed and quality of his workmanship. The men worked with gusto and often past their allotted workday.

Daedalus prided his craftsmanship with people as much as his buildings, and was respectful of both. He had negotiated hard with Minos on behalf of his workers. On completion of the structure, all the slaves would become free citizens of Crete.

His musings were interrupted by a voice. It was the foreman, one of few who dared to climb the ladder this high. “Master, we have lost another worker. Can you see him from this height?” The tone of his voice indicated he doubted it was possible.

Daedalus squinted towards the structure. He used a polished crystal to help read the tiny print of scrolls but had nothing to help with objects far away. Perhaps if he ever had time he could invent something if he matched two of his lenses and joined them? “I am sorry, my friend. I can see nothing. Maybe one with keener eyes might spy something? Send a youth up here.”

“Perhaps, master.” The foreman knew better but would still make the effort. More than twenty men had been lost in the building of the Labyrinth. The workmen had become disoriented despite careful orders and caution not to enter a completed section, but all these workers somehow returned. Universally they reported being hopelessly bewildered, one winding turn leading to another, and the way back somehow radically altered when they turned around. More terrifying, they reported being pursued by a beast. Snorting and bellowing, the gods somehow saved them as they stumbled to the entrance before they could be disemboweled and eaten by the monster.

More than three dozen armed men had been sent into the Labyrinth through the years. Usually singularly, they occasionally went in pairs. Nearly all were condemned prisoners and this was their punishment, though a few adventurous young men from other lands had arrived, brashly boasting that they would destroy the monster and win acclaim. Daedalus gritted his teeth at the memory. None returned and their agonizing screams intermixed with the monster’s roars gave testimony to their fate. Later, their broken bodies would be found at the entrance.

The missing worker had been in the covered portion and could be anywhere by now. Rather than follow the instructions of staying put if they were lost, men had a tendency to run frantically and randomly, mired deeper in the maze within minutes. More than once a co-worker became lost as well following the voice of a friend to his doom.

An adolescent scampered up the ladder excited and awed to be in the presence of the great Daedalus. “My lord, how may I be of service to you?”

“I require the eyes of youth, lad. Please, scan the Labyrinth and look for movement. A worker was lost, most recently seen in the northwest construction.”

After several minutes of intent searching, the boy turned to Daedalus, eyes welling with tears at his failure. “I am sorry my lord. I cannot see him from this angle. He may be under the roofed portion.” He looked at the papyrus. “If you would lend me the map, I will enter and search for him at your command.”

Daedalus eyes widened. “No! I will not lose two. The map will be of no use to you there.”

“But why not? My father is a mariner, and he taught me to read maps.”

“This maze is like none ever constructed. Door frames are larger or smaller in concert to give the illusion of distance. Some areas burrow under the ground with sections above their heads. Dead ends will be revealed to have a hidden side passage. Not even I can navigate this maze, even though I have overseen its construction. It almost seems that the Labyrinth has taken a life of its own and grows.”

The boy’s eyes widened. “The monster?”

“Perhaps. I have never seen what was brought inside, but I give it my full respect. You should as well.”

At that very moment, the walls of the Labyrinth seemed to quiver with a mighty roar that echoed through the passages, varying distances causing a waxing and waning of the bellow that amplified its volume. Now both inventor and boy winced. The screams of the lost worker were drowned by the animal howl. Daedalus bowed his head and prayed that the poor man would find his way to the entrance before it was too late.

***

King Minos glowered at the chief priest of Tauros, but only behind his back. Malanus held power just under the king himself, and he would prefer an ally to an enemy. But he would only put up with the priest to a certain point.

“Malanus.” he began, noting with satisfaction that the priest spun and declined his head when addressed. “I have given some thought to your proposal and have discussed it with my councilors.”

“And?” Malanus was careful to keep his head slightly bowed and respect in his voice, yet his heart seethed with contempt. True, Minos had cemented Crete as the primary power in all the Mediterranean both militarily and economically, but despite two wives he had managed to produce only two still-living heirs, and both only girls. Although a priest was unable to marry, he had sired seven sons and three daughters. Clearly Tauros, god of strength and virility, favored him over the king.

“I agree that the treaty signed with the Athenians is not only valid, but just. We have the right to demand seven pairs of their finest, young men and women, to serve as we see fit.”

“That is indisputable, my king. After all, they killed your own son.”

A pang of pain went through the chest of Minos. For a moment, he thought of the warnings of the healers, who cautioned that such portents suggested failure of the heart and impending death. He put it aside. If the gods willed it, death would be welcomed. “And in the ensuing conflict, we killed many of their sons as well. It was a skirmish, not planned. Crete and Athens had no embassy at the time. Now we are trading partners.”

“But not allies.”

“No, not allies. And that is the point of my councilors. We overcame the Athenian forces and forced them to the treaty out of anger and vengeance. They council it is best to take a step back and let us welcome them as friends instead of a conquered people.” He paused. “Though my heart is still pierced by the loss of Androgeos all these years, when my councilors speak, it is hard to discredit their words.”

The voice that replied was cold. “Your seed is permeated with divinity, my king. The murder of your son was an affront to the gods themselves. You have not sired a male heir since. This is clearly a judgment from Tauros. You must act, not on your own behalf, but for that of Crete.”

The priest could sense Minos inflate with pride when reminded of his bloodlines. He continued his baiting. “To show pity at this time would lead the Athenians to believe we have weakened, and they may rebuild their navy to challenge us.”

Minos turned to the window and surveyed the bay. Dozens of warships lay anchored, most were returning from mock battles. “That upstart city? Merchants and olive growers? They wouldn’t even serve for practice against our fleet.”

Malanus nodded and straightened his robes so the embroidered bulls at the sleeves would be more visible. “True, my king, but men would die unnecessarily on both sides. To continue taking your lawful Tribute will actually help the Athenians as well as please the great god Tauros. We must preserve the natural order of things, and the tributes are no small part of this. We are the lords, the Athenians our vassals. Fourteen of their youth is but a pittance.”

Minos nodded, brow furrowed. “It is as you say. And we provide them with safe passage, spending our own blood and treasure in the form of our navy to stave off pirate attacks, do we not?”

“It is as you say, sire.” The smile was hidden underneath the bowed head. “This token is but a sliver of what is ours by right. And these youths are honored in return by their service to the great god Tauros. Some of our own people are jealous that foreigners are so honored before themselves. And remember this: some of your councilors have trading contracts with the Athenians. I hardly think their council is impartial.”

Minos nodded, and smiled. “Thank you my friend. What you have said is true. Sometimes it takes another man to open the eyes when one has had them clouded by devious words.”

High Priest Malanus bowed all the deeper and let the smile stay within. Besides the gold that accompanied the youths, he had control of the fates of the fourteen most comely of Athens. He was not lying when he told Minos that they were dutifully serving the great god Tauros: Three of the most attractive girls were part of his harem, and the rest were doled out to Nostrisus and his confederates in the temple guard. The boys had found uses as well.

There was a brief pang of regret that this new Tribute arriving would not serve to satisfy his earthly desires. They actually would be used directly in the service of the great god Tauros. He smiled: they would be used in a way they couldn’t remotely imagine.

Chapter 3

Pain. It flooded his skull, beginning in a spot at the exact center, then spreading, focusing behind his eyes. It was throbbing and pulsatile, but also intermixed with stabs like red hot nails being driven into his head. He knew the analogy was a good one, because he had literally experienced metal digging into his skull. The spells now came daily, and would make him cease all activity. At times he would bring his clenched fists to his face and scream.

Where was he? Who was he? Why had the gods hated him so much to curse him so?

***

Aegeus read the dispatch and his head slumped. “I had hoped that the time of Tribute was to end. But Minos demands the same as before: seven each of our best young women and men.”

Theseus bristled. “This is madness, Father! Years ago Minos’ son Androgeos won the Athenian games and all the more honor to him. But he had the misfortune to be involved in a fight in the tavern district and succumb to a knife wound. Why should the entire city be punished? We had no part of this and the area was thoroughly cleansed of identifiable miscreants, now and since. We pay for a night watch to clean out any ruffians. Athens is the safest city in Greece.”

Aegeus nodded and closed his eyes. “Nonetheless, Minos has chosen to make us pay a heavy price. When we resisted three of our warships were destroyed with the loss of over a hundred men. The Tribute, as degrading as it is, is preferable to warring against the might of Crete.”

“We will fight!”

“With what, Theseus? The navy of Crete vastly outnumbers ours. They have allies through their trade in all of Greece and can call them to their banner. They are the premiere power on land and sea as far as Egypt and Thrace, and probably beyond. As strong as your sword arm might be, it is nothing to that of the might of Minos.”

Theseus didn’t reply, instead he looked seaward, to the hill holding the slowly evolving pile of marble blocks and pillars that would someday be the temple of Athena. “It is time for Athens to exert itself as a power, Father. We cannot continue to languish under the heel of Crete. We have suffered enough for his son’s death, far out of proportion to what is justified by law and common sense. To demand more from us is an outrage that cannot be tolerated.”

“We have no choice. I’d take any option other than submission, but there is none, son.”

“And what did Minos decree the endpoint of our servitude to be?” It was a challenge as much as question.

There was a pause. “His embassy demanded the same Tribute as before: seven of our young men, seven of our young women. There was no endpoint specified. But we suspect there may be another option.”

“And that is …?”

“If you recall, it is traditional in Crete for the condemned to have a last chance for redemption if they complete a formidable task. The past few years, those condemned to death were given the option of entering the Labyrinth.”

Theseus nodded and looked towards the south, towards Crete. His eyes narrowed and he clenched his hands into white-knuckled fists.

***

Daedalus watched his son play with wooden blocks, stacking them up high. He smiled. The lad already had the drive and intensity of his father and a spirit of adventure that required constant vigilance. If only his mother had survived the childbirth. He shook off the ache in his heart and concentrated on the wondrous child she had left behind. “Icarus, have you bathed yet today?”

The child smiled and shook his head, tottering to his nanny without a word. Daedalus smiled and returned to his work, speaking to the girl who swept the boy into her arms.

“It is the smiles and enthusiasm of youth that gives me purpose. If not for my wife’s gift to me of Icarus, I don’t know if I’d have a connection to the living world anymore.”

She tousled the child’s hair. “Then Icarus is praiseworthy indeed. The people on the street speak your name with reverence, my lord. Your works have touched the most humble. Even my mother finds that her laundry is easier with the fountains that are always full by the magic your devised!”

Daedalus shrugged modestly and smiled. “Not magic. It was only the study of the forces of nature and a logical application of what we see daily. The wind we feel daily is constant and strong. Harnessing its power was as simple as observing a child with a pinwheel.”

The girl cast her eyes downward. “Nonetheless, my lord, it must be the gods themselves who have opened your eyes, and your eyes alone, to what others have missed. And who else would use this gift for the good of all rather than personal profit?”

Eyes downcast as well, Daedalus murmured softly, “Sharing one’s fortunes with others should not be for profit, but a blessing, and first and foremost to the giver.”

The girl smiled and she darted to Icarus, who was busy constructing another pile of blocks ready to fall.

Daedalus simply closed his eyes and remembered a time more than thirty years before. As the memories returned, his chest tightened and he wheezed for air.

***

War was smoke, smoke and fire. It was the screaming of women and children, the shouts of men. It was the face of the dead, lying on the earth with puzzled, unseeing eyes, no longer embarrassed by the loss of their stool and urine. Worse yet were the eyes of the animals, horses and dogs, slain with no inkling of their sacrifice, whether it be for good or bad.

Daedalus was too young to remember the name of the city. Not Athens, but certainly allied to it. Nor could he remember his father other than a dim image frozen in his memory, that of an impossibly tall man, at least to a child’s eyes, who clutched a farming implement used for tilling. His face was brave but fearful at the same time. No warrior, he was going into battle for his family and knew he would never return. He clutched his son to his breast and looked at him with eyes that betrayed knowledge of his fate, but they also held a glimmer of hope. “Persevere.” he whispered to his son. Then he turned and left the little hut into the nightmare of fire, smoke, blood, screams, and flashing bronze.

He never saw his father again.

Blood and soot-streaked men shouting commands in an unfamiliar Grecian accent herded the ragged and terrified children and women into the village center, their communal well broken and piled with the bodies of the slain. Raising his eyes above, he saw the familiar moon, Selene, now red-streaked as if defiled by Ares, the god of war. He held his little fists to his eyes as he tried to shut out the images. Some of them were those of women raped, begging their children and siblings not to oppose the warriors on their behalf. The other sounds were that of the men not already killed being ritualistically slaughtered, his mother joining their ranks when she broke shrieking from the line of defiled women and ran towards her son.

Because he was perhaps four and small for his age he was spared and herded with the others to be sold at the slave market. He no longer remembered the name of his little village, nor his birth name. His name from that day forth was Slave.

Daedalus never forgot the last words of his father. He persevered. He did what was required and more. Even as a child, his quick wit and intelligence set him apart from the others. His new name, Daedalus, derived from a nickname meaning clever worker. He went from slave to foreman to apprentice architect to master architect faster than any could remember. Minos put him in charge of the palace restoration and finally the construction of the Labyrinth, the largest building project since the fall of legendary Atlantis.

It was traders from Crete that had recognized his potential and brought him to their island where he had blossomed and shed off the label of slave. He had adopted the island as his own and loved the people dearly, turning his talents for invention to the benefit of the average citizen.

Technically he had never been freed and was officially a slave. But his gifts were unique in Crete if not the world, and it was unlikely that there was a person alive who realized this omission. He was grateful to the good people of the island nation, but never forgot his origins and was cautious in dealing with those of power.

From ragged orphan slave to a lord of Crete, the mightiest empire of the Mediterranean, his transformation was breathtaking and unparalleled. In the known world, every man of power had risen to his station on the basis of heredity, wealth, religion, or skill in arms. Daedalus alone rose to power on the basis of his intellect. He bowed to Minos, King of Crete, and Minos alone. He vowed to use what talents the gods had bestowed on him for the good of all people and never to further wars of conquest.

Shaking the dusty memories from his head and willing his heart to slow, he stood and walked to the little slit window, hands crossed behind his back. The apartments on the backside of the palace complex were not the most desirable: the ones on the front caught the sea breezes and had a panoramic view of the Mediterranean. The view he craved like breath itself stood arrayed before him. He sighed and viewed what was arrayed before him.

The Labyrinth.



Copyright © 2013 by S.D. Hines All rights reserved.

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