Kenneth Atchity's Blog, page 44

James Pierre Talks about the Success of his Novel Gambino: The Rise

 

Having my book optioned by a major production company is a dream come true. As a writer, you write for yourself, because you can’t help yourself. The characters chatter endlessly in your mind, begging you to bring their stories to life on the page. So you do, but almost entirely as a means of quieting the voices. You hope—but never really think—that others will find your characters as intriguing and engaging as you did. So, when in fact others do, it’s a validating feeling. 

Available on Amazon Ken Atchity was the first person to believe in me and in Carlo Gambino, the main character in my book, Gambino: The Rise. Before Ken, I felt like I was the only person that was interested in crime boss Carlo Gambino and his organization, the Gambino Family. Ken opened my eyes to the fact that the general public might be just as interested in the Gambinos as I was. And he was right. Years after publishing the book with Story Merchant, renown Hollywood producer Julius Nasso expressed interest in the novel, and here we are today. On the precipice of a great achievement—and what is every writer’s dream—to see their book turned into a movie. I cannot thank Ken and Julius enough for this opportunity. It validates  the many years of research—and long hours in front of my keyboard—that went into bringing Gambino and his world to life. I pray that we see this film project all the way through, so that the world will get to meet and fall in love with Carlo Gambino, just as I did. 

And to all of the aspiring writers out there: never give up on your characters. Listen to them. Then breathe life into them, on the page. And then find a literary agent who believes in them as much as you do, and chances are, at some point, if you remain patient and committed to the process, your characters and their stories will be introduced to the rest of the world, for everyone to enjoy.

 

James E. Pierre

The 10 Scariest Sea Monsters in Cinema

 The Best Monster Movies Of The 21st Century So Far

Thalassophobia is the fear of large bodies of water, along with what horrors they may hold, and it is a phobia that cinema has capitalized on since its early days. Ever since people have gone out on the ocean, legends have arisen to explain their natural fear of it. The majority of these result in terrifying sea monsters which, as storytelling progressed, made their way onto the big screen.

You’re Gonna Need A MUCH Bigger Boat

For millions of years, the Megalodon survived at the bottom of Mariana’s Trench in a biome separated by a thick layer of hydrogen sulfide. When a group of researchers breaches the layer however, the enormous beast is released and sets off to feed. 
Understandably,  shark movies have somewhat of a bad rap . However, much like the Mosasaurus from Jurassic World, the giant shark in  The Meg  proves that terrifying sea monsters aren’t only found in fiction. Of course, the difference is that in this movie, the legendary creature has survived to this day. With the majority of our oceans being unexplored, it isn’t totally impossible, which is even more frightening.
Read more: https://collider.com/scariest-sea-mon...

FREE This Week From Story Merchant Books: Until Death Do Us Apart by Cade North

Until Death Do Us ApartBy Cade North

LOS ANGELES, CA—Story Merchant Books releases its newest dark comedy novel, Until Death Do Us Apart, from author Cade North.

A natural disaster, naked fortune telling, a romantic catastrophe, supervillains, and poop on slides--just another week in the life of Sloane Noah. Despite always wanting a boring life, this single parent and hapless college professor finds she’s a lightning rod for the shocking and comically bizarre.

Based on a true story, this darkly hilarious book chronicles one woman’s tale about learning resilience from misfortune and strength from pain. Nature’s splintered wreckage, laughter, and the carcass of love prove to be the key ingredients for becoming her own hero. This dynamic story will resonate with anyone who’s ever fumbled through life’s absurdities and, somehow, still managed to stumble into a bright, new day.

Cade North

As Dr. Cade North carved out a career in academia and successfully raised two children on her own, North survived her own long history of romantic mishaps as well. While living a life packed with unplanned comedy and adventure, Cade developed the ability to turn personal calamities into hilarious tales.

Originally from Richmond, Indiana, North lived in numerous places across the U.S. and traveled throughout the world while getting her education and earlier work experience. Coming full circle, now Cade lives back in Indiana and works as college professor.

To request a review copy or inquire about an author interview, please email chris@storymerchant.com

6 Reasons To Get Excited Over The Meg 2: The Trench

 

The megalodon was both an incredible and frightening predator that ruled the oceans some two million years ago. This prehistoric shark grew up to 50 feet in length. If it’s still around today, no sea would be safe. Good thing the megalodon now only lives in books and movies like The Meg, which will be getting its sequel soon.

To appreciate the size and get a glimpse of how mighty the megalodon was in its time, you can head on to sites like Fossilera and get up close and personal with its actual massive teeth. While you’re at it, below are some reasons you need to get excited over the upcoming The Meg 2 movie release…

1. The Meg Was A Legitimate Hit In 2018

If you think people had enough of sharks frightening them–at least on the silver screen–then you may be getting the wrong impression. The first installment of The Meg, released in 2018, was a box office hit. 

The film about a colossal prehistoric shark starring Jason Statham and directed by Jon Turteltaub raked in an equally massive earning of $44.5 million in its domestic opening alone. It was the biggest opening in the United States that year. 

Now, with that kind of box office performance, moviegoers can expect that the sequel can only have bigger, if not better, visual effects. Plus, with Jason Statham onboard to reprise his role from the first installment, one can almost feel the action that will be going on in The Meg 2. 

2. Sea Monsters Have Always Captivated Imagination

Steven Spielberg’s creation in the seventies made a big splash in cinemas worldwide and captured the viewing public’s imagination–and fear. Since that time, there has been no shortage of monsters from the deep gracing big and small screens. When it comes to bad guys from the ocean, nothing comes close to a megalodon. It’s big, nasty, and one of the terrifying prehistoric predators that can give anyone nightmares. Any monster fan worth their salt wouldn’t want to miss The Meg 2.

3. No More Dystopian Or Apocalyptic Flicks 

The whole world virtually stopped at a standstill during the pandemic. For close to two years now, everyone’s mood has been down, if not depressed. Most people are grappling with what can only be described as a dystopian or apocalyptic atmosphere. So, as cinemas slowly open for business, would anyone even spend money for a movie that will make them feel even more pessimistic? Of course, not. 

A megalodon movie will surely provide the fun and adrenaline rush most people have missed out on these past two years. The Meg 2 will be like a magic potion at a time when the world is still reeling from a pandemic.

4. It’s Jason Statham Vs. Megalodon, Round 2

Movie fans know Jason Statham. He’s a Hollywood A-lister with several action movie blockbusters under his belt. The box office performance of the first installment of The Meg can attest to this action star’s commercial success. That said, seeing him fight off a prehistoric underwater predator–for the second time–will surely be a treat at a time of a pandemic. 

5. The Movie Takes On The Human Vs. Nature Theme

The world has lost millions of people in the pandemic. If people can help it, no one would want to see more humans suffer and pass on. While action movies can provide the thrill ride that everyone needs right now, many people would find it distasteful to see one human committing violence against other humans. In other words, enough of human death. 

But, it’s a whole different ballgame to see fellow humans fighting off one of nature’s beasts. The Meg 2 will show how humanity will continue to survive as it takes on the classic humans versus nature theme. In a pandemic, the megalodon may very well be a symbolism for the virus that has claimed millions of lives. The Meg 2 should provide some inspiration for moviegoers. 

6. It’s Not A Knockoff Shark Flick

If you’ve watched Steven Spielberg’s classic movie about a killer great white shark preying on people, then it’s safe to say that you’ve seen it all when it comes to shark flicks. Arguably, no other shark movie comes close to it. Every other shark-themed flick that came after it may well be considered as a knockoff of the Spielberg masterpiece. 

Well, The Meg and its upcoming sequel are not imitation flicks. Right from the first installment, creators of The Meg have added elements never seen before in cinemas. For one, the prehistoric aspect of the main antagonist adds more mystery to the movie. Both action fans and science enthusiasts will have a field day with a megalodon movie.

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Why We Keep Telling the Same Stories

Neil Gaiman, Halldor Laxness and the art of revisiting myths



Thor und die Midgardsschlange, Emil Doepler (1905)Some stories are primal. Some have drawn the attention of readers for centuries or even millennia–they might be national epics, sacred texts, or myths that explain some quality of the world. Depending on the reader, they might be all those things. But just as certain stories retain the ability to hold an audience rapt, so too do they inspire a particular group of writers to retell them.
This is far from a new literary tradition. Italo Calvino’s bibliography involves plenty of genre-defying, narratively innovative, and head-spinning works; it also includes 1956’s Italian Folktales, a massive collection of, well, retold versions of Italian folktales. William Butler Yeats collected several volumes of Irish folktales in the late 19th century. And in 1973, R. K. Narayan, best-known for his works of literary realism, published a shortened prose version of The Ramayana, a centuries-old Tamil epic. Canongate’s ‘The Myths’ series has included contributions from writers like Ali Smith, David Grossman, and Margaret Atwood. Here, the definition of ‘myths’ is wide-ranging: Smith’s Girl Meets Boy juxtaposes a retelling of Ovid’s tales of changing bodies with more contemporary concerns, while Grossman’s Lion’s Honey is an essayistic meditation on the Old Testament story of Samson.
Some tellers of ancient tales prefer a decidedly restrained approach, a neutral tone that serves as a literary middle ground between the archaic style in which the stories were initially told and a more contemporary voice. For others, though, a contemporary sense of language is crucial. Chester Brown’s recent graphic novel Mary Wept over the Feet of Jesus retells several stories from the Bible pertaining to sex work. Brown uses a familiar and conversational tone throughout; one caption memorably reads “Meanwhile, in Heaven, the angels are hanging out.”
Among the highest-profile retellings of ancient stories in recent years is Neil Gaiman’s Norse Mythology. Gaiman has a longstanding fascination with the deities. His novels American Gods and Anansi Boys feature riffs on immortals from numerous pantheons, with questions of perception, belief, and evolution thrown into the mix. Even earlier, Gaiman wrote several of the Norse gods–notably, Thor, Odin, and Loki–in his groundbreaking Vertigo comics series Sandman.There’s an element of circularity, then, to aspects of Gaiman’s introduction to Norse Mythology, in which he writes about his own initial experience with these Norse figures.

My first encounter with Asgard and its inhabitants was as a small boy, no more than seven, reading the adventures of the Mighty Thor as depicted by American comics artist Jack Kirby, in stories plotted by Kirby and Stan Lee and dialogued by Stan Lee’s brother Larry Lieber.

It’s probably also worth pointing out that a version of Marvel Comics’ Thor turned up, albeit briefly, in the Gaiman-penned series 1602. Norse Mythology marks the fourth time Gaiman has taken a crack at these characters; like Johnny Cash going into the studio with Rick Rubin, there seems to be an effort to get back to the basics, to find what’s essential in a familiar story without too many additional trappings.
 


The Wolves Pursuing Sol and Man, Hélène Adeline Guerber (1909)
It’s significant that, by and large, there are no postmodern or metafictional nods in Gaiman’s retellings. The way in which stories are told, and how belief in certain narratives can influence reality, are concepts Gaiman has wrestled with in numerous works. Here, the narratives are more straightforward; this feels more suitable for an all-ages audience — it’s more about the flair of the telling. There is the sense that he did savor writing some choice bits of dialogue—the trickster Loki reveling in someone’s inability to consider “the exactness of their words,” for instance. And the voice through which Gaiman recounts these stories also is polished; it’s one that seems familiar and collegial with both these characters and the reader experiencing the stories:

That was the thing about Loki. You resented him even when you were at your most grateful, and you were grateful to him even when you hated him the most.

In his introduction to Norse Mythology, Gaiman writes about his process of assembling this book, reading “words from nine hundred years ago and before, picking and choosing what tales I wanted to retell and how I wanted to tell them.” In an interview with Petra Mayer at NPR, Gaiman spoke about the appeal of this particular mythology because it has an end point, which created a sense of a larger narrative. Ragnarok, Gaiman argues, “turns the entire thing into a tragedy, which gives it depth, it gives it base notes, it gives it a peculiar profundity.” It’s a prime example of how a modern storyteller can find their own angle on long-running narratives.

Like Johnny Cash going into the studio with Rick Rubin, there seems to be an effort to get back to the basics, to find what’s essential in a familiar story without too many additional trappings.

That’s an essential part of crafting retellings that will endure. In a 1988 interview with Adit De, R. K. Narayan spoke about his own work with classic narratives — retellings of The Ramayana and The Mahabharata. For him, the need to retell these stories was essential. “They are symbolic and philosophical,” he explained. “Even as mere stories, they are so good. Marvellous. I couldn’t help writing them. It was part of a writer’s discipline.”

Rama, Sita, Lakshmana, Hanuman, circa 17th c.
For some writers, tapping into the essential elements of an older text can be its own reward. Others may well want to explore more contemporary questions or use the narrative to critique something in their own society. Halldor Laxness’s novel Wayward Heroes was written in 1952, but was only recently translated (by Philip Roughton) into English. From the first page of Laxness’s novel, he makes it clear that this is a conscious retelling of an older work:

Most of the stories of these warriors we find so remarkable that recalling them once more is certainly worth our time and attention, and thus we have spent long hours compiling into one narrative their achievements as related in numerous books. Foremost among these, we would be remiss not to name, is the Great Saga of the Sworn Brothers.

If the tone of that passage strikes you as overblown, that’s the point. The two sworn brothers in question, Þorgeir and Þormóður, engage in a host of bloody feats over the course of the book that ultimately feel more tragicomic than remarkable. In a long essay about the works of Laxness for Harper’s, Justin Taylor argues that “Wayward Heroes belongs in the pantheon of the antiwar novel alongside such touchstones as Slaughterhouse-Five and Catch-22.”

Whether straightforward or revisionist, these stories can be adapted into countless forms, and experienced in a host of ways.

Throughout the novel, there are reminders that this is a retelling of an older story. A paragraph in one section of the novel set in Greenland opens with a line that reads like nonfiction: “Sources state that when Þormóður reached the Eastern Settlement…” Later on, the action pauses entirely so that the book’s narrator can draw attention to narrative discrepancies: “There are two different accounts concerning what subsequently occurred between the brothers-in-law.” From there follows a long and self-effacing explanation of why, exactly, one of the two accounts has been chosen to appear in these pages.


Image from Icelandic saga
This seems entirely in keeping with Laxness’s wry tone, which takes notions of heroism and national glory down several pegs. So too is the use of narrative ambiguity when one of the novel’s central characters dies. “[W]e shall never gain a clear answer from men of learning — the old books differ widely on these details,” Laxness writes.
For writers like Narayan and Gaiman, revisiting older stories was a kind of master class in narrative: finding what was most essential about certain essential stories and making it their own. For others–Laxness certainly comes to mind, as do several of the writers who have written books for Canongate–the oldest of stories are fertile ground to examine much more contemporary concerns. And perhaps that’s the biggest testimonial of all to the staying power of some of these narratives: whether straightforward or revisionist, they can be adapted into countless forms, and experienced in a host of ways. Some of these stories date back to the oral tradition; a series of repeated retellings was what made them endure over the years, the decades, the centuries. Retelling might involve a storyteller finding their own perspective on something timeless; it might involve using an ancient tale to illuminate something contemporary. Though the stories in these relatively recent retellings are printed and bound, their lineage hails back much further into the history of narrative. What these contemporary forms and devices do, then, is give us something to handle, something to set beside more recent works, seeing how these stories have influenced generations of stories and storytellers that followed. And perhaps for some readers, these versions will spark a new cycle of tellings and retellings.

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Story Merchant Books E-book Deal: FREE June 27 - June 30! The Nomad's Premonition ⁠by Georges Benay

AVAILABLE ON AMAZON

⁠A thrilling fusion of mystery and intrigue in an exotic setting.⁠Eric Martin is desperate to forget his past, one that almost cost him his future.⁠
Working in Paris as deputy head of a bank's internal security department, Eric notices a high-speed trader's uncanny ability to predict extremely profitable trades. Even though there's nothing illegal about the activity, he knows the trader's success is more than just luck.

But, no one believes him. Armed only with a handful of data and a powerful instinct, Eric searches for the mysterious trader on his own. He suspects that a predictive algorithm has fallen into the wrong hands.

Eric sets off for Istanbul to find answers promised to him by an informant. He finds an unlikely ally in Interpol agent Stephanie Brule. With Interpol wanting him back in Paris and out of the way, Eric's quest is also hampered by the sudden appearance of his ex-lover, a boss he's not sure he can trust, and a terrorist who always seems one step ahead.

Will Eric put an end, once and for all, to the nightmare that began when he accepted a job that was too good to be true? Or will his need for revenge and justice lead him deeper into a treacherous world he has no way of escaping?⁠

Writers It's Never Too Late to Follow Your Dream

 

Learn more about One-on-one coaching to help understand a Type-C personality and equip you with practical tools to make yourself more productive and less frustrated with storytelling at http://www.thewriterslifeline.com/

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Writers Lifeline: Hollywood High Concept

 Studios today are producing, for the most part, two kinds of films. One type is pre-established franchises (comic books, TV series, famous novels, toys, such as Star Wars, Captain America, and The Hunger Games. The other type is high-concept scripts that are either conceived of in-house by executives, producers, managers, and agents who know what the market responds to — or by “spec” screenwriters determined to break the bank.

Writing even the greatest screenplay that isn’t high concept is choosing either the indie path or willful self-indulgence.

Dealing with “high concept” is one of the most challenging and frustrating tasks of the Hollywood writer, agent, or producer; reducing the story to a compelling logline is what high concept is all about. As a former academic not prepared for a world focused on marketing, it took me years to realize that the term “high concept” means almost its opposite. It means “simple concept,” as in Fatal Attraction: An innocent smile at a party turns a married man’s life upside down and put his family in mortal jeopardy.

Sometimes a title is its own high concept, as with Margaret Mitchell’s best-selling novel Gone with the Wind, the extended logline of which would be: “Against the backdrop of the great Civil War, a narcissistic Southern beauty obsessed with idyllic love struggles to reconstruct her life and finds that her true love is closer than she thinks.”

High concept is a story that will compel the broadest audiences to watch the movie after hearing a pitch of only a few, or sometimes even one, word(s):

Psycho Sleepless in Seattle ArmageddonUnwanted Attentions Vertigo JawsHow to Lose a Guy in Ten Days American SniperUnfaithful Four Weddings and a Funeral San AndreasBlack Hawk Down Panic Room SelmaRunaway Bride Don’t Tell Mom the Babysitter’s Dead Home Alone Cabin FeverDie Hard Ex Machina

These examples of high concept are pitched by their very titles. It’s enough to hear the title—and know that Adam Sandler and Jack Nicholson star—to compel audiences to the box office for Anger Management. 

“Die Hard on a boat,” was allegedly the logline line that led to the sale of Steven Seagall’s Under Siege.

Titles like The Fisher King, Seven Days in May, Snow Falling on Cedars, The Shipping News may be evocative, but do not express a high concept that will instantly lure audiences. Though such titles may get lucky and become successful movies, in today’s blockbuster market they’d be swimming upstream.

Nothing is more important to marketing your story than a “high concept logline” that makes it immediately stand out from all those stories that are subtle, nuanced, and difficult to pitch, and that depend entirely upon “execution.” Here are some more examples that have led my companies or others to sales:

• “Jurassic Shark!” (the two-word description given AEI client Steve Alten’s Meg by ICM-agent Jeff Robinov, who spearheaded a “preempt” from Disney for $1.1 million; the story was then re-sold to Newline, and then to Warner Brothers)

• When the most obnoxious guy in the world realizes he’s become an asshole on a false premise, he makes a list of all the people he’s wronged and sets out to repay them one by one. (John Scott Shepherd’s Henry’s List of Wrongs, sold to New Line Pictures for $1.6 million).

• Life or Something Like It: An ambitious and self-involved reporter is sparked into action to change the pattern of her life when she interviews a street-psychic who tells her that her life is meaningless—and that she’s going to die—soon.
• The Madam’s Family: The true “Canal Street Brothel” story of three generations of madams and their battle against persecution by the FBI.

• The Lost Valentine: A man and woman find the love of their lifetimes when they’re brought together to memorialize the bittersweet story of a doomed World War II pilot and the wife who promised to wait forever for his return.

Consider these further examples, grouped by “genre”:

A woman or a family in jeopardy
The Shallows: While riding the waves at a remote beach, a young surfer finds herself injured and stranded just twenty miles from shore on a buoy—as a great white shark begins stalking her.

Room: After being abducted, abused, and imprisoned for seven years in a small windowless room a mother devises a bold escape plan.

An ordinary woman in extraordinary circumstances

The Danish Girl: What happens if the husband you adore needs to be a woman?
Woman in Gold: Six decades after World War II, a Jewish octogenarian begins a quest to reclaim the artwork confiscated from her family by the Nazis and now proudly celebrated by the Austrian government—including a famed Gustav Klimt masterpiece.

Men on a mission
Saving Private Ryan: US soldiers try to save their comrade who’s stationed behind enemy lines.

Bridge of Spies: At the height of the Cold War in 1960, the downing of an American spy plane and the pilot’s subsequent capture by the Soviets draws Brooklyn attorney James Donovan into the middle of an intense effort to secure the aviator’s release.

Man against nature
The Martian: He was left behind—on Mars.

The Revenant: A frontiersman fights for survival after being mauled by a grizzly and left for dead by his own hunting team.

Man or woman against the system
Spotlight: A Boston news team sets out to expose numerous cases of child molestation and cover up on the part of the local Catholic Archdiocese.

Concussion: A pathologist uncovers the truth about brain damage in football players who suffer repeated concussions and comes up against the corporate power of the NFL.

People Vs. Larry Flynt: A pornography publisher becomes the unlikely defender of free speech.

Class Action: A female attorney finds that her nemesis is her own father, and must choose between her corporate client and justice.
A woman escaping from something or someone she loves.

The Perfect Guy: After breaking up with her boyfriend, a professional woman gets involved with a man who seems almost too good to be true.

Enough: On the run from an abusive husband, a young mother begins to train herself to fight back.

Sleeping with the Enemy: A young woman fakes her own death in an attempt to escape her nightmarish marriage, but discovers it’s impossible to elude her controlling husband.

Filmmakers long to spot in our onslaught of daily email queries a high concept logline that makes a story out of universal—

• human emotions: fear, love, hate, envy, etc.
• deadly sins: anger, greed, lust, etc.
• plot motivators: betrayal, vengeance, discovery, rebirth, survival, etc.
• virtues: loyalty, faith, responsibility, etc.
—and embodies those elements in characters we can care about, relate to, and root for to shape an “original story” that feels both fresh and relevant to today’s global market.

If you can do that, and your writing effectively expresses your vision, you’re only steps away from recognition in the toughest story marketplace of all.


 

James Pierre’s novel GAMBINO: THE RISE signed as Italian film with George Gallo directing

James Pierre’s novel GAMBINO: THE RISE signed as Italian film with George Gallo directing

LOS ANGELES, CA—Story Merchant Books reports that an Italian film based on James Pierre’s Gambino: The Rise was announced by veteran producer Jules Nasso at the Cannes Film Festival. The film will be directed by George Gallo (Bad Boys, The Comeback Trail) who is scripting it with two-time Oscar winner Nick Vallelonga (Green Book).

Pierre’s novel dramatizes the history of the Cosa Nostra, beginning with its roots in Italy and the organizing role played by Carlo Gambino, its boss from 1957 until his death in bed in 1976 in his Long Island home. Gambino was reputed to be the inspiration for Mario Puzo’s The Godfather. In the novel, Gambino carries a copy of Nicolo Machiavelli’s The Prince with him on the boat from Italy.

Story Merchant/Atchity Productions Ken Atchity, who introduced the book to Nasso, will serve as executive producer. 

Vallelonga, speaking in Cannes, said that the approach he and Gallo are taking is not just that of a typical mob movie: “We’ve seen a lot of that. This is Shakespearean.” “Think Once Upon a Time in America,” said Nasso, whose start in the film business was as assistant to Sergio Leone. New York in the ‘50s and ‘70s will be reconstructed in Rome’s Cinecittà studios.

James commented: “What is every writer’s dream—to see their book turned into a movie validates the many years of research—and long hours in front of my keyboard—that went into bringing Gambino and his world to life. I listened to the characters, and they talked to me.”

Author James Pierre has also published How Did Warren Buffet Succeed, and is nearly finished with

Gambino: The Triumph, his sequel to the Gambino saga. He was born and raised in Brooklyn where he witnessed as a teenager a Mafia hit that led him to a lifetime fascination with the Gambino family. 

According to Variety, “the film is being produced by Nasso Productions (a Nasso-Zheng company) and fully financed by Edward Zeng and former Credit Suisse CEO Tidjane Thiam, with international sales handled by Minerva Pictures.”

 

Gambino: The Rise by James Pierre is available on Amazon

To request a review copy or inquire for an interview with the author, please email atchity@storymerchant.com