MUSINGS OF A STORY MERCHANT

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Thursday, September 30, 2010

Kenneth Atchity's Introduction to Marisa d'Vari’s book Creating Characters: Let Them Whisper Their Secrets

INTRODUCTION

By Dr. Kenneth Atchity

Character is the essence of drama, the primary mechanism from which compelling action arises to hold audiences in thrall. In all media from epic to play to novel to screenplay, great dramatists have been applauded for their ability to create memorable characters: Hektor bidding farewell to his wife and infant son on the wall of Troy in Homer’s Iliad; Lear, tossing away a kingdom to test the meaning and limits of love; Ahab, willing to risk his life and the lives of his men to avenge himself against Moby Dick; or Kane, dancing through hubris to self-destruction in Orson Welles’ masterpiece.

The creation of memorable characters is both the most elusive and the simplest task of the dramatist—the act in which he or she melds the workings of conscious craft and unconscious inspiration.

How is a dramatic character “born”? Like Athena from the head of Zeus, a character is born straight from the writer’s head--without benefit or burden of the tedious normal process of childhood and adolescence.

But how does a writer create a character full-blown? There are probably as many answers to this question as there are storytellers, but the formula I keep coming back to is, “What would happen if a character like this found himself involved in a situation like that?” What would happen if a character that trusts his father above all but loves his mother more found out that his father may have been murdered with her cooperation? Explore this in a dark mood, and you have Shakespeare’s Hamlet. Splash was created from the question, What would happen if a man who glimpsed a mermaid long ago and never stopped thinking about her discovered she had left the sea to find him because she’d never stopped thinking about him?

William Faulkner’s process was to allow a character to haunt him, to incarnate in his mind from repeated visitations. Instead of trying to write something the first time he glimpsed the character, he ignored it until it kept coming back to pester him. Then he began asking questions, questions based on observation of the character’s image in his mind: a young girl, with muddy underpants and unscraped knees, up a tree, watching a funeral through the window of a big house:

Why were her pants muddy?
Why was she up this tree?
Why were her knees unscraped?
Why was she looking in on the funeral from outside?
Whose funeral was it?

By the time he’d listed these, and more, questions, he had already begun discovering answers. When he had enough answers, he felt compelled to begin writing—in this case, The Sound and the Fury, from the character of Candace.

In editing and publishing DreamWorks with my colleague Marsha Kinder, we discovered that artists in all genres regularly create the condition for easy passage between the external real world and the internal world of dreams. That two-way passage, the well-trod path of both storyteller and shaman, is symbolized in Virgil’s Aeneid by “the gates of horn and ivory”; and in Miguel de Cervantes’ Don Quixote de la Mancha by the “cave of the Montesinos.”

The mysterious imagination, that seat of creativity that lies somewhere between the conscious and unconscious mind, is the infinite font from which the most memorable fictional characters spring. Productive writers have learned tricks to awaken the imagination, to incite it to do its job.

This book is a well-organized sleight-of-hand, a guide to tricking your imagination into creative action. The author includes concrete examples of how successful screenwriters and authors have accessed their dream factory, and gives practical step-by-step advice about how you can do it too. Her suggestions for “channeling your characters via dialogue” or taking your character to “a goal-setting workshop” are just two of the many tricks she suggests to open that passage to the world of the imagination whence characters are born.

The More-Personality System, which D’Vari developed in “clinical” encounters with writers over the years, is an innovative tool for jump-starting characterization when you’re faced with a blank page, as well as an instrument to sharpen characterization, add additional depth, nuance, and characteristics, assist with discovering a character's voice, discover potential conflicts between characters; and finally, a time-saving checklist to ensure that all characters in your story are diverse enough to draw and maintain an audience's interest. It can help you determine what the “this” is in the formula “a character like this.”

Some writers plot their story first, and then create a character to fit the story’s demands. In this scenario, the More-Personality can help them quickly add the flesh of back story to the character’s skeleton. Other writers find their characters through dreams, or via an intriguing person they meet, see, or read about and can use the More-Personality system to balance their character and see their character in a more objective light.

In my own books on writing, A Writer’s Time: A Guide to the Creative Process, from Vision through Revision, How to Publish Your Novel, and Writing Treatments That Sell: How to Create and Market Your Story Ideas to the Motion Picture and TV Industry, I outline the four dynamic elements from which fictional characters are constructed: motivation, mission, obstacles, and change. If these four elements are the skeleton of created character, D’Vari’s elements are the flesh that makes your characters appear to be real (when, in fact, they’re not).

D’Vari developed this system from her knowledge of the Enneagram, Jungian personality types, the Myers-Briggs system, and the development practices of the Hollywood studios. You’ll enjoy the self-quiz she’s constructed to let you figure out your own type, as well as the type of your characters, which will help you flesh them out and make them seem real. She introduces the

M = Mover (who moves fast, wants information fast, uses action oriented words)
0 = Observer (who’s analytical by nature)
R = Relater (who’s "people" oriented)
E = Energizer (who’s a storyteller, colorful, vibrant, outgoing)

She explains each of the four types in exemplary detail, using celebrity personalities and screen roles
for clear illustration. She includes exercises that allow writers to dig deep into their characters, as well as unique personality quirks associated with each type.

Using her system, you’ll be able to:
Understand how your character relates to other personality types in the story;
Ensure that you have a realistic sprinkling of different types in your story;
Understand your character's phobias and preferences, by his type;
Plot a more realistic developmental pathway to your character's goals;
Create more realistic obstructions to your character's goal; and
Devise more credible dialogue as your character will speak by type.

Of course, the point of any system is to get the motor running. You’ll begin creating your own shortcuts, your own exceptions, your own way of doings things the minute you put her excellent advice into action. It’s all about getting rid of writer’s block and getting your characters up and running.

What writers mean when they say, “My characters talk to me,” is that they’ve given them a chance to take dramatic shape in their minds by bringing the elements within each character that makes that character conflicted, and therefore dramatically involving, into focus. When a character is not focused, it lies inertly on the page like so many words. When it is focused, by having its external mission and internal conflict clear cut and reflected in the way it moves, speaks, and acts—audiences say, “Her characters come alive.”

That’s the goal of this book: to help you create characters that come alive.
_________________________________________________________________
Atchity (Yale Ph.D.) is a writer-producer-literary manager-professor-editor, whose Story Merchant companies (thestorymerchant.com) are Atchity Entertainment International (aeionline.com), for writers “ready for prime time”), The Writers Lifeline (thewriterslifeline.com), for writers “not yet ready for prime time), and The Creative Media Group for storytellers who’ve passed beyond prime time into becoming international brands. His clients, among them bestselling authors and screenwriters, include Governor Jesse Ventura, Ripley’s Believe-It-Or-Not!, Beyond Comics, and The Learning Annex.

Wednesday, September 29, 2010

AEI FINISH LINE BRAND CLIENT MARCIA WIEDER OF DREAM UNIVERSITY

Wed 5 PM PT on World Talk Radio Variety Channel









Dream University and “The Great Dream Challenge.”

Do you have a Dream? What is it? Do you know how powerful a Dream can be? Tonight, Marcia Wieder, the CEO and Founder of Dream University®, will share her amazing discovery about the power of Dream. Marcia, in fact, is leading a Dream Movement. Whether teaching at Learn More >>



Missed the Live Shows? Past Episodes are available On Demand and Podcast Ready.

Listen Live to World Talk Radio Variety

Be sure to tune into American Dreams: The Sky Is The Limit with Jin Kyu (Suh) Robertson every Wed 5 PM PT on World Talk Radio Variety Channel

Log on to Listen:
http://www.worldtalkradio.com

Questions? Comments?
Call: 1-866-613-1612



Tuesday, September 28, 2010

Listen to Ken Atchity 10/2/2010 AT 10 AM - On Blog Talk Radio


http://www.blogtalkradio.com/thatwritingchic



thatwritingchic

Mom, TV/Film Writer, Producer, Director, Friend of God, Talk Show Host/Producer (not necessarily in that order) That Writing Chic aka Suncera wants to inspire you to walk in your gifting and talents! Hear from people who are doing during the day, what you dream about at night! Authors/Writers/Producers/Directors share their lives, visions & purpose. Prepare to be INSPIRED!



Monday, September 27, 2010

“STORY MERCHANT” DR. KEN ATCHITY OFFERS WRITERS AT ALL LEVELS PERSONAL CAREER COACHING:

STRATEGY & TACTICS FOR MAKING A GLOBAL IMPACT IN A CHANGING WORLD MARKET

Dr. Atchity has spent his lifetime helping writers get started with and improve their careers. For nearly twenty years as a professor of literature and teacher of creative writing at Occidental College and UCLA--then since 1995, through this thewriterslifeline.com and as a literary manager with aeionline.com Dr. Atchity has helped literally hundreds of writers find a market for their work by bringing their craft and technique to the level of their ambition and vision. His daily newsletter, inspire@storymerchant.com keeps thousands of writers inspired and informed.

The 30-minute coaching sessions are doubly proactive: (a) determining your “assignment” for the next session; and (b) Dr. Atchity taking action on getting you to the connections you need to keep your project on the strategic track you’ve designed together. Plus, you’ll get 3 free follow-up emails for each session.

The one-on-one coaching includes:

• NOVELISTS AND NONFICTION WRITERS
Moving into Markets Beyond Your Own Backyard
Creating a Presence in the U.S.
Translation Issues (and solutions)
How Do I Know If My Work Is Good Enough for the Global Market?
Plots that Sell Globally
Building Characters
Settings That Sell in the U.S.
Choosing Your Next Work

Effective, Economical Publicity
Self-publishing: Perils and Opportunities
How Do I Publish My Children’s Book?
How to Find an Agent (Dr. Atchity will refer you to his management company or an appropriate agent once your work is ready for presentation).
How to Approach Publishers Directly.
How Can I Get My Novel Made Into a Film?
What Do I Need to Know or Do about BRANDING?


• SCREENWRITERS:

Today’s 2 Hollywood Market s & How to Navigate Them
Do I Need an Agent?
How Do I Find One? (when your work is ready, Dr. Atchity will refer it)
The Value of Contests
How Do I Know if My Work Is Good Enough for Hollywood?
What Is Television Looking for?
Where Can I Find a U.S. Collaborator for My Work?
How Do I Stand Out from the Pack?
How Can I Accelerate the Process of Getting My Script Made Into a Film?
Becoming a Proactive Filmmaker

In some cases, coaching can involve representation.

What other writing coach is also…
An active producer, for major studios, television, and independent films
A literary manager for twenty years for screenwriters, nonfiction authors, and novelists—with over 15 bestsellers and nearly 30 films
An editor for fifty years in every imaginable field
The author of 15 books, including A Writer’s Time, Writing Treatments That Sell, How to Publish Your Novel, and How to Escape Lifetime Security and Pursue Your Impossible Dream: A Guide to Changing Your Career
An inspiring public speaker at dozens of conventions and conferences in the U.S. and Europe
A brand manager whose brands have included Ripley’s Believe-It-Or-Not! and thethrillionaires.com
A writer on every aspect of the creative process
Ph.D. from Yale, former Professor of Literature at Occidental College.
Fulbright Professor to the University of Bologna

Stay tuned with his latest activities at kenatchity.blogspot.com

For daily free inspiration and information for writers along with news of our latest deals, inspire@storymerchant.com

Inquire about one-on-one coaching now by writing to drk@storymerchant.com and receive further information about rates and benefits.

_____________________________________________


Career Coaching


Rates until October 15, 2010

One-off session

$125 : (30 min telecom + 3 brief follow up emails in following 7 days (more emails okay but on further hourly charge)

$1,250: (12 Weekly 30-minutes for 3 months + email f/us)

$2,500: (24 Weekly 30-minutes for 6 months + email f/us)


NOTE: for a translator on the line, add 25% per session.

All fees payable in advance.


The same basic fee is available for work provided outside the telecom, such as submissions of your project and/or making publicity connections to serve your project.

_____________________________________________________________

FAQ


Q: What is the difference between working with this service and the services offered by thewriterslifeline.com?

A: Writers Lifeline services are provided by our editorial/writing staff under my direction. With Career Coaching, you’re dealing one-on-one with me.

Q: Why did you start this Career Coaching service?

A: For two reasons: (1) My frustration at not being able to assist enough writers directly as I once did regularly as a professor; and (2) the changing realities of the literary management business where there is simply no more time available, as we increase our involvement in producing films and tv, to spend uncompensated time with writers.

Q. Can you help me submit my work to buyers?

A: Absolutely. When your work is ready for submission, I will either pick up the phone and submit it for you (no commission!), or I’ll suggest a representative who might be right for it.

Saturday, September 25, 2010

Guest Post: Why We Like What We Like by Darby Roach

Darby Roach
2010-08-25-whyartwork2.jpg

Image credits: Clockwise from top: Getty Images, Darby Roach, Getty Images.
Artwork by the author.


Have you ever wondered why we find some people attractive, are drawn to a verdant landscape, enjoy looking at a great work of art or drool over a sleek sports car? We seek out these aesthetic experiences because they make us feel good. Still the questions of how and why our brains create such pleasurable sensations has--until recently--been one of the great mysteries of life.

But now, science is starting to answer this age-old question. Neuroscientists are using advanced scanning machines to look inside the living human brain and figure out why we like what we like.

And what they're discovering is astounding!

It turns out, the parts of our brains that give us a good feeling when we experience beauty are the same parts that are responsible for the drive to survive. Here's how it works. Each of us has a set of structures in our subconscious brain called the reward system. It has evolved over time to help us spot those people, places and things that could help us survive. The reward system signals the presence of survival advantages by producing the feel-good chemical, dopamine, the effect of which our consciousness interprets as, "Hey, there's someone (or something) I like!" We get the delicious sensation that our human needs are being met and we pursue whomever or whatever triggered the dopamine rush.


2010-08-23-goldensection.jpg

Image credits: Getty Images.
Artwork by the author.


The link between survival and finding a good mate or a hospitable environment is clear. We find some people attractive because they have good genes and can help us extend our own genetic lines. We are drawn to lush landscapes because they can provide us with the necessities of life.

But we also feel attraction to those things that are purely the product of human creativity. I'm talking about the things artists and designers create out of whole cloth, like cars, clothing, computers, furniture, appliances and even advertisements, typefaces and product packaging. Why do these things--when they are well designed--have the power to stimulate our survival centers, trigger the aesthetic experience, give us a good feeling and make us want to possess them?


2010-08-23-design.jpg

Image credits: Getty Images.
Artwork by the author.


One study that sheds some light on the mystery was conducted at the Neuroscience Department of the University of Parma, Italy. Researchers sought to discover what kind of visual stimuli caused the reward system to activate and produce dopamine. Subjects were shown images of the classical sculpture, Doryphoros by Polykleitos, which is based on a set of proportions called the golden section. Images of the sculpture were shown three different ways; with its original proportions, with the legs shortened, and with the trunk lengthened. Researchers used an advanced MRI scanner to watch how the subjects' brains responded and found that the sculpture with its original proportions produced the most pronounced emotional effect.

It makes sense that the golden section can trigger our reward systems. After all, artists and designers have been aware of its aesthetic power for a very long time and many ancient and modern works of art such as the Parthenon and the Mona Lisa reveal its presence. It also shows up throughout the fabric of life. It can be seen in the arrangement of leaves on many plants and in the scale and anatomy of our own bodies. It's even found in our DNA!

Perhaps our subconscious brains respond to the golden section because it signals the presence of a survival advantage. It's not too great a stretch to imagine that we would be attracted to another person whose appearance represents a particularly elegant example of the golden section, or that we are drawn to a landscape that somehow incorporates multiple golden sections.

The case of the golden section is only one example. As with the study of most other phenomena, this line of research produces more questions than answers. But three principles are clear:

  • We don't consciously choose to like other people and things, our subconscious makes those decisions for us.
  • Our sense of attraction is closely associated with our drive to survive.
  • Our attraction to other people, places and things happens very quickly--usually within 3 seconds.

It's a delicious mystery and more research is sure to provide exciting revelations about why we like what we like. What other new ideas will future study inspire? Stay tuned and we'll explore them together.


Darby Roach is a designer and a writer and heads up his own marketing agency, Orbit Direct. His most recent book, Your Three Second Window, demystifies the design process by explaining why we like the things we like, how to see and think as a designer, and what each of us can do to introduce harmony into our lives through an enhanced aesthetic experience.

Find out more about Darby and follow his blog at DarbyRoach.com

Follow Darby Roach on Twitter: www.twitter.com/darbyroach

Friday, September 24, 2010

AEI CLIENTS JERRY BLAINE & LISA McCUBBIN'S KENNEDY DETAIL PRESS RELEASE FROM GALLERY BOOKS







Simon & Schuster
1230 Avenue of the Americas
New York, NY 10020

Contact: Mary McCue, Publicist
212-698-4792 / mary.mccue@simonandschuster.com

For the first time, the true story of the events leading up to and following the assassination of President John F. Kennedy, from the perspective of the Secret Service agents who were there.


The Kennedy Detail

JFK’s Secret Service Agents Break Their Silence

By Gerald Blaine with Lisa McCubbin

Foreword by Clint Hill

Where were you at 12:30pm on November 22, 1963? A single question that unifies all Americans who were alive at the time, its significance is greater still for the thirty-four Secret Service agents who were on President Kennedy’s detail when he was assassinated.

In THE KENNEDY DETAIL: JFK’S Secret Service Agents Break Their Silence (Gallery Books; November 2, 2010; $28.00), Jerry Blaine – one of those thirty-four men – sets history straight on what really happened that afternoon, as well as in the months leading up to and following the assassination. Written along with award-winning journalist Lisa McCubbin, this account includes contributions from most of the Secret Service agents who were on the Kennedy Detail, and draws upon their daily reports, expense accounts, personal notes, and verbal first-hand accounts. A close-knit brotherhood of agents who collectively suppressed the trauma of that day, the writing of this book has helped heal the wounds of failure and guilt that they have lived with for nearly fifty years.

Clint Hill, the agent who jumped on the back of the car in the midst of the shooting and pushed Jackie down into the back seat, has not contributed to any books on the assassination, until now. As Hill writes in the Foreword, “I don’t talk to anybody about that day…It is only because of my complete faith and trust that Jerry Blaine would tell our story with dignity and unwavering honesty that I agreed to be involved.”

While THE KENNEDY DETAIL adds another volume to one of the most prolifically discussed aspects of our country’s history – between the conspiracy theories and countless revisionist histories – it is the only authoritative account of the events of that day from the men, like Clint Hill, who were there to guard the president’s life. With access to information from this privy vantage point, Blaine and McCubbin are able to disclose a variety of behind-the-scenes stories related to the assassination. Specific points of discussion include:

· The never-before-published story of how Blaine came within a split second of shooting President Lyndon B. Johnson just hours after JFK’s assassination

· What happened the day prior to the assassination when a Fort Worth hotel refused to register an African-American Secret Service Agent

· Details of a never-before-revealed meeting the morning of JFK’s funeral, in which Secret Service Chief James Rowley ordered the agents to keep quiet about an important fact relating to the assassination

· Circumstances that led Jacqueline Kennedy to accompany her husband on the political trip to Texas

· Details surrounded JFK’s November 18, 1963 trip to Tampa and how the events there contributed to the activities in Dallas four days later

· The plethora of conspiracy theories that have been posited over the years, including the authors’ conclusion that Lee Harvey Oswald acted alone

· How the assassination forever changed the role of the Secret Service, and how the modern day agency has adapted to new threats and is responsible for more people than ever before

· JFK’s meetings with Marilyn Monroe

As Blaine writes, “Every man on the Kennedy Detail would re-live those six seconds in Dallas a million times over. For the rest of their lives, they would be defined by the assassination of JFK, questioned and blamed for failing to achieve the impossible.” This is their story, and it is essential reading for anyone seeking to more fully understand what happened on November 22, 1963.

Both Jerry Blaine and Clint Hill are available for interviews about THE KENNEDY DETAIL, and they will be in New York City in November. The Discovery Channel’s show based on the book airs on November 21st.

# # #


About the Authors

Gerald Blaine had the privilege of serving three U.S. presidents as a Special Agent of the Secret Service on the White House detail. After his resignation following John. F. Kennedy’s assassination, he embarked on a career path as an expert in high-level corporate security. He retired in 2003 and now lives in Colorado with his wife of more than fifty years.

Lisa McCubbin is an award-winning journalist who has worked for three major television news networks. In the aftermath of the attacks on 9/11, McCubbin provided compelling reports as a foreign correspondent in Saudi Arabia. She splits her time between the Middle East and Colorado.


# # #

THE KENNEDY DETAIL • Gerald Blaine with Lisa McCubbin

Pub date: November 2, 2010 • ISBN: 9781439192962

Price: $28.00 • Hardcover • Gallery Books

www.kennedydetail.com

Gallery Books is an imprint dedicated to publishing a wide variety of must-read books on a wide array of topics. The imprint was designed to showcase established voices and to introduce emerging new ones—in both fiction and nonfiction, and across a variety of genres. Some of Gallery Books’ bestselling titles include Are You There, Vodka? It’s Me Chelsea by Chelsea Handler, Still Alice by Lisa Genova, sTori Telling by Tori Spelling, and Oh My Dog by Beth Stern. Upcoming titles include I Know I Am, But What Are You? by Samantha Bee, Gunn’s Golden Rules by Tim Gunn, I Remember You by Harriet Evans, and Lisa Genova’s new novel, Left Neglected.

Thursday, September 23, 2010

Glen Pitre will deliver the… Annual Louisiana Studies Conference Keynote Address

Friday, 9/ 24, 6:30pm at NSU in Natchitoches,


Glen Pitre's first Louisiana films hit TV screens when he was 20. Thirty-four years and a few dozen films later, he's still wrestling with the ornery medium and still learning how best to tell tales. Here he examines important questions like: Why does Louisiana have a story lurking behind every cypress? While we must carefully choose which stories to tell, what happens when they choose us? How do you find inspiration when you're broke, and find funding when you're inspired? And most important of all to the new generation of Louisiana filmmakers, how is making moving images almost exactly like shrimping?

The event is free and open to the public.

Cut Off, LA, born and reared Glen Pitre is best known as writer/director of the big screen “gumbo westerns” Yellow Fever, Huit Piastres et Demie!, Belizaire the Cajun, The Scoundrel’s Wife, and The Man Who Came Back. America’s most famous film critic, Roger Ebert, calls Pitre “a legendary American regional director.”

ON LOCATION WITH DIRECTOR DAVID R. ELLIS, LOUISIANA WAVE STUDIO CO-MANAGER FRED GRIFFIN "SHARK NIGHT 3-D" IN SHREVEPORT







LOUISIANA WAVE STUDIO INVESTOR JOHN KINNEBREW ON THE NIGHT BEFORE SHARK NIGHT!

Wednesday, September 22, 2010

Guest Post: Ideology in Action by Stuart Connelly

There is concern among some in the GOP leadership that, by beating a more sensible candidate for the Republican spot in Tuesday's primary, Carl Paladino will have inadvertently handed the New York governorship to the Democrats this coming November.

Now what kind of can-do thinking is that? It smacks more of the weasel-like maneuvering of business-as-usual politics, and the rabid conservative movement doesn't strike me as the type of organization to concentrate on something as elitist as "strategy." Not when there are such important things at stake; things like honor, family values, and of course, Jesus Christ. I say to the Republican Party -- embrace the candidacy of one of those guys who's all angry and sweaty about some picture-book version of America getting yanked out from under our feet. Get behind him.

And if indeed the Republican Party stands for honor, why not commit? Fight the good fight, and let New Yorkers know what they'll get if they vote for Mr. Paladino. If they don't want what he's selling, so be it. You tried, right? It's not like a Tea Party candidate would be interested in the job if their agenda had to be watered down to get it.

Let's take the "mosque at Ground Zero" for an example. Here are candidate Paladino's own words from a radio spot during the primary campaign: "As Governor I will use the power of eminent domain to stop this mosque and make the site a war memorial instead of a monument to those who attacked our country."

How refreshing, conflating a vast religion in toto with a terrorist cell. (I wonder about Mr. Paladino's stance towards Christianity every time one of those serial killers says God -- you know, the Christian one -- to dismember teenagers.) Could the Republican leadership possibly be concerned that perhaps even right-leaning voters in New York might realize that the actions of a tiny number of zealots does not condemn an entire religion? And that realization might cost them votes?

Who cares, stand up for what you believe in, right? Isn't that what Glenn Beck's been saying? Everything about the movement grows from the roots of democracy. Unless, of course, those roots get in the way of stirring up emotions in voters.

In a July 22 article in the Albany Times Union, Mr. Paladino was quoted as saying, "A mosque would be unacceptable... This is an ideological question, not a freedom of religion issue."

Anyone who thinks that freedom of religion or any of the other concepts covered in The Constitution and The Bill of Rights is anything but an outlining of ideology is a perfect mascot for the Tea Party. Sadly, I don't imagine Mr. Paladino believes what he's saying about it not being a freedom of religion issue, but he does see this ideology phrase as a way to short-circuit critical thinking about his platform and getting people enraged about this perceived slap in the face.

There is your Tea Party philosophy in a nutshell: it's not about the facts, it's about those things I suggest that make you blindingly angry.

Trading in fear, frustration, and all the other pulse-points of human emotion is a time-honored political tactic. "Andrew Cuomo supports the mosque," Mr. Paladino said in a radio ad. "I say it is disrespectful to the thousands who died on 9/11 and their families, insulting to the thousands of troops who've been killed or injured in the ensuing wars and an affront to American people. And it must be stopped."

He's a pretty well-educated man to have his own definition of ideology. But lacking any evidence to the contrary, let's take him at his word. He believes his "ideology" trumps a little thing like freedom of religion. Good to know.

Now close your eyes, New Yorkers, and picture a Gov. Paladino sitting in Albany, contemplating other critical issues of life in the state he runs:

" ... This is an ideological question, not a civil rights issue."

" ... This is an ideological question, not a public heath issue."

"... This is an ideological question, not a legal issue."

Mr. Paladino suggests his war memorial might be a district that "could extend as far as the debris from the 9/11 attacks was distributed." But he's smart enough to know that the national psychic scars of the tragedy spread debris all across the country. The actual Ground Zero boundaries go from sea to shining sea. This understanding will certainly be something Mr. Paladino uses when he tires of the provincial power of governorship and sets his sights on the White House.

And if that happens, you won't be able to find a mosque in New York City... or Oklahoma City, for that matter.

http://www.huffingtonpost.com/stuart-connelly/ideology-in-action_b_719942.html


Monday, September 20, 2010

“STORY MERCHANT” DR. KEN ATCHITY OFFERS WRITERS AT ALL LEVELS PERSONAL CAREER COACHING:

STRATEGY & TACTICS FOR MAKING A GLOBAL IMPACT IN A CHANGING WORLD MARKET

Dr. Atchity has spent his lifetime helping writers get started with and improve their careers. For nearly twenty years as a professor of literature and teacher of creative writing at Occidental College and UCLA--then since 1995, through this thewriterslifeline.com and as a literary manager with aeionline.com Dr. Atchity has helped literally hundreds of writers find a market for their work by bringing their craft and technique to the level of their ambition and vision. His daily newsletter, inspire@storymerchant.com keeps thousands of writers inspired and informed.

The 30-minute coaching sessions are doubly proactive: (a) determining your “assignment” for the next session; and (b) Dr. Atchity taking action on getting you to the connections you need to keep your project on the strategic track you’ve designed together. Plus, you’ll get 3 free follow-up emails for each session.

The one-on-one coaching includes:

• NOVELISTS AND NONFICTION WRITERS
Moving into Markets Beyond Your Own Backyard
Creating a Presence in the U.S.
Translation Issues (and solutions)
How Do I Know If My Work Is Good Enough for the Global Market?
Plots that Sell Globally
Building Characters
Settings That Sell in the U.S.
Choosing Your Next Work

Effective, Economical Publicity
Self-publishing: Perils and Opportunities
How Do I Publish My Children’s Book?
How to Find an Agent (Dr. Atchity will refer you to his management company or an appropriate agent once your work is ready for presentation).
How to Approach Publishers Directly.
How Can I Get My Novel Made Into a Film?
What Do I Need to Know or Do about BRANDING?


• SCREENWRITERS:

Today’s 2 Hollywood Market s & How to Navigate Them
Do I Need an Agent?
How Do I Find One? (when your work is ready, Dr. Atchity will refer it)
The Value of Contests
How Do I Know if My Work Is Good Enough for Hollywood?
What Is Television Looking for?
Where Can I Find a U.S. Collaborator for My Work?
How Do I Stand Out from the Pack?
How Can I Accelerate the Process of Getting My Script Made Into a Film?
Becoming a Proactive Filmmaker

In some cases, coaching can involve representation.

What other writing coach is also…
An active producer, for major studios, television, and independent films
A literary manager for twenty years for screenwriters, nonfiction authors, and novelists—with over 15 bestsellers and nearly 30 films
An editor for fifty years in every imaginable field
The author of 15 books, including A Writer’s Time, Writing Treatments That Sell, How to Publish Your Novel, and How to Escape Lifetime Security and Pursue Your Impossible Dream: A Guide to Changing Your Career
An inspiring public speaker at dozens of conventions and conferences in the U.S. and Europe
A brand manager whose brands have included Ripley’s Believe-It-Or-Not! and thethrillionaires.com
A writer on every aspect of the creative process
Ph.D. from Yale, former Professor of Literature at Occidental College.
Fulbright Professor to the University of Bologna

Stay tuned with his latest activities at kenatchity.blogspot.com

For daily free inspiration and information for writers along with news of our latest deals, inspire@storymerchant.com

Inquire about one-on-one coaching now by writing to drk@storymerchant.com and receive further information about rates and benefits.

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Career Coaching


Rates until October 15, 2010

One-off session

$125 : (30 min telecom + 3 brief follow up emails in following 7 days (more emails okay but on further hourly charge)

$1,250: (12 Weekly 30-minutes for 3 months + email f/us)

$2,500: (24 Weekly 30-minutes for 6 months + email f/us)


NOTE: for a translator on the line, add 25% per session.

All fees payable in advance.


The same basic fee is available for work provided outside the telecom, such as submissions of your project and/or making publicity connections to serve your project.

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FAQ


Q: What is the difference between working with this service and the services offered by thewriterslifeline.com?

A: Writers Lifeline services are provided by our editorial/writing staff under my direction. With Career Coaching, you’re dealing one-on-one with me.

Q: Why did you start this Career Coaching service?

A: For two reasons: (1) My frustration at not being able to assist enough writers directly as I once did regularly as a professor; and (2) the changing realities of the literary management business where there is simply no more time available, as we increase our involvement in producing films and tv, to spend uncompensated time with writers.

Q. Can you help me submit my work to buyers?

A: Absolutely. When your work is ready for submission, I will either pick up the phone and submit it for you (no commission!), or I’ll suggest a representative who might be right for it.