Paul Kyriazi - Two books Today! Forbidden Power and Rock Star Rising!

In September, 2010, I spotlighted Paul Kyriazi, talking about the James Bond Life, as well as one of his earlier books...and more... Here's the link to the first article and further articles that entire week...

While Paul has much experience and expertise in media and audible books...using recognized actors in his books, I chose to select ebooks for the two I've just read simply because that makes it easier for me to review. But I would recommend you check out the audible books...I loved hearing Eddie Byrnes, instantly recognizing his voice in one book...and check out the book trailers! Love them!

“She was as smart as they come. There’s nothing she didn’t know. I overheard her talking a couple of times. Very spooky,” the geezer barfly says to me while looking closely at the picture I’m holding. 
You’ve seen that picture on a postcard, dear reader, if you’ve ever traveled

http://www.nativeamericanexpressions
.net/naefolder/maija.html

through Arizona or New Mexico; the postcard of the tall, beautiful Indian maiden, clothed in tight buckskin, standing in the snow next to two white wolves. I had printed it out from the internet because it looked like the woman I was searching for. “Mind you,” I tell the geezer, “this isn’t the actual woman. It just looks like her.” 
“I’m telling you, mister,” he says pointing to it. “That’s her. She caught me staring at her once. Looked at me like she could kill me just by pointing her finger. Stayed away from her after that whenever she came to town.” 
“You said the last time you saw her, she was twelve or thirteen?” 
“Yeah, but if she grew up, that would be her.”

~~~

Archimedes Enterprises – Veronica Hawthorne - The Future is Here.

He'd met her at a computer conference--he was one of the exhibitors, but was not doing well since the other guy working quickly moved in on any real potential clients... But he had seen her coming and couldn't take his eyes off of her. Then she came to him and started asking questions..His co-worker quickly took one look at her and tried to take over... He was thrilled when she said she was already being helped, merely continuing their conversation.

When she handed him her card, Veronica Hawthorne, with her personal number, he was stunned...Would he call her?

After opening the book with how they met, the author then takes readers into the future, where we find George Barrett now trying to find the mysterious woman, with whom he had spent one night, who had then disappeared... Barrett however had been changed that night--he now had the power to succeed. But at what cost? Perhaps afraid that the power could be taken away, he sets out to find her, carrying a picture that was remarkably similar to his memory of her, although a postcard... He winds up in Arizona where he begins to find a past history of a young girl who was called Chumana... only to have somebody try to kill him!

With his powers Barrett overpowers the man who begged not to be hurt, that he was only following the orders of Chumana who had told him to kill anybody who ever came to try to find her... He had received that order about 10 years ago, but was still willing to follow her command... Barrett decided he had discovered everything he could there...

But provides readers more of the story by agreeing to keep an elderly man company as they travel...

And he shared that Veronica left a lipsticked message on the bathroom mirror: 

Short Red Train

Got it? Well neither Barrett nor I did either...but that leads us on into the story, don't you think? And if you are as curious as I, you'll just have to keep reading! Because Barrett remember an important clue that Veronica had given her which he had not understood before... as his powers were continuing to increase... He headed for Winslow, Arizona...

And the hunt begins!

What fun! Where will Barrett go next and will he find his answers? What a fantasy and I loved the ending... What about you, would you be tempted and succumb to Forbidden Power?  By the way, if you've learned of Kyriazi "Bond...James Bond" activities, you can probably guess that this story tends to be male-oriented, even if the power comes from a woman... at least in my opinion... Enjoy!

~~~

One of the main characters in Rock Star Rising is Medusa. There won't be many who don't recognize the name, and perhaps envision her face...but I thought it might be fun to hear the back story of the myth... Read on below if you have no interest...

A cold, ground-clinging fog rolled through the dark cemetery, licking the forgotten names carved in marble. It seemed to slow and linger on the tombstone that bore a single name; a name not forgotten at all. The fog seemed to conjure up five bony fingers that caressed the five letters carved large and deep. All who watched the scene knew that the man who slumbered beneath that five letter name was not in heaven. No, for sure he was in Hell. That is, if he slumbered at all. Many of the hundreds of onlookers this Halloween night thought he was still alive, with only an empty coffin buried below that cold marker. But they came anyway. Many in the crowd thought him dead for sure. But they came anyway. Most thought the promised resurrection at midnight was just a bunch of B.S. publicity. But they came. 
“I see it,” a sixteen year old girl yelled excitedly to her boyfriend as she pointed up the hill. 
“Let me see,” he said. “Give me the binoculars.” He, put them to his eyes and searched up the hill with them.
“Yeah, that's it,” he said. “I'll be damned. That's Shane's grave.” He gave out a comic yell, “Come on Shane, you son of a bitch. It's almost midnight. Get the hell up.”

The youngsters around him gave out a laugh. Just to the right of the group a tall, good-looking man with a hand mike looked into a TV camera and said; “This is Steve Landers, here at the Memory Gardens cemetery in Carson, just south of Los Angeles. MTV is here on this Halloween night of 1991 because of rumors spreading amongst die-hard Shane fan clubs, that tonight, on the twenty-first anniversary of his death, Shane will rise from his grave at midnight. To do what? I don't know. But whatever he does in front of these hundreds of fans, MTV is here to cover it for you. This portion of the cemetery, where his grave is located directly behind me, just up the hill, has been roped off by security. But who knows what this crazy crowd will do, as we’re just ten minutes away from midnight. As you know, since Shane's mysterious death, rumors have been flying around that the rock star is still alive. However, all the people that were associated with Shane say that he's dead and gone.” 
About fifty yards away from the MTV announcer stood a heavyset, white-haired man in his fifties, dressed in a three-piece brown suit. He was standing next to the security rope with his eyes glued on Shane's headstone up the hill. Looking around at the crowd with a half-smile, he checked his Rolex. It was four minutes till midnight. 
From out of the crowd, a tall young woman with long brown hair held in a ponytail, approached him. “Hi, I'm Nancy Carter from Music Scene magazine,” she said. “You're Carl Jessup, Shane's agent, right?” 
“Hmm. I was,” Jessup said. “Well look, sure, I know Shane's dead, but you still handle his merchandising, don't you?” 
“Yes, I do, my dear.” 
“Well then, what do you have planned for us tonight?” 
“I don't have anything planned.” 
“Nothing planned?” 
“That's right.” 
“Oh, come on,” she pushed. “You can level with me. Look, there are loud speakers set up in the trees, and there are a couple of guys up there that are doing a great job with the fog machines, but are terrible about staying hidden.” 
Jessup stood silent, looking up the hill with a half-smile. 
“Look,” Nancy said, “everyone knows that this thing has been planned out, just like the rumors that the radio stations have been spreading, all planned out it seems. So why don't you just come clean? I know you're doing this to keep Shane's old records selling and my article will do that for you.” 
Bishop finally turned to look at her. “Look...ah....What was your name again?” 
“Nancy Carter, Music Scene magazine.” 
“Look Nancy, I don't know where or who started these rumors. I heard 'em this month, just like you. And when I heard there was a crowd gathering as early at eight o'clock, I decided to drive down here and check it out. That's all.” 
“And what about the speakers and the fog machines?” 
“Ah….How should I know? There's a lot of media and fans here. Look, are you going to hold me responsible for every Halloween prank that happens in the city tonight?”

“What about all this security, huh? Who arranged that? 
“I don't know. Ask them.” 
She stuffed her pad and pencil into the bag she was carrying. 
“Okay, then just answer the big question.” 
“If I can,” Bishop smiled. “Is Shane alive?”

!!!

Just like the millions of Elvis fans who tried to hold on to him after his death, Shane was still beloved and his fans held on to every hope that came along that he might be still alive...

A special event had even been "rumored" for Halloween Night, 1991, at his grave-site...Shane was to leave his grave! 

And when the adoring fans saw movement on top of the dirt, they started running up the hill to his grave, regardless of any guards... But once Shane was out of the grave, he saw the crowd screaming and running toward him...and just turned and ran into the woods!

When the dark, undead figure of Shane saw the mass of wild humanity approaching, it turned and ran, heading for the woods behind the cemetery. The crowd gave hot pursuit, but the figure, with the devil's own speed, out-distanced itself from its pursuers and soon was lost in the trees, and the darkness.

Alan Bartlett had been gambling at the Las Vegas Hard Rock Hotel. He was flying high and wild, thinking about the lover he had just left upstairs and realizing that the seminar he had attended had given him a new life (a James Bond seminar??? LOL) When a woman sat down beside him, he knew she had checked him out closely... Medusa was on the prowl... Alan had not seen the posters all over the place announcing her show--it wouldn't have mattered since Alan knew little about music...

Interested that this younger man hadn't recognized her, but still had been polite and pleasant, she went on to share that, if he had heard of Shane, she had been one of his backup singers. Alan recognized the name because of the Halloween wild graveside events... Medusa quickly denied any truth behind what had happened...

Let's just say that, later, Medusa did not turn Alan into stone...

Alan felt both excitement and apprehension as he entered Medusa's suite. She immediately went over to the CD player and put on some opera music, as Alan opened the sliding glass door that lead to the balcony. “Hey, this is cool,” he said. “What?” Medusa said, as she walked over to him. “Oh…You've got a view of the artificial beach, you know, just like me.”
“Oh, screw the beach,” she said, as she put her arms around Alan’s neck. “Yeah, yeah, screw the beach,” he echoed. Medusa gave him a short kiss. You know,” Alan said, as she moved to his ear. “You being a rock singer, I'm surprised you like opera.” “I don't,” she whispered. “But with the balcony door open, we need the opera singing to cover up my singing.“Ah….gotcha.” “Not yet you don't.” In Alan’s room, his girlfriend Connie was awakened by the sound of a woman's operatic voice. And just beneath that, another woman's operatic screams. She sleepily got up, walked to her balcony door, closed it, and went back to bed.

~~~

Alan left Hard Rock with Connie, but he realized that he couldn't forget Medusa, even while he was with Connie... When he followed and met her again, she didn't remember him...He didn't care about the embarrassment; he reminded her that they been very good together. Medusa wanted proof...

The book contains some sexy scenes...but what had that to do with Shane? Well Alan was interested in writing...and Medusa wanted to write about her time with Shane...  She pointed out that there were no books yet written that told the inside story of working and living with Shane...

After hearing stories on being on the road with this rock and roller, Alan was hooked. He wanted to write that book--and of course readers will be reading what that book turned out to be!

The Life in the business may be exciting, but also dangerous... The twist of the story is fantastic! Totally unexpected, and moves the story into a page-turner as the content of the story is shared! Loved it! Highly recommended...

GABixlerReviews

Life Behind the Camera

At age 8, I see The Making of 20,000 Leagues Under the Sea on Disneyland TV and decided to become a movie director. Age 16, I start filming 20 minute action stories using my father's 8mm camera. Age 18, my father bought me a used Bolex camera.

I film a 30 min color action movie titled Trapped and it wins the Berkeley Film Festival. I start taking karate to be like James Bond. My Sensei introduces me to samurai movies.

Seeing that action with great film techniques of the Japanese directors, moves me into martial arts movies, even before the TV show Kung Fu. I transferred to San Francisco State University making more 20 minute karate stories and placing 3rd in the next Berkeley Film Festival. I graduate with a BA in film.

I join the Air Force movie department and film space launches for NASA. I take leave to film my first feature Drawn Swords in 35mm black & white Techniscope. It's about 3 samurai going to England to enter a fencing tournament. I use all my cash and credit cards, loans, and refinancing my car.

I get out of the Air Force and return to San Francisco unable to sell my movie. I promise myself if I get another break I will make a color movie that is so commercial the distributors will have to buy it.

I meet karate tournament fighter Ron Marchini who has me re-edit and sell his Philippine produced movie Murder in the Orient.

Ron then hired me to write and direct Death Machines. To be commercial, we come up with a story of 3 karate killers (white, black, Asian) to cover all markets. Then we add a cop/gangster plot, big fight scenes in a karate dojo, bar, and police station, and we actually blew up a piper cub airplane.

The completed movie is immediately picked up by Crown International Pictures with big advertising. It opened in 50 theaters in LA making it a #14 top grosser. However, I still can't raise the money to produce my own movie, so I direct a sequence for Sesame Street.

I pick up a copy of The Million Dollar Secret Hidden in Your Mind by Anthony Norvel. I take his classes for three months in LA, then return to the San Francisco. In 10 days I raise the money to produce and direct Weapons of Death.

The panavision film plays all over the USA breaking a house record in a New York theater. I next produce and direct Ninja Busters. This was followed by the cops and gangsters story One Way Out.

Next came writing and directing Omega Cop starring: Adam 'Batman' West, Troy Donahue, and Stuart Whitman. An actress from Weapons of Death hires me to produce a travelogue in Phuket, Thailand, Thailand Adventure proving you never know what contact will end up getting you movie work.

I write two novels in hopes of getting them produced as movies. When many people ask me "How do you survive as a freelance?" I write How to Live the James Bond Lifestyle.

In 2003, I produce In the West - a 90 minute travel production for Japan. Appearance by Pat Morita.

In 2005, I produce my novel Rock Star Rising as an audio-book narrated by Rod Taylor, performed by Russ Tamblyn, George Chakiris, Robert Culp, James Darren, and Kevin McCarthy. It has full effects and music, making it an "audio movie" of sorts.

In 2006, I direct the largest production in audio-book history, McKnight's Memory. Narrated by Frank Sinatra Jr, it stars Robert Culp, Nancy Kwan, Don Stroud, Henry Silva, Alan Young, David Hedison, and Edd Kookie Byrnes.

In 2007, I Direct Edd Byrnes' My Casino Caper audio-book. It's Edd's memoir of being stalked for his 3 million dollar Las Vegas win. With Alan Young, Henry Silva, and David Hedison playing themselves, recreating the incident that happened in 1977. Michael Callen plays the part of criminal that stalked Edd.

In 2008, I direct Barbara Leigh's The King, McQueen, and the Love Machine audio-book. Her memoir of being a top model involved with Elvis, Steve McQueen and MGM president Jim Aubrey. Joe Esposito introduces it and plays himself in the dramatizations.

In 2012, I update & expand the James Bond Lifestyle on Kindle, Nook, iTunes & Kobo.

In 2013, I write & produce - 3 Wild Thrillers - Three fiction stories on Kindle that includes the audio-book.

In 2014, I produce The Mexican Swimmer, a 3 hour audio-book performed by Julian Scott Urena. I also write Wicked Players, a story of gambling and survival in wild Las Vegas.

Pick Up the Girl...But Get Lots of Sleep...The James Bond Life???

The Best Way to Pick
Up a Girl...

By Paul Kyriazi



This techique has been used by many men and women that I've advised, usually to great success. If not, they got it over with and moved on to someone else. You see her across the room. Ah, so attractive. But nobody to introduce her to you. 'Ah, I'll do a James Bond on her,' you think. Now what was Bond's first words to Pussy Galore? 'I must be dreaming.' No, that won't work.

How about singing 'Underneath the Mango Tree' to her as Bond did to Honey Rider in 'Dr. No'? .... Ah?..... No!

Well, what's left? You'll just have to go up and talk to her, if it's a situation where you won't see her again. But it's always safe to assume that she has a boyfriend that can squeeze the stuffings out of a golf ball like Oddjob did in 'Goldfinger'.

That aside, take a chance and make polite conversation. What's the worst that can happen? She says, 'I'm sorry, I'm not available.' and you save the time and money of a date with her. Like George Burns says, 'When a beautiful woman says 'no' to me, it's a relief.

If you know that you will see her again, like at your university, your job, or working at a restaurant, you can have another shot at her and use the shy man's approach to getting a date.

'You farm boys don't make a pitch, you just shy your way into position,' Ann Margaret says to Pat Boone in 'State Fair'.

Okay, here it is: Instead of asking her to dinner or out on a date which has romance intended, get some tickets to a concert or event first, and then with tickets in hand say, 'I just happened to have tickets to this event. If you'd like to go with me, I'd be happy to take you.' This way the subject is the event.

Talk about the person singing at the concert, instead of if the two of you will hit it off or not. She can easily say yes or no, or ask more questions about you or the time and place of the event. She doesn't have the pressure of turning you down, so she can just turn the event down and that will be that. And if by chance she can't make that date, but is interested in you, she can start talking about going out another time.

I've strongly suggested this 'ticket' technique to both men and women who are infatuated with someone at work, or at shop, or restaurant, and have no idea how to make an approach. If the person is available, they usually say yes to an invitation. After all, it's just going to an event. It's not really a date.

So don't 'ask her out'. Don't 'take her to dinner'. Get some tickets, and maybe she'll answer you like Cameron Diaz does in 'Charlie's Angels'.

Tickets? I LOVE tickets."


A Tip From the World's Greatest Playboy

Did you see The Adventurers based on the Harold Robbins novel? The lead character, Dax Xenos, was based on real life European playboy Porfirio Rubirosa.

Sammy Davis Jr. once asked him, "How do you do it? Attend every party, play polo, date women, go yachting, day after day, yet you always look good and never tired?"

"What I do Sammy, is pace myself. I never go to a party too early or stay too late. I drink only a little and watch what I eat. And even if I'm entertaining a woman, I always get my sleep."

This is great advice for anyone wanting to live the James Bond Lifestyle. On films I've directed, the amateurs party every night and are zombies by the second week. The professionals are fresh, energetic, and prepared everyday. Why? They pace themselves. They sleep.

When Clint Eastwood started preparing to direct his first movie, Play Misty for Me, he asked vetren director Don Dirty Harry Seigal for advice.

Seigal gave him only, "Get a lot of sleep."

Twitter JBLS Mission Control Center www.twitter.com/BondLife

James Bond Lifestyle Seminar page on Facebook: http://bit.ly/dkI9qj

Sorry Paul...I just had to do a "Jane Bond" on you...

Hey Everybody...Paul is going to be live at Facebook's Readers Review Discussion Board Tomorrow at 12 Noon EST

And yes you must join my group in order to talk during the chat...Gotcha!
I'll be moderator, so I'm just preparing to jazz his talk up a little...

Learning More About the James Bond Life...

Frankly, Paul, this one looks good in anything! gab

James Bond Attire for All Occasions

By James Kyriazi



One thing to wear for any event, casual or formal.


Bond Attire for All Occasions Good dark pants, long sleeve dress shirt, and solid color sports jacket that can look like a suit jacket.

Don't button the jacket and be sure to have a good looking belt. If it's a casual place you're at, you carry the jacket. More casual you can fold (not role) your sleeves up two turns. If you hit a more dressy place, fold your sleeves down and button them. To be more dressy, put on the jacket, but do not put your shirt collar out over your lapels.

You should carry a tie in your jacket pocket in case you hit a place that requires one. A quick trip to the restroom to put it on makes you ready to go first class. Carrying the jacket looks cool, even if you have no intention of wearing it that day. You can drape it over your arm, or if you're in a Sinatra mood, carry it over your shoulder.

If your jacket has an inside pocket with a button, it's a good place to put your glasses, where they won't fall out. Be sure to wear black leather shoes with this and you'll be looking Bond no matter the time, place, or occasion.
~~~

James Bond's Secret Power

By Paul Kyriazi

Don't give your power away. , .


We like James Bond because he's so cool in intense situations. That is his power. To call up his talent at will, without letting the situation or villains rattle him.

He doesn't let his foes take away his power. And for sure, never gives away his power. So why should we give away our power to unkind, abusive, and uncouth people in our lives?

"I would never give my power away," you might say. Yet, anytime you are angry, resentful, or fearful of a boss, friend, or lazy store clerk you are giving your power to them.

Find a phrase that you can think of that relieves your tension, before you give your power over to them. Like when Bond in From Russia with Love says to the villain, "What lunatic asylum did they get you out of?"

Don't say it aloud. Just think it to yourself and keep your power. Or just remember the words of Booker T. Washington:

"Let no man drag me down so low as to make me hate him."

Twitter JBLS Mission Control Center www.twitter.com/BondLife

James Bond Lifestyle Seminar page on Facebook: http://bit.ly/dkI9qj





Reminder Live Chat:  Thursday, September 4th 12:00 Noon Eastern Standard Time! Be There...
Join Group to be able to Participate!
http://www.facebook.com/topic.php?uid=155091741301&topic=14747

"It Was A Giant Risk," Shares Paul Kyriazi...

Image via Wikipedia

Directing Weapons of Death...


I had just come off my recent success of Death Machines being widely distributed. I figured will all the quarter page ads in the papers, the Variety chart having "DM" as the #14 top grosser for the week, and some fairly good reviews, that I could raise the financing for my next film easily.

I wrote the screenplay for Weapons of Death in a one-month period, completely by myself. Definitely the ultimate movie that was deep in my heart. My love of the old swashbuckler movies and Japanese samurai and Chinese swordplay movies was all in the story.

The script starts out in San Francisco Chinatown, where the daughter of a wealthy business woman is kidnapped by a large Chinatown gang and taken into the Marin County hills and held for ransom. The gang, however, uses another gang of criminals to do the actual kidnapping. The woman sends for her estranged husband, whom she hasn't seen in fifteen years. He comes back and with his two sons and two guys from his son's martial arts school, they head into the hills to get the daughter back.

At one point the kidnapped girl escapes and runs into a group of bikers and is single handedly rescued by a sympathetic criminal. The father and his team run into the Chinese gangs swordswomen and fight them. Finally there is a long running battle between the good guys and the Chinese gang. As there are no guns allowed by the Chinese gang leader, most fighting is done with swords and various martial arts weapons.

Having met and befriended so many martial artists when working on Death Machines, I could write tthe characters for the actors that I knew. Also, as I had always included myself in the cast of my 16mm movies and first feature, I wrote a character for myself. I mostly wanted to do a swordfight scene and a couple of stunts that I saw Douglas Fairbanks do, which I'll describe later.
With the screenplay finished, the search for financing was on. Or was it? Would I, or should I continue with this? I had financed and used investors on my first feature, Drawn Swords. It was a long "drawn out" production, that cause me endless hassles, large debts, many disappointments, and no income from the minor distribution it had.

I had worked six months to pay back most of the debts, but still wasn't completely out of it, even with my Death Machines success. Did I want to go through all that again? Was this another swordfight epic that would get me much deeper into debt and end my dubious film career?

I remember so vividly looking down at the script that was sitting on my sofa. Standing above it I thought about all the risks and hassles that could come with this project. I was still in debt over my first feature. Had no job and no savings. But I finally said to myself, "I don't care. Even if this movie bombs, even if I can't sell it, I will still have the movie. It will be made. And this was my dream movie. The one that I really want to make.

I didn't know it at the time, but I guess I was more of an "artist" than a film businessman, because completing that particular movie was more important to me for self expression than doing someone else's project (which there were none) or working my way up in the Hollywood system (which there were no open doors).

So I said, "What the hell", to myself, picked up the script off of the sofa, sat down at my kitchen table and began preparing a schedule and budget. The original title was The Last Adventure because I figured it would be. Death Machines had been shot in two perforation 35mm Techniscope. If this might be my last movie, I wanted to shoot in full-frame Panavision. This meant twice as much film, and a more expensive camera and lenses.

I planned to make up for this by using less film and camera set ups. To not have a mediocre sound track and music like Death Machines had, I planned to take this movie straight through to the sound mix, giving it full effects and high level pre-recorded music.

I figured to get the scenes properly filmed, it would take six weeks. I would use half the crew that I had used on Death Machines as there would not be as much interior lighting needed.

For the project, I teamed up with Rick Sydell who had done a good job on Death Machines as the production manager. He would handle the accounting and arrange film, lab, and equipment rentals, along with location permits.

Except for the crew that was hired for filming, it was just the two of us on the production team. We did everything ourselves. Sid Campbell, a high level karate dojo owner and teacher opened his unusual looking school to me and the first investments that came in were from some of his students.

When I had enough money in the bank, and money promised from investors to come in within six weeks, I set the date for one month ahead and started to work. Most of the cast I had written for and was available, so that came easy.

For the remaining cast I let the word out, at casting agencies and karate schools, and did open casting at Sid's dojo. There I completed the cast, as well as got all the extras I needed. The thirty swordswomen were made up of Asian models from an agency, mixed in with trained martial arts women.

Eric Lee would star this time, as he was a cover boy for many martial arts magazines and would help our cause for selling the picture. One of the villains of the movie, the one that Eric would end up fighting at the climax was Gerald Okamura, The Martial Arts Magician. He was named that because he was a master at using and making traditional martial arts weapons, as well as hidden ninja type weapons.

I scheduled the filming to begin in October, hoping we wouldn't get into early rain, as most of the filming would be done outdoors. I choose the biggest scene to do first. It was the opening of the movie taking place in the hills. This is where the Chinese gang is assembled. The leader, his two main bodyguards, his twenty swordswomen, and fifty gang members, made to look like there was as a hundred.

They would all have special costumes. Driving up in a van to meet them would be the six criminals. Plus on stand-by to film the final confrontation would be the five heroes. Everything was set to go, when the weather forecast called for possible rain. I watched the clouds form at night. I watched the TV weather forecast at 11pm that said, "Maybe Rain".

When I woke up in the early morning and turned on the TV, I swear the written forecast said, "Go for it." As I drove to the location, I saw the sun starting to break through the clouds. That was the first time I ever paid so much attention to the weather.

A few days before the shoot, I had received a call from a young Asian woman named Cynthia, who wanted to view the filming as she was interested in being a filmmaker. I said, "You're welcome to come. And why don't you be an extra as well and get paid." She said okay, and I told her to introduce herself during the day.

When I drove out to the location, many of the people had arrived and were in costume. I could see the swordwomen with their shiny blue Chinese costumes and the fifty extras all wearing black as I had told them to do. The cameramen were setting up. Make-up was already happening. Actors had flown up from Los Angeles. They were all here 40 miles from San Francisco in my hometown hills that I had used for filming my 16mm action movies when I was in college. "This is fantastic," I thought. "What an opportunity to make something really good."

I came to the instant conclusion to not just shoot a few master scenes. I would use the necessary film to get all the coverage I needed to make a cinematic film. And if I went a little over budget, I would make up the difference by selling part of my percentage in the movie. It would be worth it.

The filming went just as planned, all in beautiful Technicolor, Panavision, and sound. Even with the extra shots I finished up the dialogue scenes early enough to shoot some big actions scenes using all the extras. This was bonus material that I hadn't planned on. Everyone had a great time. The younger guys got to meet Eric Lee, Gerald Okamura, and other established martial artists who were happy to talk with all of them and demonstrate some of their techniques.

The food arrived on time and everything was perfect. Better than could be imagined. During the day Cynthia, the girl that had called me to be an observer, introduced herself and we talked briefly. At the end of the day, she wasn't there, so I called her at night and asked her how she enjoyed the day. Her first words were, "Did you guys ever get it together?" I explained how we got more shots than we had hoped for and how smooth it went. But she didn't sound convinced, so after a short conversation we said good-bye.

I realized that she, like a lot of people, see these "Making of....." shorts on TV and have a pre-conceived idea of how a movie day goes. They don't show you that it takes time to move the camera and set up shots. But even though we did it faster than most, Cynthia thought we were amateurs. Indeed, even the young heroine in our movie, later at the premier said, "If I knew it was going to be this good, I would have tried harder."

From that time on, I've told other future film directors, "Don't let anyone tell you what is professional or not, unless they've made a movie, or at least have been on a movie set.

The second day on the location went just as well continuing with the large action ending of the movie. Being it was a run and fight action scene, resolving all the lead characters, it would take many days and many locations to finish while still doing other scenes as well. In the middle of the day, a young Kung Fu teacher came to me with the five students he brought. He asked to talk to me, so I said okay. Then he comes out with, "We want to kill Eric Lee." "What?" I said. "Yes, our kung fu technique is better than his, so we should kill him in the movie."

I explained that even though their technique is better, that in the script Eric wins. But the teacher threatened to take his men out of the shoot if they weren't allowed to kill Eric on camera. Even though his request sounded ridiculous, I said politely that It couldn't be done. So he took his students and one girl, who was playing a swordswoman and left.

His students were sad because they were having so much fun and getting paid. I suspect one of his reasons was that the girls playing the swordswomen were getting more than the extras, as per my deal with the model agency. I not only paid the models extra, but any girl that was in that group, so the Kung Fu girl was making more than her teacher. That never came up, but maybe that was the problem.

On the climatic fight between Eric Lee and Gerald Okamura, Eric cut his hand by hitting Gerald's metal claw weapon. We quickly wrapped it and soon Eric and I were speeding through the main streets of my home time to the hospital. Eric arrived in costume with his shirt off and make up cuts and blood on his stomach and chest. The nurse started to wrapped them as we waited for the emergency doctor. But we told her it was only his hand. The rest was makeup.

That was the only injury we had on the entire shoot, thank God. Another big scene was when the kidnapped girl ran into thirty bikers. One of the criminals enters their camp in the hills and is forced to fight them with a large sword and kill all of them. Some of them try to hit him with motorcycles and they crash, explode and burn.

It would take four days to get the beginning confrontation dialogue plus the fight. I had real bikers mixed in with actors and stunt men. I was concerned that the bikers might get bored with the shoot, but that wasn't the case. What was their main concern? "Hey Paul, do I die good." "Yeah, you'll die good." I guaranteed many of them who constantly asked. I wanted them to take the shoot serious so I got the idea to have all of them get made up by our make-up girl.

Of course, most of them didn't need it, in this situation. But I made them go, even though some didn't want to. But my idea did the trick. They were treated like actors, so they became actors. One giant-sized biker named Brian, was really worried about if he died good or not, and was constantly asking me and the crew about it. I saved him for the end. He chased the criminal up a hill and the criminal picked up a watermelon sized rock covered in dust, heaved it down on him, hitting him in the face. Brian rolled down the hill and landed next to a burning motercycle amongst the other bodies. He died happy, and most of all "good".

The unique thing about this movie that, except for the high falls, motorcycle stunts, and a fire stunt, everyone did their own stunts. As I mentioned I planned to act in the movie as one of the five good guys. I decided that I would be the only guy to have a gun. Audiences always say in a Kung Fu movie, "Why didn't someone bring a gun?" So one of the bad guys has a gun and my character manages to come up with one pistol on short notice. Audiences cheered as I mowed down the kung fu guys with my six shooter, always showing me reloading after firing my six shots.

I knew that the audience likes to count and I didn't want to say that I had a twelve shot gun like Tom Laughin did in The Master Gunfighter. I was not worried about directing myself as I used one of the crew to stand in for me as I staged the scenes, and then took his place for the shot. Besides I was only in a third of the movie because of all the characters.

I was a little worried that some might think I was not a serious director by also being in the film. But since I figured it might be my last movie, I decided to play out all my dreams. Only my cameraman objected to me being in the movie. Two days before filming started he complained, "What do you want to be, an actor or director." So I decided not to act in it.

However, with two days before the shot and being so busy, I couldn't spend the time to find someone to replace my character, so I was stuck with me. But acting and doing my planned stunts in this movie has been the greatest satisfaction for me.

Years later, it's not so much the fact that I directed it that people mention when they see it, it's the fact that I was in it. So after that, I never listen to anyone who tries to talk me out of my dreams. At the end of the movie I run out of bullets and am forced to fight Gini Lau, a trained martial artists, with a sword. She finally knocks me out.

But the quick fight is an audience pleaser, because when I run out of bullets I throw my pistol at her. In the movies no one is hit with a thrown pistol, but I hit her in the face with it. The audience always screams, as she shakes it off and gets angry. Of course, it was a sponge pistol with a great sound effect added. My two other stunts always gets a cheer from the audience.

One is where I jump off a six foot high cliff, shoot a bad guy while in mid air, land, fall down, while I keep firing and hit more bad guys. The stunt I'm really proud of was jumping on top of a railing of a footbridge that is 12 feet above a rocky stream. The railing was only 4 inches around and I ran it with my leather boots in a wide shot that showed there was no net or mats below, just jagged rocks.

When the audience saw that they screamed and people came to me later saying, "You should have never done that. You could have been really hurt." What I've never told anyone until now is that I used a trick that Douglas Fairbanks used in the silent version of Robin Hood.

In that movie there is a giant curtain that is about three stories high. It is pulled back and tied at the bottom. Fairbanks, who is above it, jumps down on the folded part and with one leg out in the air rides it down to the floor. The trick was that he had a playground type slide hidden inside the curtain, which he just slid down.

So what I did was, on the other side of the thin railing of the bridge, I had a six-inch wide plank made for me and ran with one foot on that and the other foot on the railing. It was a little dangerous, but I made sure if I lost my footing to fall on the bridge and not off of it.

The scenes that were shot in San Francisco's Chinatown had to be done without a permit. It is the one where the kidnappers come to get the girl. Also there was an establishing shot of the girl walking home. As I was filming this first with my cameraman, I turned and saw all seven bad guys in their costumes walking down the street looking the mean bunch of villains they were suppose to be. "Hey guys", I said panicing and looking around to make sure they were no police, get off the street and back into the van.

Anyway, we finally faked the exterior kidnapping and got the hell out of there. We next filmed the title scenes of the van driving across the Golden Gate bridge. This was done with the camera mounted in the back of a pick up truck. I was the driver and really sweated it out going through the toll gate with the camera in the back looking like a mounted machine gun with the cameraman in a hooded jacket. But we weren't stopped and got the shots we needed.

The partial budget that I had raised, got us through to the end of production and the developing and printing of our film. I spent the next eight months happily editing my dream film, that turned out bigger and better than I had hoped, in my apartment. I couldn't afford a flatbed editing machine, nor to rent an editing room, so I edited the whole movie on a pair of rewinds and a viewer.

I vividly remember that I started to edit the first scene in the movie that was a bar room brawl that introduced the lead criminals. I had started it like the opening of Rio Bravo where one of the leads enters drunk looking for a drink. I happened to have my FM radio on at the time, and I swear the that announcer said, "Famed movie director of Rio Bravo Howard Hawks died today.

I was saddened and said, "Thanks for this scene, Howard." Later, for the final editing and tightening of scenes, I used a Kem flatbed with a Panavision picture head. I also screened the film several times and made more cuts until I was satisfied with it. Unlike Death Machines that had skimpy sound effects, Weapons of Death got the full sound treatment, sometimes running as many as thirty-six tracks at the same time, as we did in the biker fight scene.

We had separate tracks for footsteps, yells, explosions, sword swishes, sword cuts, body falls, music, wind, and more. All individually controlled by a professional mixer in a state of the art mixing room at the Saul Zantz Studio in Berkeley, where some of the biggest movies were mixed.

Not wanting to have a big distributor take the movie and charge all their expenses against our 50%, we went with an smaller independent distributor that took several prints to each city, advertised, showed and then moved to the next. We broke a house attendance record in one theater in New York. I called a New York friend there and asked how the movie played, "They were all cheering and yelling," he said.

On every movie I made, my father would say, "I like the movies that shows the actors with their names at the end. " I would always explained that the optical work on that took a lot of money. But on Weapons of Death I showed all the actors at the end one by one. They would be in the middle of the action, then freeze framed and then their name popped on.

It cost three thousand dollars to do just that, but I got it done. I didn't tell my father about it and when it premiered he not only saw the end title sequence, but on the roll up came the credit, "Title design...Gus Kyriazi". He was surprised and happy.

The best part of Weapons of Death was getting to be close friends with Eric Lee, Gerald Okamura, Sid Campbell and others. We went on to do the comedy, NinjaBusters and became lifelong friends. Later, using them to do voice work my audio-books.

They've continued successfully in the martial arts and movie business. Weapons of Death remains my best movie, though I hope to top it with a mystery thriller that I wrote. After watching Quentin Tarrentino's martial arts spectacular, Kill Bill, I told a friend, I'm sure glad that I did my martial arts dream movie. Otherwise I would be sad to see someone else doing his dream version of a martial arts movie, knowing that I had chickened out and not taken the risk to do mine.

I can still see the script for Weapons of Death lying on my sofa, with me standing over it, wondering if I should make it or not. Like Tom Cruise's high school friend in Risky Business says, "Sometimes you have to say 'What the hell.' Saying it gives you freedom. Freedom brings opportunity. And opportunity makes your life. If you can't say it, you can't do it."

So I had the the dream, the script, and no money. What the hell !

Weapons of Death

Paul, I really enjoyed reading this...you shared yourself, your worries and your joys of working...sounds like a James Bond Man...

Don't forget Paul's live chat on September 30th at 12:00 Noon...Facebook Reviewers Roundup Discussion Board...

Paul Kyriazi's McKnight's Memory - Print or Audio!

McKnight's Memory

By Paul Kyriazi







CIA Chief James McKnight has three problems - Amnesia, the Mafia and his addiction to the Ultimate Woman
McKnight woke up in a small Colombian Village in the middle of a drug raid with no memory. Returning to Washington D.C. things get worse as he finds out the Mafia has a contract out on his life.

His only solace in this deadly game of cat and mouse is Carla, the woman he is living with, though he can't remember her. She is the most beautiful and erotic woman that McKnight could imagine. He has the feeling that he knew her from someplace else, but can't quite remember. With his life in danger, can he trust her? Can he trust the CIA? Perhaps his bizarre dreams hold the answer.

The jungles of Colombia, the monuments of Washington D.C., the gambling tables of Atlantic City all have dangers awaiting him. Can he solve the puzzle? Can he outwit his adversaries? Can he survive to win the voluptuous Carla or will she be his Doom.

Excerpt

"Maybe you're part of what's been happening to me, all of which is bad. Maybe you made a phone call when I left here. A phone call to get me killed."

"What a stupid thing to say to the woman who's been climbing in and out of your bed for the last six months." Carla could see a decision coming on McKnight's face. "What?" was all that could come out of her mouth now because she became aware of something she had forgotten about when her temper was flaring. The gun in McKnight's hand. And he now looked like he was thinking about using it.

Carla froze.

McKnight took a deep breath. "I might be paranoid. I'll give you that. But on thing's for certain. One, somebody wants me dead. Two,somebody tipped off that killer, told him I was going to the mall. He hesitated, hoping Carla would ask him what the third thing was. But she stood there silent, contemplating the gun in his hand.

Narrated by Frank Sinatra Jr. Performed by Robert Culp, Nancy Kwan, David Hedison, Don Stroud, Henry Silva, Alan Young, Edd "Kookie" Byrnes, Barbara Leigh, Gary Lockwood.

CIA agent James McKnight (Robert Culp) has amnesia and has the mafia and the CIA out to kill him. He tries to escape with his beautiful lover (Nancy Kwan), who he doesn't remember and might be working against him.

It was a dream working with our narrator, Frank Sinatra Jr. I had heard his audio commentary on two of his father's movies on DVD, "Robin and the Seven Hoods" and "Oceans Eleven". His voice, articulation, as well as his respect for character actors impressed me, so he was approached to take the listener along on this conspiracy tale.

Mr. Sinatra requested his recording be done at night as that is when most singers feel their voice is the best. He gave a concentrated performance, often coming up with changes in the text that were superior than the original.

For example, there is a line that read, "The hit man was dead before his 200 pound body crashed to the floor." Mr. Sinatra changed it to:"The hit man was dead before his 200 pounds crashed to the floor." When I heard that, I was overjoyed that this subtle, but powerful change had happened.

Then Mr. Sinatra said, "Okay fellas, I'll read it as written so that you'll have a choice." But I knew right then which reading I would use. This happened a few other times as well. I was in awe of Mr. Sinatra's annunciation and sometimes ending a paragraph in an upward tone, leaving it hanging as if more will come. I don't know what that's called, but I loved it.

During our breaks, it was wonderful to talk with Mr. Sinatra about the sets that he visited of some of the now classic movies, such as "Journey to the Center of the Earth" and "Them". He also explained why and how lounge acts disappeared from the Las Vegas casinos.

It seems that when the headliners lost popularity and could no long fill the large show rooms they were moved to the lounge to entertain gamblers and provide music to the whole casino. But when the entertainers insisted that their act be curtained off from the casino, the owners decided that if the gambler could see or hear the acts, then why should they pay to have them in the lounge. Thus the lounge acts disappeared.

The production's cast includes Robert Culp, Nancy Kwan, David Hedison, Henry Silva, Don Stroud, Barbara Leigh, Alan Young, Edd "Kookie" Byrnes, Gary Lockwood, and others. The production has full sound effects and music, like an "audio-movie".

It's a mystery/thriller about a CIA deputy director that get's amnesia and for some unknown reason is marked for death by both the Mafia and the CIA. The woman he lives with, but can't remember, runs with him. But can he trust her?

This is my second full cast audio-book. My first was "Rock Star Rising" narrated by Rod Taylor. Performed by Russ Tamblyn, George Chakiris, Robert Culp, James Darren, Barbara Leigh, and Kevin McCarthy.

Download at:

http://lodingo.com/_catalog_49120/Ronin_Audio_Book_Downloads




Like this? Want to talk to the author? Be at Facebook's Reviewers Roundup Discussion Board on September 30th from 12:00 Noon to 2:00 PM to attend Live Chat with Paul Kyriazi from his hotel in Tokyo!

P.S. Check the site out in advance if you can...you must join the group to be able to comment...Hey, but there are 1700 members that you can also meet!

Live Chat With Paul Kyriazi - Be There! September 30, 12:00 Noon!

Time Thursday,

September 30 ·

12:00pm - 2:00pm

Location Reviewers Roundup Discussion Board!

Hosted By Reviewers Roundup - Must Join to Chat!

Have you thought about having your book made into an audio book...Paul Kyriazi does it in a professional way...he gets actors to play the parts! He just directed one by Edd Byrnes (Kookie to most of us) with Edd playing the lead part...

Or, Are you interested in learning about Living the James Bond Life? Paul has a set ...of lessons but is going to be sharing some things and answering our questions about...anything!

Paul is in Tokyo! We've set the time for September 30th at 12:00 Noon EST to 2:00 PM; he's going to be up about Midnight Tokyo time...so please do take the time to visit with him...

Our first Live Chat from Tokyo! How cool is that?!!!! By the way, Paul is about the nicest guy I have met online...very personable and friendly...we are in for lots of fun! Be There!

Click title of article to visit web site...

http://www.facebook.com/event.php?eid=152881854746672

The James Bond Lifestyle...Paul Kyriazi Shares Review/Story of Seminar

Cover of Tokyo!

True Terror in Tokyo - James Bond Lifestyle advice.


I got this story straight from the horse: A Japanese college student boy was walking in Shujuku (popular movie and restaurant section of Tokyo) when a pretty girl standing by a bar invited him to come in and have a drink with her.

After having a drink and singing a karioki song he got handed a bill for $500 by the tough guy manager. "This can't be right", he said. The manager replied, "One hundred dollars for each drink. One hundred for singing a song. Another hundred for singing with the girl. And another hundred for putting your hand on the girl's shoulder while you sang. That's a total of $500."

"I only have $200."

"Then give me your watch until you come back with the money or you can't leave". The next day he came back and redeemed his watch.

Lots of lessons in this story for us James Bond Lifestyle students. Such as always know the kind of place that you are going into and what you are getting into. And it's better to carry $500 and not need it, than need $500 and not have it. And to quote Johnny Rivers in Secret Agent Man:

A pretty face can hide an evil mind."


Jesse James' magazine calls
the James Bond Lifestyle "The baddest seminar of them all."




Here's what the November '09 issue #20 of Garage magazine said about The James Bond Lifestyle seminar. And remember this is not an ad. This is what they said after listening to the course:

"Contrary to popular belief, seminars didn't necessarily die a painful post- '80's death. They are alive and well today, and the baddest seminar of them all is How to Live the James Bond Lifestyle.

Come on, who doesn't want to be James Bond? Why would you choose to be a depressed, lonely accountant when Paul Kyriazi can offer you the definitive guide to being a suave, stylish sex god - replete with chicks, cars, gadgets, and exotic locales - on 8 CDs.

Don't hesitate, begin your journey to Aston Martin ownership today."



***************************************************************************
And then the editors put my website and three photos of the box and CDs, in full color. Yes, Jesse James is the guy on the Discovery Channel  and on 'The Celebrity Apprentice' show with Trump.

James Bond Lifestyle Seminar page on Facebook: http://bit.ly/dkI9qj


Paul Kyriazi is now in Tokyo, so I thought I would include a story from there...Paul will be with the Reviewers Roundup before the end of the month in a live chat from Tokyo! Keep watching for details!

Paul Kyriazi Shares His Work Ethic...

Complete All Projects



Leave nothing on the back burner.







I had met another film maker a few years after college. He had seen my seven 16mm action films. And one day he said to me,"I knew you were a serious film maker when I met you." "I thought you didn't like my action movies", I said.

He replied,"I liked them well enough, but it's not that. It's because you had completed film, after completed film, after completed film."

Yes, there are a lot of uncompleted projects in the film world. It seems the film maker, the script writer, or even the novelist or short story writer runs out of steam after the first burst of honest passion.

Once an excited writer showed his three-page short story to a group of us. After he left, one guy said, "He only wrote a three-page story. That doesn't compare with my 300 page novel." (He had been working on that novel for two years.) I said, "Until you finish. His three-page finished story beats your 300-page unfinished one. He can now bind it and give it out. But you can't, yet."

So leave nothing on "the back burner". Finish it. Even if it's shorter and less perfect than you intended. Finish it. Even a 17 syllable 'haiku' poem that is finished, beats a 400 page masterpiece that is not. I had a 25 min. comedy that I shot in college, but hadn't got the actors together to dub in the sound.

Years went by and I was on my fourth feature and I finally cut the film on video to a silent 15 minutes with music. (I saw it could play that way.) I made video copies and sent them to the actors. One of the actors became an art teacher and shows the movie every year to his classes.

He can show it because it was completed.

Living the James Bond Life...

Vanity Press or Self-Publish? Paul Kyriazi Shares More...

Don't wait to get your book out.



A lot of people confuse 'vanity press' with self publishing. Vanity press is where you pay them to print up your book and they put it on amazon and send out some copies to reviewers. And that's okay, depending on the price.

Self publishing means exactly that. Remember publishing houses use separate printers just like you will be doing. And try to market it just like you will. They have the big connections and money to promote so if you get a book deal, great. But it's 95% they won't read your manuscript, or make you re-write it and then still say no.

I could give you many examples of some semi-famous people, such as Paul Peterson ( the Donno Reed Show) who I talked with, who's book is out of print from his publisher, yet cannot get his book rights back from them. No books, can't make more. Publisher won't make more. Publisher won't return rights.

I have a acquaintance that only wants his book to be published by a 'real publisher'. So he paid thousands of dollars in reading fees over the years with no takers. He hates self publishers, but he will leave the planet without the fun of seeing his book come running out of the presses. And I recommend you are in the print room when it happens. What a sight.

I want everyone to have at least one tangible product that sums them up. To give out to new friends and loved ones. So the next time you're in a bookstore and see those big texts between two beautiful hardbound covers with great graphics, you'll think, "Hey, I did one, too."

And start designing the cover while you're writing it. That keeps you excited. I love my 'Rock Star Rising' design that I did myself, with the help of a PC designer. I drew it out in stick figure, found the photos, and worked with him to get what I wanted in an hour. No wasting time with him making 10 test covers for $1,000 that you don't like.

You can view my audio-novels with the 21 movie stars, in a 3 minute photo show at www.myspace.com/paulkyriazi

It starts automatically, just scroll down a tad to see the whole screen.

Be very sure to read my article 'Searching for a Publisher'. (Ran yesterday here at BRH)


 
 
 
 
 

Living the James Bond Life
with Paul Kyriazi!

Paul Kyriazi Shares Opinion About Searching for A Publisher

You know him but did you know he self-publishes?

Read My Strong Opinion for Sure...

By Paul Kyriazi


Many business people want to have a book published to advertise themselves. I agree that a book is a great tool to give a business person credibility. But I have strong feelings about trying to get published. This is what will happen to you:


You will send your manuscript to publishers that you can convince to receive it. It will sit there for months, even years, and nobody will read it. And if they do, they will want you to completely re-write it. And then they will tell you, it's still not good enough to publish. I personally know of two people that happened to, both in Japan and the USA. Hah. Publishers are the same the world over, it seems.

Or if you are very lucky they will print five thousand copies, with a bad cover design, send you twenty copies, promise you a percentage of the profits, and then send you nothing but receipts for their expenses.

And then when you want to promote your book yourself, it won't be in the bookstores. And when you want your book back to put it out yourself, they will tell you that they own it and will not print any more or give it back to you.

I just talked with Paul Peterson (The Donna Reed Show) at a photo signing convention. He can't get his book back from the publisher, and they won't print more copies, so he has nothing to sign, except photos.

The worst story I heard was in Japan. Movie star Tatsuya Nakadai's wife wrote a book about her husband. She gave it to a large publisher. They held it seven years without doing anything with it. Seven years! When she died (young), they immediately published it that week to cash in on her death publicity.

Why go through all the above, when these days you can self-publish your book? (Not vanity press). You can design your own cover, get an ISBN number, and sell it on Authors Den, Amazon, and your own web sites.

And when you need more copies you can make a phone call to your printer and have them in two weeks. Your book will never go out of print. And you can revise it  anytime you want.

These days you don't have to print thousands of copies. You can run 200 at most printers. And now there are web sites printing one at a time like lulu.com. They also have programs for your PC to lay out your book for printing.

And then you will have something to hand out to promote yourself or just to share. Something cheaper than cookies to give to your loved ones on Christmas.

And let me tell you it's a great and satisfying experience. And why wait like Nakadai's wife did? Why not enjoy having your book out now with the cover design, paper, and type style you like?

That's what Gene Simmons of KISS did. He first met with a publisher for his "Kisstory" book. But when he realized they would take him to the cleaners with their endless deductions he published it himself.

You probably won't make a profit. Or if you do, it will take time. But that's not the reason to have a least one book out that represents you, be it auto-biography, fiction, or whatever subject.

Just call up a printer and get the prices and facts. And get ready for one of the most exciting and satisfying times of your life. And then, the next time you go into a book store and see all those big books with cool covers, you'll think, "I've got mine too."

PS Design your own cover. That's a separate story.

Related articles by Zemanta

• Writers Moving Forward (brighthub.com)