Writing a book in 365 days – 260

Day 260

Turning your real-life experiences into a story, and then with a great deal of luck, into a legendary film.

From Your Life to the Legendary Silver Screen: The Audacious Quest for Cinematic Immortality

We’ve all seen them – those incredible films that resonate deep within our souls, stories so potent and true, you just know they must have sprung from the messy, magnificent wellspring of real life. Think “Schindler’s List,” “127 Hours,” “The Pursuit of Happyness,” “Erin Brockovich.” These aren’t just great movies; they’re cultural touchstones, etched into our collective consciousness.

And who hasn’t, at some point, looked at a pivotal moment in their own life – a harrowing challenge, an unlikely triumph, a profound transformation – and thought, “Now that would make an amazing movie.”

The leap from your personal experience to a legendary film is, let’s be honest, vast. It’s akin to catching lightning in a bottle, then harnessing its power to illuminate the world. It requires a potent blend of authenticity, craft, perseverance, and indeed, a great deal of luck. But understanding the steps, the possible path, can turn a fleeting thought into a focused ambition.

Here’s how one might embark on this audacious, often miraculous, journey:


Step 1: Harvesting Your Truth – The Origin Story

Before you even think about a script, you must dive deep into your own experience. This isn’t just recounting events; it’s excavating the emotional core.

  • Identify the Core Conflict & Transformation: What was the central struggle? Who were you before, and who did you become after? Legendary stories thrive on profound change.
  • Pinpoint the Universal: While your experience is unique, what universal themes does it touch upon? Love, loss, injustice, courage, resilience, redemption? These are the hooks that connect your singular story to a global audience.
  • Embrace Authenticity, Not Just Facts: Don’t be afraid to explore the messy, uncomfortable, or unsung aspects. Truth, in its rawest form, is compelling.
  • The “Why Now?”: Why is this story important right now? What message does it carry for contemporary society?

This isn’t just memory; it’s meaningful introspection.


Step 2: Crafting the Narrative – From Raw Emotion to Gripping Story

Your life isn’t a film script; it’s a sprawling, unedited saga. The next crucial step is to shape that reality into a compelling narrative arc.

  • Outline the Narrative Beats: Think like a storyteller. What’s the inciting incident? The rising action? The climax? The falling action? The resolution? Even if it didn’t happen perfectly in real life, you need to find this structure.
  • Identify Your Protagonist (You, or an Alter-Ego): What are their desires, flaws, strengths? How do they drive the story forward?
  • Build Your Supporting Cast: Who are the key players in your life’s drama? What roles do they play in your journey?
  • Write It Down (Seriously, Write It): Start as a memoir, a detailed story, or even a treatment. Get the essence of the story, its characters, and its emotional journey down on paper in prose form. This is your foundation.

This is where “storytelling” begins its magic, often requiring you to condense, combine, or even slightly fictionalize elements to serve the larger truth.


Step 3: Translating to the Screen – The Art of the Screenplay

This is where the specialized craft truly begins. A screenplay is a blueprint, a visual language.

  • Learn Screenwriting Fundamentals: Read screenplays of films you admire. Understand structure (three-act, sequences), formatting, dialogue, and “show, don’t tell.”
  • Visualize Everything: How does your story look on screen? What are the key images, sounds, and moments that convey emotion without dialogue?
  • Find Your Voice: Even with technical rules, your unique perspective should shine through.
  • Consider Collaboration: Unless you are an experienced screenwriter, you might need to find a professional screenwriter who can adapt your story into a compelling script. This often means selling them the rights to your life story, or collaborating closely. Be prepared for changes – the film version won’t be a literal transcription of your life.

This stage transforms your story from a personal account into a potential cinematic experience.


Step 4: The Industry Gauntlet – Pitching, Persistence, and People

Even a brilliant script needs to find its way into the right hands. This is where the “luck” factor amplifies, but you can certainly increase your odds.

  • Seek Feedback & Refine: Share your script with trusted readers, writers’ groups, or professional consultants. Be open to critique and revise, revise, revise.
  • Build Your Network: Attend film festivals, writing conferences, and industry events. Connect with other emerging writers, producers, and directors.
  • Enter Contests & Fellowships: Prestigious screenwriting competitions (like The Nicholl Fellowships, Austin Film Festival) can open doors and get your script noticed by agents and producers.
  • Find Representation: A literary agent or manager can be crucial for getting your script read by studios and production companies. This often requires a strong script and some initial buzz.
  • The Pitch: Be ready to articulate your story’s essence, its universal appeal, and its marketability in a concise, compelling way.

This phase is a marathon of networking, rejection, and the occasional glimmer of hope.


Step 5: The Alchemy of Production – From Script to Silver Screen

If your script catches fire, it enters the labyrinthine world of development and production.

  • Optioning & Development Deals: A production company or studio might “option” your script, buying the exclusive right to develop it for a period. This is where the project gets a producer, perhaps a director attached, and financing is sought.
  • Creative Evolution (and Compromise): Be prepared for your story to be shaped by many hands – directors, actors, studio executives. Your initial vision might evolve significantly. This is a collaborative art form.
  • Casting the Dream: The right cast can elevate a good story to greatness, bringing characters to life in unexpected ways.
  • Filming & Post-Production: The arduous process of shooting, editing, scoring, and visual effects comes next.

This is where your story truly transforms, gaining flesh, blood, and a voice beyond your own.


Step 6: The Spark of Legend – Beyond Your Control

Achieving “legendary” status is the ultimate, and most unpredictable, outcome.

  • Critical Acclaim & Audience Resonance: A film needs to connect deeply with both critics and audiences, earning rave reviews and robust box office (though not always).
  • Cultural Impact: Does the film spark conversations? Does it influence other art? Does it stand the test of time, becoming a reference point for future generations?
  • The Right Moment: Sometimes, a story simply arrives at the perfect cultural moment, addressing unspoken needs or reflecting pressing issues. This is pure serendipity.
  • Awards & Recognition: While not the sole arbiter of “legendary,” major awards (Oscars, Golden Globes) certainly amplify a film’s reach and cemented its place in history.

This is the realm of magic, where your personal truth, skillfully told, transcends entertainment and becomes a lasting cultural artifact.


The path from your unique life experience to a legendary film is steep, winding, and littered with “almosts.” Many incredible stories remain untold, or stop short of the silver screen. But the very act of distilling your truth, crafting it into a compelling narrative, and daring to share it with the world is a profound journey in itself.

So, listen to the whisper of your own story. What profound truth is waiting to be unearthed? What cinematic masterpiece might be hiding within the chapters of your life? The first step, always, is simply to begin.

An excerpt from “If Only” – a work in progress

Investigation of crimes doesn’t always go according to plan, nor does the perpetrator get either found or punished.

That was particularly true in my case.  The murderer was incredibly careful in not leaving any evidence behind, to the extent that the police could not rule out whether it was a male or a female.

At one stage the police thought I had murdered my own wife though how I could be on a train at the time of the murder was beyond me.  I had witnesses and a cast-iron alibi.

The officer in charge was Detective First Grade Gabrielle Walters.  She came to me on the day after the murder seeking answers to the usual questions like, when was the last time you saw your wife, did you argue, the neighbors reckon there were heated discussions the day before.

Routine was the word she used.

Her fellow detective was a surly piece of work whose intention was to get answers or, more likely, a confession by any or all means possible.  I could sense the raging violence within him.  Fortunately, common sense prevailed.

Over the course of the next few weeks, once I’d been cleared of committing the crime, Gabrielle made a point of keeping me informed of the progress.

After three months the updates were more sporadic, and when, for lack of progress, it became a cold case, communication ceased.

But it was not the last I saw of Gabrielle.

The shock of finding Vanessa was more devastating than the fact she was now gone, and those images lived on in the same nightmare that came to visit me every night when I closed my eyes.

For months I was barely functioning, to the extent I had all but lost my job, and quite a few friends, particularly those who were more attached to Vanessa rather than me.

They didn’t understand how it could affect me so much, and since it had not happened to them, my tart replies of ‘you wouldn’t understand’ were met with equally short retorts.  Some questioned my sanity, even, for a time, so did I.

No one, it seemed, could understand what it was like, no one except Gabrielle.

She was by her own admission, damaged goods, having been the victim of a similar incident, a boyfriend who turned out to be an awfully bad boy.  Her story varied only in she had been made to witness his execution.  Her nightmare, in reliving that moment in time, was how she was still alive and, to this day, had no idea why she’d been spared.

It was a story she told me one night, some months after the investigation had been scaled down.  I was still looking for the bottom of a bottle and an emotional mess.  Perhaps it struck a resonance with her; she’d been there and managed to come out the other side.

What happened become our secret, a once-only night together that meant a great deal to me, and by mutual agreement, it was not spoken of again.  It was as if she knew exactly what was required to set me on the path to recovery.

And it had.

Since then, we saw each about once a month in a cafe.   I had been surprised to hear from her again shortly after that eventful night when she called to set it up, ostensibly for her to provide me with any updates on the case, but perhaps we had, after that unspoken night, formed a closer bond than either of us wanted to admit.

We generally talked for hours over wine, then dinner and coffee.  It took a while for me to realize that all she had was her work, personal relationships were nigh on impossible in a job that left little or no spare time for anything else.

She’d always said that if I had any questions or problems about the case, or if there was anything that might come to me that might be relevant, even after all this time, all I had to do was call her.

I wondered if this text message was in that category.  I was certain it would interest the police and I had no doubt they could trace the message’s origin, but there was that tiny degree of doubt, about whether or not I could trust her to tell me what the message meant.

I reached for the phone then put it back down again.  I’d think about it and decide tomorrow.

© Charles Heath 2018-2020

Searching for locations: Central Park, New York. USA

It’s a place to go and spot the movie stars, or perhaps their dogs.

It’s a place to go for long walks on idyllic spring or autumn days

It’s a place to go to look at a zoo, though I didn’t realize there was one until I made a wrong turn.

It’s a place to go for a horse and carriage ride, although it does not last that long

It’s a place to go to look at statues, fountains, architecture, and in winter, an ice skating rink

I’m sure there’s a whole lot more there that I don’t know about.

I have to say I’ve only visited in winter, and the first time there was snow, the second, none.

Both times it was cold, but this didn’t seem to deter people.

But…

We decided to go visit another part of the park, this time walking to West 67th Street before crossing Central Park West and into the park where Sheep Meadow is.

Once upon a time sheep did graze on the meadow, but these days it is designated a quiet area inspiring calm and refreshing thoughts, except for a period in the 1960s where there was more than one counter-culture protest, or love in, going on.

And, there’s the sign to say it was Sheep Meadow,

and that’s the meadow behind the sign,

Well, I don’t see any sheep, but of course, that’s not why the meadow is named or should there be any sheep on it.  That greenery that can be seen, restoring for the spring, was a very expensive addition to the park.

As a matter of fact, there is nothing was on it, because signs were up to say the meadow was closed for the winter, a new and interesting variation on the ‘Don’t Walk On The Grass’ signs.

I’m sure I could climb the fence, or, maybe not.  I’m a bit old to be climbing fences.

So, unable to walk on the grass, we tossed an imaginary coin, should we go towards West 110th Street, or back to West 59th Street.

West 59th Street won.

and, just in case we had any strange ideas about walking on the grass, the fence was there to deter us.  Perhaps if we had more determination…

One positive aspect of the park is that you could never get lost, and the tall buildings surrounding the park are nearly always visible through the trees, more so in winter because there is no foliage, maybe less so later in the year.

There is also a lot of very large rocky type hills, or outcrops where people seem to stand on, king of the mountain style, or sit to have a picnic lunch, quickly before it freezes.

Yes, it is cold outside and seems more so in the park.

I wondered briefly if it ever got foggy, then this place would be very spooky, particularly after the sun goes down.

An excerpt from “One Last Look”: Charlotte is no ordinary girl

This is currently available at Amazon herehttp://amzn.to/2CqUBcz

I’d read about out-of-body experiences, and like everyone else, thought it was nonsense.  Some people claimed to see themselves in the operating theatre, medical staff frantically trying to revive them, and being surrounded by white light.

I was definitely looking down, but it wasn’t me I was looking at.

It was two children, a boy and a girl, with their parents, in a park.

The boy was Alan.  He was about six or seven.  The girl was Louise, and she was five years old.  She had long red hair and looked the image of her mother.

I remember it now, it was Louise’s birthday and we went down to Bournemouth to visit our Grandmother, and it was the last time we were all together as a family.

We were flying homemade kites our father had made for us, and after we lay there looking up at the sky, making animals out of the clouds.  I saw an elephant, Louise saw a giraffe.

We were so happy then.

Before the tragedy.

When I looked again ten years had passed and we were living in hell.  Louise and I had become very adept at survival in a world we really didn’t understand, surrounded by people who wanted to crush our souls.

It was not a life a normal child had, our foster parents never quite the sort of people who were adequately equipped for two broken-hearted children.  They tried their best, but their best was not good enough.

Every day it was a battle, to avoid the Bannister’s and Archie in particular, every day he made advances towards Louise and every day she fended him off.

Until one day she couldn’t.

Now I was sitting in the hospital, holding Louise’s hand.  She was in a coma, and the doctors didn’t think she would wake from it.  The damage done to her was too severe.

The doctors were wrong.

She woke, briefly, to name her five assailants.  It was enough to have them arrested.  It was not enough to have them convicted.

Justice would have to be served by other means.

I was outside the Bannister’s home.

I’d made my way there without really thinking, after watching Louise die.  It was like being on autopilot, and I had no control over what I was doing.  I had murder in mind.  It was why I was holding an iron bar.

Skulking in the shadows.  It was not very different from the way the Bannister’s operated.

I waited till Archie came out.  I knew he eventually would.  The police had taken him to the station for questioning, and then let him go.  I didn’t understand why, nor did I care.

I followed him up the towpath, waiting till he stopped to light a cigarette, then came out of the shadows.

“Wotcha got there Alan?” he asked when he saw me.  He knew what it was, and what it was for.

It was the first time I’d seen the fear in his eyes.  He was alone.

“Justice.”

“For that slut of a sister of yours.  I had nuffing to do with it.”

“She said otherwise, Archie.”

“She never said nuffing, you just made it up.”  An attempt at bluster, but there was no confidence in his voice.

I held up the pipe.  It had blood on it.  Willy’s blood.  “She may or may not have Archie, but Willy didn’t make it up.  He sang like a bird.  That’s his blood, probably brains on the pipe too, Archie, and yours will be there soon enough.”

“He dunnit, not me.  Lyin’ bastard would say anything to save his own skin.”  Definitely scared now, he was looking to run away.

“No, Archie.  He didn’t.  I’m coming for you.  All of you Bannisters.  And everyone who touched my sister.”

It was the recurring nightmare I had for years afterwards.

I closed my eyes and tried to shut out the thoughts, the images of Louise, the phone call, the visit to the hospital and being there when she succumbed to her injuries.  Those were the very worst few hours of my life.

She had asked me to come to the railway station and walk home with her, and I was running late.  If I had left when I was supposed to, it would never have happened and for years afterwards, I blamed myself for her death.

If only I’d not been late…

When the police finally caught the rapists, I’d known all along who they’d be; antagonists from school, the ring leader, Archie Bannister, a spurned boyfriend, a boy whose parents, ubiquitously known to all as ‘the Bannister’s, dealt in violence and crime and who owned the neighbourhood.  The sins of the father had been very definitely passed onto the son.

At school, I used to be the whipping boy, Archie, a few grades ahead of me, made a point of belting me and a few of the other boys, to make sure the rest did as they were told.  He liked Louise, but she had no time for a bully like him, even when he promised he would ‘protect’ me.

I knew the gang members, the boys who tow-kowed to save getting beaten up, and after the police couldn’t get enough information to prosecute them because everyone was too afraid to speak out, I went after Willy.  There was always a weak link in a group, and he was it.

He worked in a factory, did long hours on a Wednesday and came home after dark alone.  It was a half mile walk, through a park.  The night I approached him, I smashed the lights and left it in darkness.  He nearly changed his mind and went the long way home.

He didn’t.

It took an hour and a half to get the names.  At first, when he saw me, he laughed.  He said I would be next, and that was four words more than he knew he should have said.

When I found him alone the next morning I showed him the iron bar and told him he was on the list.  I didn’t kill him then, he could wait his turn, and worry about what was going to happen to him.

When the police came to visit me shortly after that encounter, no doubt at the behest of the Bannister’s, the neighbourhood closed ranks and gave me an ironclad alibi.  The Bannister’s then came to visit me and threatened me.  I told them their days were numbered and showed them the door.

At the trial, he and his friends got off on a technicality.  The police had failed to do their job properly, but it was not the police, but a single policeman, corrupted by the Bannisters.

Archie could help but rub it in my face.  He was invincible.

Joe Collins took 12 bullets and six hours to bleed out.  He apologized, he pleaded, he cried, he begged.  I didn’t care.

Barry Mills, a strong lad with a mind to hurting people, Archie’s enforcer, almost got the better of me.  I had to hit him more times than I wanted to, and in the end, I had to be satisfied that he died a short but agonizing death.

I revisited Willy in the hospital.  He’d recovered enough to recognize me, and why I’d come.  Suffocation was too good for him.

David Williams, second in command of the gang, was as tough and nasty as the Bannisters.  His family were forging a partnership with the Bannister’s to make them even more powerful.  Outwardly David was a pleasant sort of chap, affable, polite, and well mannered.  A lot of people didn’t believe he could be like, or working with, the Bannisters.

He and I met in the pub.  We got along like old friends.  He said Willy had just named anyone he could think of, and that he was innocent of any charges.  We shook hands and parted as friends.

Three hours later he was sitting in a chair in the middle of a disused factory, blindfolded and scared.  I sat and watched him, listened to him, first threatening me, and then finally pleading with me.  He’d guessed who it was that had kidnapped him.

When it was dark, I took the blindfold off and shone a very bright light in his eyes.  I asked him if the violence he had visited upon my sister was worth it.  He told me he was just a spectator.

I’d read the coroner’s report.  They all had a turn.  He was a liar.

He took nineteen bullets to die.

Then came Archie.

The same factory only this time there were four seats.  Anna Bannister, brothel owner, Spike Bannister, head of the family, Emily Bannister, sister, and who had nothing to do with their criminal activities.  She just had the misfortune of sharing their name.

Archie’s father told me how he was going to destroy me, and everyone I knew.

A well-placed bullet between the eyes shut him up.

Archie’s mother cursed me.  I let her suffer for an hour before I put her out of her misery.

Archie remained stony-faced until I came to Emily.  The death of his parents meant he would become head of the family.  I guess their deaths meant as little to him as they did me.

He was a little more worried about his sister.

I told him it was confession time.

He told her it was little more than a forced confession and he had done nothing to deserve my retribution.

I shrugged and shot her, and we both watched her fall to the ground screaming in agony.  I told him if he wanted her to live, he had to genuinely confess to his crimes.  This time he did, it all poured out of him.

I went over to Emily.  He watched in horror as I untied her bindings and pulled her up off the floor, suffering only from a small wound in her arm.  Without saying a word she took the gun and walked over to stand behind him.

“Louise was my friend, Archie.  My friend.”

Then she shot him.  Six times.

To me, after saying what looked like a prayer, she said, “Killing them all will not bring her back, Alan, and I doubt she would approve of any of this.  May God have mercy on your soul.”

Now I was in jail.  I’d spent three hours detailing the deaths of the five boys, everything I’d done; a full confession.  Without my sister, my life was nothing.  I didn’t want to go back to the foster parents; I doubt they’d take back a murderer.

They were not allowed to.

For a month I lived in a small cell, in solitary, no visitors.  I believed I was in the queue to be executed, and I had mentally prepared myself for the end.

Then I was told I had a visitor, and I was expecting a priest.

Instead, it was a man called McTavish. Short, wiry, and with an accent that I could barely understand.

“You’ve been a bad boy, Alan.”

When I saw it was not the priest I told the jailers not to let him in, I didn’t want to speak to anyone.  They ignored me.  I’d expected he was a psychiatrist, come to see whether I should be shipped off to the asylum.

I was beginning to think I was going mad.

I ignored him.

“I am the difference between you living or dying Alan, it’s as simple as that.  You’d be a wise man to listen to what I have to offer.”

Death sounded good.  I told him to go away.

He didn’t.  Persistent bugger.

I was handcuffed to the table.  The prison officers thought I was dangerous.  Five, plus two, murders, I guess they had a right to think that.  McTavish sat opposite me, ignoring my request to leave.

“Why’d you do it?”

“You know why.”  Maybe if I spoke he’d go away.

“Your sister.  By all accounts, the scum that did for her deserved what they got.”

“It was murder just the same.  No difference between scum and proper people.”

“You like killing?”

“No-one does.”

“No, I dare say you’re right.  But you’re different, Alan.  As clean and merciless killing I’ve ever seen.  We can use a man like you.”

“We?”

“A group of individuals who clean up the scum.”

I looked up to see his expression, one of benevolence, totally out of character for a man like him.  It looked like I didn’t have a choice.

Trained, cleared, and ready to go.

I hadn’t realized there were so many people who were, for all intents and purposes, invisible.  People that came and went, in malls, in hotels, trains, buses, airports, everywhere, people no one gave a second glance.

People like me.

In a mall, I became a shopper.

In a hotel, I was just another guest heading to his room.

On a bus or a train, I was just another commuter.

At the airport, I became a pilot.  I didn’t need to know how to fly; everyone just accepted a pilot in a pilot suit was just what he looked like.

I had a passkey.

I had the correct documents to get me onto the plane.

That walk down the air bridge was the longest of my life.  Waiting for the call from the gate, waiting for one of the air bridge staff to challenge me, stepping onto the plane.

Two pilots and a steward.  A team.  On the plane early before the rest of the crew.  A group that was committing a crime, had committed a number of crimes and thought they’d got away with it.

Until the judge, the jury and their executioner arrived.

Me.

Quick, clean, merciless.  Done.

I was now an operational field agent.

I was older now, and I could see in the mirror I was starting to go grey at the sides.  It was far too early in my life for this, but I expect it had something to do with my employment.

I didn’t recognize the man who looked back at me.

It was certainly not Alan McKenzie, nor was there any part of that fifteen-year-old who had made the decision to exact revenge.

Given a choice; I would not have gone down this path.

Or so I kept telling myself each time a little more of my soul was sold to the devil.

I was Barry Gamble.

I was Lenny Buckman.

I was Jimmy Hosen.

I was anyone but the person I wanted to be.

That’s what I told Louise, standing in front of her grave, and trying to apologize for all the harm, all the people I’d killed for that one rash decision.  If she was still alive she would be horrified, and ashamed.

Head bowed, tears streamed down my face.

God had gone on holiday and wasn’t there to hand out any forgiveness.  Not that day.  Not any day.

New York, New Years Eve.

I was at the end of a long tour, dragged out of a holiday and back into the fray, chasing down another scumbag.  They were scumbags, and I’d become an automaton hunting them down and dispatching them to what McTavish called a better place.

This time I failed.

A few drinks to blot out the failure, a blonde woman who pushed my buttons, a room in a hotel, any hotel, it was like being on the merry-go-round, round and round and round…

Her name was Silvia or Sandra, or someone I’d met before, but couldn’t quite place her.  It could be an enemy agent for all I knew or all I cared right then.

I was done.

I’d had enough.

I gave her the gun.

I begged her to kill me.

She didn’t.

Instead, I simply cried, letting the pent up emotion loose after being suppressed for so long, and she stayed with me, holding me close, and saying I was safe, that she knew exactly how I felt.

How could she?  No one could know what I’d been through.

I remembered her name after she had gone.

Amanda.

I remembered she had an imperfection in her right eye.

Someone else had the same imperfection.

I couldn’t remember who that was.

Not then.

I had a dingy flat in Kensington, a place that I rarely stayed in if I could help it.  After five-star hotel rooms, it made me feel shabby.

The end of another mission, I was on my way home, the underground, a bus, and then a walk.

It was late.

People were spilling out of the pub after the last drinks.  Most in good spirits, others slightly more boisterous.

A loud-mouthed chap bumped into me, the sort who had one too many, and was ready to take on all comers.

He turned on me, “Watch where you’re going, you fool.”

Two of his friends dragged him away.  He shrugged them off, squared up.

I punched him hard, in the stomach, and he fell backwards onto the ground.  I looked at his two friends.  “Take him home before someone makes mincemeat out of him.”

They grabbed his arms, lifted him off the ground and took him away.

Out of the corner of my eye, I could see a woman, early thirties, quite attractive, but very, very drunk.  She staggered from the bar, bumped into me, and finished up sitting on the side of the road.

I looked around to see where her friends were.  The exodus from the pub was over and the few nearby were leaving to go home.

She was alone, drunk, and by the look of her, unable to move.

I sat beside her.  “Where are your friends?”

“Dunno.”

“You need help?”

She looked up, and sideways at me.  She didn’t look the sort who would get in this state.  Or maybe she was, I was a terrible judge of women.

“Who are you?” she asked.

“Nobody.”  I was exactly how I felt.

“Well Mr Nobody, I’m drunk, and I don’t care.  Just leave me here to rot.”

She put her head back between her knees, and it looked to me she was trying to stop the spinning sensation in her head.

Been there before, and it’s not a good feeling.

“Where are your friends?” I asked again.

“Got none.”

“Perhaps I should take you home.”

“I have no home.”

“You don’t look like a homeless person.  If I’m not mistaken, those shoes are worth more than my weekly salary.”  I’d seen them advertised, in the airline magazine, don’t ask me why the ad caught my attention.

She lifted her head and looked at me again.  “You a smart fucking arse are you?”

“I have my moments.”

“Have them somewhere else.”

She rested her head against my shoulder.  We were the only two left in the street, and suddenly in darkness when the proprietor turned off the outside lights.

“Take me home,” she said suddenly.

“Where is your place?”

“Don’t have one.  Take me to your place.”

“You won’t like it.”

“I’m drunk.  What’s not to like until tomorrow.”

I helped her to her feet.  “You have a name?”

“Charlotte.”

The wedding was in a small church.  We had been away for a weekend in the country, somewhere in the Cotswolds, and found this idyllic spot.  Graves going back to the dawn of time, a beautiful garden tended by the vicar and his wife, an astonishing vista over hills and down dales.

On a spring afternoon with the sun, the flowers, and the peacefulness of the country.

I had two people at the wedding, the best man, Bradley, and my boss, Watkins.

Charlotte had her sisters Melissa and Isobel, and Isobel’s husband Giovanni, and their daughter Felicity.

And one more person who was as mysterious as she was attractive, a rather interesting combination as she was well over retirement age.  She arrived late and left early.

Aunt Agatha.

She looked me up and down with what I’d call a withering look.  “There’s more to you than meets the eye,” she said enigmatically.

“Likewise I’m sure,” I said.  It earned me an elbow in the ribs from Charlotte.  It was clear she feared this woman.

“Why did you come,” Charlotte asked.

“You know why.”

Agatha looked at me.  “I like you.  Take care of my granddaughter.  You do not want me for an enemy.”

OK, now she officially scared me.

She thrust a cheque into my hand, smiled, and left.

“Who is she,” I asked after we watched her depart.

“Certainly not my fairy godmother.”

Charlotte never mentioned her again.

Zurich in summer, not exactly my favourite place.

Instead of going to visit her sister Isobel, we stayed at a hotel in Beethovenstrasse and Isobel and Felicity came to us.  Her husband was not with her this time.

Felicity was three or four and looked very much like her mother.  She also looked very much like Charlotte, and I’d remarked on it once before and it received a sharp rebuke.

We’d been twice before, and rather than talk to her sister, Charlotte spent her time with Felicity, and they were, together, like old friends.  For so few visits they had a remarkable rapport.

I had not broached the subject of children with Charlotte, not after one such discussion where she had said she had no desire to be a mother.  It had not been a subject before and wasn’t once since.

Perhaps like all Aunts, she liked the idea of playing with a child for a while and then give it back.

Felicity was curious as to who I was, but never ventured too close.  I believed a child could sense the evil in adults and had seen through my facade of friendliness.  We were never close.

But…

This time, when observing the two together, something quite out of left field popped into my head.  It was not possible, not by any stretch of the imagination, but I thought she looked like my mother.

And Charlotte had seen me looking in their direction.  “You seem distracted,” she said.

“I was just remembering my mother.  Odd moment, haven’t done so for a very long time.”

“Why now?”  I think she had a look of concern on her face.

“Her birthday, I guess,” I said, the first excuse I could think of.

Another look and I was wrong.  She looked like Isobel or Charlotte, or if I wanted to believe it possible, Melissa too.

I was crying, tears streaming down my face.

I was in pain, searing pain from my lower back stretching down into my legs, and I was barely able to breathe.

It was like coming up for air.

It was like Snow White bringing Prince Charming back to life.  I could feel what I thought was a gentle kiss and tears dropping on my cheeks, and when I opened my eyes, I saw Charlotte slowly lifting her head, a hand gently stroking the hair off my forehead.

And in a very soft voice, she said, “Hi.”

I could not speak, but I think I smiled.  It was the girl with the imperfection in her right eye.  Everything fell into place, and I knew, in that instant that we were irrevocably meant to be together.

“Welcome back.”

© Charles Heath 2016-2019

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Writing a book in 365 days – 260

Day 260

Turning your real-life experiences into a story, and then with a great deal of luck, into a legendary film.

From Your Life to the Legendary Silver Screen: The Audacious Quest for Cinematic Immortality

We’ve all seen them – those incredible films that resonate deep within our souls, stories so potent and true, you just know they must have sprung from the messy, magnificent wellspring of real life. Think “Schindler’s List,” “127 Hours,” “The Pursuit of Happyness,” “Erin Brockovich.” These aren’t just great movies; they’re cultural touchstones, etched into our collective consciousness.

And who hasn’t, at some point, looked at a pivotal moment in their own life – a harrowing challenge, an unlikely triumph, a profound transformation – and thought, “Now that would make an amazing movie.”

The leap from your personal experience to a legendary film is, let’s be honest, vast. It’s akin to catching lightning in a bottle, then harnessing its power to illuminate the world. It requires a potent blend of authenticity, craft, perseverance, and indeed, a great deal of luck. But understanding the steps, the possible path, can turn a fleeting thought into a focused ambition.

Here’s how one might embark on this audacious, often miraculous, journey:


Step 1: Harvesting Your Truth – The Origin Story

Before you even think about a script, you must dive deep into your own experience. This isn’t just recounting events; it’s excavating the emotional core.

  • Identify the Core Conflict & Transformation: What was the central struggle? Who were you before, and who did you become after? Legendary stories thrive on profound change.
  • Pinpoint the Universal: While your experience is unique, what universal themes does it touch upon? Love, loss, injustice, courage, resilience, redemption? These are the hooks that connect your singular story to a global audience.
  • Embrace Authenticity, Not Just Facts: Don’t be afraid to explore the messy, uncomfortable, or unsung aspects. Truth, in its rawest form, is compelling.
  • The “Why Now?”: Why is this story important right now? What message does it carry for contemporary society?

This isn’t just memory; it’s meaningful introspection.


Step 2: Crafting the Narrative – From Raw Emotion to Gripping Story

Your life isn’t a film script; it’s a sprawling, unedited saga. The next crucial step is to shape that reality into a compelling narrative arc.

  • Outline the Narrative Beats: Think like a storyteller. What’s the inciting incident? The rising action? The climax? The falling action? The resolution? Even if it didn’t happen perfectly in real life, you need to find this structure.
  • Identify Your Protagonist (You, or an Alter-Ego): What are their desires, flaws, strengths? How do they drive the story forward?
  • Build Your Supporting Cast: Who are the key players in your life’s drama? What roles do they play in your journey?
  • Write It Down (Seriously, Write It): Start as a memoir, a detailed story, or even a treatment. Get the essence of the story, its characters, and its emotional journey down on paper in prose form. This is your foundation.

This is where “storytelling” begins its magic, often requiring you to condense, combine, or even slightly fictionalize elements to serve the larger truth.


Step 3: Translating to the Screen – The Art of the Screenplay

This is where the specialized craft truly begins. A screenplay is a blueprint, a visual language.

  • Learn Screenwriting Fundamentals: Read screenplays of films you admire. Understand structure (three-act, sequences), formatting, dialogue, and “show, don’t tell.”
  • Visualize Everything: How does your story look on screen? What are the key images, sounds, and moments that convey emotion without dialogue?
  • Find Your Voice: Even with technical rules, your unique perspective should shine through.
  • Consider Collaboration: Unless you are an experienced screenwriter, you might need to find a professional screenwriter who can adapt your story into a compelling script. This often means selling them the rights to your life story, or collaborating closely. Be prepared for changes – the film version won’t be a literal transcription of your life.

This stage transforms your story from a personal account into a potential cinematic experience.


Step 4: The Industry Gauntlet – Pitching, Persistence, and People

Even a brilliant script needs to find its way into the right hands. This is where the “luck” factor amplifies, but you can certainly increase your odds.

  • Seek Feedback & Refine: Share your script with trusted readers, writers’ groups, or professional consultants. Be open to critique and revise, revise, revise.
  • Build Your Network: Attend film festivals, writing conferences, and industry events. Connect with other emerging writers, producers, and directors.
  • Enter Contests & Fellowships: Prestigious screenwriting competitions (like The Nicholl Fellowships, Austin Film Festival) can open doors and get your script noticed by agents and producers.
  • Find Representation: A literary agent or manager can be crucial for getting your script read by studios and production companies. This often requires a strong script and some initial buzz.
  • The Pitch: Be ready to articulate your story’s essence, its universal appeal, and its marketability in a concise, compelling way.

This phase is a marathon of networking, rejection, and the occasional glimmer of hope.


Step 5: The Alchemy of Production – From Script to Silver Screen

If your script catches fire, it enters the labyrinthine world of development and production.

  • Optioning & Development Deals: A production company or studio might “option” your script, buying the exclusive right to develop it for a period. This is where the project gets a producer, perhaps a director attached, and financing is sought.
  • Creative Evolution (and Compromise): Be prepared for your story to be shaped by many hands – directors, actors, studio executives. Your initial vision might evolve significantly. This is a collaborative art form.
  • Casting the Dream: The right cast can elevate a good story to greatness, bringing characters to life in unexpected ways.
  • Filming & Post-Production: The arduous process of shooting, editing, scoring, and visual effects comes next.

This is where your story truly transforms, gaining flesh, blood, and a voice beyond your own.


Step 6: The Spark of Legend – Beyond Your Control

Achieving “legendary” status is the ultimate, and most unpredictable, outcome.

  • Critical Acclaim & Audience Resonance: A film needs to connect deeply with both critics and audiences, earning rave reviews and robust box office (though not always).
  • Cultural Impact: Does the film spark conversations? Does it influence other art? Does it stand the test of time, becoming a reference point for future generations?
  • The Right Moment: Sometimes, a story simply arrives at the perfect cultural moment, addressing unspoken needs or reflecting pressing issues. This is pure serendipity.
  • Awards & Recognition: While not the sole arbiter of “legendary,” major awards (Oscars, Golden Globes) certainly amplify a film’s reach and cemented its place in history.

This is the realm of magic, where your personal truth, skillfully told, transcends entertainment and becomes a lasting cultural artifact.


The path from your unique life experience to a legendary film is steep, winding, and littered with “almosts.” Many incredible stories remain untold, or stop short of the silver screen. But the very act of distilling your truth, crafting it into a compelling narrative, and daring to share it with the world is a profound journey in itself.

So, listen to the whisper of your own story. What profound truth is waiting to be unearthed? What cinematic masterpiece might be hiding within the chapters of your life? The first step, always, is simply to begin.

“What Sets Us Apart”, a mystery with a twist

David is a man troubled by a past he is trying to forget.

Susan is rebelling against a life of privilege and an exasperated mother who holds a secret that will determine her daughter’s destiny.

They are two people brought together by chance. Or was it?

When Susan discovers her mother’s secret, she goes in search of the truth that has been hidden from her since the day she was born.

When David realizes her absence is more than the usual cooling off after another heated argument, he finds himself being slowly drawn back into his former world of deceit and lies.

Then, back with his former employers, David quickly discovers nothing is what it seems as he embarks on a dangerous mission to find Susan before he loses her forever.

Find the kindle version on Amazon here:  http://amzn.to/2Eryfth

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In a word: Order

I gave the order to my assistant to order the supplies we needed in order to maintain stock levels.

Oh, yes, the word order is one of my favourites, because it can confuse the hell out of many people in its simplicity and yet complexity.

I gave the order, it’s what happens in the armed forces, and a lot of other places, but mostly we would associate it with organisations that have hierarchical authority.

The military, for one, cut orders, the means of sending one of its minions to another place, or to do a specific job.

Order supplies, well, just about anyone can order something from somewhere, usually on the internet, and sometimes require or are given an order number so it can be tracked.

In order to maintain, in order to get what I want, in order to get elected, this is just another way of using the word, with the aim of achieving something, though I’m sure there’s probably a better way of expressing these sentiments.

Law and order, well, doesn’t everyone want this, and doesn’t it always turn up in an election campaign, and seems to be the first thing sacrificed after the election.  The thing is, no one can guarantee law and order.

There is the law and there is administering it.  There is no order that comes with it, we just hope that order is maintained, and deplore the situation when it isn’t.

Perhaps in order to maintain law and order, we might need more police.

Then, of course, there is alphabetical order, and numerical order, where things can be designated from A to Z, like this challenge, or from 1 to 10, or more.  We can sort words alphabetically, numbers numerically and data items by keys or an index.

This is naturally called a sort order.

Then there is my car, or bike, or washing machine, or mixmaster.  They are currently in good working order, though that might not last.

And lastly, in deference to all those out there who are thinking of becoming dictators, it’s always possible, one day, there will be a new world order.  They might actually be in their own particular order, whose intellect might be (?) of the highest order.

Surely that is one order too many.

The story behind the story: A Case of Working With the Jones Brothers

To write a private detective serial has always been one of the items at the top of my to-do list, though trying to write novels and a serial, as well as a blog, and maintain a social media presence, well, you get the idea.

But I made it happen, from a bunch of episodes I wrote a long, long time ago, used these to start it, and then continue on, then as now, never having much of an idea where it was going to end up, or how long it would take to tell the story.

That, I think is the joy of ad hoc writing, even you, as the author, have as much idea of where it’s going as the reader does.

It’s basically been in the mill since 1990, and although I finished it last year, it looks like the beginning to end will have taken exactly 30 years.  Had you asked me 30 years ago if I’d ever get it finished, the answer would be maybe?

My private detective, Harry Walthenson

I’d like to say he’s from that great literary mold of Sam Spade, or Mickey Spillane, or Phillip Marlow, but he’s not.

But, I’ve watched Humphrey Bogart play Sam Spade with much interest, and modelled Harry and his office on it.  Similarly, I’ve watched Robert Micham play Phillip Marlow with great panache, if not detachment, and added a bit of him to the mix.

Other characters come into play, and all of them, no matter what period they’re from, always seem larger than life.  I’m not above stealing a little of Mary Astor, Peter Lorre or Sidney Greenstreet, to breathe life into beguiling women and dangerous men alike.

Then there’s the title, like

The Case of the Unintentional Mummy – this has so many meanings in so many contexts, though I imagine that back in Hollywood in the ’30s and ’40s, this would be excellent fodder for Abbott and Costello

The Case of the Three-Legged Dog – Yes, I suspect there may be a few real-life dogs with three legs, but this plot would involve something more sinister.  And if made out of plaster, yes, they’re always something else inside.

But for mine, to begin with, it was “The Case of the …”, because I had no idea what the case was going to be about, well, I did, but not specifically.

Then I liked the idea of calling it “The Case of the Brother’s Revenge” because I began to have a notion there was a brother no one knew about, but that’s stuff for other stories, not mine, so then went the way of the others.

Now it’s called ‘A Case of Working With the Jones Brothers’, finished the first three drafts, and at the editor for the last.

I have high hopes of publishing it in early 2021.  It even has a cover.

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“Trouble in Store” – Short stories my way: Still working on the start

I have reworked the first part of the story with a few new elements about the characters and changed a few of the details of how the characters finish up in the shop before the policewoman makes her entrance.

This is part of the new first section that involves Jack:

Jack was staring down the barrel of a gun.

He had gone down to the corner shop to get a pack of cigarettes.

He had to hustle because he knew the shopkeeper, Alphonse, liked to close at 11:00 pm sharp.  His momentum propelled him through the door, causing the customer warning bell to ring loudly as the door bashed into it, and before the sound had died away, he knew he was in trouble.

It took a second, perhaps three, to sum up the situation. 

A young girl, about 16 or 17, scared, looking sideways at a man on the ground, then Alphonse, and then Jack.  He recognized the gun, a Luger, German, relic of WW2, perhaps her father’s souvenir, or more likely a stolen weapon, now pointing at him then Alphonse, then back to him.

Jack took another second or two to consider if he could disarm her.  No, the distance was too great.  He put his hands out where she could see them.  No sudden movements, try to remain calm, his heart rate up to the point of cardiac arrest.  No point making a bad situation worse.

Pointing with the gun, she said, “Move closer to the counter where I can see you better.”

Everything but her hand steady as a rock.  Only telltale sign of stress, the bead of perspiration on her brow.  It was 40 degrees Fahrenheit in the shop.

Jack shivered and then did as he was told. 

A few seconds more for him to decide she was in an unpredictable category.

“What’s wrong with your friend?”  Jack tried the friendly approach after he’d taken the three steps sideways necessary to reach the counter.

The shopkeeper, Alphonse, who, Jack noted seemed to have aged another ten years in the last few months, spoke instead; “I suspect he’s an addict, looking for a score.  At the end of his tether, my guess, and her to get some money.”

A simple hold up that had gone wrong.  Wrong time, wrong place, in more ways than one Jack thought, now realizing he had walked into a very dangerous situation.  She didn’t look like a user.  The boy on the ground, he did, and he looked like he was going through the beginnings of withdrawal.

Oddly, though, Jack had noticed a look pass between the shopkeeper and the girl.

 “All you had to go was give us the money, and we wouldn’t be here, now.”  She was glaring back at Alphonse.  “You can still make this right.”

A flicker of memory jumped out of the depths on Jack’s mind, something discussed at the dinner table with their neighbors, something about the shop as a pick-up point for drugs.

The boy on the floor, he was not here for the money.

Jack thought he’d try another approach.  “Look, I don’t want trouble, and you don’t want trouble.  I’ll go, forget this ever happened.  You might want to do the same.”

The girl looked like she was thinking.  The gun, though, still moved between him and the shopkeeper.

Another assessment of the girl; this was not her real home.  She was from a better class of people, a different part of town.  Caught up in a downward spiral because of her friend on the floor.

Caught in a situation she was not equipped to deal with.

That didn’t bode well for his, or anyone else in that shop right then, health.

© Charles Heath 2016-2020

The cinema of my dreams – Was it just another surveillance job – Episode 62

This story is now on the list to be finished so over the new few weeks, expect a new episode every few days.

The reason why new episodes have been sporadic, there are also other stories to write, and I’m not very good at prioritizing.

But, here we are, a few minutes opened up and it didn’t take long to get back into the groove.

Things are about to get complicated…


I was straight back to the scenario where O’Connell was expendable after performing his role, and that Anna was cleaning up before leaving, or she had already gone.

O’Connell had no doubt told her about the Peasdale address, and the fact he’d told me, and she might have assumed that there would be a window of opportunity to get some belongings at her flat.

Would she be there?

I switched off the light, backtracked to the door, and then went back outside into the passage.  Jennifer appeared beside me.

“O’Connell’s in there, dead.  Shot in the head.”

“Your friend?”

I’m not sure how she came up with the designation, ‘Your Friend’, but after the shortened version of my time with Josephine, and the fact we had a hotel room together, could have inspired such a thought.

I went to her flat and listened at the door.

Nothing.  There was no light showing under the door, so this could be a fruitless exercise.  The same operation as before, Jennifer waited outside, and I would go in.  It didn’t take as long to pick her lock.  Practise.

I opened the door, the gun in hand, and went slowly into the room.

There was a glow from what might be a night light coming from the end of the passage where the bedroom was.

She was in, or she forgot to turn off the light.

It was also not so dark in this flat, with several pilot lights casting red, blue or green hues over the furniture and floor.  It took a few seconds for my eyes to adjust.

“Drop the gun, Sam.”

Josephine, now just discernible across the room, a gun of her own aimed at me.

I shot her.  Without hesitation.

She was taken utterly by surprise, dropping her own weapon and spinning sideways into the arm of the chair, lost balance and crashed down to the floor.

Jennifer was in the door and had it closed behind her, and switched on the light.  We were both blinded for a second, enough time for Josephine to reach for her weapon which hadn’t fallen very far from her and for Jennifer to shoot her gun hand.

I remembered in that instant, that Jennifer scored the highest in gun training.  She would be ‘deadly’ Maury had said.

“OK, enough, what the hell was that for?” Jo said, stretching out on the floor and holding the hand that Jennifer shot.

“You played me, Anna.”

“Operation necessity.  I had to know what you were up to.  O’Connell said you were going to be a problem.”

“Did you kill him?”

“Me?  No.  He was dead when I got here.  We were here just to get our away bags.  How did you guess?”

“Lucky.  I was going to the other flat, but I figured it was too new for O’Connell to probably tell you.  He may have been planning to double-cross you too.  It seems the way of things in this op.  Where are the USBs?”

“What makes you think I have them?”

“The fact you just said them, when all we knew for sure was there was only one. I assume you have one each for safety’s sake, and coming back here, one or other of you was going to pull a double cross.”

“Until someone else got another idea.  Right now, you have a window of opportunity, Sam.  A big payday, for the two of you.”

“Tempting, but no.  I’m not in this for the money.”

“Then you’re a fool.  No one does anything except line their own pockets.  If you give the USBs to your chief, what do you think they’re going to do?  O’Connell got five million, the person who gave him the money will get ten at the very least.  They’re not interested in saving the world, Sam.”

She was probably right.

I looked at Jennifer.  “Are you in this for the money, Jennifer?”

“I just want my old life back.”

“Then keep an eye on the door, we’ll be having visitors very soon.  Anyone who comes through it using a key, disarm them.  Don’t hesitate.”

Back to Anna.  “Where are they?  Bear in mind I have no qualms about shooting you until you do tell me, so make it easy on yourself, because the next thing I shoot at is your knees.”

A moment’s thought, and a shot into the wall that just missed her head, decided the matter.

“In the backpack pocket.”

She nodded her head in the direction of the backpack sitting on the kitchen bench.

I went over and in the third pocket I opened there were two USBs in a plastic bag.

“What are you going to do with them?”

“Destroy them.  The world doesn’t need any more pandemics any time soon.”  I went over to the microwave oven and put them in and set it running.

“You’re only delaying the inevitable.”

“We’ve got company,” Jennifer said.

“You know what to do.”

© Charles Heath 2020-2023