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    Laszlo & Laszlo

 

CONTENT EDITING 1: "THE DRUG PROBLEM"

Though this is a "popular science" book written to entertain, it is also a very serious and quite "deep" book designed to help people understand the terrible consequences of supply illegality. I am a drug policy researcher, a fiction writer, and was once the "best student." Furthermore, I have no personal agenda; my sincere desire to help the reader understand makes me the ideal person to write this book. However, while it is a good read, I am no longer at the forefront of the subject (I was until 2011), so even though the text is relatively timeless, there may be inaccuracies that need correction. To edit this text effectively, you need a background in (narcotic) drug policy, and to enjoy or understand the work, you must also have extensive education. An issue is that if you are the right person for this job, I may not be able to afford your services, although you might know the right publisher or double as my agent. Note: In my book The Drug Problem, "drug" refers to "illegal narcotic drugs," and the book is all about why illegality (mainly from an economic and philosophical perspective) is a very bad idea, especially due to the corruption it generates, and in the end the reduced marginal cost for ‘all’ crime that illegality, through the cornering and idle protectors it creates. 

CONTENT EDITING 2: "DRUG ILLEGALITY IS A SCAM"

Everything discussed about "The Drug Problem" applies to this book as well; however, it is much shorter, sexier, more ‘popular’, punchier, and more compelling.

 

CONTENT EDITING 3: "THE TALE OF TWO KNAVES"

This is an unusual combination of literary elements: 50 short stories, 110 years of father-son biography/autobiography, interconnected biographical introductory paragraphs, several stories from a man-eating tiger's point of view, and all arranged along a time axis designed to convey a sense of continuity. The structure is strong (and new, I think), but some aspects can be improved: 1. Continuity between the introductory paragraphs, 2. The individual short stories (so for this you need to be a short story writer/reader), and 3. "Stand-alone": Much of the second half of the chronicles (my short stories) reads more like a continuous adventure than as individual short stories (so you need to identify stories that can be made to stand alone with relative ease, and then suggest how to fix).

CONTENT EDITING 4: "THE CASPIAN CONNECTION"

This is a mega-project, and while the first two books are presentable, I need assistance: someone with strengths beyond my own. This is not just about creating a good read, but about developing cinematic potential. This story follows the adventures of Karli, Odin's son (Karli doesn't know that) in the 21st century, leading up to his "mountain moment" and the possible "end-of-the-world" (unless he fixes things up) approaches. Keywords: Vikings, Norse mythology, Islam, Aisha, Kharijites, French Interpol, CIA, KGB, Sundarbans, tigers, Swedish police, Swedish feminism, Sana Quaran, Arabic texts, and antique dealing. This text also exists in Swedish.

TRANSLATION 1: ENGLISH TO FRENCH: "MOTHER UNKNOWN"

The French 1952 version is dreadful, whereas the new English version is excellent, and a professional translation of the new English version back into French could yield positive outcomes. I believe I hold the translation rights to the French book, and if so, it would be permissible (i.e. legal) to collate the texts, meaning examining the old French text alongside the English text. This text was poised to become a French film at Senior's demise, so if it eventually comes to fruition from the French text, you'd receive credit for that.

TRANSLATION 2: ENGLISH TO SPANISH: "THE COMPLETE WORKS OF ANDRES LASZLO SR."

The English translations are far superior to the original Spanish texts, which never got any proper content editing, making retranslation a viable option. While this may sound like an overwhelming task, there are ways to ease the process: grants may be available, and you would be allowed to use the original Spanish texts as a foundation, as I hold the rights to these.

TRANSLATION 3. GERMAN TEXT-FIX: "THE COMPLETE WORK OF ANDRES LASZLO SR."

Many senior books are published in German (as eBooks or traditional paper books), but the quality is questionable. I would like to see this project managed properly, meaning someone needs to handle the entire German project: 1. Revise all German texts, 2. Translate the one missing text (or I could have that done), 3. Create The Complete Works of Andres Laszlo Sr. in German (or I could do that), 4. Upload the nine different texts (including my Die Herausforderung) to suitable platforms (or I could do that), 5. Promote to sell e-books. Therefore, it's just (at minimum) points 1 and 5 that you would need to manage. Check out my German page and make me an offer. I will not be stingy.

RESIDENT SALES/PUBLISHING PERSON

I am a writer living in the south of Spain (Fuengirola), where I have transformed my house into three apartments. Upstairs, there's space for one more; downstairs can accommodate two. In the middle, there is an upscale apartment that sleeps four. I am looking for one or more individuals with sales and publishing experience to stay, either paying (if you do not wish to work very much), free of charge (if you want to work a little), or getting paid (if you want to work a lot). This, of course, also depends on where you stay and whether or not you bring your family.

PUBLICIST

Even with a fair amount of modesty, I can claim to be quite unusual, and therefore, if unusual in my case (I'm several "possibly world's X") equals marketable, then maybe a publicist could make something out of this. My problem is that as soon as I start "telling how good I am," my knees begin to wobble, and I feel like a jerk, afraid I will be looked at like a liar. Check out my bio (there's much more that modesty forbids me from writing).

IMPROVE MY JOB POSTINGS

If you can tick "1" or "2" below, please reply:

  1. You have the skills of a literary estate agent.
  2. You possess intimate knowledge of platforms such as Upwork, Guru, and Fiverr, as well as insights into how and where to find 'rising talent' at good prices.

My father, a senior writer, was once considered a top European fiction writer, and I, a junior writer, have lived for 25 years on the proceeds of my only published book. I am about to start commercialising a large literary/cinematic project containing new texts/scripts as well as texts/rights dating back to the 1930s.

I need advice on how to identify 'rising talent' (i.e., inexpensive yet skilled) for my project. I have reworked my father's various literary assets and added a few of my own (translating, adapting, finishing, editing, digitalising, etc., predominantly finding talent on Upwork and Fiverr) for ten years. Now, I am about to commercialise the project in the spirit of 'Let's see where I can get good cooperation from individual agents and rising talent', especially in India and Pakistan, as I have spent winters in and around Mumbai.

I will subsequently seek a literary estate agency to manage the remainder of the literary work while I commence work on the cinematic aspect of the project. 

 

FIND GRANTS  FOR DRUG POLICY VIDEO-MAKING

As a drug policy researcher, I have important insights regarding how the illegality of the drug supply undermines the fabric of society and is really nothing but a scam. I would like to give talks on this (in English, Swedish, or Spanish). However, to become "in demand" as a lecturer, I need to produce high-quality videos (60 subpar videos in Swedish and English are available on my YouTube channel; I can do much better), as well as a “TED talk-style videos” explaining why illegality is a scam, how it allows the market to get cornered, produce giand drug lord profits, cheap idle protectors, and ultimately ridiculously low marginal cost for crime, and thus most of the misery of our times. This will be costly, and I require assistance to secure financing for professional help (script development, new illustrations, video shooting, video editing, distribution, promotion, etc.). 

DRUG POLICY TALKS (& TED TALKS)

As a drug policy researcher, I have some important points to convey regarding how illegality corrupts, and I am competent at delivering talks (in English, Swedish, and Spanish). Assuming that I succeed in creating high-quality videos, I will require assistance with: 1. Promotion, and 2. Arranging/booking a lecture tour.

 

 REVIVE SENIOR 1: Ph.D. ON ANDRES LASZLO Sr.

From 1985 to 2002, I was often asked—sometimes more than once a year—if I would assist or provide information to literature or cinema students wanting to write about my father. However, I always said: "No" (often quite rudely, as at the time I was rather miffed with my old man). Today, if you have an investigative mind, I would be happy to offer you my full cooperation to help you obtain a cum laude Ph.D. or a master’s degree. If you are such a student, I would like to find you before you are misguided into seeking out a lesser writer to investigate. A lot remains to be done, but I have uncovered some new material myself that I am willing to share. Since I am unsure how to locate you, I am also seeking someone who can advise me on how to find you.

REVIVE SENIOR 2: GRANTS FOR REVIVING MY FATHER’S MEMORY.

My father, Andres Laszlo Sr., was once considered a top European writer. However, neither I nor any of his four “mother countries” (France, Spain, Hungary, and Austria) have much interest in him, and as a result, his memory is fading. I am currently working to change this, primarily through Project Revive Father. The EU offers grants for projects like this – and perhaps some of his mother countries do as well (especially France) – but while the grants can be substantial, the application process is tedious and time-consuming: an utter nuisance, actually, which is why I haven't yet pursued that avenue. I am looking for someone to manage the complex and time-consuming process of applying for ‘Revive Senior grants.’ If you believe you are the right person for the job, I would like you, once the grant is secured, to continue your work as the lead on the project you have successfully applied for, receiving the salary approved by the EU. Thus, you must be skilled at both applying for grants and managing the revival project (or be proficient in one and knowledgeable about the other).

REVIVE SENIOR 3: GRANT FOR TRANSLATING THE COMPLETE WORKS OF ANDRES LASZLO SR. FROM ENGLISH TO SPANISH:

Only two of Senior's five books were content-edited (the ones that became films), and only two were translated into English (one rather poorly). As I translated them into English, the books were also adapted and content-edited, improving them, so a re-translation back into Spanish could be beneficial. Perhaps one could persuade a Spanish publisher to take this on, but regardless, a grant would certainly help, not only for the translation but also for promotion.

REMAKE AGENT 1 (NEW MOVIE): "PACO NEVER FAILS"

Andres Laszlo Sr. co-wrote the script with Didier Haudepin, who subsequently directed the film. Due to contractual disputes, the movie was never screened outside of Spain. Twice (2000 & 2002), Gallimard offered me contracts with producers for remakes, but I declined both times. As my agent, your task is simply to locate one of the previously interested producers (or a new one), persuade them to increase their bid by 25%, and claim your 20% of €600,000. This role is only suitable for a GB/US, French, or Spanish agent with relevant experience in the field. There are contractual issues, which is why the price is so low; however, if these could be resolved…

REMAKE AGENT 2 (NEW MOVIE): "MY UNCLE JACINTO"

Andres Laszlo Sr. wrote My Uncle Jacinto/Mi Tio Jacinto in 1955, and it quickly became a blockbuster film (produced by Ladislao Vajda and starring Pablito Calvo). Today, the film is a regular contender for the Spanish or Hispanic number one (or top-five or top-ten) spot of all time in film festivals. Considering how popular it was and remains, it’s odd that nobody has asked me to permit them to adapt it into an animated film. I regard it as one of the most popular children’s books or films that has yet to be animated. I would like an agent to find someone to adapt My Uncle Jacinto into an animated film.

REMAKE AGENT 3 (NEW MOVIE): "SIN UNIFORME"

I do not know whether Senior wrote this from scratch or based it on someone else’s text that has now been lost (Senior was a passionate pacifist and anti-uniform individual, so I believe there may have been an underlying text that originated with him), but he is credited as the scriptwriter (excluding dialogue); Ladislao Vajda directed, and Warner Brothers produced. I have finally managed to watch the film at Filmoteca Española in Madrid. Casablanca profoundly inspires it, and therefore, it should have a place in ‘fringe festivals.’

REMAKE AGENT 4 (NEW THEATER): "DOÑA JUANA"

Doña Juana must have once been a theater script, but the original score has been lost. What was published in Spanish instead was "a script dressed up as a novella" (Senior's Spanish publishers probably didn't publish theater scripts). Senior worked as an actor and a theater director in his youth, but I don't think Doña Juana was ever staged; if it was, it must have been back in the 1930s. However, it was performed as a mime by Marcel Marceau in the 1960s. I have had this text transformed back into a theater script (it should have music added or even become a musical). The script is well-developed, hilarious, and ‘feminist’. Senior’s friend, Simone de Beauvoir, was said to have influenced it, but I can't ‘see’ that. As my Doña Juana agent, I'd like you to assist in staging it, perhaps initially on a small scale, so that I can develop it myself.

SCRIPT TO MOVIE 1: "THE CHALLENGE"

The Challenge is my adaptation of my father’s bestselling blockbuster My Uncle Jacinto. In my adaptation, bullfighting becomes boxing; Madrid/La Quinta, Cape Town/Mandela Park, and white faces become coloured or black. The script has been submitted to IFFR/International Film Festival Rotterdam, where I applied for production grants to produce the film in Cape Town with Tim Spring (Raw Target, Reason to Die, etc.) as director. They called it “a near miss”. The script is currently available in English, Spanish, and Swedish.

SCRIPT TO MOVIE 2: "DOÑA JUANA"

Senior likely wrote it as a theatre script in the 1930s. The script has been lost, but only after it was adapted into a novella. Senior was advised by his publishers, Gallimard, to present this novella to the Spanish film industry, something I do not believe he ever did (but Marcel Marceau performed it as a mime-drama as Dom Juan). Although I have recast this novella back into a theatre script, it now requires adaptation from a theatre script to a film script.

SCRIPT TO MOVIE 3: "PACO NEVER FAILS"

While the original book text of Paco Never Fails emphasised the anthropological aspect and was presented as a historical drama, the film concentrated on a strong, dark comedic element. The original text had crime undertones, and one can sense how Senior contemplated incorporating a murder-mystery dimension, a genre that was not particularly popular at the time. Although new producers seeking to acquire the adaptation rights could be on the horizon, I have started, albeit in very early stages, to re-adapt the original text into the murder-suicide mystery it nearly became. I have some ideas about setting the action in Goa, India; not only because I spend the winters there, but also because it, particularly "Portuguese Goa," would provide a far better backdrop than even the original: Madrid. With or without an Indian setting, the format should be a 5 – 9 episode television series, as (even if Didier Haudepin persuaded me into agreeing to it) a film could never capture the most essential elements of Paco Never Fails: the peña, the wetnurses, the relationship to Paco’s manager, the wealthy upper-class ladies, and the murder angle. 

NOVEL TO SCRIPT 1: "MOTHER UNKNOWN"

Karl, a sculptor and the protagonist, escapes World War II to Tangiers, Morocco. One day, he finds what is clearly his 3- to 4-year-old son on his doorstep along with a letter: "You always wanted a son without a mother: here he is. Do not try to find out who I am. XXX." As the war comes to a close, the boy asks his father to find his mother. There are three possible women, and Kurt sets off to locate the right one: Naples, Paris, and Avila. This is the first of my father’s three major novels and the only one that has not been adapted into a film. It has been significantly improved, which is easy, considering that no content editing had been provided. As it was translated into English for the first time, it was also adapted for cinema. A straightforward, traditional timeline is not an option, and I am looking for something "a la Tarantino" (see below). Despite being ‘untranslated’ and 'unedited,’ and with a timeline that was impossible at the time, Mother Unknown was on the verge of becoming a film at Senior's demise. However, the script was lost, although I still retain Senior's synopsis. I am considering adapting this book into a synopsis or scenario myself, but I require ideas regarding its structure, which will have to be somewhat unconventional.

NOVEL TO SCRIPT 2: "THE SEAL CASTLE"

Before leaving his homeland (Austro-Hungary), Senior, in a bid to save on rent, alleges that he took up residence in the famous Turkish Baths of Budapest (the "castle"). This novel, primarily a dark romantic comedy, follows the protagonist, a handsome actor, as an upper-class girl falls in love with him, set against the backdrop of the girl's life, the other "seals" of the Turkish Baths, and their survival scams. Although I am not particularly good at love stories, I can see that there is ample potential, but I require assistance to make it work cinematically. The Seal Castle is now available in English for the first time.

NOVEL TO SCRIPT 3: "THE CASPIAN CONNECTION"

This is a massive project—encompassing Odin, Vikings, adventures, detective work, terrorism, Islam, Swedish feminism, and more—and its two initial, presentable book drafts are now ready to be published (in English and Swedish). These texts are intended to become films eventually, but as I have foolishly been working in two languages simultaneously (resulting in more headaches than high-quality finished text), the most pressing questions are, “Shall I proceed in English or Swedish?” and “Should I keep home base as Sweden/Birka and the 830s, or should I change it to Norway or Denmark?” I cannot develop these books to the script standard I desire without the assistance of a director, a more suitable writer, or a production company.

SHORT STORY TO SCRIPT 1: "THE LITTLE WOODEN HORSE"

The story revolves around a wooden horse at an amusement park that escapes from the merry-go-round late at night while everyone is asleep. He then sets off for the continent where he believes all horses roam free: America. As he gallops into the night, we follow him on his adventures and get to know his (pretty shallow, quite human-like, and easy-to-identify-with) personality through his reflections on the nature of the world, his fellow animals on the merry-go-round, us bipeds, and the slavery that has been imposed upon him and his fellow animals. Yes, of course, he ends up going in a circle. I love the story, which could become a “deep” animated family/children’s movie, and I would be happy to provide it with a pre-discussed treatment to serve as the foundation for further talks, treatments, and scripts. Senior has only written one children’s story other than this: My Uncle Jacinto, which regularly competes for ‘Best Hispanic Movie of All Times’ at festivals; this is better.

SHORT STORY TO SCRIPT 2: "MY FRIEND IN THE PHOTO"

This is a vampire story that I would like to see developed into a film. It is set in a traditional "vampire territory" and in “a proper vampire setting." Senior had some dubious branches on his ancestral tree (ok, so I have them as well, but I am presently symptom-free), and in this story, his disbelief in the supernatural becomes severely questioned. This is a vampire story from the 1930s, and there’s nothing to say that it is not 100% true.

SHORT STORY TO SCRIPT 3: "A BEAUTIFUL GIRL"

This is a love story with an amazing and modern yet undecidable twist that could be adapted for either cinema or theatre. It is set in post-war Germany, where it delves deeply into the nature of "the beautiful feminine's" psyche—something I am not particularly skilled at, so do not look to me for assistance in developing this.

SHORT STORY TO SCRIPT 4: "THE MAN IN THE BLUE TUXEDO"

This is primarily about a casino heist and could be adapted into a compelling film. Additionally, it features a character who, with proper development, could become ‘worthy of his own TV series (as in a wicked version of The Persuaders). Furthermore, while the story can stand on its own, there is a casino scam element that could enhance any action movie in which the "I've-given-up-hero" discovers a clever way to earn a significant income in a casino (and stage a comeback from being ‘down and out’). Although the situation might be somewhat challenging to set up, the quality would be excellent.

SHORT STORY TO SCRIPT 5: "THE SPY"

Here we follow a day in the life of a US spy in Italy during the late 1940s. His girlfriend is also a spy (though he doesn't know that), and in this short story—which offers great insight into the day-to-day drudgery of spies' lives at the time—we (well, the most astute among us) witness how our hero is set up to be framed for murder, although he remains oblivious to it. This could be developed into a full-length mystery-thriller. 

SHORT STORY TO SCRIPT 6: "THE DOMINANT MALE"

I have a fascination with man-eating tigers, and this is one of several short tiger stories (where we see things from the tiger's point of view) set in the Sundarbans (an Indian/Bangladeshi beach jungle). The stories are all quite entertaining, somewhat continuous, and reasonably well-researched. I’m not entirely sure what to do with them cinematically, unless someone wants to make a movie starring a man-eating tiger, with events seen from the tiger's perspective. Actually, that might not be a bad idea...

SHORT STORY TO SCRIPT 7: "SAHARA 2"

Imagine a giant of a man hitchhiking through the Sahara because it's on his bucket list, while a small, feminine man, filled with hatred, raises a stone at midnight to crush the sleeping giant's skull. The giant awakens just in time to raise his hands to protect himself, and the small man throws the stone beside him. "Scorpion!" he exclaims, sitting down atop the stone so the big man cannot lift it to check. There they sit: the hitchhiker desperately trying not to fall asleep (and thereby be killed), and the small man refusing to budge because he believes that remaining on the stone until dawn is his only way to survive. We follow their somewhat strained discussion, with additional insights and murder attempts that could be introduced. Perhaps this story could evolve into theatre; it contains amazing possibilities, especially if one could just get the discussion right (or if I could remember it).

CINE BOLLYWOOD 1: "PACO NEVER FAILS" SET IN GOA

Paco Never Fails is set in Madrid in the early 1940s, just after the Spanish Civil War. Here we meet Paco Garcia, who earns his living by mating with young girls from the countryside: girls who have come to Madrid to forge better lives for themselves as wet nurses (following unwanted pregnancies) and, sooner or later, need to boost their milk flow. Though this necessary impregnation is an occupation that seldom gets discussed, it was a very real profession at that time (and allegedly still was in 2011), and the impregnator most likely to succeed—i.e., ‘who never failed’—was the one in highest demand. However, Paco has failed once, so when his wife finally becomes pregnant, this father of thousands realises... This impregnation was also an occupation in India, and since I reside in and around Mumbai (mainly in Goa, which, with its Portuguese influence, is probably a better setting than Mumbai to make the story more dramatic, contrasting, and believable)... I would like to develop/adapt a Goa script for Bollywood, and I need expert assistance both anthropologically (for a reality check) and "Bollywood style dramatisation."

CINE BOLLYWOOD 2: GOA 1930s/40s WET-NURSE INFO

In Goa, during the 1930s and 40s, girls from the countryside with unwanted pregnancies became wet nurses. These women needed to be re-impregnated when their milk flow stopped. There were (if not, let's invent one) men specialising in this impregnation; I am seeking assistance to understand the mindset of such a man and to learn everything about him: his life, his background, his socio-economic position, his peers, his values, his issues, his pride, and so forth. I need to grasp what his life would have been like so that I can write from his perspective, taking all three religions (Catholicism, Hinduism and Islam) into account. Additionally, I need to explore how to do this in a way that will make the story captivating for the Bollywood audience.

CINE BOLLYWOOD 3:  BOLLYWOOD/GOA CONTACTS

I am a writer who has just finished sorting out (digitalising, improving, adapting, translating, and completing) my and my father's (who was once considered top European) fictional texts. Now, I am about to start adapting these texts into treatments and scripts. As an Indiophile (and Sinophile), and as I spend much of my winters in Mumbai/Goa, I am seeking all sorts of text-to-script contacts, including advisors, co-writers, agents, and producers.

SUNDRY CINE 1: TANGIERS PREP

Andres Laszlo Sr. wrote Mother Unknown/Mere Inconnue, and at his death in 1984, this book (just as his other two major novels had been) was poised to be adapted into a film. Today, this book has been translated into English, and Sr. wrote a synopsis (as well as a script, which has unfortunately been lost). I am considering producing a treatment, perhaps even a script, and I am looking for someone local from Tangiers to get involved. Specifically, I am seeking someone to conduct preliminary location scouting. Identifying suitable locations or helping me find local interest in the project would also be appreciated. If you're interested, I'll send you the book, and then I'll drop by for a cup of mint tea (I live just across the Strait of Gibraltar in Malaga).

SUNDRY CINE 2: TARANTINO-STYLE SCRIPT STRUCTURING

Year 0: Kurt grows up, becomes weird, falls in love, and becomes a prodigy sculptor. Year 1 (1936-37). Kurt makes three women happy, Y3. Kurt escapes World War II and settles in Tangiers for the duration of the war, 1944. A young boy (3-4) with a letter appears at Kurt's door: "You always wanted a son without a mother: here he is; don't try to find me. XXX" Y4-Y9 Kurt and the boy live and bond in Tangiers. Y9 As the war ends, the boy asks Kurt to find his mother, but does not know who she is or where to look. Y10 Kurt goes in search of the mother. Woman 1 in Naples - no, Woman 2 in Paris - no, and Woman 3 in Avila - ... Obviously, a straight timeline would be rather unengaging, and something Tarantino-esque springs to mind. I envision that a Pulp Fiction-like structure could be effective; structural tutoring is needed.

SUNDRY CINE 3: FRENCH OR SPANISH FILM AGENT(S).

My father’s films (3), un-filmed script (1), and theatre (1) are all produced by or directed towards the French or Spanish film industry (in the case of My Uncle Jacinto, also the Italian). French Gallimard had French (I think) producer-customers to make a new Paco Never Fails twice. Senior negotiated to make a film out of Mother Unknown with a French producer at his demise, and Doña Juana has great theatre as well as film potential in either Spain or France. My portfolio should therefore be not only interesting to an ‘English language’ cinematic agent but also to a French or Spanish agent.

SUNDRY CINE 4: FILM-DISTRIBUTION AGENT & ROYALTY COLLECTOR

There are film distribution companies that are unwilling to pay for films they have shown (and should have paid a royalty for) in Luxembourg and Madrid. I believe I own the so-far-unexplored viewing and showing rights of Paco Never Fails for the Scandinavian countries, and I need assistance. 

SUNDRY CINE 5: ANY COOPERATION

If you have read about my project and understand my situation—a top European writer and father, with one art book to set myself up for life (?), a drug-policy researcher, twenty years of adventures, ten years of text work, now transitioning from books to film—you might feel that you can assist me or utilize my skills in a way not mentioned here. If so, please don't hesitate to reach out.

 

LANGUAGE AGENTS

You have seen a sample of the texts that I can offer in various languages above. You can click "your flag" and then "books" for information about the books I have available in your language (or visit Amazon to enter Andres Laszlo Jr.). Of course, I would be delighted if you were willing to take on something that is challenging for me to manage (such as "German Books"). However, I am more reluctant to "part with" something in an attractive language, so in such a case, you would need to convince me of your capabilities.

GENRE AGENTS

My fictional genres include general fiction, historical novels, romantic comedies, biographies and autobiographies, children's literature, adventure, murder mysteries, and short stories. Some keywords are: vampire, irony, feminism, romcom, tragicomic, Viking, Norse mythology, Islam, man-eating tigers, and the Sundarbans. For individual genre agency: Read More

E-BOOK/POD PROMOTION AGENTS

The books, particularly those for which I cannot find traditional publishers, will be promoted as e-books/POD (Amazon: enter Andres Laszlo Jr.). If you feel "I know exactly where I want this book listed, priced, described, and promoted!" please contact me.

ESTATE MANAGEMENT AGENT

I own rights to the texts of my father’s books (seven books plus twenty-five translations) and films (three), as well as some distribution rights and scripts. I am also a competent writer myself with over twenty books (including translations). For twenty years, I have worked on advancing “The Laszlo & Laszlo Project” without any serious attempts at commercialising it, but now I have decided to do so. To maintain control, I plan to utilise platforms such as Amazon and my homepage. However, in a way, what I seek is someone with the skills of a literary estate agency who could manage several aspects of my project (preferably seated at the desk next to mine, along with my photo/computer guy, maybe here in Fuengirola, Spain). Yet, with such skills, you wouldn't be reading this, would you…

BOOK-FAIR BOOKINGS AGENT

I am seeking someone to schedule meetings at the major book fairs in Frankfurt, Bologna, London, and, why not, China. Although I am not skilled at self-promotion, I feel comfortable meeting and negotiating with publishers and agents. However, I require someone with a magical touch to reach out to publishers and agents for books in English, Spanish, French, Swedish, Italian, or German. Specifically, I need this person to connect books with publishers and agents, work their magic, and serve as my booking agent. Let’s meet in person and take it from there.

LITERARY COMPETITION/GRANTS AGENTS

Three children's books, 50 short stories (15+ suitable for competition), two books on drug policy, and seven texts by a top European writer that I have improved so significantly that perhaps one could publish them as "new books," alongside a Viking adventure series and family chronicles unlike anything written before. All of these are seeking competitions to enter, as well as grants for publication, media conversion, and promotion.  

 

ADULT FICTION

As Senior has six adult fiction titles out of seven, and I have five out of seven—actually, one could argue that we are both seven for seven—this represents the bread and butter of the project. Concerning Senior's titles, the most compelling are those that have been changed, adapted, or upgraded the most: Mother Unknown (as much improved), Paco Never Fails (as turned into a murder mystery), The Seal Castle (as much improved), and Doña Juana (as much improved and turned into a theatre script). Regarding Junior: The Tale of Two Knaves (as a new form of literature) and The Caspian Connection (as an epic adventure series full of potential). 

JUVENILE FICTION

1. Senior wrote My Uncle Jacinto which became a bestselling children's book, 2. Senior wrote a collection of short stories, where one was The Merry-go-Round Horse: a deep, philosophical, and unexplored children’s story. and 3. I have adapted Senior's bestseller: The Challenge which is a well-illustrated children's book. 

SHORT STORIES/BIOGRAPHY

Senior wrote a collection of 24 short stories - Only the Landscape Changes - and I added 25 to create a comprehensive collection of short stories spanning 110 years. I subsequently translated, adapted, and edited Senior's stories, organised them along a timeline, while providing each story with an introductory or biographical paragraph, and titled it a biography: The Tale(s) of Two Knaves. These short stories could easily be transformed into 24 Short Stories by Andres Laszlo Sr. and 25 Short Stories by Andres Laszlo Jr. 

COMPLETE WORKS

Senior has written seven fictional texts in Spanish, all of which are available in unedited Spanish and edited/adapted English. Six of the seven texts are also available in German, and four are available in French.

 THE DRUG PROBLEM

I believe this is an important book on drug policy. However, despite being the fastest student in my country and the author of a well-received book on art, I never managed to attract any Swedish publisher interested in translating and publishing the English text. Consequently, I have popularised my research into The Drug Problem. There’s also a “half book/half video script”: Drug Illegality is a Scam.

 

ENGLISH 

English is the primary language of the project, with over 15 titles. Aside from my Swedish art book, Svenskt Konstglas, all books are available in English, and all the English texts are ready for publication, except for The Caspian Connection, which requires some polishing. Of Special Interest: The Complete Works of Andres Laszlo Sr, Mother Unknown, Doña Juana: Script, The Tale(s) of Two Knaves, The Caspian Connection, The Challenge, The Drug Problem & Drug Illegality is a Scam. Agent Info. 

SPANISH 

Spanish is the project's "2nd language", with eight titles by Senior and four by Junior. Since Senior was regarded as "a Spanish writer" and Junior currently resides in Spain, this language holds significant importance. Senior's titles (except The Complete Works of Andres Laszlo Sr.) are all published in print by Plaza Janez, which was then Spain's most prestigious publisher. Of Special Interest: The Complete Works of Andres Laszlo Sr. (previously unavailable), The Laszlo & Laszlo Chronicles (requires further work), The Challenge (an adaptation of Senior's bestseller), and The Drug Problem I (characterised as "Spanish"/liberal in spirit). Agent Info.

FRENCH 

Neither Senior nor Junior wrote in French, but we are both French citizens, and Senior was published with the most prestigious French publishing house (Gallimard) and was agented by the most illustrious French agent (Jenny Aspenwall Bradley: James Joyce’s agent). Senior has six titles in French and Junior three: the translations are all “ok plus”. Three books are paper-published of which two are still in print, and France is an important market. Of Special Interest: Laszlo & Laszlo Chronicles (as both I and Senior are French), and The Challenge (as it is a new high-quality and well-illustrated children's book based on a classic). Agent Info.

SWEDISH 

I count myself as a Swede, my only paper-published book, which has kept me in champagne (or, beer, rather) for 25 years was in Swedish, and my written Swedish is ok. Also, Sweden is the only place where a reader/publisher/agent might know who I am. I have six titles of my own in Swedish, and I have translated three of Senior's texts. Of Special Interest: Laszlo & Laszlo Chronicles (as I am Swedish), The Caspian Connection (as much of the action is set in Sweden and Swedish is an alternative to English as I move this towards CINE), Doña Juana: Script (as I believe there could be Swedish theater companies interested in staging/developing it because of its poignant humor and feminist content), My Uncle Jacinto (as it is a 'classic' and previously not available in Swedish & The Challenge (as it is a high-quality and well-illustrated children's book). Agent Info.

ITALIAN 

Italian was for long "the lost language" with only My Uncle Jacinto (the movie was an Italian-Spanish co-production) translated. I have changed this, translating also Paco Never Fails, The Family Chronicles, and my own The Challenge. The translations are allegedly between "high quality" and "professional", and my feeling is that Italian is a language where both the Laszlos ought to be successful. Of Special Interest: The Challenge (as it is a high-quality and well-illustrated children's book). Agent Info.

GERMAN 

Senior has two paper books published in German, of which one has been retranslated. Six out of seven Senior-books have been translated, of which I own the rights to five, so there is an opportunity (with some work) to publish The Complete Works of Andres Laszlo Sr. I can imagine great possibilities on the German e/PoD-market but the problems are 1. I do not speak German & 2. The translations are said to be poor (but not terrible). I am very much looking for a way to improve "The German Situation". Agent Info.

CATALAN 

My only Catalan title is Paco Never Fails. Translation quality has been questioned, and I am willing to accept basically whatever offer comes my way (33% reserved for the translator).

BULGARIAN 

The only title in Bulgarian is My Uncle Jacinto. I am told that the translation is very bad, and with nothing whatsoever to recommend myself or the Bulgarian part of my project, I am, of course, willing to accept whatever offer comes my way.

JAPANESE

The only title in Japanese is My Uncle Jacinto. I am told that the translation is excellent and that the book was a big hit. The text, though scanned, has not yet been turned into digital text.

My literary and cinematic assets and projects are so numerous and varied that the most economically savvy option might well be to seek a literary estate agent and hand it all over (but what fun would that be?). This could indeed be the outcome for the aspects where I see no way to progress in any other manner. If you are looking for something to engage with in my project, please read points 1-5 below, visit my homepage, and then check out point 6: THE JOBS below.

As both Laszlo (Senior/Dad) and Laszlo (Junior/I) are fiction writers with cinematic ambitions, most of our projects and jobs focus on books and cinema. While the book aspect is largely complete and ready for commercialisation, the film side is just beginning. However, there are three existing films, one screenplay, and one theatre script already poised for commercialisation. Although 1. BOOKS and 2. CINE are the primary sources of projects and jobs, there is much more involved: 3. REVIVE SENIOR concerns applying for grants to revive Senior’s memory; 4. DRUG POLICY aims to promote my drug policy texts and videos, arrange lectures, and in 5. SUNDRY, there are even more tasks — editing, translating, publicity, finding the right people, grant applications, in-house sales, etc. — all of which converge more specifically in 6. JOBS.

  1. BOOKS – Over the past decade, I have been completing my own books, in addition to translating and enhancing Senior’s work to make it more commercially viable. This effort has resulted in nine texts by Senior and eight by Junior, including translations, which brings the total to well over 70 texts, all of which are either currently available or can be accessed at the touch of a button as e-books and print-on-demand (enter "Andres Laszlo Jr." on ‘Amazon, Spain’). My main question is, “Traditional publishing or e/PoD?” The likely answer is that I will pursue both, seeking traditional agents (to liaise with publishers, book me at book fairs, etc.) as well as e/PoD agents (to advise, take responsibility for promotion, etc.). I have divided this “book part” of the project into "language" and "genre" with links to details. See 1. BOOKS below (follow the language/genre links), and then 6. JOBS.
  2. CINE – remakes of old films, the sale of finished scripts, and moving things forward: idea >> structure >> synopsis >> scenario >> treatment >> script >> movie – is where I intend to focus from now on. Fifteen years ago, I was tempted to start here, and the only reason I didn’t was that I believed it was better to first organise our texts, preparing them for the process outlined above. This “cine-part” of the project encompasses many sub-projects. Please refer to 2. CINE below, and then to 6. JOBS.
  3. REVIVE SENIOR. Andres Laszlo Senior was once regarded as a top-class European writer. Until thirty years ago, Ph.D. and Master’s students frequently approached me for approval and assistance with their thesis writing. The reason he is overlooked, apart from the fact that most of his texts never received proper content editing (partly due to my lack of effort until now), is that none of his four home countries (born Austro-Hungarian, naturalised French, writing in Spanish) has "adopted" him. However, today, all of these countries are members of the European Union. This organisation is sometimes willing to finance projects aimed at reviving the memory of its forgotten artists (as are the French). I am seeking someone to identify grants, apply for them, and then lead the revival project. See 3. REVIVE SENIOR below, and then 6. JOBS.
  4. DRUG POLICY. As a drug policy researcher, I have concluded that, although drugs may currently cause more 'bad' than 'good', the consequences of supply illegality are far worse than anything that might arise from a liberal/pro-legality policy. In my narcotics-conservative Sweden, few were willing to listen. As a fiction writer, I transformed my intended thesis into popular science (The Drug Problem) and crafted a video script (Drug Illegality is a Scam). I wish to promote the book, the script, my videos, and myself as a speaker. Please check out 4. DRUG POLICY below, and then 6. JOBS.
  5. SUNDRY. This term refers to jobs or projects that cannot be classified under any of the four headings outlined above: "Editing", "Publicist", "Resident salesperson", and "Literary Assistance", etc. Please review this and then proceed to the final section of 6. JOBS.
  6. JOBS. If you think there is something within my project that may catch your interest, please take a look at the job listing: 6. JOBS.

If you would like to learn more about my project and our texts/movies, I can send you a copy of The Tale(s) of Two Knaves, which will provide not only deeper insight into the project but also into our writings: This email address is being protected from spambots. You need JavaScript enabled to view it..

 

 

  • 1. BOOKS

    BOOKS, unlike CINE, is mainly about sales. There are jobs such as: "Language-agents," "Genre-agents," “Present texts to publishers agent”, “Book me for book-fairs agent”, and “Take on a language agent.” So “BOOKS” covers a lot, and you will find all the corresponding job offerings below, under "6. JOBS".

     BOOKS BY LANGUAGE

    Senior wrote in Spanish, and I write in English (and Swedish). Counting all translations we have over 60 books, with an average of 10 in our six main languages: English, Swedish, Spanish, French, German, and Italian. Regarding some languages, I either do not speak the language or I am uncertain about translation qualities (Japanese, German, Catalan, Bulgarian). Read More

    BOOKS BY GENRE

    Our texts can all be categorized as fictional, apart from my two books on drug-policy, that are dealt with separately. The fiction falls into the sub-genres of adult fiction, juvenile fiction, short stories/biography, and "complete works". Read More 

  • 2. CINE

    CINE - unlike BOOKS, which deals largely with finished stuff - is mainly about "developing" (and only a little about selling). I have plenty of cinematic assets - many ideas, a dozen treatment-like short stories, half-a-dozen movie-prepared books, one finished script plus two initiated, re-make rights to three movies, showing-rights, and unpaid royalties - so even if only starting up, there are already plenty of CINE projects. Yet, this CINE-part of the project will focus mainly on pushing the various text assets from ideas and towards new movies. What to push and how to push will depend on 1. Where I find interest, 2. Where I enjoy working, and 3. Where I find interesting people to work with. Unlike BOOKS, the CINE-part of the project is thus very open-ended, and there are often other aspects than simply “Pushing towards movies, and cashing in” (aspects such as "nice places to work", "clever people to work with," and "having fun"). As I am moving away from BOOKS and towards CINE, I will be looking for all sorts of assistance, not only on how to find buyers but also on how to improve/develop texts: “How to structure?”, “What to keep/ditch/add?”, “Where to send?” and “Whom to engage?” I plan to arrive at Mumbai/Goa around December 15th. 2021 and leave in early February with a lot of new contacts established. You will find all the jobs below under the heading "6. JOBS".

     

    REMAKES (OLD MOVIE >> NEW MOVIE)

    There are three produced movies: My Uncle Jacinto that became a blockbuster, Paco Never Fails that got "contracted away" to Spain, and Sin Uniforme that I have never seen. In addition, there's Don Juan a performed mime-drama, as well as a possibly performed theater play, Doña Juana.

     

    SCRIPT >> MOVIES

    There is a "Hollywood quality" script of The Challenge in English, as well as the first draft of a Spanish translation, there's a to-be-improved first-draft theater script of Doña Juana, and there's also the beginning of the first draft of a new script for Paco Never Fails.

     

    IMPROVED TEXTS >> TREATMENT/SCRIPT

    This is where I hope to spend a lot of time the next couple of years because as I spent the last ten years improving and developing my own and Senior's short stories and novels, it has always been with "the silver screen" in mind. Apart from the already started projects mentioned above, I expect treatments/scripts to evolve mainly from these improved novels and short stories.

    1. IMPROVED NOVELS >> TREATMENT/SCRIPT

    One of Senior’s novels was about to become a movie at his demise (Mother Unknown), Senior’s French publishers recommended him to approach the Spanish film industry with another novel/novella (Doña Juana), his first published book also has movie potential (The Seal Castle) as a love story, and Junior’s adventure series (The Caspian Connection) is designed to become cine.

    2. IMPROVED SHORT STORIES >> TREATMENT/SCRIPT

    I have lots of ideas but as my project moves from BOOKS to CINE I am so overwhelmed by what seems to lie ahead of me that I have decided to put all other ideas on the back burner and focus on developing my now finished texts. Regarding short stories - that often have been rewritten so as to read closer to cinematic treatments - these are picked mainly from the 49 short stories that make up The Tale of Two Knaves.

    There's a lot of other CINE jobs: Rewriting a script for Mumbai or Goa, Bollywood representation, Tangier location-scouting, French & Spanish agents, Staging of a long-lost theater play, etc. You will find it all under the heading "6. JOBS".

  • 3. REVIVE SENIOR

    European writer looking for a home 

    Dad/Andres Laszlo Sr., in his heydays, was seen as a top-European writer, and a rising one at that. He had written My Uncle Jacinto that in the hands of Ladislao Vajda had become a blockbuster movie, and with Paco Never Fails Senior felt that his authorship had taken another big step. This book, in Senior's mind - a totally decent anthropological history-drama about a totally taboo subject written in generalissimo Franco dictatorship - had said; "Look at me! I'm pretty darn good!" However, though the text was great and unimpeachable by the sensors, the subject matter was one that the Spanish critics did not enjoy commenting on. Senior, after maybe getting a little too appreciated (thanks to Ladislao's superb cinematic interpretation) for My Uncle Jacinto (that competes for "best Hispanic movie all times" at film festivals) felt that he was not given the credit he deserved for Paco Never Fails. Thus, when he should have been (and, in a way, was) ready to take on the world, the success story ended. Bereft of the self-confidence so essential for a writer, he put writing on the back burner, and instead, he devoted himself to family, and pushing forged old-master paintings to museums; he forgot about writing, and - as he had no mother country to keep his memory alive - so did the world, about him. Read More 

  • 4. DRUG POLICY

    This Project, which has three parts, has its origin in my life as a drug policy researcher at the University of Lund, and my time at Oxford University. The project has three parts:

    The Drug Problem is a popular-science book that looks at the drug problem (drugs = illegal narcotic drugs) from a mainly philosophical/economical perspective, and though it is written to entertain, yet it is pretty profound: a drug-policy book like no other, which I so far have not succeeded to get one single publisher to read. Read More. 

    Drug Illegality is a Scam is a "sexy condensation" designed to conclusively argue that the consequences of narcotics' supply-illegality are not what we think they are. I believe that the videos that I intend to make - professionally produced (with or without me as the speaker) - actually could contribute to change things. 

    My lectures. I would like to promote The Drug Problem and turn Drug Illegality is a Scam into the video series they were meant to become, I would like to give a lecture tour based on its content, and I would, of course, love to give a TED-talk. I have no ax to grind in this, I am not even a drug user myself, but as I, as a researcher, feel that I have understood the consequences of supply-illegality better than most, I feel an obligation to explain these in a way that people can understand. Read More. 

  • 5. SUNDRY

    Beneath this heading is hidden not only what the heading suggests (i.e. what cannot be squeezed in under any other heading) but also writing-jobs.

    The truly "sundry" jobs are for example a publicist to find out whether I am promotable, a resident salesperson to sit next to me, a computer guy, and a rising-talent finder to locate the right people to do other jobs.

    "Writing-jobs" is partly about translation, as some texts could do with an English-to-German, English-to-Spanish, or English-to-French translation. Another writing part is about editing, which I have hidden here in order for those visiting other parts of my homepage not to understand that my English is not always as good as I might pretend that it is and that maybe some of my texts could do with a wee bit of editing.

  • 6. JOBS

    If you have read the above, you now have a pretty clear picture of my assets, and what I am up to, and if you think you could be the right person to join one of my projects, here are the associated jobs as I see them. The job listings are designed to "stand by themselves", so if you read several, you might find the first parts repetitive.

     

    BOOK JOBS

    Most book projects are described in the "By Language" and "By Genre" links below. I have also listed some other book jobs that I hope to find an interest in either from 1. "Rising talent," 2. Traditional agents or 3. Publishers/producers. Read More

     

    CINE JOBS

    As I am moving away from working on BOOKS and towards CINE, I do not intend to do all the hard work myself; instead, I will look for rising talent and agents for help, and I will make a point of staying much of the winter(s) in India (esp. Mumbai and Goa). Read More.

     

    REVIVE SENIOR JOBS

    As I started to "fix" (digitalize, improve, translate, adapt and improve) Senior's text I realized that my original thinking - "His two last books must have been ok as they became movies, but his five first must have been less good" - was wrong. Rather, his five first texts were on average better but they hadn't been given any content editing. However, whereas Dad wasn't all that logical, I am, and I have provided the content editing that his five first books never received. Read More.

     

    DRUG POLICY JOBS

    As a young research student, I was different from the other guys (in a good way) and I sat out to do something in return for the "magic" life I had furnished with. Drug Illegality is bad, and in addition, it is a scam. I tried to tell the world this at the age of 20 plus but as nobody wanted to listen I instead sat out to do "all-those-things-a-man-should-have-done" in order to be "listenable to". Today I've done it - today I am listenable to, and can eloquently corroborate the proposition that "drug illegality is a dysfunctional discourse" - but today I no longer have the energy and enthusiasm that it takes to fight my way onto the main drug policy scene: assistance needed. Read More.

     

    SUNDRY JOBS

    This is not only where I list projects that don't fit anywhere else (mainly promotion) but also where I hide jobs that I feel awkward about admitting that I am not good enough to do myself (like editing, translation, etc.). Read More

With a list like the one below, one might be excused for thinking, “Most or at least the best parts are probably taken.” Not so; I have managed (mainly indirectly) to make a living from my book Svenskt Konstglas during the last few decades, and it is only now (spring of 2020) that I have begun to (commercially) develop The Laszlo & Laszlo Project. Over 60 titles are either published or publishable on Amazon (15 in English, though unpublished, as paper publishers seem not to like "e-published books" even if unsold). This applies to books in several other languages as well, so for all practical purposes: "nothing" is published. Additionally, there are 3 movie rights, as well as 1 finished script, 4 books eager to be turned into films, close to a dozen “treatments,” and a theatre play lost for 70 or 80 years. Yet, no efforts have been made to find publishers or producers. Everything is in place and "ready to roll", and the texts and projects below—as well as texts/projects in other languages—are all more or less unexploited (at least since the 1970s). VIDEO

NB. As the Laszlo & Laszlo Project includes non-English components, you can read about the Spanish, Italian, French, German, and Swedish projects of similar size and their possibilities (though typically only the English and Swedish receive continuous updates). 

Continue Reading

(ANDRES EMERICO LASZLO VON KELLER: EUROPEAN WRITER LOOKING TO BE ADOPTED)

 1. ANDRES LASZLO SR WAS A GREAT WRITER.

He likely began writing in Hungary; however, if that is the case, none of his early texts (likely theatre plays) seem to have survived. He authored several books on Goya’s engravings before he began, or returned to, writing fiction. His first two books were period pieces, illustrating war and pre-war life in Budapest and Paris; irony, romance, tragicomedy, and an acute ability to see light where most would perceive only darkness were then, and would remain, his trademarks. His fourth work—following a brief relapse into theatre, Dona Juana, a romantic comedy aspiring to become a musical—was a collection of short stories (Only the Landscape Changes), which were preceded and succeeded by his three major novels: Mother Unknown, his arguably best book and the only one not yet adapted into a film, My Uncle Jacinto, and Paco Never Fails.  VIDEO

His penultimate work, My Uncle Jacinto, became a bestselling children's book, now available in nine languages, and a blockbuster family film produced by Ladislao Vajda, starring Pablito Calvo. His final book, Paco Never Fails, was also adapted into a film but failed to receive the recognition it perhaps deserved; if so, it may be due to legal disputes that hindered its distribution outside Spain. Mother Unknown has now been translated into English (along with all his other texts) and is seeking a producer. By 1957, Andres Laszlo’s writing skills were such that he seemed poised to take on the world; yet that did not transpire. So, what happened? 

He notoriously slept on French television, settled down with a stunning Swedish bombshell (my mother), placed his son in the lap of Marilyn Monroe (me), and counted film director Ladislao Vajda, Paul Lucas (Oscar for best actor), and Spanish painter Manuel Blasco (Picasso's first cousin) among his closest friends. Among his more illustrious acquaintances were individuals such as Ernest Hemingway, Anthony Quinn, Zsa Zsa Gabor, Manolete, Lola Medina, von Karajan, and Orson Welles (in fact, my father asserted that it was he who led Orson Welles to Anton Karas and thus claims partial credit for The Third Man's Harry Lime Theme, though there are competing stories).

 2. YET HE HAS BEEN FORGOTTEN.

If my father was once regarded as one of Europe's most promising writers of the mid-20th century, why haven’t you heard of him?

  1. No homeland. Born Austro-Hungarian, naturalised French, and writing in Spanish, Andres Laszlo is a quintessential European writer. However, at that time, there was no EU, and he has never been “adopted” by any of his countries; Hungary, Austria, and Spain remain indifferent. Consequently, there has been little to no political, and therefore economic, interest in promoting him.
  2. Challenging subjects. He wrote about a day in the life of a drunkard, with nothing but honour at stake, about a man searching for the unknown mother of his son (well, ok, so that's a pretty commercial idea), and about a man earning a living by impregnating aspiring wet-nurses: a risqué, if not taboo, subject at the time.
  3. Stopped at the wrong time.He abruptly ceased writing when the world was "at his mercy." I believe this was due to his feeling that Paco Never Failsdidn't receive the recognition it deserved.
  4. Lazy son. I’ve had a book of my own that has contributed to my economic independence. This has had a significant impact on my life and has led me not to grant my father the respect he deserves. That, along with my adventures and writings that followed, serves as my excuse for why I have, until more than a quarter of a century after his demise, neglected to promote my father's legacy. 

Andres Laszlo’s texts are fading into oblivion, and I have taken it upon myself to try to reverse this trend and prevent it from happening. However, despite my determination to do so, I lack both the contacts and the capital to pursue this endeavour effectively for much longer; I need assistance.

 3. THIS IS WHAT I HAVE DONE AND WHAT I AM DOING.

E-books. (i) All my father’s texts have been scanned, OCR’d, and converted into e-books. (ii) Rights for English, Spanish, Italian, and Japanese texts have all been acquired. (iii) I could obtain the e-rights for all remaining French and German translations. (iv) New and improved English translations have been created for all books. (v) Two new book adaptations and two new scripts have been made. (vi) More than 10 new translations have been made, and (vii) Counting translations and adaptations, there are over 40 e-books completed and ready to be published. Check out some by entering ‘Andres Laszlo Jr.’ on Amazon Spain.

Adaptations. The Challenge is my (radical) adaptation of My Uncle Jacinto. In my story, Madrid and "La Quinta" become Cape Town and Mandela Park; bullfighting is replaced by boxing, the 2010s take the place of the 1940s, and 19,000 words expand to 75,000. This adaptation currently exists in six languages and has been developed into a film script. I have also turned ‘Doña Juana into the theatre script it once must have been.

English platform. To successfully relaunch Andres Laszlo Sr., establishing a base in the English language has been a sine qua non. Consequently, I have had all seven of his books translated and content edited.

Complete Works. After translating all of my father’s texts into English and providing adaptations and edits (only two of his books were previously published in English), I have compiled The Complete Works in both English and Spanish. The English version is significantly superior to the Spanish, making retranslation back into Spanish a viable option.

Biography & Bibliography. I have researched and documented Senior's life and literary works; the results are available on Wikipedia. There was a time when I was frequently contacted by students and researchers wishing to write essays or theses on my father. As I was angry with my father at the time, I always turned them down, but today, they would be more than welcome.

Contacts made. (i) The Balassi Institute is a Hungarian organisation dedicated to promoting Hungarian culture abroad; however, they do not seem interested in András László. I feel that they do not regard him as a ‘real’ Hungarian writer. (ii) IFFR is a Dutch film festival. I applied for production grants to produce The Challenge (my adaptation of My Uncle Jacinto) in collaboration with a well-known Hollywood director, but the project was turned down. (iii) The University of Malaga has a project called “Recovery of the Andalusian Literary Heritage,” but there, no one appears to know much about András László Sr., though I believe he's “one of the best Malaga has ever had.” (iv) EU. I have had some communication with the EU, but although it seems my project could be eligible for grants, it appears to be "too much of a hassle," and I am not the right sort of person for this. (v) Diputación de Málaga has a cultural programme, “Culturama,” that promotes cultural activities, and a “Coordinador de Cultura” connected me with MMF/Malaga Film Festival. They screened Mi Tio Jacinto during their 2015 festival, and I was there to give a speech, but they do not seem interested in any further promotion. (vi) TV2 and many other broadcasting corporations rank Mi Tio Jacinto (my father wrote the underlying text and co-wrote the script with Ladislao Vajda) as a top 5 contender for the title "Spanish or Hispanic movie of all times," which makes it particularly hard to understand why he is so utterly forgotten.

4. AND THIS IS WHAT I PLAN TO DO.

New translations. I intend to continue translating Andres Laszlo Sr. into new languages, particularly my native Swedish. Furthermore, major languages such as Mandarin, Hindi, Russian, Brazilian and Portuguese will also be considered.

New films and scripts. My Uncle Jacinto has already been adapted into a film, but would also make an excellent animated movie. Additionally, my adaptation of this book, The Challenge, exists as a film script. Paco Never Fails is also a movie, and I have been called to Gallimard in Paris twice to approve new adaptations. Mother Unknown was turned into a film script by my father at the time of his demise (so someone must have contracted or at least encouraged him). His collection of over twenty short stories—now merged with my own short stories into The Laszlo & Laszlo Chronicles/The Tale(s) of Two Knaves—contains several stories that read well as film treatments.

Libraries. I plan to make Andres Laszlo Sr.’s texts available through libraries, online retailers, and print-on-demand distributors. Currently, over 20 titles have been published on Amazon and subsequently removed (i.e., for copyright purposes).

Website. I have created this website (www.andreslaszlo.com), and I intend to promote it to introduce Andres Laszlo to a broader audience.

Though my father lacked a “one 100%” homeland, he had “four 25% homelands" that are now all full members of the EU. “A forgotten best-selling fiction writer with ‘four’ EU nationalities” sounds like something that should evoke at least some EU enthusiasm.

Things I can send you: 1) Articles (written by me) about Andres Laszlo Sr. in any language; 2) Any of my father’s texts in any translation; 3) Biography; 4) Bibliography; 5) My adaptation of My Uncle Jacinto in Spanish, Italian, French, Swedish, German, or English; 6) The Challenge as an English script; and 7) Myself, as a lecturer or commentator on my father's life, texts, or films.

Overall, I have done my utmost (or at least a considerable amount) to revive my father's texts and writings, but I have not received the response I had hoped for. Furthermore: (i) I have my own writings to promote, particularly my Dysfunctional Discourses, and (ii) I do not possess the resources to promote Senior ad infinitum, so unless I receive some assistance in this endeavour...

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