Intellectual Property and Folk, Arts and Cultural Festivals!

This Guide provides general information about intellectual property (IP) and cultural interests. It identifies the main IP challenges faced by festival organizers and outlines some practical elements of an effective IP management strategy, following a step-by-step approach. (By The World Intellectual Property Organization: WIPO)

(From the Preface):

This Guide is produced by the World Intellectual Property Organization (WIPO), a United Nations specialized agency dedicated to the promotion of innovation and creativity for the economic, social and cultural development of all countries, through a balanced and effective international intellectual property (IP) system.

WIPO is working with those involved in the organization of cultural events, notably folk, arts and cultural festivals, to develop and apply appropriate strategies to deal with the various IP issues that can arise before, during and after those events.

The program of WIPO's Traditional Knowledge Division addresses the protection of the traditional knowledge (TK) and traditional cultural expressions (TCEs) of indigenous peoples and local communities, which are frequently displayed, represented and shared at festivals around the globe.

Selling Foreign Rights! From Book Writing to Global Exposition!

For most authors, whether traditionally published or self-published, the thought of selling foreign rights seems daunting. The common mindset is authors lack the capability to exploit foreign rights on their own. It was hard enough to sell the book in the U.S., right? Who can think about selling it internationally?

You can. Why? Because foreign rights can be valuable. For some authors, foreign sales usurp what the author makes from the initial sale in the U.S. For other authors, foreign sales diversify and expand earnings with minimal upfront costs. So pull up your socks. Sit down. And together we will hash out this big, scary topic.

What are Foreign and Translation Rights?

Foreign rights are the right to publish a book in its original language in countries different from those in which the book was originally published. Translation rights are the right to publish a book in languages other than the original language. If the book was published in the U.S. in English, then publishing in any other country other than the U.S., and in other languages other than English, would be considered foreign rights or translation rights, respectively. These two rights are different but related, and are often lumped together under the term Foreign Rights.

How do I get Foreign Rights?

Foreign Rights stem from the rights granted via your U.S. copyright, which for a U.S. citizen starts automatically the moment anything is written. As a brief reminder, these rights include the exclusive right to reproduce, distribute, perform, or display your work, or adapt it into new works.

As for international copyrights, there is no single international copyright law that applies in all the countries of the world.  Instead, most countries provide copyright protection to foreign creative works under certain conditions via a network of international treaties and conventions (that almost all the nations of the world have agreed to). Because of these international conventions and treaties, international protection is automatically extended once the U.S. work is created. For more info see my earlier article on International Copyright Protection.

How do I know if I still own my Foreign Rights?

For the traditionally published author, check your publishing contract. Foreign rights are assigned to the publisher under the main grant of rights clause. Typically, this clause includes a “Territory” that specifies the geographic region where the publisher is entitled to publish the book. This clause can also be restricted by a particular language for publication.

Most U.S. publishers want rights to publish the English edition of the book in the U.S., the U.S. territories, and Canada. Sometimes the territory will extend to other English-speaking countries, like the Philippines, Puerto Rico, and all British Commonwealth countries. Some of the larger publishers have international affiliates and will demand publishing rights in foreign countries in which they operate. Sometimes publishers ask for “world-wide rights in all languages,” which gives the publisher the right to sell the book in any language, anywhere in the world (i.e., all your foreign and translation rights). So read your contract carefully to determine what foreign rights you own and what rights you have licensed.

If the territory clause has not scooped up foreign rights, then look at the subsidiary rights section (which will include foreign rights, as well as rights like movie, audio, book club, and other rights related to potential publication markets). If the publisher has not grabbed the foreign and translations rights, then you have still retained your foreign rights.

For self-published authors, check your self-publishing services agreement or your POD provider to determine if you have given away your foreign rights. If so, then you will have to terminate the contract, or renegotiate those rights before you exploit your foreign rights.

How do I sell Foreign Rights?

There are a few avenues for authors to sell foreign rights.

1. If you have licensed your foreign rights to a publisher, the publisher usually markets your foreign rights through a foreign agent or at international book fairs (e.g., Frankfurt Book Fair, London Book Fair, and Book Expo America in New York City).

2. If you have retained your foreign rights, but have an agent, your agent can market your foreign rights through a foreign agent, hopefully one who specializes in the book’s genre and is well-connected in the international publishing world. Foreign rights agents should have an intimate understanding of the markets in which they represent work and have the ability to match books with foreign publishers who publish similar works. If your U.S. agent is well-connected abroad then add foreign representation into your agency agreement. If you want to cut out the middleman, you can go the DIY route and find a foreign rights agent or contact foreign publishers directly (see self-publishers below).

A few points to remember –

• If you have retained your foreign rights, your domestic publisher may demand to share the income if you sell the rights yourself.
• If you use multiple agents, one for domestic and one for foreign deals, make sure the commission structures do not penalize you. You should not pay a double commission, only an increased commission. A rule of thumb is five percent more than the basic agent commission.
• With multiple agents, the agreements should be clear as to each agent’s role and authority.
• Here is a great chart from a foreign rights agent about the process. I would add another segment to this chart, one that follows the self-publisher’s DIY approach (see below).

3. If you are self-published, you have several options for how to handle your foreign rights. Thankfully, the emerging opportunities for self-published authors have made exploiting foreign rights possible.

One option for the self-publisher is to contact foreign agents to handle all the foreign rights like a U.S. agent would do. This would require: 1) researching foreign rights agents and international book publishers to determine who would be a good fit (here are two resources for locating foreign agents and international publishers — The International Literary Market Place and IPR License); 2) sending the agent or publisher an email that sells your book. Include a summary of the book, reviews, endorsements, sales figures, and links to your website, and author page on Amazon. Offer to send a copy of the book should they be interested; and 3) negotiating and signing a contract with the foreign agent or publisher.

Another option for the self-publisher is to sell the English edition book to foreign markets via online retailers and local distributors. Online retailers like Amazon sell through Kindle in different countries allowing authors to distribute books to international markets in English (e.g. Canada, France, Germany, Italy Spain, Japan, Brazil, and the UK). Then you can use a foreign agent to sell the foreign and translation rights you are not exploiting. Or if you want to cut out the middleman and do the work, contact the foreign publisher directly regarding foreign publications. This may require networking at the international book fairs to have direct contact with foreign publishers. An author can also have their book translated, and then sell books directly to readers but this can be time-consuming and expensive. Unless you have the resources and time, this may not be the best option for most self-published authors.

One other point to consider before making your decision about foreign rights, not every book is suited for international publication. Research whether your content would appeal to foreign publishers and agents. Questions to ask yourself—Does the book have universal subject matter? Is it easily translated? Is it a popular international category like self-help, personal empowerment, or business related? Has the book gained notoriety, broad appeal, or high US sales?

If you then feel your book is ripe for international exposure, at least now you are more informed about how to proceed. If you need additional information, see these resources:

1. Jane Friedman, Selling Your Books Internationally;
2. Mindy Klasky, Foreign Rights: Contract Terms Made Easy; and
3. How Authors Sell Publishing Rights, Helen Sedwick and Orna Ross (ALLi How-to for Authors Guidebook Book 

Source: https://www.sidebarsaturdays.com/2017/11/11/httpswp-mep7vddb-x3/

Literary (Book) Agents Info from Poets & Writers Network!

Introduction

If you have a book-length work of fiction or creative nonfiction that you’d like to sell to a commercial publisher, an agent is crucial. Literary representation will increase your chances with editors, who rely on agents to present manuscripts that are polished and marketable, and that match their interests. Visit our Literary Agents database to find the best agents who represent fiction and creative nonfiction.

Literary agents take a standard commission of 15 percent from the sale of your book. Note that agents typically do not represent poets.

What a Literary Agent Can Do For You

As your representative in the literary market, your agent may perform a range of tasks, including offering editorial guidance, establishing contacts for you with editors and publishers, explaining the language of contracts and negotiating contract terms, selling the rights to your work, and helping you find new opportunities for publishing.

Finding The Right Literary Agent

The first step in finding a literary agent who is right for you and your work is to put together a list of recent books that you admire or that you think are similar to your work. Then, find out who represents the authors of those books. Many authors list their agents on the acknowledgments page in the front or back of their books, or on their website. If you can’t find the agents this way, search online for the authors and their publishers; often you will find some mention of the agents involved.

Once you have a list of agents you are familiar with, send a query letter to each one. A good practice is to send out five letters at a time, with each letter tailored to the specific agent you are querying.

An interested agent will ask to see a few chapters or your full manuscript. Before you send it, find the agency’s submission guidelines, and follow them closely. Aside from our Literary Agents database and our long-running series Agent Advice, in which agents answer writers’ questions, another useful resource for finding detailed information on how to find and obtain an agent is Jeff Herman’s Guide to Book Publishers, Editors, and Literary Agents (New World Library, 2017).

As you send out your letters, consider noting each one in our Submissions Tracker to keep track of all your correspondence with publishing professionals.

The Query Letter

A query letter to an agent should be extremely well written and very brief—three paragraphs that take up less than one page.

In the first paragraph of the letter, explain why you are contacting the agent and why him or her specifically. In the second paragraph, give a three-to-four-sentence synopsis of your book. Avoid going into detail about the twists and turns of the plot. In the third paragraph, include a short bio, offering information about yourself that pertains to your work or your writing skills.

Close the letter with a direct statement of your ultimate purpose, expressing that you’d like to send the agent your manuscript.

What You Should Know Before Signing A Contract

Once you have found an agent, and before you sign a contract, find out who else the agent represents, what books the agent has sold and to which publishers, what the agent’s percentage (or “cut”) is, and what additional charges will be billed back to you.

Also, be sure to find out about the contractual obligation between author and agent: Are you required to sign a contract?

Finally, ask questions about the agent’s general game plan. Where will the agent send the book? To how many publishers? Are there any plans for selling secondary rights such as film, foreign, audio, or electronic rights?

Literary Agents & Poets

Agents rarely represent poets, as the selling of poetry books doesn’t usually generate enough income. Most poets, after building up several publishing credits in respected literary journals, send out manuscript submissions to small presses on their own.

If you are submitting individual poems to literary magazines, an agent is unnecessary. For a collection of poetry, be sure to follow the submission guidelines of the individual publishers you want to send your collection to. Also, check deadlines for chapbook contests and first poetry book awards in the Grants & Awards section of Poets & Writers Magazine.

Fee-Charging Agents

Legitimate literary agents do not charge writers for the opportunity to represent them. If an agent asks for a reading fee up front or a fee to edit your work, you should seek representation elsewhere. Check the Association of Authors’ Representatives website for a database of literary agents who do not charge fees. None of the agents in our Literary Agents database charge fees.

Other Resources

Each literary agent has individual tastes and interests, so be sure to research appropriate agencies before submitting your query. Our Literary Agents database includes areas of focus, tips for submitting, client lists, and contact information for literary agents who represent literary writing. Jeff Herman’s Guide to Book Publishers, Editors, and Literary Agents (New World Library, 2017) or Writer’s Market (Writer’s Digest Books, 2017) can help you narrow down your choices.

With the January/February 2008 issue, Poets & Writers Magazine launched Agents & Editors, a series of in-depth interviews with dozens of publishing professionals, including agents Lynn Nesbit, Nat Sobel, Molly Friedrich, Eric Simonoff, and Georges Borchardt, and many others. These interviews provide timely, insider advice on what agents look for in books and clients and how authors can best navigate publishing. In addition, Poets & Writers Magazine’s annual Literary Agents issue, which includes a special section on what to expect from the evolving relationship between author and agent, is published each summer.

You may also take a look at The Poets & Writers Guide to Literary Agents, which is edited by the staff of Poets & Writers Magazine and contains a collection of articles with straightforward advice from professionals in the literary field and additional resources with insider tips.

Online sources that offer guidance include the Association of Authors’ Representatives website. Other useful websites are Agent Query, Publishers Marketplace, and, of course, the websites of individual literary agencies.

Source: Poets & Writers: https://www.pw.org/content/literary_agents#q-a_05

The Narrative Triangle of Robert McKee, On Structure of Scripts

Yo folks, let’s start today’s discussion on another pattern of thinking and writing which consists of the view of Robert McKee, one of the greatest teachers of screenwriting (and possibly writing, I would say), on structure of scripts. Clearly indicating that experience is overestimated, studying and reading materials as well as social observation constitute a greater power for the author of the book, who has created The Narrative Triangle, meaning, 3 different types of plot and structure. 

In this triangle exists the entire set of the cosmology of screenwriters, and writers I would say and their multi-level visions of what they dream, hope and act for. For you to understand your position in this universe you have to study the coordinates of this map, make the comparison with your work and let it direct you to the point at which you can share with other… writers, the same vision with yours. Robert McKee suggests that behind policies around funding, awards and distribution there is a cultural gap which is being reflected at the edges of this triangle named hyper-plot, mini-plot and anti-plot. Hyper-plot consists of global cinema including Hollywood. Even to Hollywood, someone who is being directed to the other sides, shrinks the audience! 

Simply put, it rises doubts to the nature of intellectuality. Through hyper-plot the protagonist confronts mainly outside forces of competition. One of the most important aspects, before moving on, suggests the notion of non-cohesive reality. People jumping from one reality to another, one behavior to another, so as the narrative events jump without sequence as well, leading to a sense of absurdity… Based on coincidence and not causality maybe? But let’s view this concept analytically:

Hyper-plot: Causality, Closed finale, Linear time, Outside conflicts, One protagonist, Cohesive reality, Active protagonist

Mini-plot: Open finale, Inner conflicts, Multiple protagonists, Passive protagonist

Anti-plot: Coincidence, Non-linear time, Non-cohesive realities

Closed finale and open finale simply mean that all questions related with the story and all feelings provoked are being answered or not answered (at an open finale). The audience leaves having experienced a balanced story, no doubt, no sense of unfulfilled.

Outside versus inner conflicts, mean that at hyper-plot even though characters face outside forces, emphasis is being put at problems with their personal relationships, social institutions or forces of nature!! Contrary, to mini-plot even though the protagonist faces outside forces, with the environment maybe, it’s a psychological battle confronting emotions and thoughts.

Even though many of you understand linear with non-linear narrative, this aspect of the triangle contradicts at hyper-plot circular narrative or in medias res. What we’ve been saying about intellectuals, meaning, an in medias res narrative begins from the middle and circulating around it. Or perhaps making circles.

Active versus non active protagonist suggests that the active one follows his desires by conflicting outside people and the world surrounding him. The non-active one even though being inactive from an outside point of view, follows his desire inwards, conflicting elements of his personal nature.

Last but not least, causality versus coincidence, points that causality has consequences, consequences bread new consequences, even though anti-plot suggests a sense of coincidence and randomness, that breaks causality chains and leads to a scattered reality including absurdity.

I hope you enjoyed this analysis!  

The Blake Snyder Beat Sheet!

The Blake Snyder Beat Sheet is one of the greatest tools I’ve come across.

It breaks down the three-act structure into bite-size, manageable sections, each with a specific goal for your overall story.

It’s a great resource!

Below is an explanation of each beat.

THE BLAKE SNYDER BEAT SHEET

Opening Image – A visual that represents the struggle & tone of the story. A snapshot of the main character’s problem, before the adventure begins.

Set-up – Expand on the “before” snapshot. Present the main character’s world as it is, and what is missing in their life.

Theme Stated (happens during the Set-up) – What your story is about; the message, the truth. Usually, it is spoken to the main character or in their presence, but they don’t understand the truth…not until they have some personal experience and context to support it.

Catalyst – The moment where life as it is changes. It is the telegram, the act of catching your loved-one cheating, allowing a monster onboard the ship, meeting the true love of your life, etc. The “before” world is no more, change is underway.

Debate – But change is scary and for a moment, or a brief number of moments, the main character doubts the journey they must take. Can I face this challenge? Do I have what it takes? Should I go at all? It is the last chance for the hero to chicken out.

Break Into Two (Choosing Act Two) – The main character makes a choice and the journey begins. We leave the “Thesis” world and enter the upside-down, opposite world of Act Two.

B Story – This is when there’s a discussion about the Theme – the nugget of truth. Usually, this discussion is between the main character and the love interest. So, the B Story is usually called the “love story”.

The Promise of the Premise – This is when Craig Thompson’s relationship with Raina blooms, when Indiana Jones tries to beat the Nazis to the Lost Ark, when the detective finds the most clues and dodges the most bullets. This is when the main character explores the new world and the audience is entertained by the premise they have been promised.

Midpoint – Dependent upon the story, this moment is when everything is “great” or everything is “awful”. The main character either gets everything they think they want (“great”) or doesn’t get what they think they want at all (“awful”). But not everything we think we want is what we actually need in the end.

Bad Guys Close In – Doubt, jealousy, fear, foes both physical and emotional regroup to defeat the main character’s goal, and the main character’s “great”/“awful” situation disintegrates.

All is Lost – The opposite moment from the Midpoint: “awful”/“great”. The moment that the main character realizes they’ve lost everything they gained, or everything they now have has no meaning. The initial goal now looks even more impossible than before. And here, something or someone dies. It can be physical or emotional, but the death of something old makes way for something new to be born.

Dark Night of the Soul – The main character hits bottom, and wallows in hopelessness. The Why hast thou forsaken me, Lord? moment. Mourning the loss of what has “died” – the dream, the goal, the mentor character, the love of your life, etc. But, you must fall completely before you can pick yourself back up and try again.

Break Into Three (Choosing Act Three) – Thanks to a fresh idea, new inspiration, or last-minute Thematic advice from the B Story (usually the love interest), the main character chooses to try again.

Finale – This time around, the main character incorporates the Theme – the nugget of truth that now makes sense to them – into their fight for the goal because they have experience from the A Story and context from the B Story. Act Three is about Synthesis!

Final Image – opposite of Opening Image, proving, visually, that a change has occurred within the character.

THE END

Source: Tim Stout: https://timstout.wordpress.com/story-structure/blake-snyders-beat-sheet/

Influenced by the book: Save The Cat! The Last Book On Screenwriting That You'll Ever Need.

It can be correlated with another book influenced by the Blake Snyder series: Save The Cat! Writes a Novel, The Last Book on Novel Writing you'll ever Need.
(it applies BS beat sheet on a novel level, including the initial analysis of the first book)

500 Ways To Beat The Hollywood Script Reader!

Movie studios and production companies receive tens of thousands of screenplays each year, and executives can't read them all. They use readers to sift through and recommend screenplays. The reader communicates all the essential points of a screenplay in a concise document. It's the unofficial Cliff Notes of your screenplay. It is important that you write to sell, paying attention to the screenplay's appearance, concept, characters, and structure.

The 101 Habits of Highly Successful Screenwriters

You can struggle for years to get a foot in the door with Hollywood producers-or you can take a page from the book that offers proven advice from twenty-one of the industry's best and brightest! In this tenth anniversary edition, The 101 Habits of Highly Successful Screenwriters, 2nd Edition peers into the lives and workspaces of screenwriting greats-including Terry Rossio (the Pirates of the Caribbean franchise), Aline Brosh McKenna (Morning Glory), Bill Marsilii (Deja Vu), Derek Haas and Michael Brandt (Wanted), and Tony Gilroy (the Bourne franchise). You will learn best practices to fire up your writing process and your career, such as: Be Comfortable with Solitude Commit to a Career, Not Just One Screenplay, Be Aware of Your Muse's Favorite Activities, Write Terrible First Drafts, Don't Work for Free, Write No Matter What. This indispensable handbook will help you hone your craft by living, breathing, and scripting the life you want!

Forthcoming Prices' Change & Promotion For My Book!

Dear friends, I hope you are all well. The Words of Emily Logan book has surpassed the New Release period through which everything worked out well. While being into a global economic crisis I decided to sell the book at a lower price. In Amazon, the ebook will be selled at 1.5 euros (from 6.95 euros) and the print on demand (which you get into your hands) at a recommended price of 9 euros (from 14 euros). Amazon can sell lower or higher than the recommendation. Eventually I will have to include all global markets. So stay tuned for my own tactic also including an even lower price promotion of the book for a limited period! Let's try to spend our time creatively!

THE HOLLYWOOD RULES: What You Must Know To Make It In The Film Industry

By Anonymous, Inspired by the Instant Screenwriting Library of the book Riding The Alligator of Oscar-nominated filmmaker Pen Densham!

Publisher Fade In, Review by Justin Feldman

Ever wish you could sit down with Lou Wasserman, Steven Spielberg, Orson Welles and Robert Evans and learn every trick they ever came across to make it big? These shortcuts to success are exactly what the author of The Hollywood Rules sets out to define. With regard to the ever-changing landscape that is the Hollywood film industry, the book begs the question: "Can there be laws within a lawless society?" The author, who remains anonymous, infers that there are indeed "rules" within the industry. Moreover, the book insists that these little known caveats are more like guidelines that should be followed at all costs. ...

Paperback & eBook Retailers of The Words of Emily Logan!

eBook Retailers of my Book (The Words of Emily Logan) by PublishDrive USA!

Paperback Retailers of my Book (The Words of Emily Logan) by Lightning Source UK!

Aspects of Creative Thought & Expression!

A photo of Pashalia Travlou

By reading the book of remarkable Greek writer Pashalia Travlou (Lovers of Writing) I will exploit several excerpts from the book so for us to discuss today how the distinction between the writer and the litterateur can make a creator lovely, open and familiar to diversity that he will probably discover through his writings. Depending on his experiences the writer can explore his subconscious as well as his inner soul, by giving meaning as well as volume to his questions as well as his thoughts. Literature in reality is a notion narrower than texts, it concerns literacy in contrast to the second that has to do with the set of written scripts of a community. Both literature and texts have their origin to the subconscious and only from there can a litterateur or/and writer quest his authentic voice and the conscious expression that constitutes a very small percentage of human thought, inventions, expressions. I learnt that passing through the gates of our subconscious we get the right and access to an inspiration and expressiveness that owe to flow abundantly through the writing of the writer creator. But let’s get to the point of today’s discussion.

Writer Pashalia Travlou talks at her book about the issues that have to do with the psychodynamics of the writer, meaning she dares to talk about psychodynamics at the moment where the writer by confronting his words and his ideas on paper, confronts the huge according to the writer issue of whether he returns back to them to check them. Very often though as she says, scripts have to stay for a while and thoughts become mature before the writer confronts them again.

Depending on:
•    his talent
•    his self confidence
•    his trends for questioning
•    the degree at which becomes sensible his expressive ability
•    the importance he gives at literary and or expressive wholeness
•    traumatic experiences
•    his same mental speed and its relation with expression and the linguistic code of the text

is determined to a great extent the degree at which the writer censors and reprocesses his writings by making logical, points that perhaps don’t ease communication. More specifically the need for expressive integrity makes it obligatory every kind of post-evolution of older scripts. As well as his focusing some times at words and some times at ideas for a writer that sometimes expresses himself through streams of ideas, is that separate writers in two categories. Those who express themselves mainly impulsively and through ideas being less biased at the beginning on literary and expressive integrity and those the having indeed the power through diverse linguistic codes to combine speed and integrity at the same time. I will take advantage of an excerpt of the book.

"Literature and in a broader term, art, as it is an after effect of inner needs that originate from the subconscious and not the consciousness of writer-litterateur, awakens powers that the creator doesn’t realize from the outset he has." This is the key point of today’s discussion! It is acceptable that no matter how much we insist on multiple processing and refining of scripts, a few mental, of soul and emotional discoveries are stormed that don’t follow logic. No one can come out of darkness and be brought to light without paying the price. Very often for a writer that he is called to confront his dark side, it is being said by the writer that the faith at an eternal roasting on fire can be proved mistaken.

It must not worry the creator his capricious writing at the first stages as long as he remains hard working and sportsmanlike. Though especially in creative writing no one can learn let alone practice out of non being, without primal material in other words. Personally, I believe that for creators to awaken powers that the creators can’t realize from the outset they have, cuts down creative expression and the subconscious to the rational sight and often understanding of the world that surrounds us, at an appropriate relation of inner – outer world. Thus, if literature and writing become the cause for the coveted transcendence of objective being of a work towards the reality of civilization, this is an issue depending on the creator himself. Certainly though, the synthesis of multiple emotional, of soul, mental, aesthetic as well as conscious factors is a reality that concerns both the creative process as well as every thoughtful man. The quest though in every occasion is the utilization of the ideas and principles of man towards a better tomorrow. Have a great weekend!

The Bee Season Book Movie Storytelling, Richard Gere, Juliette Binoche!

Bee Season of Myla Goldberg is “her first novel at which the puritan, little urban family life, becomes a fertile ground for cosmic questions”, criticism by Los Angeles Times. “The quest for the perfect world, God’s vision, shines through every page of this magnificent book, which is flooded so much by empathy and mercy for its full of flaws characters that are being found in search… Myla Goldberg is a writer with rare talent.” The Times – Picayune. Two reviews about Bee Season that go hand in hand with the quote of Abraham Abulafia, the most basic representative of Jewish mysticism and Ecstatic Kabbalah, who said that “the world of letters is the true world of beatitude.” (1240-1292) Nevertheless, the book at its progress gets dramatic evolution which gives birth to questions about its basic message. Bee Season was being taken to the cinema with Richard Gere and Juliette Binoche. But let’s start from the beginning.
Saul Nauman is a precentor at the Jewish Synagogue and is married with Miriam, who seems absorbed by her career as a lawyer. They have 2 children, Aaron and Elaiza. Elaiza goes to primary school and her brother is a few years older than her. Even though she is a bad, at start, pupil, soon she discovers her talent in dictation and words. A dictation competition entitled Spelling Bee will become the cause so that Elaiza discovers her true self. Even though this competition seems it will verify once again her mediocrity, Elaiza makes the surprise, she wins. She wins indeed both at the beginning but also the regional, geographically, competition which opens to her the door for the National dictation competition. This unexpected success becomes the cause so that her family fall into a vortex of changes. Initially, Miriam and Saul seem aloof. Miriam, not even one time has she taken Saul at her office, to feel familiar with her job, Saul though seems absorbed by the leather-bound books, Tora, Abulafia as well as his role as a precentor. We witness scenes at which the family participates at synagogues. Aaron initially shows interest in guitar lessons, with the help of his father, but soon Elaiza’s success will substitute Aaron to the eyes of Saul. Aaron initially wants to have his father’s position. He wants to become a rabbi.
Saul being inspired by Tora, Jewish mysticism, Tikum Olam or in other words, world’s repair, Abulafia, he decides to start training Elaiza for the final. He tells her indeed, later that it doesn’t matter whether she wins at the first time, for simply there is a second time. Saul seems absorbed by words and letters. He believes it though so deeply, that when Aaron is being beaten by his classmates, he brings him at his office to seduce him with books. You’re better than them Aaron, he tells to him. You have something they don’t and they know it very well, this drives them crazy. With a potential, that is later proved not everyone can handle Saul wants to share his ideas with his son by telling him: What we do in here cancels doubly what others do out there.
Saul buys a dictionary and starts devoting endless hours with Elaiza in his office. Contacting Miriam is rare, they simply see each other at night and little by little their sexual desire starts decreasing. Nevertheless, Elaiza motivated by Saul starts to deepen more at words and develops dimensions that do not depend from the dictation competition. It’s not necessary to her, as she thinks. Even though the first time fails at the final, together with her father they are determined to get closer to God’s vision. And what does this mean? Saul decides to revel everything to Elaiza about Abulafia and his way of thinking.

In 1280 a Jewish mystic named Abraham Abulafia, writes a book entitled Haia Olam a Ba which means “The Life of Future World”. In it it’s clarified that the transcendence of the sensible world is language itself. Creation takes place through words, a series of ‘God said’. The foundation of language is letters. Abulafia would believe that by focusing at letters, the mind could be freed by its bonds and communicate with an existence greater than itself, this that himself named sifa, input. Elaiza starts to learn about all the possible mathematical permutations of letters of words by having the exclusivity of her father’s time. Aaron though that he once wanted to be like Saul starts to read books about Eastern religions by exploring other dogmas and criticizing Christianity and the onto Earth test related with Heaven or Hell, liken it with an electronic game. Proceed at the next level… Aaron starts to explore other religions by shaping complete negativity about his father.
Even though the longing of one young child, Elaiza, for praises and acceptance seems to become the center that monopolizes the pages of the book, soon evolution is dramatic. Elaiza even though she has the perfect motive so that she can get her school report with grade Excellent, love school and progress at future without needing a competition, Miriam soon starts to show her bizarre side, together with Aaron that seems to be converted to Krisna, the other name of God. The basic elements of Miriam at which her family was based are proved to be lies. Miriam has stopped practicing law for ten years and Saul’s name has been added to an account of her parents, with which she was able to pay the bills which Saul thought she was paying with her work. Miriam also robs houses the objects of which are placed at a special apartment that she rents and names kaleidoscope.
After being arrested by the police, being charged with accusations and being locked at a psychiatric clinic, Saul is being informed speechless. The reader though asks: Not even in 10 years has there been the slightest of checking? A meal with colleagues, professional conversations or some visits at the office? Saul was being devoted at his books, the synagogue and God. He didn’t want not even for one moment to check about Miriam and his house and this led to the result of him being deceived. Even though this is his own responsibility, the book brings us in front of a family at which everyone, unfortunately follows his/her own path, though we can compare each one’s trajectories.
Both Miriam and Aaron function at a wrong denominator, contrary to Elaiza that through family warmth and studying she evolves rapidly. Not even the fantasies she has are left out about possible success! There will be interviews in television, arbitrations so that she can talk, a trip at the White House… She will be bombarded with questions from all over the world, she will be called to solve conflicts, invent therapies, battle hunger as well as if the President asks her to create a weapon against the Russians she will refuse. She will use her forces only for good. Aaron on the other hand thanks to his forthcoming adulthood as well as his interest about Krisna comes to a complete rupture with his father. Saul dares to mention at his children, one day before the final the real identity of Miriam and he receives a slap by his son. Saul the next day fearing his family will be destroyed completely says to his children that he said things he didn’t mean so that Elaiza can proceed with the dictation competition.
Even though she loses the competition by spelling the word handicraft with an e at the end, finally it is proved that she and Saul by wearing really big hats with the motive of accomplishing their goals, they have got the stuff to stand out even though everything around them seems to fall apart. Even though the world of letters of Abulafia doesn’t start and end at the perception, the temperament and the character of Saul as there is deception and lies in our world, finally yes, the world of letters is the true world of beatitude!