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Olympus Films+, LLC “Commitment To Professionalism” Mission Statement: Olympus Films+, LLC is dedicated to writing and producing quality products that serve to educate others about the human condition. Olympus Films+ presents a place where your film or what you are writing including articles, novels, screenplays, reports, letters

"The Zen of Writing"
by
Donald L. Vasicek
Writer/Filmmaker/Consultant
http://www.donvasicek.com
dvasicek@earthlink.net

My concept of Zen with respect to writing
is that we utilize bits and pieces of
our life experience to write. This could
be as basic as writing a note to the
mail person or writing the next "War
and Peace".

The fine point of Zen in your writing
resides in combining a multitude of
your life experiences that include
school, education, work, recreation,
your five senses, your concept of
how to write what you're writing,
and incorporating these elements
into your tome.

The resulting effect of combining
Zen and writing occurs whether
you consciously or unconsciously
incorporate everything that makes
you up as a human being. Mostly,
it's a subconscious act. Also, it
is bringing forth information your
subconscious mind, like a computer,
has stored for you to call upon when
you need it.

By retaining a consciousness about
Zen and writing, it will enhance
your confidence, talent, and ability
to write well.

For more on Zen, writing, and
filmmaking, go http:www.donvasicek.com.
There is a ton of Zen and writing there.

And who knows, you may be inspired.

Good writing to you!

Donald L. Vasicek
Writer/Filmmaker/Consultant
Olympus Films+, LLC
http://www.donvasicek.com
dvasicek@earthlink.net

Zen, in this sense, is utilized as
a general concept, and has nothing
to do with specific "other Zens".

"What is Your Concept of Love?"
by
Donald L. Vasicek
Writer/Filmmaker/Consultant
Olympus Films+, LLC
http://www.donvasicek.com
dvasicek@earthlink.net

From where did all of that stuff about love come?
The newspaper? Television? All media?
The movies? A poem? A love story in
book form? A love story in short story form?
How your parents taught you about love, or
was that socialized or conditioned you about
what love is? Your minister? Your priest?
Your friend? Perhaps the governor of your
state?

You get the point. Love comes from a host
of sources that make us what we with
respect to love. Where love gets in the
way and causes pain, our emotional
intelligence also becomes involved.

Emotional intelligence? Yes, emotional
intelligence. Emotional intelligence
parallels emotional maturity. Emotional
maturity is how mature you act or
react when it comes to love. What
level of emotional intelligence/maturity
do you have?

Do you scream and holler at your loved one(s)
when you can't have your way with them?
Do you stroke your lover's face with the
palm of your hand? How is that you learned
to make your life all about yourself when it
comes to wanting to possess the one you
love?

Are you capable of letting go? Can you give
up your workout so that you can watch the
kids because your husband is going to a
football game?

How far will you go with love? What is love,
to you? Sex? A deep, passionate kiss.
A tap on the lips?

A love song? When you tell someone you
love them, what do you mean? What does
love mean to you? Think it's authentic?

What is authentic love? Well, I'm jabbering
here. My point is, by going to the trouble
of learning all you can about love, you will
develop your concept of love. If you already
have a concept of love, you probably
wouldn't be reading this. Whatever the case
may be, regardless of how long you have had
your concept of love, or you are seeking
your concept of love, you enhance your concept
of love by learning everything about yourself
and about love as you can. This approach to
love develops a concept of love that will
shelter and protect you when you lose the
one you love because you will know what
love is.

Donald L. Vasicek
Writer/Filmmaker?Consultant
Olympus Films+, LLC
http://www.donvasicek.com
dvasicek@earthlink.net

"Unique Promotion for Authors"

What is passion? Merriam Webster in part defines passion as, "...the emotions as distinguished from reason..." By tapping into your passion, you will be able to write as you've never written before. And this, in turn, will work as a subliminal approach to promoting yourself and your writing.

Before you write one word, look deeply inside of yourself when an idea comes to mind you would like to write about. You must use the who, what, where, when and why journalistic approach to identify that which is deep inside of yourself and relate it to the idea that has come to mind you want to write about. By utilizing this approach, you can identify your passion and write with ruthless abandon.

So, ask the questions.

What caused the idea to come to mind? Perhaps you saw a child weeping. She was holding her finger. It was bleeding. You wanted to reach out to her, but you were a stranger and her parents were there. You still wanted to help her with her fear and pain. Why?

You were inspired to write a short story about what you saw. Why? The inspiration came from deep within the wells of your heart and mind as you remembered when you got hurt when you were a kid and no one came to help you. This inspiration is your passion for helping children in need now because no one was there when you were a kid and needed help.

Identify when it happened. What were you doing? What caused you to get hurt? Why were you alone? Where were you? Why did you get hurt?

You get the picture.

This unique approach should also guide to the use of your five senses. What did you taste at the time you were hurt? What did you see? What kind of sound or sounds were present? How did you feel (emotionally)? What were you touching? How did it feel? By using the five senses, it will help place you back in time so that you are able to more realistically write the story.

This approach results in passion and will enable you to write from your heart (emotion) and mind (reason), together. The power of combining your mind (reason) and heart(emotion) instead relying on one or the other, will bring out the essence of what you are writing about. This, in turn, will draw readers to you and your writing.

by
Don Vasicek
First North American Serial Rights
About 600 words



Maybe it was the Mayan symbol for sun tatoo just down

over your rounded, smooth shoulder. Or the sleeveless,

flower print dress garnished with those white, little

daisies against the background of the navy blue cloth, that sort of

of clung on your hard body like a sack. I don't know what

caused it.

I know I watched your breasts heaving against the

flowers, behind the cloth each time you took a breath. I

knew they were there.

And as you talked, I watched your smooth lips, like

quarters of fresh peach slices, cause some magic. Yes,

it was magic that day.

Up and until then, I always thought of you

as sweet, young and in China. I wanted to help you like I

do Panther now that the embolism took away most of his

right hind leg.

You know, sort of a be-there-all-the-time-guy to catch

you when you fall, I guess. Who in the hell knows? Well,

shit, I know and I'm bleeding to death because of it.

I walk the halls of life like a paper cup blowing

across parking lot. First, I shoot off like a rocket.

Then, I pause. I wait. I need an attack. And something

comes along and pushes me so violently I zig zag and bump

up and down.

Then, just as brutally, I'm sucked up into this vacuum

and whipped like cream. I fly from side-to-side and drift

up into the air like God gave me a gentle shove. Finally, I

flutter to the asphalt parking lot and a Humvee runs over

me.

Since that day I've been a stranger to myself.

It was the words you spoke that day. It was how you

spoke them. It was how you talked limitlessly, unguarded,

secure, happy and confident in yourself. You burrowed into

me with your shyness tapping your finger just above your

mouth on the right side. Your words. Your unruffled face.

The sparkle of your blue eyes against your pristine black,

so black, wavy, soft hair, mauled me. And yet, your hair

was sort of a rust color like Panther's sheer black coat

when a sliver of sun slices across him like it did to you

across the table from me that day.

It's a dichotomy, you know. Faultless black with a

wedge of rust in it. Nothing is perfect, or is it?

It were as though I changed from one minute to

the next that day. We met for lunch just like we had all

those times before. To talk film. Books. To talk

writing. Politics. Denver. Columbine. Jeff. Moving to

LA. The

Women In Film Group. Your dad. Your mom. Juney and

Anthony. Baltimore. Your script. My script. My, my, my.

And when you pushed the salad into your mouth, you

know, the lettuce, the tomato, the cabbage, the sprouts,

the sunflower seeds, the carrots, the cucumbers and the

pinch of vinegar and oil, I watched you like I beheld THE

CIDER HOUSE RULES. They sort of folded into each other and

disappeared somewhere inside of you.

It was like reading an Elmore Leonard. I couldn't

wait to get to the next word, the next sentence, the next

paragraph, the next page, the next chapter and the end of

the book. Even though I was working my ass off immersed in

you without even realizing it, the essence of your being

permeated my subconscious mind. It nailed the fortress of

your sum and substance into me. I was hammered into a

consciousness that twisted my life around like a corkscrew.

Before that day, I perceived you as a sweet, young

woman who was bright, worldly, naive about the film

business and your heart, and attractive. I never gave one

thought to loving you. Not one thought before that day.

You were too genuinely nice to me. Too innocent-like. So,

so delightful. You accepted me for who I was. A

writer/filmmaker. Mostly positive, pleasant, but a pariah.

A renegade. I spoke like one about how we treat animals

and how we should treat animals. And about guns and

Charlton Heston and how I wondered if I should send him a

card of praise everytime someone was killed by a gun or

when he read the BIBLE on PBS. Somehow, it reminded when I

first noticed that our town mayor was someone who murdered

animals and he went to church every Sunday.

You laughed. Just laughed and looked into my eyes.

I'm still not sure if you agreed or disagreed with me. The

thing that probably riveted me to you more than anything

else was how closely you and I were able to talk with each

other. We were able to be our human selves. Isn't that

remarkable? It made me feel as though we were one.

Since then, I haven't been able to think about anything

or anyone else. Well, maybe, except Panther and my

writing.

How can this be, sweety? You've gone off with some

handsome dude, a good guy, and I saw you being pregnant,

and I didn't even get to tell you that I love you.

The light popped on when you least expected it. You have a great idea for a movie. Hmm, where to go from there?

Well, the first thing to do is look at the genres that fit your idea. Thrillers. Dramas. Comedies. Action/Adventure. Romantic Comedies. Animation. Read the synopses about them. See what you find that fits your idea. If you find several movies that are similar to your idea, then you should think about how fresh your idea is compared to them.

Is it unique? What kind of twist does it have that is different than what you found that parallel your idea? If you are stumped, it's likely your should cremate your movie idea, and get back to your daily life.

If, however, you're unable to find any movies that are similar to your story idea, then think about what kind of audience would want to see your movie. Adults? Kids? Families? Teens? Guys who wear long overcoats?

Once you determine your audience, then, you have a chance to do something more with your idea. This is the first defining moment regarding your idea for a movie. It can save you a lifetime of agony and pain. As a screenwriter, you must fix the limits of your audience. This is what Hollywood is all about. Unless you know who will come to your movie, you will be writing in the dark, and you don't want to do that unless you don't care if your screenplay goes anywhere.

Knowing who your audience will be before you begin writing helps you determine how popular the movie will be even before you write it. And Hollywood demands that you write movies that will make them millions of dollars. So, think about that before you run down the street going nuts because you have a great idea for movie.

How many times have you gotten an idea for a movie? I have gotten many ideas for movies. I've implemented those ideas several times and ended up with several feature and documentary films to my credits.

How was I able to accomplish that?

Follow me. I'm going to take you for an adventure, a journey that will propel you into the movie business. How?

Ask me a question. I'll answer it. And we'll go from there. Okay?

The essence of writing dwells in the soul of the writer. If the writer's soul is dark, his/her writing will reflect darkness. If the writer's soul is bright, his/her will reflect brightness. The writer's soul that contains dark and bright, then, two shades, the writing shall emerge from this kind of writer, dark and bright.

The writer posseses the ability to manipulate his/her soul. This is accomplished by bringing information to the control center of the soul's consciousness, the subconscious part of its mind. It is here, in the subconscious mind where all information that is brought in, is stored, whether that be dark or bright, or a combination of both.

The fine point of writing, then, is to bring in informaton that builds a base of information that is both dark and bright, so that you can call upon either, or both, when you are writing.