Ignore This Warning!

Zeitgeist Fakers!

Aspiring Writers “Ignore This Warning” If you wish for your work to be abused!

In this blog I’ll expose a little about how greedy, corrupt, powerful and influential literary and film agents are working with global streaming and film companies to cut out writers in order to make more profit on the millions they are already making from stamping on the little guys and gals.

Because things are moving so fast these days with internet, film streaming, content production and attention times, Literary Agents are taking the synopses of aspiring writers and selling them directly to the likes of @Netflix and @Marvel and writing rooms to “Brake Story.” They do this by cutting up our works, Picking & Mixing, and matching stories, arcs and ideas and all elements of our works, into projects, for a quick buck and a seat at the table for several of their writers, actors, directors, agents, producers and so on, whilst not gaining consent from the actual aspiring writers who they stole the stories from.

 It’s rare that a piece of writing carries the zeitgeist of the moment, but when it does it supernovas, permeating culture and connecting people across the globe and may thread through multi-generations. These pieces, or bodies of work, all share the same spark, which is to say they access the collective unconscious, a phenomenon I explore much through-out the M.W. Wolf Megaverse of Fiction. We all know these works, from Charles Dickens to Star Wars, to The Girl on the Train to Harry Potter and so on. These works seem to capture a moment, a collective feeling, fear or worry, or a new frontier to explore. What they do best, is ride that wave, collecting coin like Sonic the Hedgehog on meth. These bodies of works and others like them which grow larger than themselves, do so because they hold a certain honesty and integrity about what they are, the messages they transcend into the shared consciousness and of the flaws and evils of humanity.

For instance, Captain America is boring; Chris Evans did well to carry a boring character. He’s so boring because he’s too prim and proper; Hitler’s little wank child carrying an American shield. Who can relate to that? If you think it’s you, you may be suffering from delusions of grandeur, or you don’t know how to peel off your persona mask. It’s too fake, too contrived, its fake morals of perfection.

We see this all around us, its sickly. The phone operative, the receptionist, the teacher, the barrister, the thieving CEO literary Agent, its everywhere and we see through the veil. Deep down we know, the phone operative is struggling to pay off debts from his gambling addiction, the receptionist cheated on her boyfriend last night, the teacher drinks a few bottles of white wine every night, the barrister is sniffing coke in the chambers and in court, the thieving CEO literary Agent doesn’t give a fuck about aspiring writers and he’s banging his pet female writers behind his wife’s back. It’s all bullshit fake morals and we know it. Its people who are scared to lower that shining shield because inside they are rotting meat.

Wolverine however, he’s angry, flawed, scarred by life and living. He wears his morals and his emotions; he doesn’t hide behind a shiny shield. He’s the first into the battle and the last out. He gives so much, he’s tenacious, he’s robust and resilient, he suffers and still stands fast in the fight. Hugh Jackman gets this and embodies it like a motherfucker. Wolverine has a moral code and integrity written by himself and his beliefs. He doesn’t wear the skin he’s told to wear. He cares for others and doesn’t make a fake sing and dance about his ventures and virtues. He doesn’t ask for a badge of honour and doesn’t hide behind a patriotic appeal. He’s sharp, abrasive, violent, short tempered, regretful, but nurturing and loving. He loves a good drink and don’t give a fuck if he hurts your overly expressed moralism and manufactured feelings. He’s incomplete, he’s too short to be universally desirable, but most of all, he has integrity. And I fucking love that. I can relate to Wolverine in many ways.

The problem is, whilst there is a place for Wolverine types in film and literature and in our hearts, the big boys are chasing Captain America types. I mean this not just in characters but metaphorically in stories, people allowed into the film and literary industries and into paradigms being invested into. The money and the people shaping culture have allowed Cheaters to hide behind Captain America type shiny shields. Whilst the Grudger Wolverine types have been marginalised. It’s been this way for far too long and people, fans and consumers, are fucking tired of it.

This seems odd to say, as the Deadpool & Wolverine movie has just done so well at the Box Office. But really this favours my argument that we need more of the dark and R-rated Wolverine types which people can relate to. These characters and stories teach people more about their own shadow-self, so that they can better understand and deal with their own demons. The public, readers and watchers are growing tired of fake Captain America type shiny shields (Cheaters) conning them and lying to them. People are flipping the bird to Cheaters and the Grudger Wolverine types are making a fast return. Kevin Feige recently revealed that there'll be more R-rated Marvel projects in the future. The Blade remake is going to be R-rated, and horror literature is making a solid revival. A horror publisher called Black Crow Books is being launch next year, and Orbit UK is expanding its horror publishing with RUN FOR IT and I’m sure there are many more in the works.

This is great news, especially for the M.W. Wolf Megaverse of Fiction which is right inline with these sentiments. My aim, and the slogan for the M.W. Wolf Megaverse of Fiction is “Implicitly examining the human condition.” The full tagline is actually, “Dark and gritty adult fiction with grand themes of implicitly examining the human condition.”

The bad news is, unless the film and literary industries are prepared to oust the Captain America type shiny shields (Cheaters), we’ll be left with skewed, rip-off, passionless projects stolen from the 90% of aspiring writers who never get paid because the Devil’s Gatekeepers are still stealing and passing the stolen work to their pets to chew on our pages and spit out nonsensical shit finished projects.

Just look at Braking the Dark by Lisa Jewell. I suspect, and I’ll be taking my suspicions to court, that it’s a terrible frankin-pages rip-off of several of my books, submitted to her “Super-Agent”, CEO of Curtis Brown Group Jonny Geller, and its shit.

Unless we remove the cheaters, we are going to continue getting knock-off cut and paste, papier-mache finished products because of influential people in power stealing and raping the submissions (Slush Piles) of aspiring writers works, to chop-up, give to their pets to build the talentless careers of people they have under them, all feeding coin back into the cheating beast.

The fucking cheek of it. Why have we allowed Literary Agents, who don’t write, the authority to abuse on mass scale? The fact that they refer to the works of aspiring writers who they don’t want to represent as the Slush Pile, shows the mentality and true morals of these people. But it gets worse, because the “Slush Pile” is now where these cheaters are profiting so much from, with the help of giant companies such as Netflix and Marvel.

This is how they do it,

Do you remember what I said about catching the zeitgeist? Well the Zeitgeist Fakers are trying to force feed us with the chosen zeitgeist and that’s why nearly everything in the cinemas, books and TV these days is the same shit, rewrapped in a glossy jacket. The big companies, or people driving culture will say,

“We want,” for instance, “A classical cultural work, reimagined to fit today’s flavours, and we’ll pay Changing Culture, History and Heritage Grants to you if you meet these requirements of writing history.”

The Big Joes will take the grants, tender the projects and the list of requirements out to their contacts, The powerful Fanged Literary Agents.

The Fanged Literary Agents, who are now Talent Agents, and will dig their fangs into anything that bleeds money, will look at classical cultural works. Let’s say they or their contacts manage the estate of a fictional Victorian era Detective, let’s call him Shamrock Gnomes.

The Fanged Agents will say to their Fake Writers, “We need an idea based very loosely around Shamrock Gnomes and we need the idea to have a pig, a horse, a spinning wheel and a man wearing a unicorn’s horn up his backside.”

One of the writers’ will say. “Well I had this one idea about these characters who had like one line in the books but still.”

The Fanged Agent will say, “That’s it, great, what’s it about?”

The Fake Writer will say, “That’s all I’ve got I’m afraid.”

Fanged Agent will say, “Not to worry, I’ll ask my very young impressionable female assistants to slog through the Slush Pile and I’ll ask my literary consultancy friends if they’ve had anything that matches the time or subject we want.”

After gathering up work they have rejected or not responded to, which can be fed into what they need, they then sit in the writing room, around the table, to drink blood and “Break story.” Which means to cut up the work of the aspiring writers and to “Pick and mix” it into the grinder, chew it up, spit it out, divide it into half a dozen or more episodes, add in a few things they have seen on the TV or Netflix recently, like a tear in the universe, and their good to go.

Soon they back feed fake timelines and motivations for the projects in line with the themes and stories they have been able to steal. Like, “I came up with all of this in 2018,” but wrote nothing until they had access to the “Slush Pile”. Or Shamrock Gnomes meets Spooky Shamrock Gnomes, to mask the fact that the source material is Period Gothic Horror.

Now, they have story bites, taken directly from the beats of the aspiring writers work, such as a feather man, Duck breath, tooth collection, a game of 52 card pick up and whatever else, then they have to disguise it to pretend that they are not directly plagiarising work. But they have to pay homage to the original, because abusers just love to tease their victims and make fun of theft. Satanists also believe that if you tell someone of your crimes you are free of karma. Moreover, subconsciously they have to place telltale elements of the originals in the works, or it feels incomplete. It’s kinda like predictive programming.

So they change Red to Duck, Lion to Quiver, Street Children in the attic to a gang of Street Children in the basement, and yarda yarda, oh and the requirements of the contract says they must make one of the girls so utterly insufferably self-assured, sour faced and gobby that fully grown men are scared of her, in the Victorian era, when in reality of the harsh times, she’d have been an unfortunate, selling herself for a loaf of stale bread. No offence to the actress, she didn’t steal the work and make it shit, the fake writers and agents did.

This isn’t good for women and girls, it’s the opposite, it negates the hardships of what real women and children had to endure. Again, we’re back to integrity, this time of the past, and of women’s suffrage.

Fanged Agents then force fuck a bunch of their talentless assets into the project to build up their CVs and experience and cut off a pound of flesh from each of them. Because the Zeitgeist Fakers delivered shit end material, sewn together like a meaningless patchwork barrier of real talent and passion, they fail to capture the forced Zeitgeist and fail to ride any waves. Because of this, as soon as the Changing Culture, History and Heritage Grants stop coming, the shit shows are cancelled. Whilst The Fanged Agents have sucked a pound of blood and flesh from each of their actors, directors, Fake Writers, producers and showrunners, and copped a feel of their young assistance in the elevator, and shared their hotel room beds with their pet writers leaving soggy condom’s on the floor because the cleaners are below them, so they believe.

All the while, over 90% of books sell next to nothing, this produces anti-competitive tactics which is against up and coming writers, and the whole literary industry is being manipulated and constructed from Bottom-Up by theft and anti-competitive behaviour. And the same is happening from Up-down. Thus in the middle, you have a pinch, like a sand timer of everything pushing from up and down onto the pressured narrow kink in the middle, being controlled further by gatekeepers, preventing writers from succeeding.

This my friends is the Literary and Film industry, Welcome. At least its not Miramax, but it isn’t far from it. Talking of Miramax, in his book, Yes, But is it good for the Jews?, Jonny Geller wrote that Harvey Weinstein is a “Nice Jewish boy,” in a section about Jews being good to marry. He called Weinstein “Nice Jewish boy” directly after writing, “Not for the sensitive, as he is known for his huge temper… and shall we say “Focus”.”  In hindsight, we can deliberate on what Weinstein’s “Focus” meant. Was this a sleazy inside joke?

When you start to unravel the behaviours and semantics of these powerful agents, it begins to hint at a filthy rotting underbelly of the film and literary industry. Semantics, like “elevator pitch,” what like when your trapped up close and personal and no one can see your hands wonder? Or “Braking story,” what like braking it out of the confines of another writers manuscript? Slush pile, drink deals, “Focus”, little lies to publishers to progress one’s career, young female assistants, jetting off with female pet writers, building inhouse careers, spouting values whilst stealing, I mean, how fucking blatant does the true character of these Super agents need to be. These are the money hungry cheating Fake Captain America types, hiding behind shiny shields, a million white lies, and shattered dreams of thousands of ripped-off aspiring writers. This is how they become “Super Agents”. True meaning is filthy “Super Cheats” who gain the title by raping more work than anyone else in the industry.

Be careful who you share your work with. Be careful who you trust. Be vigilant of work coming out which feels a bit too much like you, wrapped in a bag of shit and fake morals. Be careful of the ones who feel the need to declare that they are absolutely against soliciting and abusing the work of aspiring writers because they are so fucking righteous. And be careful of the ones who make the most, right after the streaming connections came about, then sold out to bigger talent companies. Be careful and avoid cheating Fake Captain America types, hiding behind shiny shields and fake personas. Be a Grudger Wolverine type, because that is what real humans are, no bullshit.

Thus, Aspiring Writers, “Ignore This Warning” If you wish for your work to be abused!

I have real and valid concerns about anybody sharing work with any person at Curtis Brown Group or anyone connected to them. I have valid concerns about Felicity Blunt and Jonny Geller and the way they have misused my work. Be very careful, “Ignore This Warning,” If you wish for your work to be abused!

God speed motherfuckers… and my fellow aspiring writers, flip the birds and heed my words.  

Be a Wolverine type,

Over, and over and fucking out…

M.W. Wolf Ltd.