Organised Crime Syndicate Of The Literary and Film Industries
Organised Crime Syndicate Of The Literary and Film Industries
Continuation of Crimes
Introduction
In this article I’ll be exposing some of the criminals, some of their crimes and a few of their tactics. I’ll be discussing some of the laws being broken, then I’ll suggest why these crimes against aspiring writers are so prevalent write now, and how this amounts to Anti-competitive behaviour, a skewed, if not, bent politically driven (propaganda) industry which keeps out men like me – underprivileged aspiring writers with disability related problems and vulnerabilities- and it leads to a monopoly of these industries.
For what it’s worth, I’ll add a Copyright disclaimer which writers should copy and make their own. It isn’t going to prevent all the thieves, but at least it shows them that you know you have rights.
Discussion
I keep opening The Fateless Child; Tainted Blood by M.W. Wolf folder to finish writing, then I remember how Jonny Geller and the rest of the named abusers have stolen my 10 years of trauma writing and raped it to the bone for profit, self-interest and greed, selling it over and over to Netflix and Marvel and others. I wrote about these very topics in Bee My Agent; Blood and Honey, trying to make him stop abusing my work, without directly pointing the sticky-finger at him. He even stamped on this work, without a care in the world for the consequences and damages of his crimes. Do you get the metaphor of Bee My Agent now Jonny?
I know I’m not the first aspiring writer to be abused by these criminals. I know I will not be the last. But I also know, I’ll make the criminals regret stealing from the M.W. Wolf Megaverse of Fiction.
When agents and publishers steal synopses of aspiring writers, to give to their established projects, to cut up and say that they are just “ideas,” you end up with an industry where most writers are shat on and over 90% of books sell next to nothing.
Its ok to take inspiration from ideas of works that you love from the past and pay homage to it, without copying it. These pieces of work become a part of pop culture, and you can’t copyright that. Say for instance, vampires or whatever.
It’s different to abuse your trust and position in big, rich and established companies to pass around the synopses of an underprivileged aspiring writer, who you know has disability related problems and vulnerabilities, then try to gaslight said writer. This is no better than how the Nazis began their fascist hate campaigns towards disabled, gay, and Jewish people toward the beginning of WW2. This is terrible behaviour.
Stealing someone’s work and changing it, is intellectual property theft, this alone will crumble a reputation. Then using the victims vulnerability of PTSD to gaslight, saying look, he/ she’s mad, is psychological abuse. This is protected against under the Equality Act 2010 and under mental disability, which is also a protected characteristic which triggers Article 14 of the Human Rights Act 1989.
Thus when I prove intellectual property theft and copyright infringements and said abusers have known about PTSD and still progressed with the theft and prolonged cases by lying or threatening legal action against me, knowing the psychological damage it would cause, this is now a case far darker and much more serious than IP Theft. Its criminal convictions for all involved.
UK Laws against theft.
Copyright law originated in the United Kingdom from common law; the Statute of Anne 1709. With the Copyright Act 1911, It became statutory law. The current act is the Copyright, Designs and Patents Act 1988; however this has addendums and updates. A part of the problem right now, is we are in the midst of an industry and paradigm shift from digital to AI, the likes of which the world has never seen.
AI will be a revolution of industries, arts, expression, and perhaps it will permeate every aspect of our lives. It may even enslave or commit genocide against us, who knows? At the moment, many agents and big wigs in these industries are seeing the coming tides of change and jumping ship, selling out what they can, looking for bigger ships to buy them out, then cash grabbing on the exit, and selling work which doesn’t belong to them. Many are trying to progress with the times and exploiting holes by using AI and the new streaming form of entertainment to off load theft. Who knows how dark it will get from here?
What I do know is that there are gaps in the current updated law and big companies in the literary and film industries are already exploiting them, at the expense of writers trying to brake through. I explore these fears and topics in Bee My Agent; Blood and Honey by M.W. Wolf.
Below you can see my query of Bee My Agent shared with only Jonny Geller.
Bee My Agent; Blood and Honey, a folklore horror with the pulse of a psychological thriller, and an undertone of metafictional vibes and black comedy, word count: 100,000.
A confession story - A failing writer with rejection sensitivity, travels to London to stalk Malcom Callaghan, a foppish literary agent hiding quasi-Lovecraftian cult secrets to literary success. Why have so many authors linked to Mal disappeared? Can Shaun Wojciechowski uncover the truth and save Victoria? Will Shaun join the hive?
Metaphor- An undertone of Horatian Satire, aiming at the literary industry and my fears of where it is heading, given the SAG-AFTRA strikes and AI taking over. Honeybees are like writing, they both deliver nasty stings yet they’re both essential for survival. AI may take the “Zombees”, but real writers will always write. Writers will always honey-dip into the hive of the muse. Like The Trees by Percival Everett (Your recommendation), this book juxtaposes black comedy and tragedy.
I even informed Mr Geller and others on a CBC writing course (Which was a rip-off) that I was attempting a metanarrative, whereby art predicts reality, and speaks to true crime. I predicted that this work would be stolen, the synopses, plot points and ideas would be tossed on a “writers room” table, perhaps in pub meets, and cut apart and abused, changing things around to create plausible deniability, such as changing honey to cream, which is what Lisa Jewell (Jonny’s special benefits pet writer of the moment) did in Breaking the Dark. Braking the Dark / After the Black, same same. Well done Lisa, you thief. This is just one example of details they change to mask the theft.
The utter filth of this is, by relegating my words to a passionless, emotionless rape job, because she was commissioned by Marvel, given two and a half years to complete it, and shat on the project and chance most writers would love, what she has actually achieved is retraumatising a writer who offloads his trauma into complex narratives to cope with such visceral fierce and damaging emotions and sentiments. Don’t worry Lisa, Jonny had already stolen this book for other projects, including The Irregulars on Netflix. So this makes it ok… Not! You fucking thief.
Let me explain a little of what your raping away here. Buried at Bedlam, After the Black, which is where Lisa stole the idea of the title from, isn’t just about light after trauma, the whole book is a fucking metaphor for my very traumatic and very complex long battle with mental illness, starting at the age of 16 being trapped in the British Army against my will, with war torn men, some of whom were war criminals. Buried at Bedlam begins with Chapter 1, titled: Long abhorrent nights upon a ship. It’s 1799, a few very traumatic years after the 1793 Yellow Fever outbreak in Philadelphia which killed all the protagonist Robert Knox’s family, in the book. In reality, it killed 1 in 10 people of the population. Knox is trapped on a dark and dank ship, huddled in the quarter deck with thieving and seaworn sailors. Do you see what I did there? Me for Robert, Soldier for sailors, both trapped in horrible conditions which they do not wish to be in, both have experienced very traumatic events. I switched reality for a fictional stage to draw the trauma away from myself and to express emotion through my writing.
In the book, Robert Knox survived yellow fever, waking up from a coma in Bush Hill Hospital and learning that all his family had not survived. The prologue is a diary entry of Knox waking from the coma, strapped down to a hospital bed, and experiencing sleep paralysis for the first time. It’s also my real experience of sleep paralysis and a fictional representation of my real experience of waking up from a coma and having my whole life turned upside down. I feel faint and giddy just writing this. Have a read of the prologue:
Diary Entry:
28th November 1793
Nothing by Robert Knox
Bush Hill Hospital, Philadelphia
Nothing. No sight, no smell, no fear, nor thought. No up, nor down, no left nor right. No joy, no pain, no loss nor gain. Nothing.
After the black…Was darkness! A floating mind of pulsating location. A sinking twilight and sedated twirl. An Isolated speck in a dark realm.
Nothing… Then. Blemishing dots go floating by; a prominent white bespeckles the night. A pulling power increases the bright.
I am located, I feel but cannot move, I know but cannot see. I hear… nothing!
Move, fight, shout, open your eyes, do something. Which way is up, which way is down, orientate your mind.
My mind is located, but I cannot move, I’m burdened by weighted strings hung around my forehead, limbs of led and a demon sat upon my chest, she’s as heavy as hell but has no form. I cannot speak, she has ring clamped my throat and button stitched my mouth. I scream and twist and kick and turn but nothing. I yell and punch and scratch and bite, I fight and fight with all my might. The blackness fades, and the mare has gone. I’ve been hag-ridden.
Thus, Lisa and Jonny and the others at Curtis Brown Group, stop fucking thieving and messing with complex trauma and emotions which you don’t understand. Just because you have changed a few details, characters, locations or whatever, its still theft and its still protected.
Check out the Copyright law-
Copyright, Designs and Patents Act 1988 –
https://www.legislation.gov.uk/ukpga/1988/48/contents
Chapter I states:
Copyright and copyright works.
(1) Copyright is a property right which subsists in accordance with this Part in the following descriptions of work—
(a) original literary, dramatic, musical or artistic works,
(b) sound recordings, films [F1or broadcasts], and
(c) the typographical arrangement of published editions.
(2) In this Part “copyright work” means a work of any of those descriptions in which copyright subsists.
(3) Copyright does not subsist in a work unless the requirements of this Part with respect to qualification for copyright protection are met (see section 153 and the provisions referred to there).
C1.3 States:
Literary, dramatic and musical works.
(1) In this Part—
“Literary work” means any work, other than a dramatic or musical work, which is written, spoken or sung, and accordingly includes—
(2) Copyright does not subsist in a literary, dramatic or musical work unless and until it is recorded, in writing or otherwise; and references in this Part to the time at which such a work is made are to the time at which it is so recorded.
This basically says that unless your ideas or works are written and recorded as being written and this can be proved, it is not Copyrighted. However, if you are using word to write, its recorded in the meta data. If you shared work, ideas, or synopses vie email, you have a chronology cementing the authors rights under Copyright, Designs and Patents Act 1988. You can data-mine and use digital forensics to see who has used your work, when folders have been accessed, when they have been printed and so much more. Digital footprints can lead right to the abusers. The big companies would have you believe that because they changed a few things around, it isn’t lawful infringements, which isn’t correct, they are bullying the little guys to steal work and misappropriate the law.
Copyright, Designs and Patents Act 1988, Section 9, states,
Authorship of work.
(1) In this Part “author”, in relation to a work, means the person who creates it.
To qualify for protection, you need,
154 Qualification by reference to author
(1) A work qualifies for copyright protection if the author was at the material time a
qualifying person, that is--
(a) a British citizen, a British Overseas Territories citizen, a British National
(Overseas), a British Overseas citizen, a British subject or a British protected person
within the meaning of the British Nationality Act 1981, or…
Thus, if you created the work, can prove as much, you are a British Citizen and this work has been used to create other pieces of work, the persons who used your work, are liable under law to pay you for that work and the royalties of that work. They may also be liable to criminal prosecution. And guess what, if you are not from the UK, you’re stealing from the Crown (King) as this is taxable income which you have taken.
Let’s look at what Infringement means:
Chapter II Rights of Copyright Owner.
Section 17 - Infringement of copyright by copying.
(1) The copying of the work is an act restricted by the copyright in every description of copyright work; and references in this Part to copying and copies shall be construed as follows.
(2) Copying in relation to a literary, dramatic, musical or artistic work means reproducing the work in any material form. This includes storing the work in any medium by electronic means.
(3) In relation to an artistic work copying includes the making of a copy in three dimensions of a two-dimensional work and the making of a copy in two dimensions of a three-dimensional work.
(4) Copying in relation to a film [F1or broadcast] includes making a photograph of the whole or any substantial part of any image forming part of the film [F1or broadcast].
(5) Copying in relation to the typographical arrangement of a published edition means making a facsimile copy of the arrangement.
(6) Copying in relation to any description of work includes the making of copies which are transient or are incidental to some other use of the work.
Section 18- Infringement by issue of copies to the public.
The issue to the public of copies of the work is an act restricted by the copyright in every description of copyright work.
[F4[ F5(2) References in this Part to the issue to the public of copies of a work are to the act of putting into circulation in the United Kingdom copies not previously put into circulation in [F6the United Kingdom or] the EEA by or with the consent of the copyright owner.]
(3) References in this Part to the issue to the public of copies of a work do not include—
(a)any subsequent distribution, sale, hiring or loan of copies previously put into circulation (but see section 18A: infringement by rental or lending) F7...
F8(b). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .F9...]
F10[(4) References in this Part to the issue of copies of a work include the issue of the original
So what does all this mean? It means that if you sent any part of your work, no matter how detailed, simple or small, to a Literary Agent, or streaming company or gaming company, or any other company or person in the UK or in the world for that matter, and they use that to build any means of profit, i.e. film, game, animation, toys, books, or any other medium, they are in direct violation of the author’s Copyright protections.
A systematic, relentless and serious violation, or many, moves out of the realm of common law, into criminal law. Even if you are not in the UK, you can be issued with a subpoena to stand trial in the UK and be ordered to stop all distribution of copyright violated products or materials.
“Serious commercial copyright infringements can constitute a criminal offence, and legal actions must be taken. The maximum penalty for these offences is ten years imprisonment and/or an unlimited fine.”
Given the complications of these crimes, and my vulnerabilities, If I have to drag the abusers through the courts, I’ll be asking for maximum penalties, given the repeated and filthy cheek of the abusers and the arrogance of the fake writers and continuation of people earning big money from these crimes, even long after they had been caught out.
Anti-competitive behaviour and political agendas
As if this wasn’t enough, this behaviour prevents aspiring writers from braking through, as their synopses and ideas have already been done. So if they do eventually brake into the bubble, they’re work feels old and already explored. On top of this, there are very few big publishers left, thus coming to them with an idea, which their competitors or themselves have seen already (because your work was stolen) is unlikely to be attractive to them.
This is Anti-competitive behaviour towards up and coming writers. It’s the same as infanticide in lions towards cubs of different males. Anti-competitive behaviour refers to actions taken by firms to manipulate markets, stifle competition, or gain an unfair advantage over rivals. Thus, cases like this one, show how 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. It’s simply easier for an agent to give the work of unknown writers to their established writers with proven followings who fit the need of the moment.
Moreover, because of this monopoly on which books get published, it skews the whole of the literary and film industries into only producing or backing projects that fit politically driven agendas, such as anti-white male, anti-semitism, anti-black, anti-cis, anti-anything. And this is bad. This is propaganda and it’s the beginning of highly dangerous rhetoric and one-sided discourse. It leads to hyper-awareness of single viewpoints of complex topics which we know from the past leads to radicalization. This makes it more difficult for any person not fitting to the model of the moment, to publish work with mainstream powerful companies.
Moreover, this makes the whole of the film, gaming and literary industries into weapons of political agendas. For instance, if you have a lot of money and influence, say secret services of a foreign government, and you want people to hate white men, or black women, or even aliens, to cause further division in a population, you can just plough money into projects or companies who will push these agendas for you.
Foreign governments can also use these companies to spy or collect data. All they have to do is buy gaming companies and they get a digital neuronal like network of every gaming child across the globe. With this they can build very complex algorithms which will map clusters of groups, their connections, their influences, the locations of places the people connected to the devices visit, and very soon they know everything about everything. They know who to target to get into a nuclear station and even his/ her vices to lean on.
Methods
There is a reason we have laws and copyright, it’s not so the big boys can take your work to different established platforms, say Marvel or Netflix to sell underhanded. I recently became aware of my work (synopses) being misused and distributed to established writers and shark tank writing rooms to use as the skeleton back bones of their works, beat for beat, copying and changing things up slightly.
Here are some of the methods they use to mask their crimes.
a. They’ll feed your work into projects, often failing, which they have already begun, to use dates as a get out clause. Both Arcane and Lisa Jewell did this with my works.
b. They’ll falsify backstories, inspirations and dates to cover their crimes. They might say something like, this idea has been in the works for many years. Or In 2016, the film was selected for Sundance's Screenwriting and Directing Lab. This doesn’t mean that parts of your work were not fed into these projects in the “Directing Lab.” To make it work, before or after the given date, in this one its 2016. You see the trickery here?
c. They take several of your projects, pick out the bits they want and feed them into AI tools to make stories extremely quickly.
d. They host or attend Shark Tank writers rooms for big companies such as Netflix and dump many of your projects down. This means they are coming loaded and don’t have to actually think anything up.
e. Big companies tender, and memo people who have piles of synopses, say CEO’s of literary companies, saying we want this kind of thing, so the CEO offers your work or elements of it to the big companies.
f. The Big distribution companies may even commission work, which the CEO’s will barter and bid for, then give to their pet writers along with several of your synopses and hypothetically say something like, “Relax, its easy, just use this work, oh and take your clothes off, shush don’t tell my wife.”
g. They help their shit writers and showrunners get a foot in the door by passing your work to them so they can get a writing credit, to build their CVs and to get their names recognised.
h. They feed your work into estates they already own or manage or have licencing for, so they don’t have to pay you, and then they give it to writers and showrunners on their books, so they get paid twice for stealing.
i. They host writing courses which are poorly constructed and poorly managed video courses fall of bots, young “editors” who have never had jobs, and very few people and they are most interested in sharing your ideas and gaining your synopsis. Many of these courses are fronts to steal work.
j. They make public statements denouncing the very behaviours they are engaging in, pretending to be virtuous whilst abusing the hell out of aspiring writers.
k. They can’t seem to fit all the gaps from the synopsis so many of the plot points and Pinch Points fall flat and things just happen to be in the right place at the right time. Like hey the guy next door knows everyone in the world and everyone in the world is willing to just stop all their busy lives and work commitments because I met them in a shop and now they are my side kick. Like bitch please, what a load of shit.
l. The fake writers styles have changed to match your writing, because they have learnt from you.
m. Then many of their shit actors star in the shit rip-offs they have produced from your work.
I could write about their tricks for days. But I’ll move on.
Naming suspected IP Theft, people and organizations involved.
If your name is in this article there is a good chance you are handling stolen goods, are involved with the theft, or you are a thief. Either way, stop all sales, distribution and production of books, shows and films which have illegally used my work. There is a good chance J-sticky-fingers sold it to you, take it up with him, or contact me directly. Or wait for the courtroom, but you have been informed of the Copyright Infringement Cases and IP Theft of M.W. Wolf Ltd’s Intellectual Property and you have been served with a cease and desist notice. Any continuation of these crimes is a deliberate Infringement and misconduct and will result in bigger fines and larger fees of compensation and damages.
Take a look at some of the projects which I can show have used all or parts of my work to build the shows, books, animations, games, toys and films. The list of who I believe are profiting from these crimes includes, but is not limited to:
1, Arcane – @Riot Games, @arcaneshow, @Netflix and @Fortiche production. BloodBorg was submitted directly to The Riot Forge submission portal and to Curtis Brown Group, @JonnyGeller @felicityblunt and a number of other agencies who didn’t get as much of it. Riot Forge and Curtis Brown are the only two avenues who could have had such full insights into BloodBorg: The Harvest by M.W. Wolf. I’ll be in a better position to know very soon.
2, The Irregulars - @JonnyGeller @netflix @TheCBG_ @unitedtalent.
Supposedly, the episodes of The Irregulars were written by Tom Bidwell, a Curtis Brown Group writer. Joss Agnew was the director of four of the episodes, He’s also from Curtis Brown Group. Curtis Brown Group agented actors in this show include Jojo Macari, Conor McCarry, Darci Shaw, Eleanor Worthington-Cox, Emma Canning and Marli Siu. That’s seven cuts of the pie, just from actors. Also involved in the show from Curtis Brown Group,
Camilla Young, Sarah Spear & Grace Clissold, Frances Stevenson & Jessica Jackson, Oriana Elia, Sam Turnbull, Sophie Patterson. Wait till you see the evidence I have that this show was stolen from many of my books. I’m taking back every penny. It isn’t hard to see, go to my website and then read the mini plots of the episodes of The Irregulars on wiki and I bet you’ll be able to match my books to the episodes that copied them.
3, Episode 6 of Bodkin - @TheCBG_ @JonnyGeller @netflix @mikeoleary. Mike O'Leary is a Curtis Brown Group “Writer” and the “writer” of Episode 6 of Bodkin, or so he claims. I’ll show you that he is not.
4, The Creator- by Gareth Edwards, Regency Enterprises and @20thcentury @felicityblunt
The Creator is stolen from a mini synopsis I shared only with felicity blunt of Curtis Brown Group. The Creator Directed by Gareth Edwards, Screenplay was by Gareth Edwards. Gareth Edwards is a Writer/Director for none other than Curtis Brown Group. Amanda Davis of Curtis Brown Group was also involved in the development of Creator.
5, Breaking the Dark- book by fake writer @lisajewelluk @JonnyGeller @TheCBG_ @unitedtalent @Marvel @PenguinUKBooks. Lisa Jewell copied several of my books, and stitched in many of my ideas, I’ve blogged about this, go read them for a bit more of an insight. But I am analysing every page to show that this is a bodge job of my work sent to Jonny Geller.
6, The Kitchen - Ian Wright’s character is Morgan from Bloodborg. I based Morgan on Morgan Freeman; they used Ian Wright. I love a bit of Wrighty but theft is theft. The beginning of Morgan's Proclamation, which was shared with a Curtis Brown agent in 2020 is in a blog on my page so you can see how they stole this element of my work, and other elements to help them make The Kitchen. @Demmy_Lad and others involved have Curtis Brown Agents. Also work for Curtis Brown Group are actors Demmy Ladipo and agents Cordelia Keaney & Jill Giffard.
7, I’m also investigating Atlas 2024- @netflix Written by Leo_Avalon and @AronColeite.
This isn’t an extensive list, but it’s what I’m willing to divulge right now. If you go check out my website you can clearly see the books that have been used to build these projects and to steal my work.
Clear Pattern of Abuse of my work, shared in confidence-
There is a very clear pattern here, it’s an organised crime syndicate, controlled by Jonny Geller and to a lesser extent Felicity Blunt, sister of British actress Emily Blunt. My work has been sent to these two Literary Agents at Curtis Brown Group and exploited to the bone, some books M.W. Wolf books have been violated over and over to make several different projects. They keep as much as they can in house with their directors, “Writers” authors, actors, producers and so on, creating a monopoly loop all feeding back into Curtis Brown Group, and its all on my work. I will prove this beyond any doubt at all.
The go to for distributing their stolen goods seems to regularly be Netflix, but also Marvel and other film companies. It seems that my work has been used over and over to save failing projects and to inject a bit of life, emotion, style and grit into them. It also appears that my work has been used to save commission projects as well as to build whole films.
The Anchor (mastermind) is Jonny Geller, selling the work of me, an underprivileged aspiring writer with disability related problems and vulnerabilities, going through the most traumatic period of my life, and Jonny knew all about it. Abusers and covert predators sense weakness in emotion, trauma and vulnerabilities, how fucking wrong was he. He massively underestimated me, and now he will pay the price. The price will have a large line of zeros behind it.
I don’t care how this plays out, I’m taking my compensation, damages and royalties. I’m taking a settlement on my terms. If the abusers can’t come to the table or have representatives do it for them, I’ll do it the hard way. It really is that simple. I’m coming for every infringement and every drop of ink of the Copyright theft.
Let me just warn the thieves, I will get results at any cost by any means. Don’t take this as a threat, or do if you like, I don’t care how you feel. You are not victims; you are thieves and abusers and sinners. I am going to do this the legal way. I don’t want to miss any time with my family because of these filthy scumbags, so I’m as calm as a clam. Let’s keep it that way.
Conclusion
In conclusion, Jonny Geller is a scumbag thief, and Curtis Brown Group is an Organised Crime Syndicate of The Literary and Film Industries. I’m utterly stunned and saddened at the sheer volume and audacity of these thieves. I’m really shocked at how a human being, pretending to be a man of God, could be so sinful. But in truth, his behaviours are worn on his sleeves, as he is pretending to be good and virtuous.
He is exposed, I see through him now. Jonny tells a story on a few podcasts of how he became an agent. He was an assistant of an agent and the agent left. Jonny trolled through the “Slush Pile” (I hate that term; it shows how these agents view our hard work) and found something he liked. He must have been more honest towards writers back then because he got the writer a pay check. However, he did it by being deceitful to the publisher, by pretending to be an agent. This tiny innocent lie really shines a light on an under-the-skin temperament towards theft. It doesn’t seem so innocent once the vail has been lifted.
I always wondered how he gained the reputation of Super-agent. I wondered why some of the big maned celebrities sort out Jonny to agent their books. I thought it was because he must know how to get them tax breaks or because he knew all the best tax dodging tricks, or because he is so well connected. I always wondered what it was. I knew there was something lingering beneath his mask. He always spouted out strong values and seem to fight for the little guys, and causes he believed in. I liked this. Than he published Arnold Schwarzenegger’s book, and I thought this was a bit strange, given his strong stance and dogmatic religious strength, as Arnold Schwarzenegger’s father was involved with the Nazi party. This seemed odd to me. I began to wonder if this is just a man who waffles good and virtues to hide his rotting belly. I began to wonder, and letting a brain like mine wonder is dangerous, because I find shit out, and once the cats out of the bag, it isn’t going back in. No offence to Arnold Schwarzenegger, I was a massive fan of his films growing up. Anyway, my settlement and compensation pay-out is growing and getting more complex every day. Every second I have to think about his crimes.
The outcomes I am willing to accept are:
1, An apology- private acceptance of blame.
2, A full list of all infringements of my work which Jonny Geller and, or Curtis Brown Group are involved with. If it's lies and doesn't match up to my list, negotiations are over. This is important to my work because my Megaverse is interlinked in complex ways and hidden infringements could mess it all up. I'm giving you a free opportunity to be honest and make things right. I need to know who has stamped on my work and who to look out for.
3, Negotiations of a financial settlement for all infringements, I don't care how you swing it, or which of the involved parties pay what, that's your issue to cut up your individual parts in this theft.
4, Publisher contacts to make sure my work does not suffer more from this and has the opportunity to be successful, like it should be, with a little professional editing. It can be, it's good enough, if it wasn't, you wouldn't be stealing it.
5, A signed letter that it will not happen again.
Your sincerely,
M.W. Wolf Ltd.
M.W. Wolf Ltd.
Copyright © M.W. Wolf Ltd, 2024
All images, pictures, logos, writing and background images are protected by Copyright © M.W. Wolf Ltd, 2024
The moral right of the author has been asserted.
