Photo by DAVID ILIFF

Dakota & Svetlana ARE Going to be a TV Series

I HAVE DECIDED that the adven­tures of Dako­ta & Svet­lana are going to be a tele­vi­sion series.
 
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As I helped a friend with his screen­play today, some­thing occurred to me: Ever since I wrote the first Dako­ta Stevens mys­tery, A Real Piece of Work, I’ve always imag­ined Dako­ta and Svet­lana as a TV series, where each nov­el takes place over the course of a sea­son of 8–10 episodes.

When I look at my TV view­ing habits, for years I have been a keen stu­dent of series on Net­flix, BBC, AMC, Show­time and HBO includ­ing Mad Men, The Walk­ing Dead, Break­ing Bad, House of Cards, The Sopra­nos, Curb Your Enthu­si­asm, Rome, Unbreak­able Kim­my Schmidt, Lily­ham­mer, Mr. Sel­f­ridge, and Hell on Wheels.

The thing is, for years I’ve always hoped that some­one asso­ci­at­ed with TV pro­duc­tion would mag­i­cal­ly read my nov­els and see their poten­tial for a series. Up to now, how­ev­er, this hope has been pure­ly pas­sive. I haven’t tak­en active steps of my own to bring this about.

Until now.

 

 

I have decid­ed that the adven­tures of Dako­ta & Svet­lana are going to be a tele­vi­sion series.

Now, I know it sounds ridicu­lous. In the norm, just because I’ve decid­ed some­thing doesn’t mean it will hap­pen, but I have always believed strong­ly in some­thing the Scot­tish moun­tain climber William Hutchin­son Mur­ray said:

“Con­cern­ing all acts of ini­tia­tive (and cre­ation), there is one ele­men­tary truth that igno­rance of which kills count­less ideas and splen­did plans: that the moment one def­i­nite­ly com­mits one­self, then Prov­i­dence moves too. All sorts of things occur to help one that would nev­er oth­er­wise have occurred. A whole stream of events issues from the deci­sion, rais­ing in one’s favor all man­ner of unfore­seen inci­dents and meet­ings and mate­r­i­al assis­tance, which no man could have dreamed would have come his way. What­ev­er you can do, or dream you can do, begin it. Bold­ness has genius, pow­er, and mag­ic in it. Begin it now.”

 
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Start­ing Mon­day, along with the two new nov­els I’ve just begun, I am going to be writ­ing a treat­ment for the Dako­ta & Svet­lana series, along with scripts for the first three episodes. My vision for the series is that Sea­son 1 would be the nov­el A Real Piece of Work told in ten episodes. Sea­son 2 would be The Rich Are Dif­fer­ent, and Sea­son 3 A Truth Stranger Than Fic­tion. I will write the treat­ment and episode scripts this sum­mer, and late in the sum­mer or ear­ly this fall I will be con­tact­ing agents, pro­duc­tion com­pa­nies, direc­tors, pro­duc­ers and actors, send­ing them the treat­ment, scripts and copies of the prop­er­ties themselves—the nov­els.

If you would like to see Dako­ta & Svet­lana on TV, you can help me:

1. Six degrees of sep­a­ra­tion. If you know *any­one* in TV, film, act­ing, etc., please tell them about me, Dako­ta and Svet­lana. Let me know about their inter­est, and I’ll send them copies of the books. For my con­tact info, just go to the “Con­tact” page at the top.

2. If you’ve read the nov­els and enjoyed them, and you have an idea for the name of a Dako­ta & Svet­lana series (e.g., House of Cards, Game of Thrones, Mad Men), please share it with me. If the series is picked up, as the cre­ator I’ll make sure you’re giv­en an asso­ciate pro­duc­er cred­it. :) (See David Mamet’s movie State and Main to get that joke.)

I have sev­er­al that I’m con­sid­er­ing now, but I’d love to get input from read­ers who love D&S as much as I do.

Wish me luck.

Thanks,

Chris
 

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A res­olute Orcutt at Poet­’s Walk in Rhinebeck, NY. :)

By Chris Orcutt

CHRIS ORCUTT is an American novelist and fiction writer with over 30 years' writing experience and more than a dozen books in his oeuvre. Since 2015, Chris been working exclusively on his magnum opus. Bodaciously True & Totally Awesome: The Legendary Adventures of Avery “Ace” Craig is a 9-episode novel about teens in the 1980s. It’s about ’80s teens, but for adults (in other words, it’s decidedly not YA literature), and he’s applied this epic storytelling approach to the least examined, most misunderstood, most marginalized narrative space in American literature: the lives and inner worlds of teenagers.

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