Though this is a "popular science" book/written to entertain, it is also a very serious and pretty "deep" book, designed to make people understand the terrible consequences of supply illegality. I was a drug policy researcher, I am a fiction writer, I was once the "best student", and in addition, I have no ax to grind, my desire to make the reader understand is honest; so in a way, I am the perfect person to write this book. However, though a good read it is, I am no longer on top of the subject (I was until 2011) so even if the text is pretty timeless, there must be stupidities that need removing: can you fix them? To edit this text you need a background in (narcotic) drug policy, and to enjoy/understand the work, you also need plenty of education. A problem is that if you are the right person for this job, I probably cannot afford your services (but then you might know the right publisher for me, and by doubling as my agent...). NB. In my book The Drug Problem, "drug" refers to "illegal narcotic drugs", and the book is all about why illegality (mainly from an economic/philosophic point of view) is a very bad idea, especially because of the corruption it creates. 


Everything said about The Drug Problem also goes for this book, only this is much shorter, sexier, punchier, and more compelling.



This is a unique combination of literary elements: 49 short stories, 110 years of father-son biography/autobiography, interconnected biographical introductory paragraphs, stories from a man-eating tiger's point of view, and all arranged along a time axis designed to help convey a feeling of continuity. The structure is great (and new, I think), but there are things that can be improved: 1. Continuity between the introductory paragraphs, 2. The individual short stories (so for this you need to be a short story writer/reader) & 3. "Stand-alone": much of the second half of the chronicles (my short stories) reads more like a continuous adventure than as individual short stories (so you need to identify stories that with relative ease can be made to stand-alone, and then suggest how to fix).


This is a mega-project, and though the two first books are presentable, I need assistance: someone with other fortes than myself. This is not so much about creating a good read, as creating cinematic potential. This is about the adventures of Karli, Odin's son (Karli doesn't know that) in the 21st century, as his "mountain moment" and the possible "end-of-the-world" (unless he fixes things) approaches. Keywords: Vikings, Norse mythology, Islam, Aisha, Kharijites, French Interpol, CIA, KGB, Sundarbans, tigers, Swedish police, Swedish feminism, Sana Quaran, Arabic texts, and antique dealing. This text exists in Swedish as well.


The French 1952 version is terrible, whereas the new English is great, and a professional translation of the (new) English version back to French could lead to cine. I believe that I own the rights to the French book, and if so it would be ok (i.e. legal) to collate, i.e. looking at the French text and the English. This text was about to become a (French) movie at Senior's demise, so if this now happens from the French text, you'd get kudos from that.


The English translations are so much better than the Spanish original texts (as these never received content editing) that a retranslation could become an option. This sounds like a terrible job, but there are mitigations: there could be grants, and you´d keep it all & it would be ok to use the original Spanish texts as a base (since the rights to these belong to me).


A lot of Senior-books are published in German (as e/PoD or as traditional paper books), but the quality is questionable. I would like to see it all taken care of, i.e. someone to handle the entire German project: 1. Fix up all German texts, 2. Translate the one missing text (or I could have that done), 3. Create The Complete Works of Andres Laszlo Sr. in German (or I could do that), 4. Put the (now nine with my Die Herausforderung) different texts up on suitable platforms (or I could do that), 5. Promote so as to sell e-books. So, it's really just (minimum) 1 & 5 that you would have to take care of. Check out my German page, and make me an offer. I will not be stingy.


I am a writer living in the south of Spain (Fuengirola), where I have turned my house into three apartments. Upstairs, there's room for one more; downstairs can house two. In the middle, there is a whole posh apartment that sleeps 4. I am looking for one or more people with sales/publishing experience to stay on a short or long term, either paying (if you do not want to work very much), free of charge (if you want to work a little), or getting paid (if you want to work a lot). This, of course, also depends on where you stay and on whether you bring your family or not.


Even with a becoming amount of modesty, I can claim to be pretty unusual, and therefore, if unusual in my case (I'm several "possibly world's X") equals marketable, then maybe a publicist could make something out of this. My problem is that as soon as I start "telling how good I am", my knees start shaking and I feel like a jerk with a jerk. Check out my bio (there's much more, that modesty forbids me to write).


Hi Upworkers/Freelancers
If you can tick "1" & "2" below, please reply
1. You have the skills of a literary estate agent
2. You have intimate knowledge about platforms such as Upwork, Guru, and Fiverr, and about how and where to find 'rising talent' at good prices
My father/Senior was once considered a top European fiction writer, and I/Junior have lived for 25 years on my only paper-published book. I am about to start to commercialize a big literary/cinematic project containing new texts/scripts as well as texts/rights going back to the 1930s. I need advice on how to find 'rising talent' and agents for my project. I have reworked my father's various literary assets and also added a few of my own (translating, adapting, finishing, editing, digitalizing, etc., finding talent mainly on Upwork & Fiverr) for 10 years. Now I am about to commercialize the project in the spirit of 'Let's see where I can get good cooperation from individual agents, and rising talent', esp. in India as I spent winters in and around Mumbai, then I'll try to find a literary estate agency to take over the rest of the literary stuff, while I start working on the cine-part of the project. Though in a way I am looking to potentially fill maybe 50 positions (realistically, filling 3 with great candidates would be better than expected). I have questions/worries such as:1. Where should I put in my ads in search of 'rising talent' and,2. How to improve on my job-post presentations? Agent Info



As a drug policy researcher, I have some important things to say about how drug supply illegality corrupts the fabric of society, and about how it is a scam. I would like to give talks about this (in English, Swedish or Spanish). However, to get "in demand" as a lecturer I will need to make high-quality videos (60 bad ones in Swedish & English are already on my YouTube channel), as well as a “TED talk style video” on why illegality is a scam. This will be expensive, and I need help to get finance for professional help (script development, new illustrations, video shooting, video editing, distribution, promotion, etc.). 


As a drug policy researcher, I do have some important things to say about how illegality corrupts, and I am okay at giving talks (in English, Swedish & Spanish). Assuming that I will succeed in making high-quality videos, I will need help with: 1. Promotion, 2. Arranging/booking a lecture tour, and 3. Get to give a TED Talk.



1985 - 2002 I was often, sometimes more than once a year, asked if I would assist/provide information to, literature-students that wanted to write about Senior but I always said: "no" (often quite rudely, as I was rather miffed with the old man at the time). Today, if you are clever and have an investigative mind, I would be happy to give you my full cooperation to assist you in getting a cum laude Ph.D. Finding these students before they get misguided into finding a lesser writer to write about, is a job post I am looking to fill.


My father, Andres Laszlo Sr., was once considered a top-European writer. However, as neither I nor any of his four “mother countries” (France, Spain, Hungary & Austria) have taken much interest in him, his memory is fading. I am presently working to change this, mainly through Project Revive Father. The EU has grants for projects like this – and maybe some of his mother countries have as well (esp. France or Spain) – but though the grants can be big, it is a painstaking and drawn-out process (an effing nuisance, actually, that's why I haven't...). I am looking for someone to manage the complicated and time-consuming process of applying for “Revive Senior grants.” If you feel so inclined, I would then like you later to continue your work as the person in charge of the project that you successfully have applied for, receiving whatever salary you have had the EU accept (so you have to be good at both applying for grants and at managing the revival project).


Only two of Senior's five books were content-edited. As I translated them into English, the books have also been adapted, content-edited, and improved - so a re-translation back into Spanish could be a good idea. Maybe one could get a Spanish publisher to undertake this but a grant would definitely help, especially for promotion.



Andres Laszlo Sr. wrote the book, together with Didier Haudepin; he wrote the film script, and Haudepin then directed the movie. Because of contractual disputes, the film was never shown outside Spain. Twice (2000 & 2002) Gallimard has offered me to sign contracts with producers for remakes but I said "no" both times. As my agent, "all" you have to do is to find one of the used-to-be interested producers (or a new one), make them raise their bid 15%, and claim your 20% (of €450,000). This job is only for a French or Spanish agent with experience in the field.


Andres Laszlo Sr. wrote My Uncle Jacinto/Mi Tio Jacinto in 1955, and it immediately became a blockbuster movie (Ladislao Vajda produced, and Pablito Calvo starred). Today the movie is a regular contender for the Spanish or Hispanic number one (or top-five, or top-ten) spot "all-times" in film festivals. Considering how popular it was/is, it’s strange that nobody has asked me to let them turn it into an animated movie. I think of it as one of the most popular children’s books/movies never to have been animated. I want an agent to find someone to turn My Uncle Jacinto into an animated movie.


I do not know whether Senior wrote this from scratch or from some text that now has been lost (Senior was a passionate pacifist/anti-uniforms, so I think there could have been an underlying text) but he is accredited as script-writer (minus dialogue): Ladislao Vajda directed, and Warner Brothers produced. I have never seen the film. Find a way to watch it and surprise me with your proposal!


Doña Juana must once have been a theater script, but the original score has been lost. What instead got published in Spanish was "a script dressed up as a novella" (Senior's Spanish publishers didn't publish theatre scripts). Senior worked as an actor and as a theater director in his youth, but I do not know whether Doña Juana was ever staged, but if so, it must have been back in the 1930s. However, as a mime, it has been performed by Marcel Marceau in the 1960s. I have had this text turned back into a theater script/musical and though it still hasn't received the attention it deserves, it is presentable. As my Doña Juana agent, I want you to help see it improved or staged.


The Challenge is my adaptation of my father’s bestselling/blockbusting My Uncle Jacinto. In my adaptation bullfighting becomes boxing; Madrid/La Quinta, Cape Town/Mandela Park, and white faces, colored or black. The script has been to IFFR/International Film Festival Rotterdam where I applied for production grants to produce the film in Cape Town with Tim Spring (Raw Target, Reason to Die, etc.) as director. They called it “a near miss”. The script is only available in English, though the first draft of a Spanish translation is underway.


Senior wrote it as a theater script in the 1930s. The script has been lost but only after it was turned into a novella. Senior was advised by his publishers, Gallimard, to take this novella to the Spanish film industry, something I do not think he ever did (but Marcel Marceau performed it as a mime-drama as Don Juan). Though I have turned this novella back into the script it once was, it needs to be turned into a film script, presentable to cinema producers.


Whereas the original book text of Paco Never Fails emphasized the anthropological aspect and was a history-drama, the movie focused on (a strong, dark) comedy aspect. The original (book) text came with crime undertones, and one can feel how Senior was considering adding a murder-mystery dimension (a genre not that popular at the time). Even though some new producer(s) trying to buy the adaptation rights could well be on the cards, I have started (still very early days) to re-adapt the original text into the murder mystery it originally nearly became, and I have some thoughts about setting the action in Goa (India); not because I spend the winters there but because it (esp. "Portuguese Goa") would make a much better background than even the original: Madrid.


Karl, a sculptor, escapes WW 2 to Tangiers (Morocco). One day he finds what obviously is his (3-4y old) son at his doorstep with a letter: You always wanted a son without a mother: here he is. Do not try to find out who I am. XXX. As the war ends the boy asks his father to find his mother. There are three possible women, and Kurt goes in search: Naples, Paris, and Avila. This is the first of my father’s three major novels and the only one not to become a film. It has been very much improved (esp. given the content editing it originally never received) as it was adapted for cine, and (for the first time) translated into English. I am contemplating working this book towards synopsis/scenario myself but I need ideas as to the structure. A straight/traditional timeline is not an option, and I am looking for something "a la Tarantino" (see below). Mother Unknown was about to become a movie at Senior's demise, and there was a script that got lost, though I still retain Senior's synopsis.


Senior, before leaving his homeland (Austro-Hungary), to save on the rent, took up residence in the famous Turkish Baths of Budapest (the "castle"). In this book, which is mainly a love story, we follow the protagonist, a good-looking actor, as an upper-class girl falls in love with him, against backstories taken from the lives of the girl, the other "seals" and their various survival scams. Though I am weak at love stories yet even I can see that there is plenty of potential, and though the ending is great in the text, I need help to make it work cinematicallyThe Seal Castle is now for the first time available in English.


This is a huge project - Odin, Vikings, adventures, terrorism, Islam, Swedish feminism, etc. - and its two first presentable book drafts are now seeing the light of day (in English and Swedish). These texts, I believe, sooner or later, will become movies, but as I, quite moronically, have been working in two languages simultaneously (thus producing more headaches than high-quality finished text) the most pressing question is “Shall I proceed in English or Swedish?” These scripts I would not be capable of developing to the standard I would like without the assistance of a publisher/production company.


is about a wooden horse that escapes the merry-go-round when everyone at the amusement park is asleep. He then sets off for the continent where he believes that all horses roam free: America. As he gallops off into the night we follow him on his adventures and we get to know his (pretty shallow, and quite human-like and easy-to-identify-with) personality through his reflections on the nature of the world, his fellow animals on the merry-go-round, us bipeds, and the slavery we have forced upon him. Yes, of course, he ends up going in a circle. I love the story, which could become a “deep” animated family/children’s movie, and I would be happy to provide it with a pre-discussed treatment to form the base for further talks, treatments, and scripts. 


is a vampire story that I'd like to see developed into a movie. It is set in a traditional "vampire-country," and in “a proper vampire setting”. Senior had some dubious branches on his ancestral tree (ok, so I have them as well but I am presently symptom-free), and his disbelief in the supernatural gets severely upset.


is a love story with an amazing and modern/undecidable twist that could be turned into either cinema or theater. It is set in post-war Germany, where it delves deep into the nature of "the beautiful feminine´s" psyche; something that I am not very good at, so I could at best assist.


is mainly about a casino-heist, and could be turned into a good movie. Also, it has a character that, properly developed, could become ‘worthy of his own TV series (as in a wicked version of The Persuaders). Thirdly, though the story can stand on its own, it has a casino-scam-part that could contribute to an action movie where the "I've-given-up-hero" luckily stumbles upon a cool way to make a huge income in a casino, and though the situation could be a little difficult to set up, the quality would be excellent.


Here we follow a day in the life of a US spy in Italy in the late 1940s. His girlfriend is a spy too (though he doesn't know that), and in this short story - which gives a great insight into the day-to-day drudgery of the life of spies at the time - we (well, the smartest among us) see how our hero gets set up to be framed for murder, only he doesn't realize this. This could be developed into a full-length mystery-thriller, maybe close in spirit to North by Northwest. 


I have a fascination with man-eating tigers, and this is one of several short tiger stories (where we see things from a tiger's point of view) set in the Sundarbans (an Indian/Bangladeshi beach jungle). The stories are all quite entertaining, somewhat continuous, and reasonably well-researched. I don't really know what to do with them unless one wants to make a movie starring a man-eating tiger and with things seen from the tiger's point of view. Actually, maybe that's not all that bad an idea...


Imagine a giant of a man, hitchhiking through the Sahara because it's on his bucket list and that a small feminine man full of hatred at midnight raises a stone to crush the sleeping giant's skull. The giant awakes just in time to raise his hands to protect himself, and the small man throws the stone beside him; "Scorpion!" he exclaims, and sits down atop the stone so that the big man shall not lift the stone to check. There they sit, the hitchhiker desperately trying not to fall asleep (and so be killed), the small, refusing to budge because believing that remaining on the stone until dawn is his only way to survive, and we follow their somewhat strained discussion (additional insights and murder-attempts could be inserted). Maybe this story could become theater; it contains amazing possibilities, especially if one could just get the discussion right (or if I could remember it).


Paco Never Fails is set in Madrid in the early 1940s, just after the Spanish Civil War. Here we meet Paco Garcia who makes his living by mating with young girls from the countryside: girls who have come to Madrid to make better lives for themselves as wet nurses (after unwanted pregnancies) and sooner or later need to boost the milk flow. Though this impregnation is an occupation that seldom gets talked about, at the time (allegedly, it still is) it was a very real profession, and the impregnator most likely to succeed i.e. ‘who never failed,’ was the one highest in demand. However, Paco has failed once, so when his wife finally becomes pregnant, this father of thousands realizes… This impregnation was an occupation also in India, and since I stay in and around Mumbai (mainly in Goa with its Portuguese influence probably is a better setting than Mumbai to make the story more dramatic, contrasting, and believable)... I would like to develop/adapt a Goa script for Bollywood, and I need expert assistance both anthropologically (for reality-check), and "Bollywood style dramatization".


In Goa, during the 1930s/40s girls from the countryside with unwanted pregnancies became wet nurses. These women needed to become re-impregnated when the milk flow stopped. There were (if not, let's invent one) men specializing in this impregnation; I am looking for assistance to get into the head of such a man and to understand everything about him: his life, his background, his socio-economic position, his peers, his values, his issues, his pride, etc... I need to understand what his life would have been like so that I can write from his perspective. Also, I need to understand how to do this in a way that will make the story interesting for Bollywood.


I am a writer who has just finished taking care of sorting out (digitalizing, improving, adapting, translating, and finishing) my and my father's (who once was considered top-Europe) fictional texts. Now I am about to start turning these texts towards treatments and scripts. As I am an Indiophile - and, as I spend much of my winters in Mumbai/Goa - I am looking for all sorts of text-to-script contacts, including advisors, co-writers, agents, and producers.


Andres Laszlo Sr. wrote Mother Unknown/Mere Inconnue, and at his death in 1984, this book (just like his other two major novels had already been) was about to be turned into a movie. Today this book has been translated into English and Senior wrote a synopsis (as well as a script but that has been lost). I am thinking about producing a treatment, maybe even a script, and I am looking for someone local to get engaged: to do some preparatory scouting, looking out for/identifying locations (help with finance & local interest would be welcome as well). If you're interested I'll send you the book, and then I'll pop over for a cup of mint tea (I live right across in Malaga).


Year 1 (1936-37). Kurt (sculptor) has sex with 3 women, Y3. Kurt escapes WW2 and settles down in Tangiers during WW2, Y4. A young boy (3-4) with a letter appears at Kurt's door: "You always wanted a son without a mother: here he is; don't try to find me. XXX" Y4-Y9 Kurt and boy live/bond in Tangiers. Y9 As the war ends boy wants his mother but does not know who/where. Y10 Kurt (with or without boy) goes in search of Mother. Woman 1 - no, Woman 2 - no & Woman 3 - ... Well, a straight timeline obviously would be boring, and, of course, something Tarantino-like comes to mind. I can see that a Kill Bill-like structure would work well: structural advice is needed.


My father’s films (3), un-filmed script (1), and theater (1) are all produced by/directed toward the French or Spanish film industry (in the case of My Uncle Jacinto, also the Italian). French Gallimard had French (I think) producer-customers to make a new Paco Never Fails twice, Senior negotiated to make a film out of Mother Unknown with a French producer at his demise, and Doña Juana have theater and film potential in either Spain or France. My portfolio thus ought to be interesting for a French or Spanish cinematic agent.


There are film distribution companies that are reluctant to pay for films they have shown (and should have paid a royalty for) in Luxembourg and Madrid, and I believe I own the (unexplored) viewing/showing rights of Paco Never Fails for the Scandinavian countries: assistance needed. 


If you have read about my project and understood my situation - top European writer-father, one art book to set myself up for life(?), drug-policy researcher, twenty years of adventures, ten years of text-work, now moving from books to cine - you might feel that you can be of use to me/use me in some way not listed here. If so, do not hesitate to get in contact.



You have seen a sample of the texts that I can offer in different languages above, and you can click "your flag" and then "books" for information about what books I have in your language (or go to Amazon to enter Andres Laszlo Jr.). Of course, I would be delighted if you offered to take over something that is hard for me to work on (especially "German Books") but more reluctant to "part with" something in an attractive language (so in such a case you would have to convince me that you are good). For individual-language-agency: Read More


My fictional genres are general fiction, historical novel, biography/autobiography, children's novel, adventure, murder mystery, short stories. Some keywords: vampire, irony, feminism, Viking, Norse mythology, Islam, man-eating tigers & Sundarbans. For individual-genre-agency: Read More


The books, especially those for which I will not find traditional publishers, will be promoted as e-books/PoD (Amazon: enter Andres Laszlo Jr.). If you feel "I know exactly where I want this book listed, priced, described, and promoted!" contact me.


I own the rights to the texts of my father’s books (7 books + 25 translations), and films (3), as well as some distribution rights and scripts, and I am an ok writer myself with 20+ books (counting translations). For 12 years I have worked on advancing “The Laszlo & Laszlo Project”, without commercializing it, but now I have decided to do so, and as I want to keep control, I plan to use platforms such as this. Yet, in a way, what I want, is someone with the skills of a literary estate agency who could manage several aspects of my project, (preferably sitting on the desk next to me and my photo/computer guy here in Fuengirola, Spain). But then, with such skills, you wouldn't be reading this, would you...


I am looking for someone to set up/book meetings at the big book fairs in Frankfurt, Bologna, and (maybe) London. Though I am not good at promoting myself (i.e., at begging and bragging), I am okay at meeting and negotiating with publishers & agents. I need someone with a magic touch to contact publishers and agents for esp. English, Spanish, French, Swedish, Italian, or German books: to match books to publishers/agents, use magic, and be my booking agent. Let's meet in real life, and take it from there.


Three children's books, 50 short stories (15+ suitable for competition), two books on drug policy, seven top-European-writer-texts that I have improved so much that maybe one could call them "new books", a Viking adventure series, and family chronicles like nothing ever written before. These are all looking for competitions to enter into, as well as grants to be published and promoted.  


As Senior has six adult fiction titles out of seven, and I have five out of seven - actually, it could be argued that we are both seven for seven - this is the bread and butter of the project. As to Senior's titles, the most interesting are those that have been changed/adapted/upgraded the most: Mother Unknown (as much improved), Paco Never Fails (as turned into a murder mystery), The Seal Castle (as much improved) & Doña Juana (as much improved and turned into a theatre script). As for Junior: The Tale of Two Knaves (as a new form of literature), and The Caspian Connection (as an epic adventure series full of potential). 


1. Senior wrote My Uncle Jacinto which became a bestselling children's book, 2. Senior wrote a collection of short stories, where one was The Merry-go-Round Horse: a deep, philosophical, and unexplored children’s story. and 3. I have adapted Senior's bestseller: The Challenge which is a well-illustrated children's book


Senior wrote a collection of 24 short stories - Only the Landscape Changes - and I added 25 to produce a collection of short stories covering 110 years. Then I translated-adapted-edited Senior's stories, ordered things along a timeline, while giving each story an introductory/biographical paragraph, and called it a biography: The Tale(s) of Two Knaves. These short stories could easily be turned into 24 Short Stories by Andres Laszlo Sr. and 25 Short Stories by Andres Laszlo Jr. 


Senior wrote seven fictional texts in Spanish that are all available in Spanish (unedited), and in English (edited/adapted). Six out of seven are available in German, and four in French.


This I believe is an important book on drug policy. However, though I was the fastest student in my country and the writer of a well-received book on art, I never got any Swedish publisher interested in translating and publishing the English text. Therefore I have popularized my research into The Drug Problem. There’s also a “half book/half video script”: Drug Illegality is a Scam.



English is the project's main language, with more than 15 titles, and apart from my Swedish art book Svenskt Konstglas, all books come in English, and all the English texts are publishable (except The Caspian Connection which needs polish). Of Special Interest: The Complete Works of Andres Laszlo Sr, Mother Unknown, Doña Juana: Script, The Tale of Two Knaves, The Caspian Connection, The Challenge, The Drug ProblemDrug Illegality is a Scam. Agent Info


Spanish is the project's "2nd language", with eight titles by Senior, and four by Junior. As Senior was considered "a Spanish writer", and as Junior nowadays lives in Spain, this is an important language. Senior's titles (except The Complete Works of Andres Laszlo Sr.) are all paper-published with Plaza Janez (at the time Spain's most prestigious publisher). Of Special Interest: The Complete Works of Andres Laszlo Sr. (as previously not available), The Laszlo & Laszlo Chronicles (needs work), The Challenge (as an adaptation of Senior's bestseller) & The Drug Problem I (as "Spanish"/liberal in spirit). Agent Info.


Neither Senior nor Junior wrote in French, but we are both French citizens, and Senior was published with the most prestigious French publishing house (Gallimard) and was agented by the most illustrious French agent (Jenny Aspenwall Bradley: James Joyce’s agent). Senior has six titles in French and Junior three: the translations are all “ok plus”. Three books are paper-published of which two are still in print, and France is an important market. Of Special Interest: Laszlo & Laszlo Chronicles (as both I and Senior are French), and The Challenge (as it is a new high-quality and well-illustrated children's book based on a classic). Agent Info.


I count myself as a Swede, my only paper-published book, which has kept me in champagne (or, beer, rather) for 25 years was in Swedish, and my written Swedish is ok. Also, Sweden is the only place where a reader/publisher/agent might know who I am. I have six titles of my own in Swedish, and I have translated three of Senior's texts. Of Special Interest: Laszlo & Laszlo Chronicles (as I am Swedish), The Caspian Connection (as much of the action is set in Sweden and Swedish is an alternative to English as I move this towards CINE), Doña Juana: Script (as I believe there could be Swedish theater companies interested in staging/developing it because of its poignant humor and feminist content), My Uncle Jacinto (as it is a 'classic' and previously not available in Swedish & The Challenge (as it is a high-quality and well-illustrated children's book). Agent Info.


Italian was for long "the lost language" with only My Uncle Jacinto (the movie was an Italian-Spanish co-production) translated. I have changed this, translating also Paco Never Fails, The Family Chronicles, and my own The Challenge. The translations are allegedly between "high quality" and "professional", and my feeling is that Italian is a language where both the Laszlos ought to be successful. Of Special Interest: The Challenge (as it is a high-quality and well-illustrated children's book). Agent Info.


Senior has two paper books published in German, of which one has been retranslated. Six out of seven Senior-books have been translated, of which I own the rights to five, so there is an opportunity (with some work) to publish The Complete Works of Andres Laszlo Sr. I can imagine great possibilities on the German e/PoD-market but the problems are 1. I do not speak German & 2. The translations are said to be poor (but not terrible). I am very much looking for a way to improve "The German Situation". Agent Info.


My only Catalan title is Paco Never Fails. Translation quality has been questioned, and I am willing to accept basically whatever offer comes my way (33% reserved for the translator).


The only title in Bulgarian is My Uncle Jacinto. I am told that the translation is very bad, and with nothing whatsoever to recommend myself or the Bulgarian part of my project, I am, of course, willing to accept whatever offer comes my way.


The only title in Japanese is My Uncle Jacinto. I am told that the translation is excellent and that the book was a big hit. The text, though scanned, has not yet been turned into digital text.

My literary and cinematic assets and projects are so many, and varied, that the (at least economically) cleverest option could well be to look for a literary estate agent, and hand it all over (but what fun would that be), and that could be what will happen to the parts where I find no way to advance in any other way. If you are looking for something to do inside my project, please read 1-5 below, have a look elsewhere at my homepage, and then check out 6. THE JOBS below.


As both the Laszlos (Senior/Dad and Junior/I) are fiction writers with cinematic ambitions that is what most projects/jobs are about: books and cinema. However, whereas the book part is mainly finished (and ready to be commercialized), the cinema part is just about to get started (yet, there are three existing movies, one screenplay, and one theater script that are already looking to be commercialized). Though 1. BOOKS and 2. CINE is the main source of projects/jobs, but there is much more: 3. REVIVE SENIOR is about applying for grants, etc., to revive Senior’s memory, 4. DRUG POLICY wants to promote my drug-policy texts and videos, arrange lectures & get me a TED talk, and, in 5. SUNDRY there's even more - editing, translating, publicist, finding the right people, applying for grants, in-house salesperson, etc. - it all comes together and becomes specific in 6. JOBS.

1. BOOKS – finishing my own books as well as translating and making Senior’s better/more commercial – is where I have slugged away for the last 10 years. This has resulted in 9 texts by Senior and 7 by Junior; counting translations, that make for well over 60 books, all either available right now or at the push of a button as e-books and print-on-demand (enter "Andres Laszlo Jr." on Amazon). My main question is “Traditional publishing or e/PoD?” The answer will probably be that I will go for both, and I will be looking for traditional agents (to interact with publishers, book me at book fairs, etc.), as well as e/PoD agents (to advise, take responsibility for the promotion, etc.). This “book part” of the project I have divided into "language" and "genre" with links to details. See 1. BOOKS below (follow the language/genre links), and then 6. JOBS.

2. CINE – remakes of old movies, sale of finished scripts, and moving stuff along: idea >> structure >> synopsis >> scenario >> treatment >> script >> movie – is where I intend to focus from now on. I was tempted to start here 10 years ago, and the only reason I didn’t was that I figured that I had better first get our texts in order/prepared-for-the-process-outlined-above. This “cine-part” of the project falls into many sub-projects. See 2. CINE below, and then 6. JOBS.

3. REVIVE SENIOR. Andres Laszlo Senior was once considered a top European writer, and until twenty years ago, Ph.D. students frequently contacted me, asking for my approval/assistance in their thesis writing. The reason that he is being forgotten, apart from that most of his texts never received any proper content editing (and me not having made an effort until now), is that neither of his four home countries (born Austro-Hungarian, nationalized French, writing in Spanish) has "adopted" him. However, today all these countries are members of the EU, an organization that sometimes is willing to finance projects designed to revive the memory of its forgotten artists (and, so are the French). I am looking for someone to find the grants, apply for them, and then lead the revival project. See 3. REVIVE SENIOR below, and then 6. JOBS.

4. DRUG POLICY. As a drug policy researcher, I came to the conclusion that though drugs presently probably are more 'bad' than 'good', the consequences of supply-illegality are much worse than anything that could follow from a liberal/pro-legality policy. In my own narcotics-conservative Sweden, nobody wanted to listen, and as I am a fiction writer, I turned my intended thesis into popular science (The Drug Problem), and wrote a video script (Drug Illegality is a Scam). I want the book, the script, my videos, and myself (as a speaker) promoted. See 4. DRUG POLICY below, and then 6. JOBS.

5. SUNDRY. This is about the jobs/projects that cannot fit under any of the four headings listed above: "Editing", "Publicist," "Resident salesperson," "literary assistance," etc. See the last part of 6. JOBS.

6. JOBS. If you think there is something in my project that might fit you, take a tour around my homepage, get to know more about whatever interests you, then check out the job listing: 6. JOBS.

If you want to know more about my project and our texts/movies, let me send you a copy of The Tale(s) of Two Knaves, which will not only give you a deeper insight into the project but also into our writings.

  • 1. BOOKS

    BOOKS, unlike CINE, is mainly about sales. There are jobs such as: "Language-agents," "Genre-agents," “Present texts to publishers agent”, “Book me for book-fairs agent”, and “Take on a language agent.” So “BOOKS” covers a lot, and you will find all the corresponding job offerings below, under "6. JOBS".


    Senior wrote in Spanish, and I write in English (and Swedish). Counting all translations we have over 60 books, with an average of 10 in our six main languages: English, Swedish, Spanish, French, German, and Italian. Regarding some languages, I either do not speak the language or I am uncertain about translation qualities (Japanese, German, Catalan, Bulgarian). Read More


    Our texts can all be categorized as fictional, apart from my two books on drug-policy, that are dealt with separately. The fiction falls into the sub-genres of adult fiction, juvenile fiction, short stories/biography, and "complete works". Read More 

  • 2. CINE

    CINE - unlike BOOKS, which deals largely with finished stuff - is mainly about "developing" (and only a little about selling). I have plenty of cinematic assets - many ideas, a dozen treatment-like short stories, half-a-dozen movie-prepared books, one finished script plus two initiated, re-make rights to three movies, showing-rights, and unpaid royalties - so even if only starting up, there are already plenty of CINE projects. Yet, this CINE-part of the project will focus mainly on pushing the various text assets from ideas and towards new movies. What to push and how to push will depend on 1. Where I find interest, 2. Where I enjoy working, and 3. Where I find interesting people to work with. Unlike BOOKS, the CINE-part of the project is thus very open-ended, and there are often other aspects than simply “Pushing towards movies, and cashing in” (aspects such as "nice places to work", "clever people to work with," and "having fun"). As I am moving away from BOOKS and towards CINE, I will be looking for all sorts of assistance, not only on how to find buyers but also on how to improve/develop texts: “How to structure?”, “What to keep/ditch/add?”, “Where to send?” and “Whom to engage?” I plan to arrive at Mumbai/Goa around December 15th. 2021 and leave in early February with a lot of new contacts established. You will find all the jobs below under the heading "6. JOBS".



    There are three produced movies: My Uncle Jacinto that became a blockbuster, Paco Never Fails that got "contracted away" to Spain, and Sin Uniforme that I have never seen. In addition, there's Don Juan a performed mime-drama, as well as a possibly performed theater play, Doña Juana.



    There is a "Hollywood quality" script of The Challenge in English, as well as the first draft of a Spanish translation, there's a to-be-improved first-draft theater script of Doña Juana, and there's also the beginning of the first draft of a new script for Paco Never Fails.



    This is where I hope to spend a lot of time the next couple of years because as I spent the last ten years improving and developing my own and Senior's short stories and novels, it has always been with "the silver screen" in mind. Apart from the already started projects mentioned above, I expect treatments/scripts to evolve mainly from these improved novels and short stories.


    One of Senior’s novels was about to become a movie at his demise (Mother Unknown), Senior’s French publishers recommended him to approach the Spanish film industry with another novel/novella (Doña Juana), his first published book also has movie potential (The Seal Castle) as a love story, and Junior’s adventure series (The Caspian Connectionis designed to become cine.


    I have lots of ideas but as my project moves from BOOKS to CINE I am so overwhelmed by what seems to lie ahead of me that I have decided to put all other ideas on the back burner and focus on developing my now finished texts. Regarding short stories - that often have been rewritten so as to read closer to cinematic treatments - these are picked mainly from the 49 short stories that make up The Tale of Two Knaves.

    There's a lot of other CINE jobs: Rewriting a script for Mumbai or Goa, Bollywood representation, Tangier location-scouting, French & Spanish agents, Staging of a long-lost theater play, etc. You will find it all under the heading "6. JOBS".


    European writer looking for a home 

    Dad/Andres Laszlo Sr., in his heydays, was seen as a top-European writer, and a rising one at that. He had written My Uncle Jacinto that in the hands of Ladislao Vajda had become a blockbuster movie, and with Paco Never Fails Senior felt that his authorship had taken another big step. This bookin Senior's mind - a totally decent anthropological history-drama about a totally taboo subject written in generalissimo Franco dictatorship - had said; "Look at me! I'm pretty darn good!" However, though the text was great and unimpeachable by the sensors, the subject matter was one that the Spanish critics did not enjoy commenting on. Senior, after maybe getting a little too appreciated (thanks to Ladislao's superb cinematic interpretation) for My Uncle Jacinto (that competes for "best Hispanic movie all times" at film festivals) felt that he was not given the credit he deserved for Paco Never Fails. Thus, when he should have been (and, in a way, was) ready to take on the world, the success story ended. Bereft of the self-confidence so essential for a writer, he put writing on the back burner, and instead, he devoted himself to family, and pushing forged old-master paintings to museums; he forgot about writing, and - as he had no mother country to keep his memory alive - so did the world, about him. Read More 


    This Project, which has three parts, has its origin in my life as a drug policy researcher at the University of Lund, and my time at Oxford University. The project has three parts:

    The Drug Problem is a popular-science book that looks at the drug problem (drugs = illegal narcotic drugs) from a mainly philosophical/economical perspective, and though it is written to entertain, yet it is pretty profound: a drug-policy book like no other, which I so far have not succeeded to get one single publisher to read. Read More

    Drug Illegality is a Scam is a "sexy condensation" designed to conclusively argue that the consequences of narcotics' supply-illegality are not what we think they are. I believe that the videos that I intend to make - professionally produced (with or without me as the speaker) - actually could contribute to change things. 

    My lectures. I would like to promote The Drug Problem and turn Drug Illegality is a Scam into the video series they were meant to become, I would like to give a lecture tour based on its content, and I would, of course, love to give a TED-talk. I have no ax to grind in this, I am not even a drug user myself, but as I, as a researcher, feel that I have understood the consequences of supply-illegality better than most, I feel an obligation to explain these in a way that people can understand. Read More

  • 5. SUNDRY

    Beneath this heading is hidden not only what the heading suggests (i.e. what cannot be squeezed in under any other heading) but also writing-jobs.

    The truly "sundry" jobs are for example a publicist to find out whether I am promotable, a resident salesperson to sit next to me, a computer guy, and a rising-talent finder to locate the right people to do other jobs.

    "Writing-jobs" is partly about translation, as some texts could do with an English-to-German, English-to-Spanish, or English-to-French translation. Another writing part is about editing, which I have hidden here in order for those visiting other parts of my homepage not to understand that my English is not always as good as I might pretend that it is and that maybe some of my texts could do with a wee bit of editing.

  • 6. JOBS

    If you have read the above, you now have a pretty clear picture of my assets, and what I am up to, and if you think you could be the right person to join one of my projects, here are the associated jobs as I see them. The job listings are designed to "stand by themselves", so if you read several, you might find the first parts repetitive.



    Most book projects are described in the "By Language" and "By Genre" links below. I have also listed some other book jobs that I hope to find an interest in either from 1. "Rising talent," 2. Traditional agents or 3. Publishers/producers. Read More



    As I am moving away from working on BOOKS and towards CINE, I do not intend to do all the hard work myself; instead, I will look for rising talent and agents for help, and I will make a point of staying much of the winter(s) in India (esp. Mumbai and Goa). Read More.



    As I started to "fix" (digitalize, improve, translate, adapt and improve) Senior's text I realized that my original thinking - "His two last books must have been ok as they became movies, but his five first must have been less good" - was wrong. Rather, his five first texts were on average better but they hadn't been given any content editing. However, whereas Dad wasn't all that logical, I am, and I have provided the content editing that his five first books never received. Read More.



    As a young research student, I was different from the other guys (in a good way) and I sat out to do something in return for the "magic" life I had furnished with. Drug Illegality is bad, and in addition, it is a scam. I tried to tell the world this at the age of 20 plus but as nobody wanted to listen I instead sat out to do "all-those-things-a-man-should-have-done" in order to be "listenable to". Today I've done it - today I am listenable to, and can eloquently corroborate the proposition that "drug illegality is a dysfunctional discourse" - but today I no longer have the energy and enthusiasm that it takes to fight my way onto the main drug policy scene: assistance needed. Read More.



    This is not only where I list projects that don't fit anywhere else (mainly promotion) but also where I hide jobs that I feel awkward about admitting that I am not good enough to do myself (like editing, translation, etc.). Read More

With a list such as the one below, you would be excused for thinking; “Most or at least the best parts are probably taken.” Not so; I have managed (mainly indirectly) to make a living from my book Svenskt Konstglas during the last few decades, and it is not until now (spring of 2020), that I have started to (commercially) develop The Laszlo & Laszlo Project. Over 60 titles are either published or publishable on Amazon (15 in English, though unpublished, as paper-publishers seem not like "e-published books" even if unsold). This goes for books in some other languages as well, so for all practical purposes: "nothing" is published. Also, there are 3 movie rights - as well as 1 finished script, 4 books begging to be turned into films, close to a dozen “treatments,” as well as a theatre play lost for 70 or 80 years. Yet, no efforts have been made to find publishers or producers.  Everything is in place and "ready to roll" and the texts and projects below - as well as texts/projects in other languages - are all more or less unexploited (at least since the 1970s).   VIDEO

NB. As the Laszlo & Laszlo Project has non-English aspects, you can read about the SpanishItalianFrenchGerman, and Swedish similarly-sized projects and their possibilities (though normally only the English and Swedish get continuously updated). 

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He probably started writing in Hungary, but if so, none of his early texts (probably theater plays) seems to have survived. He wrote several books on Goya’s engravings before he (again?) started to write fiction. His two first books were period pieces, depicting war and pre-war life in Budapest and Paris; irony as well as an ability to see “light” where most would have seen only darkness were his trademarks. His fourth work – after a short relapse into theatre (Dona Juana) - was a collection of short stories, followed and preceded by his three major novels: Mother Unknown, My Uncle Jacinto, and Paco Never Fails.    VIDEO

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