ImageI thought, once I published the book, that was it. I’d send it out there and let it find its own way in the world. Then I found out books need attention, just like children. So I told my friends about it, and many rushed out to buy this masterpiece on Amazon and Kindle. That was encouraging. Friends told others, especially in military circles, and more copies of Zehbel The Clever One were sold. That was wonderful. I gave a talk at our local library and more books sold. 

I was delighted to find so many people enjoyed Zehbel The Clever One. Many emailed or called me with glowing reviews on the extraordinary experiences I shared in Zehbel. But as the book’s author, I felt dissatisfied. The book didn’t fully capture the unremitting stress I’d been under for all those years. Back then, I was always looking around to gauge the level of danger in each situation. I looked at people — what was their agenda? Were they a danger to me, to my men, to my family? Each day I had to summon up the determination to face whatever lay ahead. There was constant danger, wearing me down, like water dripping on a rock. 

Corruption throughout Iran was so pervasive in the sixties and seventies (I doubt this has changed much, given the restrictions Iranians operate under the current regime.) . People did what they could, to provide for their families. Greed was borne out of desperation and centuries of repression. 

These were some of the elements missing from Zehbel The Clever One. But I didn’t have the time, or the energy to write another book. Instead, I had my editor write a screenplay for me, based on Zehbel, but with a more dynamic approach. We called it Mercenary To The Shah. And another project was underway. Now we had to pitch the screenplay to producers, managers, agents in Hollywood. This is ongoing: people like the project, but I don’t know how long it will take to get the screenplay sold. One industry professional is providing coverage to ensure the script has all the elements needed to attract the right buyer. As I mentioned in an earlier post, we flew out to LA and pitched the script to a slew of producers with many favorable responses. My editor followed up with additional pitches to a few more producers. Two asked to read the script, so we’re waiting to see what will happen next. 

Fortunately, my editor handles that for me. She compares the project to lighting a fire. You strike a match, the flame catches, but getting the big logs to ignite takes a bit of patience and tact. So, no overnight success, but through persistence and following a well-organized protocol, my editor feels we will succeed. 

One thing hasn’t changed over the years. I’ll still do everything I can to help my family. Zehbel, The Clever One is just one aspect of that story.