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Everett De Morier, The Six Percent, and Being Part of a Select Few

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Everett De Morier is a man you’ll soon realize it’s a privilege to meet. Everett De Morier, The Six Percent, and Being Part of a Select Few Everett De Morier is a man you’ll soon realize it’s a privilege to meet. Sure, he’s the bonafide author of four books, eight produced stage plays, an expose on prison corruption for 543 Magazine, a true crime book about a powerful New York crime family’s reign in Chinatown. Oh, and he’s writing the novelization for an upcoming World War Two drama. In an industry where only six percent of aspiring writers receive a literary agent, let alone publish their work with established, third party companies, De Morier is a breath of fresh air.

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Once in a position of power and authority, he doesn’t sit back and rest. He’s more prolific than ever, working with the kind of invigoration and drive struggling writers typically possess. With De Morier, he’s realized numerous esteemed projects with the same agent, as well as having forged powerful and lasting bonds with not only the latter, but the upper representational management.

Plus, the film adaptation of his acclaimed novel Thirty Three Cecils is set to commence production this summer, with Dustin Hoffman attached to star. Topping that is the publisher of the source material adapting part of the book for children, titled One Hundred Cecils. “I’ve been doing this long enough that you have to have multiple pots on the stove at the same time. Some people call it luck. But I say luck is what happens when you are doing what you are supposed to be doing. I didn’t get into this for name or brand recognition. I wanted to tell stories that moved me, and that I believe could move others,” Mr. De Morier states. It’s funny. Looking at him as he speaks, you see an interesting set of contradictions.

The man looks appropriately weathered, having lived a long and adventure-laden life. Yet staring into his face, De Morier’s eyes are vivid and alive. He’s not burdened by the experiential weight he carries, but seems motivated by it. I inquire about this, to which De Morier smiles slightly. “I know there’s a lot out there I still am hungry to learn about,” he says wryly. “That’s why I do what I do.” No project is better indicative of this than the novelization he’s writing for the World War Two drama, specifically a sobering portrait of a couple surviving the Holocaust. “I was speaking to a film producer recently about how common it is to option books for films, but you rarely see it go the other way,” he says. “So (the producer) and I decided to go another way.

 But I’m not writing a novelization of the film itself. I’m working with the literary agency to write a book that’s cut from the same cloth as the film’s source material. I think that’s an important distinction, particularly in an era where books are continually taking a backseat to films and television. It’s important for me to make something unique, to put the words page turner back on the map.” Indeed, Mr. De Morier’s longevity seems buoyed by his ability to consistently learn – and presentation ally as a result to shape-shift.

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A sort of quasi-existential grappling makes the man as interesting as his fiction. In a commercial venue priding itself on niches, De Morier remains deliberately, calculatedly removed. I’m reminded whenever we meet that what I think I might know will have the rug pulled out from under it – whether today, tomorrow, or in the days to come.

Timothy Ball

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