The traditional definition of “writer’s block” is a “condition in which an author loses the ability to produce.” It once exclusively applied to the writer’s own creative slowdown. For modern conservative scribes, however, it extends to the actual obstacles that the publishing and entertainment industries throw in their way. The entertainment establishment’s longtime liberal bias became full-fledged blacklisting during the Obama years, when I realized my Hollywood career was over.

At the time, I could comprehend the professional obstruction of traditionalist storytellers. The Left understood the importance of cultural control to ideological supremacy a half century before the Right did. And art was the gateway. Conservatives generally avoided politicizing the arts for two reasons. First, fewer of them ever entered the field, having lives to live, families to raise, and frontiers to explore, so they preferred to enjoy screen product rather than create it. Second, they instinctively knew that the best stories are conservative. (READ MORE from Lou Aguilar: The Decline and Fall of Hollywoke)

Because they’re about good versus evil, and good — despite shades of grey — is moral, loving, religious, civilized, and above all realistic. While evil is dysfunctional anti-human utopian fantasy that always leads to societal misery. See Marxism, baby-killing abortion, women-depressing feminism, butcherous “transgenderism,” anti-white racism, legal crime, legal border invasion, and the hellscape every formerly spectacular major American city has become under Democratic rule.

A new ABC analysis found that nearly all of the strong economic growth in the country comes from conservative Red states that voted for Trump, have lower taxes, better education, and tougher law enforcement. The ludicrous leftist media spin credited none of these factors, instead citing the warm weather and Blue governance within these states. Which doesn’t explain the total devolution of Los Angeles or the success of Miami.

Neither can woke storytellers, a big reason why Hollywood is imploding. Their diverse progressive heroes and manly heroines only repel the finally awake traditional audience. They can’t create any character as popular as James Bond, Luke Skywalker, Spiderman, or Jack Sparrow. They can only replace, emasculate, or feminize them while leeching off the universes they could never form. (READ MORE: The Woke of Zorro)

This is how you get a sexless Daniel Craig Bond (and have to kill him off), an unfit Rey (Daisy Ridley) in Star Wars, a ridiculous Madame Web (the Spiderverse installment getting laughed off the screen last weekend), and a black female pirate instead of Jack Sparrow in a future Pirates of the Caribbean entry. The producers know these movies will bomb, even suspect the hostility to them outside their liberal bubble, but they can’t change course. Or rescue their projects by firing leftist diversity-hire writers and hiring conservative ones like me.

We know how to reinvigorate James Bond, Star Wars, Marvel, and Disney. Give the men back their guts and the women their romance and sex appeal. Respect what made classic heroes so special and don’t try to “modernize” them for the snowflake crowd. Even more incredible, we can create original characters and exciting stories that will launch new franchises and bring in new fans. And we don’t need Hollywood. I sure don’t.

After I left LA last decade, I switched to my first love — fiction — and became a successful novelist. I wrote three books, all published and well received, one, Paper Tigers, adapted from a politically incorrect yet hot script that died the day Obama was elected. For my fourth novel, I entered my favorite literary genre, the detective thriller.

I did not lack for inspiring role models going back to the nineteenth century — Charles Dickens’ Inspector Bucket (Bleak House), Wilkie Collins’ sergeant Cuff (The Moonstone), Edgar Allan Poe’s C. August Dupin (The Purloined Letter), Arthur Conan Doyle’s Sherlock Holmes, Agatha Christie’s Hercule Poirot, and others. But for my own contribution, I turned to the all-American immortal private-eye heroes, Dashiell Hammett’s Sam Spade, Raymond Chandler’s Philip Marlowe, Ross Macdonald’s Lew Archer, Robert B. Parker’s Spenser, Andrew Klavan’s Cameron Winter. What they did for San Francisco, Los Angeles, and Boston, making the cities almost another character, I tried to do for Washington DC, with all its political skullduggery.

It was the most challenging fiction job I ever undertook. The mystery writer not only has to advance the plot and be stylish, he has to seamlessly leave clues that aren’t a cheat such as the butler did it. Not only this, I made the novel not just non-woke but anti-woke enough to make AOC shriek. Unfortunately, I knew, so would the majority of literary agents and top publishers, infested by cultural Marxism. Many of them wanted “feminist, gay” material, some even asked for pronouns. (READ MORE: Look What They’ve Done to My Song)

I did get one funny pass from one independent publisher, The Book Folks: “Hi, Lou. Thanks for getting in touch. However, we are a sorry bunch of woke, god-fearing atheists, who believe in social justice and the demise and eternal damnation of the political right. May gremlins put jam in their shoes. So I don’t think we’d be the right fit for you.”

I soon found a great publisher for my novel — Aethon Books. My pleasure turned to tension when they said they do really well with trilogies, and could I write two more in the detective “series” one year apart? So, if I end up in an opium den like Edgar Allan Poe, you’ll know the challenge was accepted. In any case, look for the exciting political thriller, The Apocalypse Mask, hopefully this fall. And help break the conservative writer’s block.