We are a Writers Guild of America signatory agency.
We abide by all WGA rules and regulations in accordance
with the latest WGA contract.

We do not charge a fee beyond our 10% commission
for basic* agency representation services.

*Should we package your project and/or act as the
Production Company the fees are different.

(i.e. Something about Mary, Sex, Lies and Videotape, SlingBlade, The Spitfire Grill,
The Apostle, Chasing Amy, Pulp Fiction, Monster's Ball, Clerks, Reservoir Dogs, My Big Fat Greek Wedding, etc.)

Please DO NOT send Science Fiction, Horror, Period/Costume,

Road Pictures or Big Budget Special Effects/CGI Feature Films to us.

Send us a cover letter, a SYNOPSIS* of your work,
and a self addressed stamped envelope.

*A SYNOPSIS is a one page description of your work.
It should cover: Exposition, Conflict and Resolution.
It SHOULD NOT tease the reader, it is an outline of the COMPLETE story.
It SHOULD NOT contain dialogue.

Any synopsis that is received that does not tell the whole story is trashed.
We do not have time to be teased.

If we like your synopsis we will request a TREATMENT.
A treatment is 7-10 pages of "Cliff’s Notes" style description of your work.
A scene by scene guide to the story. It SHOULD NOT contain dialogue.

If the TREATMENT is approved, we will then and only then,
ask for the SCRIPT.
It should be properly formatted, in the proper type face and
be between 90-120 pages.
I highly recommend using script software
(i.e. Scriptwriter, ScriptThing, etc.)
You should send the script to us along with an envelope
for its return by Regular U.S. mail to your mailing address.

If you have a GREAT idea (Yes, I know, it's truly remarkable, never been done, a sure hit) then this is what is required for a series to even be considered a contender.

200 pilots are shot each year at a cost of $50,000 to $1,000,000 each, MAYBE 10 will get a shot at being on the air, perhaps three will make it 13 weeks, 1 might last 5 years or more.

1. A pilot ( approxiamately 40-45 pages ) 60 minutes for a 30 minute program and a two hour pilot for a one hour series. Keep in mind that TV programs are really 22 min. long for a 30 min. program and 44 minutes for a 60 min. program. I strongly suggest that you watch a 30 minute program and a 60 min. program for timing, use a stop watch. Time the opening, the segments, the commercial breaks, the credits, learn the formula, there is one; working with it is what separates wanna-be's from professionals.

3. A Character bible, a character by character in-depth description, motivation, appearance, habits, dress, NAIL THEM DOWN.

Treat them like a Feature Film with the exception of commercial breaks, they need to be planned properly. You just can't halt a scene and insert a series of commercials, you need to write around the commercials, because my dear friends, THIS IS SHOW BUSINESS, what you write is the stuff BETWEEN the COMMERCIALS.

Hopefully, this fad is about over; it stinks for writers, it's heaven for producers because they don't have to pay writers. On the other side, they shoot at a 20 to 1 ratio. Very little of what they shoot can be used and editing is a nightmare with much higher post production expenses than any normal scripted production. Treat it like a pilot, be as descriptive as you can. If you try to play the tease, you'll lose! If there is already something like it on the air, don't bother. If your twist or combination makes it very special, give it a shot. Keep in mind that insurance costs are outrageous and that the sexual revolution ended years ago. We live in a world governed by bean counters and the repressed, create accordingly!

NO BOOKS, NO POETRY and No we can't take your idea and write a script for you (Yes, people have actually asked this question).

If you are a new writer and you actually want to see your work produced, then understand that your best bet is to write for a small budget feature. Producers are more likely to take a chance on an unproven writer (you), whereas, the major studios will not risk producing a big budget feature written by an unknown.

Interested writers should send (via U.S. Mail*) a package to us that includes:

*If you must send your materials in a manner that requires a signature for delivery, use the street address only. We pick up our mail very early or very late each day at the Post Office, window service is unavailable to us after normal business hours.

We DO NOT accept
a synopsis, treatment or script via email.
Please do not send your work in that manner,
it will be deleted, unread!

We have a lot of material to read, DO NOT waste your time or ours telling me about your desire to be a writer, your Elementary, Middle School, Jr. High,

High School, College, Post Grad or Professional writing history. I don't need to see your resume, a letter from your Mom, Dad, Doctor or your Therapist. No storyboards, No cartoons, and please don't even think about telling us that you want to Produce / Direct / Act or that so and so would be perfect for the role!

There are over 400,000 scripts registered with the WGA each year, usually about 400 feature films are produced. It took Forrest Gump 7 years to be made, it was best selling book first and Bob Zemeckis was the director. So be patient!

We are not trying to be mean and nasty, we get 10,000 ideas a year, 9,980 of them are a waste of time, rehashed versions of existing films, extremely poor dialouge, not formatted properly, poor grammar skills, and just plain sloppy.

It is not our job to edit, retype, copy, print your work, it must be delivered to us in the proper way for us to present it to Producers, by taking on and representing your work we are in effect putting our name and seal of approval on it. Please do your best to be in the top 20 that make us love this business.