Guide to Literary Agents - Tuesday, August 26, 2008

Emmanuelle Alspaugh
Judith Ehrlich Literary Management
880 Third Avenue, 8th Floor
New York, NY 10022
ealspaugh@judithehrlichliterary.com
(212)628-0214

A little about Emmanuelle, from her online profile: "She offers her clients the full breadth of her editorial experience, working closely with them to develop their manuscripts and proposals. Her interests include literary and commercial fiction, narrative nonfiction, journalism, memoir, business, history, science, popular culture, and relationships. In fiction she is looking for both contemporary and historical novels, international/multicultural voices, women’s fiction, and romance."

Random Updates

8/27/2008 11:50:03 AM (Eastern Daylight Time, UTC-04:00)

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Tuesday, August 26, 2008

Agent Advice: Jeffery McGraw of The August Agency
Posted by Chuck

"Agent Advice" is a series of quick interviews with literary and script agents who talk with Guide to Literary Agents about their thoughts on writing, publishing, and just about anything else.

This installment features Jeffery McGraw of The August Agency, LLC. Jeffery handles some fiction but specializes in nonfiction.

Jeffery McGraw

GLA: How did you become an agent?

JM: To cut a very long story short … I started out as a book buyer in Boston, moved to New York to work in soap operas for a while, and later fell - completely by accident - into book publishing at HarperCollins, working my way up the editorial ladder under the brilliant guidance and mentorship of Marjorie Braman (now Holt’s new editor-in-chief: go Marjorie!), left to explore other areas of publishing including a stint as publicity manager for Abrams, happily returned to Harper to become editor for its entertainment imprint, and later got laid off when said imprint wisely got restructured. In the months that followed, I couldn’t find a publishing job available that fit me and that I also fit in return. (You try applying for a women’s fiction editorial spot when you have tons of experience working with women’s fiction but nevertheless happen to be a guy. Damn that extra leg!)
        At that point I grew restless, but also entrepreneurial.
        Originally, I suggested to my good friend, Cricket, who had just a few years prior started her own budding literary agency, that we work together. That’s when we folded her operations into a brand new company, The August Agency, LLC. After years as an editor, becoming an agent was a natural transition for me. Finally, I could work on books for which I had enormous passion – not just titles someone else instructed me to handle. With such a liberal arts mind set, I was able to cast a very wide net and take on a diverse array of authors and projects that matched my interests.

GLA: What's the most recent thing you've sold?

JM: One of the most personally intriguing projects I’ve sold in the past year is author and political scientist Dr. Jack Godwin’s latest effort, Clintonomics: How Bill Clinton Reengineered the Reagan Revolution, due out next year from Amacom. I have been a political junkie for as long as I can remember, plus I love books that enlighten you in ways you never would be able to imagine. Jack Godwin satisfies on both levels with Clintonomics. Just when you think you know everything you could every know about someone – in this case the forty-second president of our great and storied nation – Jack makes you think again, revealing facets of a fascinating figure you never realized existed.

GLA: You have a self-declared "enormous passion for well written melodramas." Can you expound on this? Also, concerning these "melodrama" submissions you receive, where do you see writers going wrong in their writing?

JM: My maternal grandmother, Betty, instilled in me my love for melodrama, starting when she introduced me to the film version of Gone With the Wind when I was 12. Over the years, I would view that film more than 100 times and read the novel that inspired it, which, in all its glorious descriptive wonder, is an even richer experience (Mitchell puts the “scribe” in describe) – at least six times.
        Many people mistake the meaning of the word "melodrama," wrongly attributing it to overacting or extreme sentimentality. In fact, it is what the Greek defined as a combination of music (melos) and conflict (drama). That alone defines opera, a drama set to music. Watch any great Ross Hunter production – Back Street starring Susan Hayward, or Imitation of Life starring Lana Turner, for example – and you’ll find the driving force behind these soap operatic motion paintings can be found in their sweeping musical scores. Nothing appeals to our emotions more easily than music; it serves as a drug to seduce us into feeling a certain way. Loud, pulsating drum beats might signify danger, making us feel scared. A soft and sweet piano melody may soften our hearts, while screaming violins might make those same hearts soar. Combine this spellbinding phenomenon with genuine conflict and you have a magical combination. Not many literary magicians can pull this off on the written page by employing their gifts for language in the same unique fashion as the greats used music in their films, but some have, and to masterful effect: Margaret Mitchell, Fannie Hurst, Michael Cunningham, Olive Higgins Prouty, and Lloyd C. Douglas, to name a few. At their best, these authors have underscored the emotional undercurrent that drives the actions of their characters.
        As an agent, I have yet to come across an unpublished work of fiction that appeals to my emotional core in the same way Mitchell’s Gone With the Wind, Cunningham’s The Hours, and Hurst’s Back Street have. If I only find one novel in my entire career that moves me as much as these and other great authors and their stories have, then the life-long search will have proved its worth. I am sure the late Harper editor Robert Jones felt that way when he first read Ann Patchett’s Bel Canto (though, for what it’s worth, I still think Pedro Almodovar should have snatched up the film rights before Bernardo Bertolucci got his hands on them).

GLA: Your nonfiction areas are vast and varied. What are you looking for right now and not getting?

JM: I’d love to rep more psychology titles (hey, it’s therapy I can afford) … works of narrative nonfiction that take me down roads I’ve never been but am willing to travel and bring all my friends with me … economics books that appeal to the underdog in all of us (think Barbara Ehrenreich’s Nickel and Dimed or our own author Sarah Maxwell’s The Price is Wrong) … history books that are less about the past than they are about the present and future … memoirs that are by turns honest, riveting, tongue-in-cheek, LOL-funny, witty, sardonic, and dry like a good martini should be … intriguing, highly commercial nonfiction by brilliant lawyers (unlike most people, I love the rule of law and adore the attorneys who maneuver and navigate it all, except when they try and make simple things complicated, which is probably how to define what they do best, including, but not limited to, drafting publishing agreements; notwithstanding the foregoing, I realize I digress too much) … unique studies that make you go, “Hey, why didn’t I think of that before?” such as Tom Vanderbilt’s Traffic: Why We Drive the Way We Do (And What It Says About Us) … compelling books by intelligent writers who can turn the seemingly obvious on its head (e.g., a staunch conservative defending the right to gay marriage, or a liberal out to prove racism can serve society in a good way) … and nonfiction that appeals to both the masses and professional fields (business, medical, legal, police oriented, et al).

GLA: Because you rep so much nonfiction, you see a lot of proposals. Where do these proposals commonly fall short?

JM: There are two areas in which I find most nonfiction proposals to be delinquent. The most apparent is the concept itself. Typically, it’s been done before in some fashion or another and doesn’t stand out enough from the crowd. In the competition section, where you list those titles that are either like-minded or comparable in some way, your obligation is two-fold: First, you must prove there is a market for a book like yours, and; second, you must prove your book fills an obvious void within that market.
        The second and more common shortfall I find in proposals is that the author has little or no platform.

GLA: At a recent event, I met a writer who was also a scholar. She was writing a nonfiction book (and knew her subject inside out), but she seemed to have very little concept of platform. When you meet with someone like that - some who has superior knowledge but no marketing ideas - what are some basic helpful things you would tell them to do?

JM: Build your base. I’ve given workshops at writers’ conferences about establishing an author platform, and it all boils down to one basic concept: Develop a significant following before you go out with your nonfiction book. If you build it, they (publishers) will come. Think about that word platform. What does it mean? If you are standing on a physical platform, it gives you greater visibility. And that’s what it’s all about: visibility. How visible are you to the world? That’s what determines your level of platform. Someone with real platform is the “go to” person in their area of expertise. If a reporter from the New York Times is doing a story on what you know about most, they will want to go to you for an interview first. But if you don’t make yourself known to the world as the expert in your field, then how will the NYT know to reach out to you? RuPaul used to say, “If you don’t love yourself, how the hell else is anybody else gonna love you?” I’m not saying be egotistical. I’m just saying, know your strengths, and learn to toot your own horn. Get out there. Make as many connections as you possibly can. We live in a celebrity-driven world. Love it or hate it, either way we all have to live with it. So, celebrate what you have to offer, and if it’s genuine and enough people respond to it, then you will become a celebrity in your own right. Get out there and prove to the world that you are the be-all and end-all when it comes to what you know about most. Publishers don’t expect you to be as big as Oprah, or Martha, or the Donald, but they do expect you to be the next Oprah, or Martha, or the next Donald in your own field.

GLA: Will you be at any writers' conferences in the future where writers can meet and pitch you?

JM: Aside from the regular media trade exhibitions such as Frankfurt (international publishing), MIPCOM (international television), and the like, I will be at the Surrey International Writers' Conference this October 24-26. I’ve attended a good number of conferences, and this one is the absolute best I’ve ever experienced. I’ve come away with a wonderful client from this very conference and even sold his book. It’s the most smoothly run operation, unlike some other conferences I’ve attended. I truly wish I could say I am attending more this year, but frankly I’m not on the conference circuit as much as I would love to be. I enjoy conferences where I can get to know and have some true blue face time with writers and editors as well as fellow agents in the industry. So, if there are any conference directors out there looking for presenters, I would love to hear from you!

GLA: Best piece of advice concerning something we haven't discussed?

JM: Have no expectations in this business (or life, for that matter) and you will not be disappointed. Write for your life! Not someone else’s. If you want to be an ordinary writer, write an ordinary book; if you want to be an extraordinary writer, prepare to go the extra mile. To be a true writer, you have to do two things more than anything else: read and write. Read as much as you can. Write as much as you can. Nothing in this world is perfect, so don’t try to write perfectly. Just write, and accept it, and then polish it until it’s as good as you can get it. And, like no wine before its time, don’t jump the gun and submit your work to agents and publishers too early. Do your homework: Workshop your writing projects through writers groups and conferences, and when you’ve done as much as you can do on your own to make it as great as you can get it, research agents and editors before submitting to them. If they don’t handle what you’ve written, don’t send your work to them. If they have specific guidelines for submitting, follow those guidelines to the letter, no matter what you think may be exceptional in your case. In many cases when people submit to our agency, writers fail to include the first chapter or 1,000 words as required in our submission guidelines. How are we to know what we’re looking at if we don’t see something substantive in the form that we’ve asked to see it? You could have a great idea that’s poorly delivered, or present a lackluster premise to us that’s ultimately marvelous in its execution. If we don’t see a true sample of it, we’ll never know.
        At the end of the day, don’t take rejection personally. You will get rejected. That is a given. Publishing is not personal; it’s a business. Think of it that way. “Not right for us” usually means “Your project is not going to contribute enough to our salaries to make ends meet.” The end. That old saying, “It’s me, it’s not you” is so true. I teach a workshop called He's Just Not That Into Your Book. Finding the right agent or editor can be like searching for one's soul mate. It can take many frogs to find your prince. If an agent or editor turns you down, know that it’s primarily about his/her business needs, not you personally. Don’t be offended. Take it in stride and move on. And try to learn from your rejections. Consider how you could improve your work before submitting it elsewhere. Also, ask yourself if you're submitting to the right places. Above all else, don’t be afraid to put yourself and your work out there. Writers often can be so timid. I see it all the time. It’s like they’re so afraid no one in this world will love them or what they’ve written. Well, let's assume that's true (even though it's not). From this standpoint, what do you have to lose? If you have no expectations, then you won't be disappointed. And, if fate is kind, you just might be pleasantly surprised! You'll never know unless you try. Just jump. The net will follow.

Agent Advice (Agent Interviews) | Nonfiction

8/26/2008 10:55:06 AM (Eastern Daylight Time, UTC-04:00)

Comments [1]

GLA vs. Writer's Market
Posted by Chuck

Q. I queried an agent back in April using Writer's Market to find her. Her listing no longer exists on Writer's Market and she has requested a partial read of my manuscript. What does it mean when an agent is no longer listed with Writer's Market?
- Sonya

A. Great question. Writer's Market is filled with all kinds of markets for writers, such as magazines, newspapers, and agents. Because there are so mny listings that can be in that book, they only put portions of each section in the book. For example, you will see a thousand listings for magazines, but more exist in our database - we just couldn't fit them in the book! The same goes for agents. There is a certain page count set aside for agents in WM, and so we do our best to fill those pages with great agents open to new writers, and vary the listings from year to year. That said, we can only fit about 75 agents or so in the WM printed book, when we have many, many more agents in the database.
So - just because an agent is removed from the printed version of WM does not mean they're off the map or a potential scammer. We're just varying the listings from year to year.

8/26/2008 10:28:33 AM (Eastern Daylight Time, UTC-04:00)

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Thursday, August 21, 2008

New Agent: Jon Sternfeld of Irene Goodman Literary
Posted by Chuck

Reminder: Newer agents/agencies are golden opportunities for new writers because they're likely building their client list; however, always make sure your work is as perfect as it can be before submitting, and only query agencies that are a great fit for your work. Otherwise, you're just wasting time and postage.

Jon Sternfeld of the Irene Goodman Literary Agency

80 Fifth Avenue, Suite 1101, New York, NY 10011. E-mail:
queries@irenegoodman.com. www.irenegoodman.com/about.php. Actively seeking: intelligent literary fiction, high-end modern fiction; nonfiction and narrative nonfiction dealing with social, cultural and historical issues; an occasional memoir and current affairs book. Prior to his current position: Jon comes to the agency from the film world, where he worked both the creative and development sides. He is actively seeking new clients. "I'd be happy if people just reached out to me," he says.

How to contact: "For Unpublished Authors: If you have a manuscript that you would like to send to the agency, please first ask yourself the following questions: 1) Is this manuscript in the best possible shape? Do I believe it is ready to sell, or am I just testing the waters? 2) Have I completed the manuscript? 3) Does it fit the guidelines of the kinds of books this agency represents? If you can answer yes to all of the above, then please do the following: Send a query letter and the first 10 pages, along with a detailed synopsis of the entire book, in the body of an e-mail to queries@irenegoodman.com (Query, ATTN: Jon Sternfeld)."

Responds in 1-2 months. If interested, this agent will request more pages. E-mail queries only. No snail mail or phone queries will be accepted, nor will any queries to Jon's personal e-mail account. "Because we are receiving more than 50 queries a day, the system is getting overloaded. If your e-mail bounces back, please do not call the office. Just try again in a day or two."

New Agency Alerts

8/21/2008 3:24:54 PM (Eastern Daylight Time, UTC-04:00)

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MORE Agent Chapter 1 Pet Peeves and Writing Cliches
Posted by Chuck

Note: This is part II of
the discussion on Chapter 1
no-no's. See part I here!

The current issue of Writer's Digest magazine (Sept/Oct 08) has a piece in it that I wrote on literary agents' chapter 1 pet peeves. For it, I basically just contacted a whole bunch of agents - new and experienced, fiction and nonfiction, Christian and not, juvenile and adult - and asked them all what they hate to see in chapter 1.

They gave a lot of great feedback - real good practical stuff touching on cliches and pet peeves and overused beginnings. Here is some of the responses that we put in the printed article:

Agents Chapter 1 Pet Peeves:

"Most agents hate prologues. Just make the first chapter relevant and well written."
       - Andrea Brown, Andrea Brown Literary Agency

"Slow writing with a lot of description puts me off very quickly. I like a first chapter that moves quickly and draws me in so I'm immediately hooked."
       - Andrea Hurst, Andrea Hurst Literary Management

"Avoid any description of the weather."
       - Denise Marcil, Denise Marcil Literary Agency

"I don't like it when the main character dies at the end of Chapter 1. Why did I just spend all this time with this character? I feel cheated."
       - Cricket Freeman, August Agency

"A cheesy hook drives me nuts. They say 'Open with a hook!' to grab the reader. That's true, but there's a fine line between an intriguing hook and one that's just silly. An example of a silly hook would be opening with a line of overtly sexual dialogue. Or opening with a hook that's just too convoluted to be truly interesting."
       - Daniel Lazar, Writers House

" 'The Weather' is always a problem - the author feels he has to set up the scene and tell us who the characters are, etc. I like starting a story in media res."
       - Elizabeth Pomada, Larsen-Pomada Literary Agents

8/21/2008 1:13:37 PM (Eastern Daylight Time, UTC-04:00)

Comments [2]

Beware the Children's Literary Agency
Posted by Chuck

Q. Hi, I have a finished manuscript that is for the age range of 7-12. Can you tell me if you are familiar with Children's Literary Agency? If so, can you tell me what you know about them? Thank you.
- Debbie

A. I am familiar with that agency and let me say unequivocally that they are not reputable. Do not submit to them unless you want to face the very probable scenario of you paying money and not seeing your book published.
Beware CLA...

Children's Writing | Scams

8/21/2008 12:30:56 PM (Eastern Daylight Time, UTC-04:00)

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Agent Donald Maass = New Writer Unboxed Contributor
Posted by Chuck

Therese Walsh of Writer Unboxed recently e-mailed to tell me the exciting news that superagent Donald Maass will be joining Writer Unboxed as a contributor.

Off the top of the head, I can think of at least two amazing books on writing penned by Maass, so there is no doubt that the man is full of incredible advice. Getting his wisdom through blog work will be very helpful to writers, new and experienced.

He doesn't begin contributing till April, but Writer Unboxed is a great site that you should be checking out now anyway!

Donald Maass

8/21/2008 12:24:28 PM (Eastern Daylight Time, UTC-04:00)

Comments [1]

Agency News From Here and There...
Posted by Chuck

News from the agent world...

1. Ronnie Gramazio is no longer with Martin Literary Management

From Sharlene Martin, principal of MLM:
        "Please be advised that effective August 19, 2008 Ronnie Gramazio is no longer an agent with Martin Literary Management. He has decided to return to an editor position with a soon to be announced publisher. Therefore, please note that we are no longer accepting any fiction submissions. We are a nonfiction agency only. Also, please note, that effective July 1, 2008, we are a 'green agency' and only will be accepting queries letters via email (in the body of the e-mail—no attachments) and hard copy letters/submissions may not be responded to."

2. Anderson Literary Management Wants Snail Mail Submissions

From Adriann Ranta of ALM: "The listing for Anderson Literary states that we accept email queries. We strongly prefer hardcopy submissions, so if you could make the listing reflect that it would be greatly appreciated."

3. Irene Webb Literary Changes E-Mail and Mailing Address

Here's the new info:
       Irene Webb
       Irene Webb Literary
       822 Bishop's Lodge Road
       Santa Fe, NM 87501
       webblit@gmail.com

Random Updates

8/21/2008 12:17:49 PM (Eastern Daylight Time, UTC-04:00)

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Pseudonyms For Authors
Posted by Chuck

Q. The October 2008 issue of Writer's Digest on literary agents was nicely done and I enjoyed the variety of your articles. Agent-related materials always intrigue me, and you gave me the opportunity to discover more about the author's representation process. On page 30, (the author) made the suggestion to look for an agent who would be able to handle all categories of an author's work. I am one of those multiple category writers. I have a nonfiction project on humanity, outlines for several science fiction novels, and an almost completed song lyric project for a rock concept album. Because my current professional career is in a field that may not associate well with my writing, I have opted to use different pseudonyms for each category. How do you think an agent or an editor would feel when learning about an author with multiple pseudonyms for each of his work's category?
        - Christophe

A. Pseudonyms may very well come into play down the stretch since you're working in different categories and you need to "brand" yourself. The fact that you have some kind of career that does not mesh will is another logical reason to use a pen name. However, there is plenty of time before any of these projects get published, so my advice to you is to simply relax and let your agent and editor work with you on this.
       When I told my literary agent that I had a children's picture book in my bag of projects, her first remark was that it will probably need to come out under a pen name, as she was concerned about my nonfiction "brand."
       So - yes - you're on to something here, but you've got what I believe The Rejecter called "Thinking Too Far Ahead Syndrome." Relax - deal with this as it comes up.

8/21/2008 12:06:12 PM (Eastern Daylight Time, UTC-04:00)

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WD Editors at The Maui Writers Conference
Posted by Chuck

Two of my fine coworkers at Writer's Digest - editor Maria Schneider and online managing editor Brian A. Klems - will be at the Maui Writers Conference in a week.

(For a great Photoshopped picture of them in Hawai'ian garb, click here.)

If you're headed out to Hawai'i, you're in for a great time. Though I've never been the this particular conference, I'm told it's wonderful, and there are a boatload of agents in attendance, ready to hear pitches and find new clients. There is still time to sign up, though I cannot guarantee airfare will be anywhere near reasonable this late in the game!

Writers' Conferences

8/21/2008 11:16:19 AM (Eastern Daylight Time, UTC-04:00)

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Monday, August 18, 2008

The "Worst Storyline Ever" Contest!
Posted by Chuck

Have you got a horrible idea for a story? Well I want to hear about it. Welcome to the "Worst Storyline Ever" Contest - a competition that encourages terrible loglines.

A logline is a one-sentence line that explains what your story is about and shows the "hook" - the unique idea that makes people want to see more. You see loglines all the time in TV Guide and on the back of DVD boxes. Here are some examples:

        "Three middle-aged men defeat their midlife crises by starting a college fraternity." (Old School)
        "When a Roman general is betrayed and his family murdered by an evil prince, he comes to Rome as a gladiator to seek revenge." (Gladiator)
        "In a future where criminals are arrested before the crime occurs, a cop struggles on the lam to prove his innocence for a murder he has not yet committed." (Minority Report)

But that's all the examples I'm going to give you, because I'm not looking for good examples of a logline; I'm looking for bad examples. Nay - terrible, stupid, "oh-my-God-that-idea-is-dumb-as-hell" examples.

Examples of Bad Loglines

1. "After the death of his goldfish, a priest renounces his faith and gets a job at the local White Castle, where he becomes addicted to special sauce and tries to dance his way to getting respect on the streets."

2. "A man's lifelong plan to dress up like Jabba the Hutt and star in a new line of workout tapes finally comes to fruition, but everything goes horribly awry when the man gets ink poisoning, lead poisoning and mercury poisoning all at once."

3. "When a woman dies and is reincarnated as a power saw, she uses a telepathic link with feral cats to help trick and trap and kill her former-lover-turned-murderer-turned-taxidermist."

Here are the rules:

1. Stick to the format, but have fun with the idea. You want your logline to be one sentence only and must be 60 words or fewer, and explain what the movie is about. It's what you put in that one sentence that will win you this competition. So the trick is to make your logline a terribly creative idea that's pitched in a professional manner.
2. The contest will go until the end of August 2008. Submissions received after that will not be considered.
3. I will judge the contest, with some possible input from other WD and WD Books staffers.
4. To participate, simply click on "Comments" at the end of this post and leave your submission as a comment with your full name and e-mail. You must include your full name and e-mail.
5. You can submit up to two (2) bad loglines. You can include both in the same comment post as you wish.
6. The contest is open to everyone of all ages, save those employees, officers and directors of GLA's publisher, F+W Media (formerly F+W Publications).
7. There are a lot more rules (most of them dealing with legal stuff) that you can find in the comments section of this post.
8. By posting a terrible logline for consideration in this contest, you are agreeing to the terms written here as well as the terms added by me at the beginning of the "Comments" section of this blog post.

The Prizes:

First prize (grand prize): 1) A query letter critique from me. 2) A follow-up phone call to discuss the query critique and a plan of action for seeing your work published (basically: you ask questions, I answer). 3) Copies of the 2009 Guide to Literary Agents and the 2009 Writer's Market. 4) Praise on this blog from yours truly.

Two runner-up prizes: 1) A free copy of either the 2009 Guide to Literary Agents or the 2009 Writer's Market. Your choice.

Good luck!!!

Contests

8/18/2008 4:40:10 PM (Eastern Daylight Time, UTC-04:00)

Comments [196]

Announcing: The 2009 Screenwriter's & Playwright's Market
Posted by Chuck

Q. I recently purchased the 2009 Guide to Literary Agents, and found that Script Agents are no longer listed (unless I didn't see them). Did I simply miss them, or is Writer's Market Books publishing a separate book for them, or is WM simly deciding not to list script agents anymore? (I'm looking for agents representing screenwriters.)
    - Paul

A. I've been meaning to blog about this, and such a perfectly-phrased question is a good opportunity. (Thank you, Paul.)
       Yes, Paul - you're correct. For many years, GLA listed script agents that handle screenwriters and playwrights. The reason we took script agents out of this most recent addition is that we are ending production on the first-ever Screenwriter's & Playwright's Market, the ninth book in the market book series. Last summer, before I even had an agent, I drafted up a book proposal for this new idea - a market book dedicated to writers of stage and screen. I submitted the proposal to my boss, the imprint head here at Writer's Digest Books. The high-ups here at F+W Media thought it was a good idea, and I made my case to be the book's first editor, as I've had plays produced and know some people in the Hollywood world, etc. They agreed, and that was that.
       The book comes out in January 2009 and is basically a huge resource full of contests, agents, managers, production companies, and conferences. As usual, before the hundreds of pages of listings, we have about 25 instructional articles relating to the craft and business of writing (in this case, screenwriting, TV writing and playwriting). The editing process is finally wrapping up after 14 months and I'm very pleased with the book. I'll talk more about this as the in-store date comes closer.

Playwriting | Screenwriting and Script Agents

8/18/2008 3:20:51 PM (Eastern Daylight Time, UTC-04:00)

Comments [1]

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