The Hollywood Screenwriting Directory is a specialized resource for discovering where and how to sell your screenplay. It contains over 2,500 listings for Industry insiders such as studios, production companies, and independent financiers - plus, pointers to help you create a quality screenplay submission. The Hollywood Screenwriting Directory includes a free subscription to ScreenwritingDirectory.com, where screenwriters can access updated listings and market their projects to Industry Professionals.
Screenwriting Market Intel You Won't Find Anywhere Else Mailing out submissions based on some contact information you found on the Internet isn’t enough to get your script sold. What's truly valuable to an aspiring screenwriter is the kind of specific details you can only get through years of Industry experience. That's why The Writers Store compiled the Hollywood Screenwriting Directory, the product of more than three decades working directly with the people behind the world's favorite films. This targeted reference book features: Verified contact information for Hollywood buyers, including phone numbers, and street and email addresses Crucial details like whether they accept unsolicited material and how they prefer to receive submissions A guide to proper script format and advice on packaging your submission Step-by-step instructions for writing professional query letters, treatments, and log lines Plus, you'll find samples throughout, illustrated with tips and pointers to help you create a quality submission. With the Hollywood Screenwriting Directory by your side, you’ll have a reliable resource that significantly ups your chances of script-selling success!
Ready to submit your screenplay but not sure about the logistics? With over 4,000 listings for Industry insiders such as studios, production companies, and independent financiers, this handy directory gives you the scoop on query letters, treatments and much more. Plus, the Legal 411 for Screenwriters section by entertainment attorney Dinah Perez is well worth the cost of the book. Get a head start with: Correct addresses and info for buyers (more than 4,000 listings!) The top ways to write and format loglines, treatments and query letters Inside screenwriting intel The legalities of screenwriting and more from Dinah Perez! Up-to-Date It's true that contact information in Hollywood can change in the blink of an eye. You'll benefit from the updates to more than 50 percent of last year's listings. Also new are Facebook profiles, email addresses and more. What Matters to You Tons of information is included because so many things go into a successful submission. Browse information such as: Verified contact details, so you can email, phone or stop by in person Packaging your submission for best results Script format Who receives unsolicited work The legalities that go into each stage of the screenwriting and production process How each financier, production company or studio wants submissions
To get your screenplay in front of the right buyer, you need exclusive information and specific details you can only gain through years of industry experience. That's why The Writers Store has compiled the Hollywood Screenwriting Directory, the product of more than three decades working directly with the decision makers behind the world's favorite films. This invaluable reference features: Thousands of listings for Hollywood buyers, industry insiders, studios, and independent financiers, all with verifi ed contact information Crucial details for submitting your screenplay to specific markets: how they prefer to receive submissions, and whether they accept unsolicited material A guide to properly formatting your script and packaging your submission Clear, step-by-step instructions for crafting professional query letters, treatments, and log lines A Silver subscription to ScreenwritingDirectory.com (a $49 value) In addition, you'll find illustrated screenplay samples, essential legal information, and tips for creating a quality submission. With the Hollywood Screenwriting Directory at your fingertips, you'll significantly increase your chances of script-selling success!
An entertaining, in-depth look at the films, including Rear Window, made by Alfred Hitchcock with screenwriter John Michael Hayes. In spring 1953, the great director Alfred Hitchcock decided to take a chance and work with a young writer, John Michael Hayes. The decision turned out to be a pivotal one, for the four films that Hitchcock made with Hayes over the next several years -- Rear Window, To Catch a Thief, The Trouble with Harry, and The Man Who Knew Too Much -- represented an extraordinarily successful change of style. Each of the movies was distinguished by a combination of glamorous stars, sophisticated dialogue, and inventive plots -- James Stewart and Grace Kelly trading barbs in the tensely plotted Rear Window, Cary Grant and Grace Kelly engaging in witty repartee in To Catch a Thief -- and resulted in some of Hitchcock's most distinctive and intimate work, based in large part on Hayes's exceptional scripts. Exploring for the first time the details of this collaboration, Steven DeRosa follows Hitchcock and Hayes through each film from initial discussions to completed picture and presents an analysis of each screenplay. He also reveals the personal story -- filled with inspiration and humor, jealousy and frustration -- of the initial synergy between the two very different men before their relationship fell apart. Writing with Hitchcock not only provides new insight into four films from a master but also sheds light on the process through which classic motion pictures are created.
At 2.26 million, incarcerated Americans not only outnumber the nation’s fourth-largest city, they make up a national constituency bound by a shared condition. Fourth City: Essays from the Prison in America presents more than seventy essays from twenty-seven states, written by incarcerated Americans chronicling their experience inside. In essays as moving as they are eloquent, the authors speak out against a national prison complex that fails so badly at the task of rehabilitation that 60% of the 650,000 Americans released each year return to prison. These essays document the authors’ efforts at self-help, the institutional resistance such efforts meet at nearly every turn, and the impact, in money and lives, that this resistance has on the public. Directly confronting the images of prisons and prisoners manufactured by popular media, so-called reality TV, and for-profit local and national news sources, Fourth City recognizes American prisoners as our primary, frontline witnesses to the dysfunction of the largest prison system on earth. Filled with deeply personal stories of coping, survival, resistance, and transformation, Fourth City should be read by every American who believes that law should achieve order in the cause of justice rather than at its cost.
Low-Fat Love unfolds over three seasons as Prilly Greene and Janice Goldwyn, adversarial editors at a New York press, experience personal change relating to the men, and absence of women, in their lives. Ultimately, each woman is pushed to confront her own image of herself, exploring her insecurities, the stagnation in her life, and her reasons for having settled for low-fat love. Along with Prilly and Janice, the cast of characters’ stories are interwoven throughout the book. Low-Fat Love is underscored with a commentary about female identity-building and self-acceptance and how, too often, women become trapped in limited visions of themselves. Women’s media is used as a signpost throughout the book in order to make visible the context in which women come to think of themselves as well as the men and women in their lives. In this respect, Low-Fat Love offers a critical commentary about popular culture and the social construction of femininity. Grounded in a decade of interview research with young women and written in a fun, chick-lit voice, the novel can be read for pleasure or used as supplemental reading in a variety of courses in women’s/gender studies, sociology, psychology, popular culture, media studies, communication, qualitative research, and arts-based research. “Sometimes, when I read an especially wonderful book I say to myself, “I wish I had written that!” And that is how I feel about Low-Fat Love. To write a page-turner of a book that teaches about contemporary gender relationships is a major feat. Patricia Leavy has done that with Low-Fat Love. Brilliant!” Laurel Richardson, Ph.D., The Ohio State University “Patricia Leavy writes with passion, verve and skill. I will use this in my relational communication and women’s studies classes because it is beautiful, relatable, and offers smart critique of how pop-culture’s expectations for intimate relationships often lets us down. Leavy offers readers a way to think through their close relationships and demand better of themselves and others.” Sandra L. Faulkner, Ph.D., Bowling Green State University “I couldn’t put it down! Low-Fat Love is a remarkable novel that every women’s studies class and interpersonal class would do well to read. The title is indicative of the search for meaningful, deep, enriching relationships beyond the artificial, low-fat love that is all too pervasive in society today. I wholeheartedly recommend this book.” Robin Patric Clair, Ph.D., Purdue University “Low-Fat Love is absolutely brilliant. This new edition is a must-read for anyone who has lived, loved, dreamed, and at times, settled for less than what we deserve – in other words, this is a book for everyone.” Anne Harris, Ph.D., Monash University and Australian Research Fellow in Creativity and Arts in Education Patricia Leavy, Ph.D., is an internationally known independent scholar and novelist. She has published eighteen books including Method Meets Art: Arts-Based Research Practice and Fiction as a Research Practice. She was named the 2010 New England Sociologist of the Year by the New England Sociological Association and received the prestigious 2014 Special Achievement Award from the American Creativity Association. www.patricialeavy.com
Volume 1 covers core publishing industry information: book publishers; editorial services and agents; associations, events, courses and awards; and books and magazines for the trade. Volume 2 contains information on service providers and suppliers to the publishing industry. advertising, marketing and publicity; book manufacturing; sales and distribution; and services and suppliers can be found in this volume. Entries generally contain name, address, telephone and other telecommunications data, key personnel, company reportage, branch offices, brief statistics and descriptive annotations. Where applicable, Standard Address Numbers (SANs) have been included. SANs are unique numbers assigned to the addresses of publishers, wholesalers and booksellers. Publishers' entries also contain their assigned ISBN prefixes.
Witness in the Era of Mass Incarceration works from the premise that if the law establishes and maintains both its practical and symbolic authority on the basis of its monopoly on legally sanctioned violence and the suffering threatened and delivered by such violence, then we cannot know the full human cost or concrete moral status of any legal state without human witness to the depth and manner of suffering meted out by such violence. The prison writer stands in the position to offer such witness. The prison writer knows the law’s violence in the flesh. For every other writer, reflection upon the degree and manner of suffering meted out under legal sanction—that is, reflection upon the full human cost of the contemporary legal order—is necessarily speculative. In close readings of first-person witness from prisons in the U.S., Ireland, and Africa, Witness in the Era of Mass Incarceration discovers literary tropes that chart at once local, national, and transnational conditions of carceral experience—the extant conditions of legalized suffering. In exhibiting the labor required to move from institutionalized abjection to the minimum requirements of rights-bearing personhood, this witness offers the sole credible vision of the possubility of a post carceral understanding of freedom.
