Pub Rants

Category: Hollywood – Film/TV

One Book, One Denver

by Kristin Nelson

STATUS: Another late night but I’m finally getting caught up after vacation.

What’s playing on the iPod right now? DANCING IN THE DARK by Bruce Springsteen

Last week I had the pleasure of attending the launch party for One Book, One Denver hosted by Denver Mayor Hickenlooper. One of the fun aspects of being involved in Denver’s literary scene is that I get invited to interesting events.

So the launch party is the big reveal that happens before the press releases are officially out and about. I personally had no inkling as to what book they were going to choose for the city-wide book club.

And I have to say, I was a little surprised and here it is.


When I chatted with some of the committee members, they mentioned that they were really looking for a fun but literary book that all kinds of readers could get behind. Makes sense to me.

So what do you think about the choice?

For my part, it’s certainly one of my favorite movies. Nick & Nora and their very brainy sidekick/family dog, Asta, solve the crime and save the day.

Heck, I think the book is worth reading just to watch the movie again. And if you aren’t into classics, this just might be the film to win you over (with its 4 Oscars and all).

90210

by Kristin Nelson

STATUS: It’s been a busy day so far and I still have one meeting scheduled for this afternoon and then dinner with another Hollywood co-agent tonight.

What’s playing on the iPod right now? BLUES BEFORE AND AFTER by The Smithereens

Got back to my hotel around midnight last night. I couldn’t quite make myself blog so late; sorry about that.

I flew into LA yesterday for Book Expo. I came early to meet with a variety of Hollywood co-agents. Some I’ve worked with for years and quite a few whom I am meeting for the very first time (even though I’ve worked with them on projects). Some are brand, brand new as I’ve heard good things from other agents and producers and I want to be on their radars and vice versa.

Meetings with Hollywood co-agents are not unlike meetings with editors in New York. The film agents talk about their current clients and what they are working on and I talk about my clients and what books I’ve recently sold. Most of my meetings have been located in the zipcode area of 90210—otherwise known as Beverly Hills.

Now I’m definitely getting the scoop on what is currently selling in the film world but I’m weighing whether it’s all that valuable to share with blog readers. Why? Because Hollywood changes its mind every 4 to 6 months. So whatever is considered “hot” right now will change when a new film releases and either “breaks out” or doesn’t. Even though Hollywood moves at a glacial pace in terms of production, it still bases its buying decisions on what currently has done well.

I know. Doesn’t make sense to me either. So, there isn’t much point in sharing the info really. Not to mention, it’s not what I base my decision on when taking a on a project for representation. I just take on what I really love etc.

But I know you readers would want to know anyway despite the fact it really can have no bearing on any work-in-progress as only a very small percentage of books published actually get optioned for film.

You gluttons for punishment! Okay, I’ll tell you. Every single film agent has asked me whether I have any projects that would fit the bill for the all-encompassing family entertainment segment (in other words, projects with enough appeal to hit the four quadrants outlined by the family—mom-friendly, enough action for dad, and something that will appeal to both teens and kids. If you have the next Shrek, they are all over it.

Right now no one is willing to risk a women-driven historical (that is until the next independent film maker has a wild success in that field which could happen at any time.)

And I found out who the real life person the character of Ari Gold on my fav show Entourage is “loosely” based off of. But perhaps Hollywood gossip should stay in Hollywood. Or 90210 as the case might be…

Book Expo

by Kristin Nelson

STATUS: Getting to this blog entry late tonight. It’s Friday night and Kristin is not out and about on the town. I’m actually working… I want to finish things up before I leave for LA on Tuesday.

What’s playing on the iPod right now? I PUT A SPELL ON YOU by Bryan Ferry

BEA. BEA. You keep hearing the acronym but what is BEA? It stands for Book Expo America. It happens every spring and it’s basically the publishing industry’s way of launching the fall list with a big bang.

The fair itself is really geared more towards booksellers and librarians who come out in droves to get free ARCs [advanced reading copies] of all the big books for the fall. Each publisher hosts a “booth,” which can be half the length of the convention floor so some booths are big. In their booths, they spotlight authors, titles, have posters up and free ARCs. Lots of attendees come with suitcases so as to ship books back.

By the way, a couple of years ago they banned anything on wheels from the convention floor. However, you can have a “storage” space on the lower floor to store your books and UPS has ground shipping there and available for easy delivery.

Big authors host talks, breakfasts, big signings, etc. There are industry panels for education on publishing-related topics. I’m looking forward to hearing Jeff Bezos talk on Friday afternoon. (For those of you who don’t know, he is the current CEO of Amazon.com.)

So what is there for an agent to do? Lots actually. Last year I had 5 authors spotlighted at BEA so I made sure everything went smoothly for them. This year I don’t have any (talk about feast or famine…) so my time will be spent attending some panels, checking in with a few editors who will be at the booths, and my main focus is on Hollywood co-agents who handle book-to-film type deals on the behalf of literary agents.

I’m touching base with the folks I already work with (on a variety of projects) and then I’m meeting some new co-agents for the first time whom I might enjoy working with on future projects. BEA is all about the networking.

There is also the Rights Center. Literary Agents will often take a table in the rights center in order to hold meetings with editors there as well as with reps from foreign publishers for foreign rights etc. Last year I met with a lot of Audio publishers just to get to know those editors a bit better.

So that’s where I’m headed on Tuesday and I look forward to reporting from the floor. If I remember (knock on wood), I’ll take the camera (although I can use my trusty iPhone) and share pics etc. Expect blog entries to come late as my day is packed with meetings so there won’t be time to blog until the late evening.

Have a wonderful and safe Memorial Day Weekend.

I’m out!

Not Always At Once But Sometimes At Last

by Kristin Nelson

STATUS: I’ve got contracts on my mind.

What’s playing on the iPod right now? ME AND MRS. JONES by Billy Paul

As y’all know, I’ve been working on contracts and quite a few foreign rights sales as of late. I’m particular fond of some of the recent deals because they were several years in the making.

See, we submitted the project back when we did the US sale but alas, didn’t have any takers. The US sale had been a strong one so we were quite flummoxed. We received quite a few rejections that the project felt “too American” for the foreign audience.

In a sense, I get that.

But now the deals are happening, so what has changed? Several things actually. The global market climate for that genre. The strength of the US sales can be a tipping point factor. General excitement created by readers with the US copy (or of an English-language copy that was imported into a particular country). There can be a number of reasons.

The door is never closed. It’s a good reminder that even if a foreign sale doesn’t happen at once, it can certainly happen at last (and the money, and the love, can be better the second time around). This happens in Hollywood as well.

Just last year I sold a project to Hollywood that I had been shopping for three years. I hadn’t given up hope but things did look a bit unpromising. Then a surprise summer hit made this type of project suddenly hot again and voila, interest, and then a sale.

Grumpy About WGA Strike

by Kristin Nelson

STATUS: Mail arrived! Hooray. Huge stack too. And there were royalty statements and checks. I told you so.

What’s playing on the iPod right now? FIND THE RIVER by R.E.M.

Most normal people might be grumpy because of the dearth of interesting programming on the telly right now. I’m annoyed because it’s keeping one of my projects in film limbo because the script needs reworking. Since the screenwriters are on strike, no revisions allowed.

I got a call today from my film co-agent just to update me that there is no update. Good to know and I’m glad she called, just to stay in touch. (It tells me she’s still employed; there are lots of rumors about mass firings that may be imminent in Hollywood).

But I’m sure I’m not alone in thinking, “who do I need to bribe to get the parties back to the negotiating table?”

Starbucks anyone? I’m buying.

Hollywood or Bust?

by Kristin Nelson

STATUS: Busy. On the phone all day. Almost literally.

What’s playing on the iPod right now? SYMPATHY FOR THE DEVIL by The Rolling Stones

Or Bust for sure right now. Can you say reruns? It’s not just your TV screens going dark. The current strike in Hollywood will be impacting the book industry. Right now, it’s not clear as to how much—yet.

Book-to-film options are still happening but there may be a slowdown. Too soon to tell. If an option has already been bought and the screenplay delivered, then that project is probably sitting pretty.

If the screenplay needs revisions, then the strike hurts because screenwriters are on strike. I just hope both sides go back to the negotiating table soon. Right now that’s not looking likely.

Great Covers, Film Deals, Good PR, That’s What This Job Is About!

by Kristin Nelson

STATUS: It’s one of those days where everything has come together. It makes being an agent perfect.

What’s playing on the iPod right now? SONO ANDATI from La Bohème

First off I get the news that my author Kim Reid is going to have a live interview about her memoir NO PLACE SAFE on NPR this Oct. 10th.

She will be on the program News & Notes (which is the flagship African-American talk radio program on National Public Radio and is hosted by Farai Chideya).

I love NPR and it’s always a special thrill to have an author spotlighted on their radio program.

Then I finally get to share my most recent exciting film news. Universal’s Strike Entertainment has optioned Shanna Swendson’s Enchanted, Inc. Look for the Deal Lunch announcement to appear soon. This is especially thrilling because this deal has been three years in the making—not to mention this project was optioned by a whole other company about a year ago and that deal fell through. It’s the little film option that could!

And then, cherry on top, I receive the most gorgeous cover for a recently sold young adult project. It’s always amazing when a publisher gets it exactly right. Brooke and I are so in love with this cover, so if you hate it, I don’t want to hear about it.

Just kidding. Well…maybe not.

Rumors Confirmed

by Kristin Nelson

STATUS: With the mail, I’m reminded that it’s October royalty statement time.

What’s playing on the iPod right now? WHEN DOVES CRY by Prince

The rumor is now official. Harlequin is closing its NEXT and Everlasting lines. Not a huge surprise but now things need to be re-evaluated if an agent has an author writing for either one of those lines.

And I have to laugh. Publishers need to be able to move as fast as the word does and they rarely do. The poor editors. They all had to say they didn’t know anything about it until Harlequin made the official announcement (which happened today). Talk about being in an awkward position.

Once information hits the streets (and I do mean the virtual streets), word spreads rapidly.

Speaking of streets, virtual or otherwise, I had an interesting time getting to work this morning. Chutney and I were doing the usual walk down 17th street before taking a right on Wazee. Usually the streets in Lodo are a little quiet since most businesses are more uptown. Then I noticed there seemed to be an inordinate amount of attractive and well dressed people on the street and literally, standing in front of my office.

But hey, it’s a free country and fashion plates can stand where they like.

I walked into my lobby only to run into several of my fellow office building mates. They asked if I were “in it?”

Confused, I said, “in what?”

“The movie. They are shooting a movie.”

Ah. Well, that explains the people with the walkie talkies. I’m thinking not since nobody stopped me as I walked down the street. I probably ruined a scene and didn’t even know it.

Ends up they are filming an Eddie Murphy movie literally right outside my office door so when his next film comes out, look for the SH Supply Company brick building and you’ll know that is where the Nelson Literary Agency resides.

I have to say that car alarms were featured heavily in the scene they shot this morning because we would hear the command, the alarm would go off, and when “cut” was yelled, it stopped.

And no, I didn’t get a glimpse of Eddie.

Going Hollywood

by Kristin Nelson

STATUS: Busy but I’m feeling productive. Contract stuff is still dragging along. So close to finishing too. Maybe it will all resolve tomorrow.

What’s playing on the iPod right now? THE IMPRESSION THAT I GET by Mighty Mighty Bosstones

Am I making too broad a statement by saying that every author dreams of having their book made into a movie?

After all, Hollywood butchers it more often than not. Still, I can’t think of a better 2-hour commercial for a book than a movie. There is no doubt that it sells books—even if the movie isn’t good.

But I think writers are often a little clueless on how a book-to-film deal works. (And I know this by all the queries from screenwriters that I receive.)

Let me clarify to begin. I rep books. I don’t rep screenplays. I sell the print and subsidiary rights for my clients’ projects. Film/dramatic rights are simply one of the subsidiary rights that I shop so my clients can earn more money.

I get queries all the time from authors who have published their works with small publishers and are now looking for someone to shop just the film rights. I don’t do that. I only shop film rights of client projects for which I’ve sold the primary print rights. Why? Because Hollywood is always such a long shot that the money isn’t worth it otherwise. I’m only willing to expend the time and energy for my own clients. Make sense?

To do this, I have Hollywood co-agents because they are the experts (just as lit agents are the experts in publishing). As partners, we split the 20% commission for the sale.

But I don’t work with just one co-agent. I tend to work with a variety of folks at the various book-to-film agencies in L.A. Why? Because the co-agents choose which projects they like and think they can sell. Just because I partner with them doesn’t mean they are willing to take on every project for which my agency sold the print rights. Co-agents want sell-able projects and although lots of stuff is published, not all of it works for the screen. It’s always on a project-by project basis.

That’s why literary agents partner with more than one co-agent. Sometimes it’s simply a matter of finding the right fit (almost like finding the right editor). I’ve had one Hollywood co-agent pass on a project that wasn’t his/her cup of tea only to have it picked up by a different co-agent who loved it and sold it.

Ultimately, I need a co-agent who is enthusiastic enough about the project to keep pitching it even if it doesn’t sell right away.

Sound familiar?