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THE MISC. WRITING SCREENPLAYS FAQ

Compiled by Stephen Smith (stevo@jonlan.demon.co.uk) from various postings and E-mails - thanks to all who have helped, both directly and indirectly.

This FAQ was written, not (all) by me, but by the people who post to the newsgroup - you may recognise a lot of it! Basically, what I have done is to copy from the group anything that I feel is relevant, frequently asked, and helpful to know, and put it into one place. Hopefully with all this in one place we can avoid any more "Which font do I use?" discussions.

It may be that some information in the FAQ is not suited to it. After all, the whole point of the group is to ask questions and chat, and I don't want the FAQ to take this over. I'll leave it to the group to decide what should stay, and what should go. E-mail me if you have an opinion.

Not all of the questions are currently answered, but I have left them in to remind me that they need an answer. If you know the answer to a question in this FAQ, please send it to me.

Anyway, here it is!

CONTENTS

What is the group about?

Where can I find information on films on the Net?

Where can I find information on Screenwriting on the Net?

What is the other FAQ that I see recommended/requested in this newsgroup? Are there any other FAQ I might be interested in?

Your physical script

a. What is the proper format, and why are there so many different ones? And how do I know which one to choose?
b. What is the correct font I should be using?

Screenwriting Software

a. Word for Windows
b. Word Perfect for DOS
c. WordPerfect for Windows
d. Word for Mac.
e. Windows

Show-Specific information

a. Star Trek
b. X-Files

Where can I get the Hollywood Creative Directory?

What other courses/books are recommended?

I have a question that's not answered in the FAQ - what do I do?

Can I post my idea/treatment/script/story/novel to the newsgroup and get it critiqued by the readers here?

Where can I get scripts from? (Net and otherwise)

Okay, I've read the FAQ - Now what?

Show-type advice. a. Mini-series

Advice on dealing with producers

I suffer from Writers Block. What do you recommend?

I get bored of my ideas once I start to write. What can I do?

Terminology

a. Spec scripts
b. Screenplay
c. Teleplay
d. Production script
e. Treatment f. Release form

How do I option a book?

What magazines (or similar) can I subscribe to?

How do I register with the WGA (Writers Guild of America)?

Do you have any E-mail addresses of production groups?

What is the group about?
The newsgroup misc.writing.screenplays (MWS from now on) is a forum for anybody who wishes to discuss any aspect of screenplay/teleplay/scriptwriting with other people. Naturally enough, the usual netiquette applies to this group. In addition, please do not post scripts of any kind to the group, for the same reason as not posting binaries or HTML files etc...

Where can I find information on films on the Net?
One of the best places to look is the Internet Movie Database, located at http://uk.imdb.com/ (or http://us.imdb.com/ of course). This is an entirely free fountain of knowledge on almost any film. http://www.indispensable.com/movies http://www.gigaplex.com/ http://www.webcom.com/~davidaug/Movie_Sites.html http://Screenwriters.com/Deemer/ http://www.iguide.com/movies/mopic/pictures/ The Hollywood Reporter may now be accessed directly at http://www.hollywoodreporter.com. The Reporter purges every day. To access Daily Variety, use Yahoo (http://www.yahoo.com), then select "Reuters" and the "entertainment headlines" section thereafter. Most of what appears there is taken directly from Variety and put on the Reuters wire service. You'll also see summaries of Variety headlines, Army Archerd's column, etc. Yahoo keeps headlines for a week, so you can make weekly visits there.

Where can I find information on Screenwriting on the Net?
http://www.teleport.com/~cdeemer/Screenwriters.html
http://www.io.com/MovingToHollywoodGuideForActors/
http://users.aol.com/blcklab666/home.html
http://home.earthlink.net/~akeir/writers.html
http://www.wga.org http://screenwriters.com/Interspace/index.
html http://rohan.sdsu.edu/home/lquinto/sitcom.html

What is the other FAQ that I see recommended/requested in this newsgroup?
Are there any other FAQs I might be interested in? This is also the "Internet Research for Writers FAQ". It is regularly posted in or around the last week in each month. It also gives a great number of URL's personally recommended by writers, including research sites, screenplays on the web, etc. There is also the INTERNET FILMMAKER'S FREQUENTLY ASKED QUESTIONS FAQ available at http://www.vianet.net.au/~benc/if-faq.htm. It is posted monthly to the group, and compiled by Benjamin Craig.

Your physical script
a. What is the proper format, and why are there so many different ones? And how do I know which one to choose?
It is not recommended to have any cover art.
- b. What is the correct font I should be using?
The general opinion is that Courier should be the font of your choice, since it is the general standard. This is because it is a fixed-width font, makes for slightly easier reading, and has more chance of complying with the fabled "one minute per page" law.

Screenwriting Software
a. Word for Windows ScriptRighter: http://www.fetching.com/scriptrighter/ ScriptThing: http://ourworld.compuserve.com/homepages/ScriptThing or call us at 800-450-9450 or 619-270-7204.
- b. Word Perfect for DOS
- c. WordPerfect for Windows Screenwright - http://members.gnn.com/acbaird/scr.htm
- d. Word for Mac Final Draft
- e. Windows Scriptware. Call Cinovation at 303/786-7899 or 800/788-7090

Show-Specific information
a. Star Trek
I think Starlog Magazine had a special issue about just this subject a few years ago. What I remember about it is that the best way to get a script to the Star Trek folks (since they are willing to accept unrepresented material) is to sign up for one of their instructional courses at any one of the many Star Trek cons held around the country. It's a bit on the expensive side (several hundred bucks, as I recall), but you get classroom instruction and an opportunity to have your stuff read and critiqued by someone supposedly in the know. I have no idea if this is only their way to make some money from wanna-bes. ..and The 2Ds, at http://www.2d.org have created THE RANDOM PLOT GENERATOR FOR STAR TREK:TNG.

b. X-Files
X-Files require agent representation by people wishing to submit spec-scripts. The X-Files no longer accepts freelance material, and they are *definitely* not accepting ANYTHING while the show is on hiatus; at least one screenwriter has been recommended by an agent (don't know the screenwriter, don't know the agent, sorry) to try again in June...but I've heard they're completely closed up to anything other than inhouse work. Makes sense, considering how close they are to the end of the run. Ask your agent or attorney to ask whether or not 1013 Productions is accepting sample material from writerrs, though; the company does have one new pilot scheduled for fall release, and is (undoubtedly) considering other projects as well.

Where can I get the Hollywood Creative Directory?
The directory homepage is located at http://www.hollyvision.com. A different version is done by Brookfield and you don't have to have a CD - it comes in a Windows version. Their # for info is (800) 533-3260 or (213) 668-0030.

What other courses/books are recommended?
"Plot" by Ansen Dibell (Writers Digest) covers interwoven but related subplots. "How to Succeed by: Producing TV movies" by Everett Chambers. "The Complete Guide to Standard Script Formats" by Cole/Haag "Lew Hunter's Screenwriting 434." "On Directing Film" by David Mamet "Reel Power" by Mark Litvak "Screenwriters On Screenwriting" by Joel Engel "The New Screenwriter Looks at the New Screenwriter" by William Froug "Thinking In Pictures" by John Sayles "Backstory 2: Interviews with Screenwriters of the 1940s and 1950s" by Pat McGilligan "What Makes Sammy Run" by Budd Shulberg "The Art of Screenwriting" by Richard E. Blum - 3rd Ed. 1995.

I have a question that's not answered in the FAQ - what do I do?
Please post it to the group. Here it has the greatest chance of being answered by the people who know, and from there I can "grab" it and place it in the FAQ if I feel it would be useful knowledge for others.

Can I post my idea/treatment/script/story/novel to the NG and get it critiqued by the readers here?
Please do not post it to the group. It is recommended that you make it available on a web page or ftp site for other people to look at at their will. Alternatively, you can ask if anybody would like to be E-mailed a copy. Of course, making it public is carried out at your own risk, be it plagiarism or whatever. Posting it to the group will increase the bandwidth though.

Where can I get scripts from?
(Net and otherwise) http://home.fish.net.au/~drew/scripts.htm http://www.cs.rmit.edu.au/etext/etext.html http://home.cdsnet.net/~nikko11/scripts.htm http://www.hollywoodnetwork.com:80/scriptsales/ http:/www.gsc.net/cine/cscripts.htm Alternatively, you can try the following: Hollywood Scripts 818-980-3545. ~$15 each. Samuel French sells hundreds of published scripts. They also do mail order. You can call them at (213) 876-0570 or (212) 206-8990. In Canada the number is (416) 363-3536. Book City. In Burbank, their number is 818-848-4417 and in Hollywood it's 213-466-2525. There is also SCENARIO magazine. 4 scripts per issue, quarterly at around $50 a year, I think. It interviews the writers and has a good keynote essay each issue. Scenario 3200 Tower Oaks Blvd. Rockville, MD 20852 1800-222-2654 fax-1301-984-3203

Okay, I've read the FAQ - Now what?
Start writing! Probably the most difficult part of being a writer (how ironic) but it just has to be done. Just imagine what your work will look like when finished - an inch-thick perfectly formatted Hollywood blockbuster - and you can't go wrong.

Show-type advice
a. Mini-series Assuming this is for broadcast on a commercial network, with the mini running in 2 hour segments each night, the teleplay is written to cover approximately 94 minutes out of each 2 hour broadcast segment, including credits. Teasers, commercials, promos, etc. fill out the time slot. Despite the so-called "one minute per page" rule, however, the average teleplay for each 2 hour segment tends to run 100-107 pages in length. Each 2 hour segment consists of 7 acts, as there are 7 commercial breaks during the running of the teleplay (thus a 4 hour mini consists of 14 acts): 1. The first act on any given night is usually allowed to run long, until about 20-25 minutes after the hour. 2. Act III ends just before or near (never after, though) the end of the first hour and tends to end on a high note, to hold the audience from switching to the new program choices available to them at that time. This is taken seriously; no matter what you've written, you'll get a note from the network on how to sharpen the end of Act III. :) 3. Act VII on any given night can sometimes be a bit shorter, a coda if this is an MOW or the last act of the entire miniseries, a teaser if the miniseries continues on another night. Other acts can fit the needs of the story, though should be roughly equal in length. There are variations on this, of course, for the miniseries that is 3 hours long and is broadcast in one evening or that doesn't run in all 2 hour blocks each night, for example. But the norm that the networks rarely depart from these days is a 4 hour series broadcast in 2 two-hour segments.

Advice on dealing with Producers
"Pitching" meetings These meetings are "get to know" meetings. Just be yourself. And hopefully being yourself means that you are a cheerful, intelligent and slightly self-deprecating individual. :) Often, wearing a suit is not normally advised - you have to look "creative". Be prepared to pitch. But also be prepared NOT to pitch. Sometimes they will want to hear something ... other times not. Don't worry about being ripped off. Just register the pitches with the WGA in advance of the meetings. You are out there looking for employment. Now is not the time to get overly paranoid. The purpose of these meetings is to present yourself as a writer they would want to work with in the future. Often people think "well, I'm a writer, I just turn in my pages and that's that." But the truth is, most of the work a writer does in Hollywood is development. And that means working closely with producers and executives. That means that if you want to get in on the bread and butter world of assignments ... you'll need to show people that you bright and easy to work with. If you do pitch ... keep it brief. Often I thumbnail a pitch. Just a 2-minute sketch and see if they are hooked. If so, I schedule another meeting to come back and do the whole shebang. But since you are not living in LA you may try giving the thumbnail ... and then roll into the pitch if they are interested. If somebody's interested in your 2 minute pitch you should be prepared on the spot to do a longer 15 or 20 minute version. If you have to schedule a meeting and come back it tells me you don't know your story well enough and aren't passionate enough about it. It is true that often the whole point of pitching is to entertain the person you are meeting and show that you have storytelling abilities. But pitching is a whole other animal. It's not really writing. It's something else. But I found pitching is a useful thing to improve at. Remember ... the main thing in these meetings is to present yourself as a nice, smart person people would like to work with. Be casual but professional. Try to be funny if you have that capacity. Work off the other person's personality. Don't be too upbeat if the other person is dour and serious. and vice versa. And if you pitch ... keep it short and punchy ... don't try to pitch the WHOLE story.

I suffer from Writers Block. What do you recommend?
There are many ideas for ways to cure this. This is the short list. Force yourself to only write one sentence per day, and stick to it rigidly (until you are cured, which should be pretty soon). The idea is that it is very difficult to stop yourself writing once you have done one sentence Another solution is to read a major film script written by somebody else.

I get bored of my ideas once I start to write. What can I do?
One thing to do that might help is to write down your initial idea; the one that got you so excited about the original premise. This often gets lost in the fury of writing, and you can easily forget the "core" story and get misled down blind alleyways of loose ends. Always keep this piece. Don't make it too detailed, and re-read it again and again. As proud writer of a dozen started-but-never-finished screenplays, I can relate. A working screenwriter friend of mine gave me a tip on addressing this problem that has helped me immensely. In first draft, he said, he never looks back. He doesn't reread (let alone edit) what he's written, except maybe the last couple of pages from the day before to refresh his memory as to where he is in the story. Otherwise, he said, he finds himself spending all his time lamenting and fixing and fussing and never finishing the draft. Since I adopted his "eyes only forward" approach, I've made tremendous progress and have discovered new-found enjoyment in the first-draft process. Of course, post-first-draft rewriting is still a huge pain in the butt, but at least it's not another project that gets abandoned on page 59 and ends up on my shelf with half-inch brads.

Terminology
a. Spec scripts
A spec script is one written "on speculation" that it will sell - in other words, written with no promise of compensation.
- b. Screenplay
A feature film script, one that is (or will be) made into a movie on the "big screen". Generally 90 to 110 pages in length.
- c. Teleplay
A script for a television series. The accepted length is now forty-two to forty-eight pages, though each show has its own length and structure. The only show left on television (that I know of) that has 55-page scripts is The X-Files.
- d. Shooting Script
This is a script that includes camera angles, and input, a script that is ready to be transferred to the camera's eye.
- e. Treatment
A treatment is basically a detailed prose description of the events of the proposed film. It includes all the important details of scene, action and character, told in present tense and mainly without dialogue. I've read treatments as short as twenty pages (Silent film treatments were often very short, as the films were often very simple) to a couple that run over a hundred. Generally, though, the average is about 60-70 pages, double spaced. This is essentially The Movie - told how you might tell it in conversation, but with more detail than you would normally use. Some treatments, particularly those by novelists, are given more narrative flourish, while others are bare-bones -- "this happens then that happens." Again, they are always told, like the action in scripts, in present tense. "She runs" instead of "She ran." In the earlier Hollywood era treatments were an essential part of the production process. In the silent days, dialogue was mostly unimportant. A property was judged mainly on the way it moved, so a description of the action was of primary importance. Often the studios acquired or considered properties from other media - books, plays, newspaper stories - and needed that material translated into a form they could evaluate in terms of it's cinematic viability. Would it play as a film? The truth is also that then, as now, most studio execs didn't want to read the original material, just a precis' of the most dramatic elements. Properties are bought and writers hired and after a few development meetings is given a certain amount of time to produce a first draft screenplay. Perhaps the thinking is that if the writer is going to write 70 pages of text, she might as well write a 120 page screenplay. Also, the spec script has made the treatment redundant. Rarely now is a screenwriter asked to do a full treatment and in fact many working screenwriters are a bit murky on the concept. Still, treatments are a really valuable working tool for writers. They help the writer to really hone in on the story basics, flow of scenes, cinematic movement, character revealed through action, rather than the dialogue, which seems to bog down so many writers. Again, only the most essential dialogue is included in a treatment (Perhaps an ongoing punch line or a phrase that captures the essence of a character.) The emphasis here is on efficient storytelling. What do you need and more importantly, what don't you need, to spin your yarn. In terms of form, as in screenplays, treatment styles vary widely from writer to writer. Some start at the beginning and just go on paragraph after paragraph until the end. Others I've read (and like better) break down the action down into it's component scenes or sequences, often numbering them consecutively.. For example, the treatment to The Day the Earth Stood Still starts something like this: 1. The vast expanse of the universe. We see a spacecraft seemingly floating through space.....(followed by description of the interior of the ship, description of Klaatu inside looking at earth through the window...) 2. The spaceship enters earth's atmosphere... (description) 3. Inside a radio station, the announcer is excitedly reporting the many sightings of an unidentified flying object. Try to use real radio personalities, Winchel etc. 4. The spaceship hovers above Washington DC The entire city is out, clogging the streets, staring up transfixed at the massive craft. There is a collective gasp as the ship begins to land... -- And blah, blah, blah --- Of course each of these numbered scenes/sequences run a good deal longer than my examples, some a couple of paragraphs, some a couple of pages, but that's the general idea. Anyone interested in obtaining actual treatments should make a trip to UCLA (Arts Special Collections) or the Academy of Motion Picture Arts and Sciences Margaret Herrick Library. These days a screenwriter will rarely be asked to provide a full treatment for a project - they will usually be hired to do a screenplay draft. But it's a good idea to know what a treatment looks like and it's a great tool for a writer's bag of tricks. It can really help define the story and get one past the always dreaded writers block. Oh, and treatments can be registered with the WGA. - f. Release forms have four main functions: 1. The writer agrees that he or she requested permission to make the submission, so that legally the submission is "unsolicited" rather than "solicited" by the production company. 2. The writer agrees that the production company is free to use any public domain material that the screenplay may contain without contracting with the writer. 3. The writer agrees that if the production company should develop and produce similar material that is not in the public domain entirely independently of the writer's submission, the writer has no recourse to claim copyright infringement. 4. The release will also usually state that the submission release represents the only agreement to date between writer and production company, that no other contractual obligations exist. All of these clauses make it possible for a production company to look at material with some degree of assurance that in doing so, they are not making themselves liable for a copyright infringement suit or breech of contract suit if they produce similar material from another source. Given the similarity of so many submissions, it's needed protection. Accepting submissions through a neutral third party such as an agent or lawyer provides the production company with the same protections; the release is a way to let unrepresented writers submit, though is legally weaker (that's one reason studios et-al won't use releases). So the release doesn't prevent the writer from bringing a copyright infringement suit or breech of contract suit in any and every circumstance, but does set out some specific circumstances in which such a suit will be invalid. Releases also tend to contain some other standard clauses, such as stating that any suit will be settled by arbitration or the courts, setting time limits on any action that the writer may bring after the writer feels the violation has occurred, etc. There is no single "standard submission release;" each company will have their own with minor wording variations or additional clauses (and a few from the rare unscrupulous companies may contain clauses more appropriate to an option/purchase agreement than a release - any writer should take some care before signing a release, being sure that they understand the language the release contains). But any release will cover the four points mentioned above. The following is the Walt Disney standard release form. This has been OCR'D, so apologies for the quality. REVISED 1/17/96 Date: Walt Disney Studios Title of Material Submitted: 500 South Buena Vista Street Burbank California 91521 Attn:Writing Fellowship Program Gentlemen: I wish to submit, in support of my application to the Fellowship Program, certain material, all the important features of which (including the title) are summarized by me on the attached "Exhibit A'". Such summary, title and all materials which may be submitted to you with respect thereto, including all ideas and their expression as contained therein, are hereinafter referred to as the "Sample". In submitting the Sample to you, I recognize that you engage in extensive activities in creating, acquiring and developing literary, artistic, musical, design and other material, including stories, ideas, themes, plots, titles, screenplays, fonnats, concepts for attractions, parks and other developments and other materials, hereinafter together called "Material". I recognize that Material which you may hereafter use may have originated with or may have been acquired from your own employees or others and may duplicate, parallel or resemble the Samples. I appreciate your concern that an examination of the Sample, without a full release of liability, might expose you to a claim of plagiarism, or claimed existence of an implied in fact contract or other claim or litigation. 'Therefore, as an inducement to you to examine, and in consideration of your examination of the Sample, I hereby acknowledge the following understandings and conditions: I .My submission of the Sample to you is voluntary, not solicited by you, and not in confidence. There are no materials being submitted to you other than those described in the summary of the Sample at the end of this letter. 2 .There is no agreement between us, express or implied, relating to your use or failure to use the Sample. 3 .I understand and agree that your use of material containing features and elements similar to or identical with those contained in the Material shall not entitle me to any compensation if you determine that you have an independent legal right to use such other material, either because such features and elements were not new or novel, were in the public domain, or were not originated by me, were independently conceived or because other persons (including your employees) may have submitted or may hereafter submit material containing singular or identical features and elements. 4 .I agree that, should I bring any action against you for wrongful appropriation of the Material or any part thereof, such action shall be limited to an action at law for damages; that in no event shall I be entitled to an injunction or any other equitable relief, and that, should I be unsuccessful in any action, I agree to pay you all of your costs and expenses entailed in defending or contesting such action. I further agree that, as a condition precedent to any such action, I will give you written notice, by Contd Page 2 of 3 certified or registered mail, of my claim, smting the particulars in complete detail, within the time prescribed by the applicable statute of limitations, but in no event later dm 90 days after I acquire knowledge sufficient to put me on notice of any such claim. 5.I warrant that the Sample is original with me, that I have full power and authority to submit the Sample to you, that I have the exclusive right to grant all rights in the Sample, and I hereby bind myself and all other parties claiming under or through me to adhere fully to the terms and conditions provided herein. 6.Although I have retained a copy of the Sample, I understand that you will return the copy of the Sample submitted to you, if I so request. I assume full responsibility for any loss, theft or destruction of such copy while it is in your possession or transit. 7.If any provision of this agreement is deemed to be invalid, it shall be considered deleted here from and shall not invalidate the remaining provisions. Sincerely, Date: State of Ss.: County of On - before me, personally known tome OR proved to me on the basis of satisfactory evidence to be the person(s) whose name(s) is/are subscribed to the within instrument and acknowledged to me that he/she/they executed the same in his/her/their author capacity(ies), and that by his/her/their signature(s) on the entry the person(s), or the entity upon behalf of which the person(s) acted, executed the instrument. Witness my hand and official seal. (seal) Signatory of Notary

What magazines (or similar) can I subscribe to?
Script Magazine 5638 Sweet Air Road Baldwin MD 21013-0007 (410)592-3466 (410)592-8062 (fax) Scenario 3200 Tower Oaks Blvd. Rockville MD 20852 1-800-222-2654 Each issue contains four screenplays and an interview with each of the writers. The cost is $59.95/year for quarterlies (in the US). Creative Screenwriting 816 E Street, Suite 201 Washington DC 20002 USA The Journal Subscriptions WGAW 7000 West Third Street Los Angeles, CA 90048 It costs $40 per year for non-members to subscribe to the magazine, but it's well worth it. Nonmember foreign mail subs are $50. Filmmaker Magazine (published as a separate entity of IFP) 1625 Olympic Blvd. Santa Monica, CA 90404-3822 http://found.cs.nyu.edu/CAT/affiliates/filmmaker/filmmaker.html Also go to your library and look for issues of Writer's Digest; screenwriting columns have been written by J. Michael Straczynski and Lawrence G. DiTillo, and both are working screenwriters... Larry DiTillo is still writing the column, so subscribe to the magazine if you can't wait for your library to update its issues fast enough.

How do I register with the WGA (Writers Guild of America)?
For East Coast: To Register a Script: Send 9x12 manila SASE with $.78 postage. They will send back a registration packet. Fee for nonmembers is $22. You become eligible to join the Guild when you achieve the minimum number of "points." One accumulates the necessary points only by entering into a contract for writing services with a Guild signatory. One contract, however, may not earn you enough points to get you into the Guild - if, for instance, you are only hired to write a screen story. A certain number of partial points will enable you to join as an associate member.

Writers Guild of America
555 West 57th Street
New York, NY 10019
(212) 767-7800, Fax (212) 582-1909?

Do you have any E-mail addresses of production groups?
Just a few:

Rysher Entertainment:
Rysher@aol.com

Accent Entertainment Group:
73114.417@compuserve.com

Acorn Entertainment:
70530-755@compuserve.com

Aei-Atchity Entertainment International
aeikja@lainet.com

The Aeolian Film Group, Inc.
Jweiskop@interserv.com

Allegro Films
info@allegrofilms.com

Allen Communication, Inc.
http://www.allencom.com/

Anasazi Productions
DEVELEXEC.com (?? as listed)

Apple Golden Productions
applegldn@aol.com

Arama Entertainment
aramaent@delphi.com

Loreen Arbus Productions
tanguero@earthlink.net

Atelier Pictures
pgray@slonet.org

Black Rose Productions
blkrose@primenet.com

Blue Pearl Entertainment
bluelatino@aol.com

Blue Rider Pictures
74774.2454@compuserve.com

Coyote Pass Productions
coyote@earthlink.net

Crystal Rain Media Entertainment, Inc.
crystalrain@earthlink.net

Dan Curtis Productions
KRVJ55A@prodigy.com

DIC Entertainment
dicmikeg@aol.com

Dakota North Entertainment/Dakota Films
76407.74@compuserve.com

Dog and Pony Productions
maven123@aol.com

Bonny Dore Productions
BDore8164@aol.com

Edwards Yellen Entertainment
Rebel@netcom.com

El Dorado Pictures
dennis.shue@castle-rock.la.turner.com

Endless Summer Entertainment
http://www.ernsite.com/

Erratic Entertainment
ludlow953@aol.com

Fischer Company, Preston Stephen
psfco@aol.com

Flight Entertainment
amgillen@aol.com

Flying Fish Productions
ffish@well.com

The Foxboro Company, Inc.
Voyager070@Del.com (Delphi?)

GDP Media Group
gdponline@aol.com

Gekko Film Corp.
tntc@ix.netcom.com

Peter Golden & Associates
Broadlawn@aol.com

The Goldstein Co.,
ggwolff@aol.com

Hollywood Center Studies
info@hollywoodcenter.com

Introvision International
P_Gray14@genie.geis

Kartemquin Films
kartemquin@aol.com

Marty Katz Productions
marty_katz@studio.disney.com

Jim Keeshan Productions
animatics@aol.com

David Kirschner Productions
dkprods@aol.com

David Lancaster
laninco@ix.netcom.com

Leavenworth Associates
dllworth@aol.com

Lightview Entertainment
lightview@aol.com

Doug Linderman & Associates
74631.2335@compuserve.com

Lynn Loring Productions
lynn3939@aol.com

MKD Productions
muffetk@aol.com

Manga Entertainment, Inc.
manga@manga.com

Mase/Kaplan Productions, Inc.
Akaplan@leonardo.net

McCreary & Associates
mccreary@netcom.com

William Moffit Associates
jvtm55a@prodigy.com

Muse of Fire Productions
musofire@leonardo.net

Narrative Television Network
70670.3477@compuserve.com

Nichol Moon Entertainment
nme@emoon.com

Parallax
parallax@aol.com

Brian Pike Productions
Frrj00A@prodigy.com

Quince Productions
72726.357@compuserve.com

R.E.D. Productions, Inc.
http://www.earthlink.net/~redprods/

Raindance Pictures
Falstaph@ix.netcom.com

Red Herring Pictures
heringpix@aol.com

Joanne/Cyber Kid Co.
jofrie@aol.com

Rough Diamond Productions
ptm117A@prodigy.com

Harry Seggerman Productions
74774.2455@compuserve.com

The Alfred Shay Company, Inc.
Voyager@ix.netcom.com

Skoot Doot! Productions
Skootdoot@aol.com

Sunbow Entertainment
postmaster@sunbow.com

Sundance Institute
sundance@deltanet.com

TAE Productions
taeprods@aol.com

Talking Wall Pictures
kidsam@aol.com

Tarnoff/Lazar & Company
jbtarnoff@aol.com

Taweel - Loos & Co. Entertainment "TLC"
tlce@aol.com

Telling Pictures, Inc.
rpepstein@aol.com

Troma, Inc.
http://www.troma.com/home.html

The Underground
uground@wavenet.com

Venture Productions
Ventuprod@aol.com Wales - Pytka walespyt@aol.com

Walsh Productions/Wonderland Dream Factory
wdf@cerfnet.com

Weintraub/Kuhn Productions
ssnr97a@prodigy.com

Wildrice Productions
rice@entnbep.nbc.ge.com

World of Wonder
world@netcom.com

TH-TH-THAT'S ALL FOLKS!

If you feel that any information in this FAQ is incorrect, then please do not hesitate to E-mail me at stevo@jonlan.demon.co.uk. I do not claim to be any kind of knowledgeable screenwriter - just someone who has compiled a FAQ, so please go easy!

Stephen Smith (stevo@jonlan.demon.co.uk)

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