Dr. Ken Atchity, Ph.D.
- Born Eunice, Louisiana.
- Education B.A., Georgetown; Cambridge; M. Phil, Ph.D. in comparative
- Career history: Professor of comparative literature, Occidental
College; "Distinguished Instructor," UCLA Writers
- Author of 13 books, including A
Writer's Time - A Guide to the Creative Process, from Vision
Through Revision (Norton),
The Mercury Transition - Career Change Through Entrepreneurship
(Longmeadow), and (with Chi-Li Wong) Writing
Treatments That Sell Your Ideas To Films and Television.
- Producer of 20 films for video, television, and theater, including
"Champagne for Two" (Cinemax-HBO), "Amityville
The Evil Escapes" (NBC), "Shadow of Obsession"
(NBC), and "Falling Over Backwards."
- Hobbies/personal interests: Collecting autographed editions
and pitchers; tennis; travel.
- Subjects/categories most enthusiastic about managing and producing:
Fiction that can be made into TV or feature films; outstanding
screenplays; strong nonfiction, especially with film potential.
- Subjects/categories not interested in managing or producing:
drug related; religious; category romance; short stories; poetry;
Q: What's the best way for a prospective client to initiate contact
A: Send us a query letter (with SASE) and 30-50 sample pages or
a 2-line email to email@example.com
Q: What is your description of a Client from Hell?
A: He or she is so self-impressed it's impossible to provide constructive
criticism; makes his package impossible to open; and provides
return envelope too small to be used.
Q: What is your description of the Dream Client?
A: He or she comes in with an outstanding thriller that's HIGH
CONCEPT and CASTABLE, plus an outline for two more, and is delighted
to take direction on the writing and the career.
Q: What is the most common mistake a potential client makes
when soliciting you to represent them?
A: The most costly and time-consuming mistake is remaining ignorant
of where your work fits into the market, and of who your reader
might be... kinds of work (romances, light mysteries, episodic
scripts) we're specifically NOT looking for.
Q: What can writers do to enhance their chances of getting
represented by AEI (besides being good writers)?
A: Great writing, HIGH-CONCEPT, CASTABLE BOOKS AND SCRIPTS, and
a determined, optimistic attitude ready to support a lucrative,
Q: Why did you become a manager?
A: Nearly two decades of teaching comparative literature (classics,
Medieval, Renaissance, 20th century, mythology) and creative writing
at Occidental College and UCLA Writers Program, reviewing for
the Los Angeles Times Book Review, and working with the dreams
of creative people through "Dreamworks" (which
I co-founded with Marsha Kinder) provided a natural foundation
for my new career. I made the transition from academic life through
producing, but continued my publishing consulting business by
connecting my authors with agents. As I spent more and more time
developing individuals' writing careers, as well as working directly
with publishers in my search for film properties, it became obvious
that "literary management" was the next step. True stories,
scripts, or novels, what turns me on is a compelling and dramatic
Q: What might you be doing if you weren't a manager-producer?
A: If I weren't a literary manager, writer, and producer, I'd
be doing the same thing and calling it something else.
Dream big. Don't let anyone define your dream for you. Risk it.
The rewards in this new career are as endless as your imagination,
and the risks, though real, are not greater than the risk of suffocating
on a more secure career path. Invest in your career. If you're
not willing to invest in it, why should anyone else be? Begin
by learning all you can about the "business"of writing,
publishing, and producing, and recognizing that as far off and
"exalted" as they may seem, the folks in these professions
are as human as anyone else. We're enthusiasts, like you. Make
"The most useful style is clear, objective, honest and direct,
in keeping with the dictates of Strunk and White in The Elements
of Style."--Atchity quoted in"Professor Strunk and Mr.
White's Little Book," Bruce Anderson, in CORNELL MAGAZINE May