Connecting Writers With Hollywood 2019 - Seattle!

Hollywood loves book adaptations. And Hollywood loves unique storylines.

Do you have a story that would translate well to the screen?

Myth #1: You have to be a screenwriter to pitch to film people. Not true!
Producers are open to authors pitching books. They know screenwriters who can adapt your amazing book to a screenplay if you haven't already. You do need to have a story that speaks to the producer as the wheels turn in their heads imagining if they could make a blockbuster movie with your concept.

This year Connecting Writers With Hollywood is partnering with the prestigious Pacific Northwest Writers Association in hopes of inspiring writers and producers in the creative community of the Pacific Northwest.

This conference is usually held at the Historic Davenport Hotel in Spokane Washington where producers, script doctors and film people fly in to get a slice of that Pacific Northwest Storytelling Factor we are famous for. Yes, Seattle is famous for turning out excellent authors, writers, storytellers. Maybe it's the rain but in Hollywood, the PNW is known as a region of creativity and that includes novels, music and films. The two big movies advertised on my TV this month are The Art of Racing in the Rain and Where'd You Go Bernadette. Both great books written by Seattle authors, set in Seattle.

Let's talk about Connecting Writers with Hollywood: 

Who comes to events like this to hear these people speak?
Anyone jazzed on having their story made for the big screen. 

Why pay all the money to hear Hollywood people talk?
You might learn something valuable, you might meet someone valuable, you might get so inspired that you go home and write something valuable.
Aristotle said: There is only one way to avoid criticism. Do nothing, say nothing, be nothing. I believe the same is true for anyone wanting to do something special. You will not achieve that dream without some jumping off cliffs and hoping to fly.

Note: I borrowed my son's pizza delivery paycheck 4 years ago to afford a trip to Hollywood to pitch at Universal Studios. I didn't get a film deal for my novels that weekend, but many baby steps later, I have a literary manager, am a sold screenwriter with a film in development, and have had an optioned book series. Also, my TV pilot was pitched at both Fox Studios and the CW last week and as my agent said, "That's not something you see every day!"

Who are the speakers at CWWH?
They are producers, script doctors, screenwriting teachers, movie people who are connected in Hollywood. In the film industry connections are as important as typing skills are to a writer. Gotta have connections. It's a business of who you know and building connections starts exactly this way. Listen to someone speak, get inspired, tell them, ask if you can give them a one sheet of your project.


Why Seattle?
In Los Angeles these conferences where you listen to producers speak, happen all the time. Hollywood heavy weights are inundated at these events with ideas from the thousands of waiters, shop workers, crossing guards, everyone in Southern California who is a secret screenwriter. What makes this opportunity in Seattle different is that things are bound to be less desperate that day, fresh, and possibly more unique to them. In a smaller crowd of writers, your idea might get more attention. You still need to have an awesome story but you won't be competing with the back biters of Hollywood to hand over a one page. Last week there was a pitch fest in Hollywood with hundreds of producers and thousands of writers. Think about how confusing that must've been for a minute.

Myth #2: You need to be an extrovert to get something looked at.
Not true. If you bring your one sheet to leave with a producer or producers, that should speak for itself.

Memorize your succinct log line just in case someone asks what your story is about. Know your genre, your audience. eg) I was told to stop pitching once, when I started my log line by saying "It's about a guy who enters dreams to solve a murder." There was so much more I wanted to say but the producer cut me off and took my one page.

That leads me to my next point: Do some research ahead of time if  you're coming to CWWH. Read the bios of everyone, see who might be producing a story like yours or might be in a position to pass your one sheet to someone who is producing movies. Everyone on that page but me, because I am only the Emcee, is producing or in a position to pass along your one sheet.

Then, make an awesome one sheet for your project, or projects.

What's a ONE SHEET, you say? A ONE PAGER?
Here's some links!

 http://www.nobullscript.net/creating-the-perfect-one-sheet/

https://www.scriptmag.com/features/career-features/how-to-create-loglines-queries-one-sheets

https://www.scriptmag.com/features/career-features/fearless-feature-film-writers-creating-one-pager


So, yes, CWWH costs money and yes, it takes a day of listening and absorbing. Don't come if you don't believe in your story. Don't come if you simply want in out of the rain or sun.

Come to CWWH if you are one of those people who go for the gusto, get things done, work hard for your successes and believe that someone is going to get a movie deal - Why not me? Come because the idea excites you!

Here's the link to register

See you there...

KIM HORNSBY is the bestselling Amazon Author of The Dream Jumper's Promise, Book 1 in a Supernatural Suspense series. An awarded author and screenwriter, Kim lives in the Seattle area and writes stories for women about overcoming tragedy, adversity and coming out the other end. Some are funny, scary, romantic, suspensey but all are hopeful.

Find her on Amazon Books.

www.twitter.com/kimhornsby
  www.facebook.com/kimhornsbyauthor

Adapting Your Novel to a Screenplay

Hollywood loves Adaptations (See? I even capitalized the “A”.)

The number of Academy Award Winning movies that were once novels, memoirs, comic books, stage plays, etc. is staggering.

A studio executive in the movie industry is more likely to read an adaptation from a successful book than a screenplay with no history of fans and nothing to speak for it.

Even if your book isn't a NY Times Bestseller, it might translate well to screen.

Have you ever thought this?

Me too. 

A few years ago, I attended a Sisters In Crime event at Universal Studios Hollywood that brought together a group of Hollywood’s Who's Who to talk to a select group of crime writers about turning a book into a movie. It was highly inspirational, to say the least. I got to talk to the woman who wrote Batman Forever, the show runner (big shot writer) of Bones, the woman who negotiated Gone Girl for Gillian Flynn, Shari Smiley, and many other big wigs. I came home pumped and ready to find a screenwriter for my novel.

Cut to a year later and I still hadn't found someone to write the screenplay, but I was wondering about writing a script. I attended another conference, this one in my home state of Washington and it was there I met my book to film agent and shortly after that, was offered an option for my 3-book series. Luck had something to do with it, being at the right place at the right time, then having an agent with connections and vision and tenacity had something to do with it too, although the book is high concept.

Before I’d signed the option contract, which is a very thick bundling of legal papers talking about subsequent film deals, merchandising, payment, option length, consequences if the movie doesn’t get made, legal rights etc I was asked by my agent to write the screenplay.

ACT I, ACT II and ACT III

And, because I didn’t want to tell this amazing angel from my dreams that I couldn’t write a screenplay, I started reading everything I could find about how to do such a thing. I read Save the Cat three times, I read the Screenwriters’ Bible twice, I read how to Adapt a Novel to Screen, and anything that was written online that suggested it was possible for a verbose novelist to reduce their 100,000-word book to a mere 100 pages of mostly white space. My agent reassured me that she just wanted to have a spec script in hand. It looked better than having a book in hand with no script.

It took 3 months to polish the script to a blinding shine, but I wrote the thing. I went through a lot of recipe cards. There were loads of rewrites, scenes were dropped or rewritten or combined until everyone thought my screenplay of 102 pages sounded marketable. The company who optioned the 3-book series, 5 x 5 Productions, liked the script and set about showing it around Hollywood to draw other producers in to the fold.

Films take a really long time to get made. Many optioned books, or screenplays never see the camera lens and although I know this, I am hopeful mine will. To help the project, I’ve begun looking for investors, actors, awards for the script. At this point, I'm trying to get a TV actor interested in the project. The production company is in pre-production for another book to film project and mine is next. They don’t object to me dabbling in producer-type activities and I’ve been looking for investors to help with the money needed. That’s what I’m working on in my spare time between writing books.
 And as far as awards are concerned, The Dream Jumper’s Promise screenplay won The Los Angeles Film Awards Best First Screenplay, semi-finaled in the Burbank International Film Festival Screenwriting Competition and won Best Feature Screenplay in the Royal Wolf Awards. There were other smaller wins, but these were the biggies, the ones I’m most proud of.

I wrote another script from a Christmas Romance novel (these are wildly popular!) and then wrote a TV one-hour pilot, then wrote the book from the pilot, something I don’t recommend. I found it hard to go back to write a big ole book after finishing the screenplay, but that could be just me. Then I wrote another script called Christmas in Crystal Creek about a country music singer stranded in Maine over Christmas. I wrote the novella to that one simultaneously with the script.
Writing both at the same time was confusing. It isn’t hard to confuse me.

These days, I speak on the subject of adapting your novel to a screenplay at writer conferences and promote the idea that novelists make fantastic screenwriters, especially of their own work. No one knows the story like you. You already know how to write. Boiling your story down to 45 key scenes that are visually pleasing to carry the story line to a satisfying end is all you have to do. Here's how to start:

Read Save the Cat.
Isolate those 45 scenes in your book that support the story and would translate visually. 
Buy screenwriting software like Final Draft and watch the tutorial.
Buy The Screenwriters Bible by Dave Trottier.
Start writing it scene by scene. 
Only write what the movie audience can see.
Enter scenes late, leave early.
Make all dialogue necessary to the story.
Polish it.
Send it out to a pro for "Coverage"
Rewrite
Register it with WGA
Join Screenwriter Support Groups like Blue Cat, ISA and local chapters of screenwriters.
Upload your screenplay to Film Freeway and enter contests!

Good luck everyone and be sure to keep in touch on Facebook at my private beach where everyone looks great in their bathing suit!
.
https://www.facebook.com/groups/188081488503196/

KIM HORNSBY is an Amazon Bestselling Author best known for The Dream Jumper Series, which is optioned for film, with over 400 reviews on Amazon at 4.5 stars.
Sign up for her newsletter to keep posted on news and freebies and contests or follow her on Amazon.

www.bit,ly/kimamzn
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Getting Your Novel Optioned for Film

Tonight I'm speaking on getting optioned for film.

I'm using this blog to organize my thoughts but seeing I just open my mouth when I give a talk and spew on and on, I may or may not use these key points listed below. It works out better if I just have a few areas I need to address during a one-hour talk and just talk and talk and talk, in between those key points. I usually stay on topic. I usually stay focused although once I had dental work that had me spitting and slurping and that was distracting.

I try to not laugh at my own jokes when I speak. I also try to say interesting things to keep the room from emptying. Fingers are crossed that I can achieve this tonight at the Whatcom Writers and Publishers Dinner this evening in Bellingham, Washington.


With a background in entertainment and stage work, I am not usually nervous to speak but more like a racehorse at the gate, waiting to run. My over confidence helps in these situations.

Playing Sugar on Stage

My 3-book Dream Jumper Series is optioned for film and although many books get optioned (reserved contractually) I think that the first film will actually get made. When my super agent negotiated the contract, I asked to be a contributing producer and after promises to not interfere and be obnoxious on the set, I got the concession. I'm doing everything I can on my end to help get this movie made.

Here's my points to touch on tonight and a peek at my talk about how to get optioned:

-Write a compelling novel with a unique story that answers a burning question the general public will be interested in
-Make your characters as real and 3-dimensional as possible, with flaws, idiosyncrasies etc
-Have it professionally edited
-Write a one-page synopsis
-Write a three-page synopsis
-Publish your novel and promote the hell out of it, get reviews, have a compelling cover, make the blurb sound like a movie trailer.
-Write a movie tag line
-Learn how to write a treatment and then write one showing marketability of your story
-Make a Pinterest board if you need visuals, Choose A-List actors in the leads
-Get an agent who specializes in book to film or who has connections in film and tv (send the query, the treatment and even the screenplay if you wrote one!)
-Learn to write for tv and screen
-Learn the Hollywood market, see where your book fits in and will sell

-Hollywood likes novels, especially if they have a built-in following
-You don't need fame to sell an idea, it just helps
-Go for a big agency, find who's taking clients, go for the intern or lowest on the totem pole
-Be easy to work with
-Send your treatment to film companies, producers, directors, agents to a)get representation b)get a producer interested
-Take workshops on writing, improve your craft, watch tv, watch movies, learn the craft
-Pitch like your book is the next Harry Potter
-Don't be rude or aggressive, just be available and interested
-Build up your brand and your book concept online
-Be patient
-Be confident

I was lucky to find an agent with connections who knew a producer and the next thing I knew, we were meeting, talking, negotiating, planning and then a contract arrived. More negotiations, more talk and signing.
My 3 book series belongs to a reputable production company that has awesome connections in Hollywood, I trust the company president, and I'm excited.
Right now, I'm waiting for my project to get out of development and into pre-production and that looks like about 6-9 months. My movie is second in line with this film company and it looks like they are filming project number 1 soon.
I wrote the screenplay hoping that someone who is REALLY talented as a screenwriter, will take the thing and make it awesome. My version is the spec screenplay and every day I hope it's good enough to sell this concept to an A list director who will then attract the A list actors and money. That's how it works apparently. The director comes first.
While waiting for someone to get back to you, dream over here at IMDb to check out actors, directors, producers, film companies etc.

So People, keep perfecting your craft, keep writing, keep hoping, and maybe one day you'll get that call that Dreamworks wants your book and Natalie Portman and Chris Pine are starring in the movie version. It could happen. Why not?


KIM HORNSBY is an Amazon #1 Bestselling novelist who lives in the Seattle area and writes books about women in dire circumstances rescuing themselves. Her book series, Dream Jumper, is optioned for film and now in development.

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Go for the Gusto in 2018!

Have you made any?
You know...resolutions?
Did you follow through with last year's resolutions? Do you remember what they were? I don't remember mine.
But, that won't stop me from taking stock of the year and plunging into 2018 with gumption and vigor. I am an optimist. And a dreamer.

Sometimes I get caught up in an idea of the direction I want my life to turn, then remember I'm not 30 anymore. Or 40. Or 50.
 I can't take up a new career that will take years and years to learn and establish. I can't say "Writing for TV looks super interesting! I'm going to take that up!"

Or can I?

Seeing an offered course on January 11th on TV script writing, I thought about signing up, then asked myself why. Am I going to move to LA and write for TV?
Nope.
However, the adventurous side of me that likes to learn new skills wants to take on this challenge of learning to write TV scripts.
It's somewhere fun to go while I procrastinate about finishing my latest novel. And, while I wait for the film company who optioned my book series to be ready to start developing the first movie. I'm a producer on the movie and I really want to get started but sometimes I get ahead of myself and everyone else in enthusiasm and ideas, necessitating a spin around to find something to take on my excitement--channel that enthusiasm into something else until we start talking pre-production. Maybe I should take up screen writing, not TV writing, but the future seems to be in TV and short episodic entertainment, not feature films. Smaller screens, shorter scripts is what Hollywood says.

So, for my 2018 resolution, I vow to dive in to wherever life takes me, keep up the excitement, learn new skills, and not do any more of that self talk that I'm too old to do this or that because I need to start thinking about winding down soon.
I will not wind down.
Resistance is not futile.

Happy New Year Everyone! Go for the Gusto!

My Dream HAS Come True!

I'm trying to be really professional this week, displaying just the right amount of excitement but it's difficult to contain my enthusiasm.

My novel, THE DREAM JUMPER'S PROMISE, is optioned for film.

That means a film production company has paid me money and signed a contract to reserve the book (all three in the series, actually) for a set amount of time while they prepare to begin pre-production to make the first book into a feature film.
This is a dream come true. I've been working on getting this story to a big screen for over a year and now it looks very good.

There is no doubt in my mind that the company who optioned my books will go into pre-production with this project in the next months. They are very serious about making this film. I know this because when I first met the president of the company in May, she'd just finished reading the first book and was a HUGE fan.

Luckily, at the time, I had no idea who she was and promptly gave her the next two books, thinking she was simply a reader fan. She read the second one in the next two days and we talked about Jamey and Tina and their struggle to get back to each other and Jamey's gift of entering dreams, which ruins his life sometimes. We were simply having a reader/writer conversation about my book. I was at an exclusive conference in Spokane Washington called Connecting Writers with Hollywood, hobnobbing with Hollywood people who'd flown in to teach, connect with prospective clients and listen to pitches. I'd arrived knowing my manager, JD wanted me to meet someone and was hoping to drum up some interest in my book series, not realizing the drum had sounded, someone answered the call and I was talking to her as I answered questions about the first book.

On the recommendation of J D deWitt, who represents this series and introduced me to the film people (and happens to run the conference-- CWWH), I came home and proceeded to write the screenplay for the first book and was glad I'd taken classes in screen writing AND had a friend who's a produced screenwriter with advice and how-to books! Of course, I had to go to Maui to write on my friend, Lynn's, deck for my inspiration. I wrote the spec screenplay, came home to work on polishing it and finally submitted it to JD and some others who know more than I do about screenwriting.

Cut to mid-July, the Pacific Northwest Writers' Association Conference in Spokane Washington, and the president/producer flew in with JD specifically to talk with me. Over margaritas and enchiladas we discussed the books, what was my fondest wish if it went to the big screen, and all three of us agreed it would best translate to a feature film, not a Netflix series to be watched on a phone. The scenery is too lush, too visual to be reduced that way.

We were on the same page, and I left that dinner knowing the producer would honor the story I'd written and wanted to make a gorgeous, compelling film. I can't tell you the particulars of how I know this without betraying private conversations but if you believe in amazing connections between women, you'll understand my confidence that I can trust this woman even though she is a business woman first. I know she won't change my characters drastically, or the location, or the story line.
At that dinner meeting, JD listened, added her ideas, directed the business conversation and represented my books like the pro she is. I'm in awe of this process, and her, and how it all came about like three ends of a rope coming together to form a beautiful knot.

We had a verbal agreement. Cut to the last days of July when the contract came through, honoring everything we talked about, giving me everything I ever dreamed of for this book and dispelling all doubts I had about handing over my baby to these people. With a few tweaks, the contract was signed and now I am an author with a book optioned by an Indie Film Company.


5 X 5 Media is best known for reality TV like Jamie Oliver's Food Revolution, Fashion Star, and The Rock's Wakeup Call as well as a TNT weekly tv show with Dwayne Johnson, The Hero. They always planned to head into film production for features and now they will, with my book.
This project was not taken to the studios like Sony, Paramount, Universal etc by 5 X 5 because of the possibility it might be optioned and never made, taking a place on some shelf like hundreds of other possible screenplays that mega studios had optioned, paid money for, and let fall by the wayside. THE DREAM JUMPER'S PROMISE does not need $20 million but only a few million because there are no huge crowd scenes, no special effects, no location changes. The whole story takes place on Maui except for some flashback scenes of Kandahar, Afghanistan that can be done on a set. Having an Indie Film Company at the helm would insure the story stayed true, the film got made and the people who believe in this story, will be in the driver's seat.

In the next year, I hope to learn a hell of a lot about this process, if they let me. I've made a good case why they should at least let me lurk, having been a scuba instructor on Maui and having a direct link to movie people in Hawaii because of my entertainment connections. Regardless, I plan to document this process every step of the way on this blog so if you want to keep up to date on the making of the film, I suggest you follow my blog at the very least. Look to the right to the follow button.


Here's my social media info too where I very actively announce everything:

Facebook
Twitter

Monthly Newsletter Signup - Free stuff, Announcements and Recipes!   NEWSLETTER

And if you're interested in checking out the little book that is in the Development Stage of a Feature Film (I'm capitalizing everything that sounds cool!) pick up a copy of THE DREAM JUMPER'S PROMISE here for only .99 this month.
In September the price goes up.

Kim's Amazon Page

KIM HORNSBY is the Author of Award-Winning The Dream Jumper's Promise available on Amazon Books. She is a Bestselling Supernatural Suspense Author who lives in the Seattle area where she writes during the rainy months.

I (Shamelessly) Pitched my Novel to Hollywood!

I pitched my novel, The Dream Jumper's Promise, to Hollywood players last weekend. That's the short version.

Former Cover

Here's the long version:
Over two days at the Universal City Hilton Hotel, I got 7 minutes of unadulterated privacy with a Hollywood producer to share the bare bones of my story line.

Final Cover

I also shoved my book into the purses of two other producers, one of whom said she thought my log line was intriguing, the other who was basically trying to leave the room. I weaseled my way into conversations and made the most of my short stint in Hollywood like my children's futures depended on this weekend, which is kind of true. As a polite Canadian, I'm not proud of my behavior but I had a brief opportunity to make a connection and I tried to put myself out there, just in case.





How Did I Happen Upon This Opportunity?

Just before I left the room to pitch!

The organization, Sisters in Crime, has a Hollywood chapter that's run by screenwriters, scriptwriters, actors, novelists, talented people in their own right, and they organized an event for an elite number of novelists to come together at the Hollywood Hilton last weekend to learn how to adapt a book to Hollywood and pitch said book to some high powered producers. Free! A friend referred me.
I was accepted very last minute and booked a plane ticket that cost way more than if I'd planned this in advance. But, this was the opportunity of a lifetime for me. I'm a big movie fan, former actress, and pitching to Hollywood just sounded so damn sexy when I said it out loud!


What Did it Involve?
Over 48 hours, we authors were treated to talks from David Isaacs (Writer of Mad Men, Cheers, Frasier, Mash etc), Ron Mardigian (former senior agent at William Morris), Pam Veasey (producer/writer CSI Cyber), and a host of other industry professionals that would knock your socks off. Can you say Giving Back? Pretty sure these people didn't get paid and most of them did not come to the Hilton necessarily looking for a book to adapt.
Some did though.

Hart Hanson, creator of Bones

Over the two day event we networked, schmoozed, learned how to write a treatment, pitched, and watched a scriptwriter fall off a stage and break his ankle. True. I was talking to another polite Canadian who writes Bones when the writer of Agents of Shield stepped back and disappeared off the back of the stage where he'd just charmed everyone with stories of writing for Hollywood. Both Hart Hanson and I said "Excuse me," like polite Canadians, and bolted to the scene.

When the guffuffle died down, I spoke briefly to the producer who'd caught my attention during the talk and sounded like she might be open to a new idea, Michele Mulroney (Sherlock II) and she took my novel. I have to admit, I felt a bit whorish doing business right after Drew's accident but hey, it's Hollywood and I'd scraped together the pennies to get to California. I had one shot at Michele Mulroney and Hart Hanson was off to the ER with Drew. I'd been about to hand Hart my novel and beg him to develop a TV show around The Dream Jumper when our attention landed elsewhere. Damn.

The day before, I'd pitched to Jane Goldenring who took my book, applauded my one liner, was very gracious and accomplished, and I'm hoping she takes a look at my little Indie self-pub and sees something that would translate to the big screen and make a lot of money.
I also pitched to Stan Spry from Cartel Management and he liked the idea of the book and referred me to Haley Stoessl, Manager of Development. Haley gave me her card.

Drew Greenberg at hotel valet stand after the Emergency Room. 

Friday night, at the Sisters in Crime cocktail party, I descended on Snowfall Films exec and powerhouse, Suzanne Lyons, who asked me to send her something-- Suzanne is also Canadian and happens to be funny as hell. Marianne Moloney, who was once a VP at Universal, and discovered the book Ordinary People also worked on Roxanne, one of my favorite movies, with Steve Martin. She said I had a great name, for whatever that's worth. I hope to find her contact info and will remind her of my great name.
We met readers for studios like Dreamworks and Amblin, who spend all day reading books to recommend, or not, to their bosses. They talked about what they look for. One turned down Fifty Shades of Grey and stands by that decision.
The whole weekend was absolutely fascinating and I got on the plane Saturday night with a thirty-seven pound head full of info and full of myself because hey, I frickin pitched to Hollywood!

Here's my log line:
The Dream Jumper's Promise is about a guy who can slip into other people's dreams and uses that to solve a crime.

Here's some of what I learned this weekend in a nutshell (a pistachio, not a walnut):

-Hollywood likes books better than concepts because novels are finished, complete, characters are fleshed out. Authors are pre-approved.
-Sometimes not having a huge contract with a big 5 agency will be appealing because the rights to your book are more readily available and cheaper.
-Be prepared for changes to your book. The screenwriter might completely change everything but make sure you get credit: Based on the Novel The Dream Jumper's Promise
-Managers can work harder for a client than an agent if you're with a BIG agency
-Unsolicited material isn't as welcome as if your agent sends it (or your entertainment attorney!)
-Learn how to write a treatment, do not leave out the ending in all its beauty
-Scouts in New York meet regularly with agents trying to find books that will adapt to movie well
-Ask your agent to get on the Friday list to producers--Notable Books of the Week
-Get an agent! Imperative to lend credibility to your project.
-Find the one thing unique to your book and lead with that in your pitch
-Don't try to tackle screenwriting to sell your novel, There are experts for this.
-If a producer options your book (ties it up while trying to get a studio on board) be patient
-When you pitch, tell it like a campfire story with lots of vocal inflections.
-No more than 5 characters in pitch
-Only pitch action, no dialogue
-Thrillers are popular, especially with a female protag
-In the pitch, include the hard decisions that turn the plot
-To get these people's attention, you need something unique and you need to be aggressive. Not obnoxious, Ron said, but aggressive.
-Short Stories sometimes rise to the top of the pile for TV ideas
-If a producer options your book it may take a year or two to get the studio, director, screenwriter on board. You must be patient.

Good Luck. Somebody's going to get a movie made from their book.
It might as well be us, right!?

Kim Hornsby is an Amazon Bestselling Author who's shared the top five list with J.D. Robb, Stephen King and Dean Koontz in Amazon's Suspense Lists. She's an Award-Winning Mystery/Thriller writer who combines Danger, Adventure and often Ghosts.
Find Kim's many books on her author site at Amazon,