The Brit and the Blond

Screenbrokers, Andy Rodman and Bonnie Sanders, both writers, and screenplay reviewers, have many credits between them. They collaborate in a "write n' fight" arena, which miraculously works well. He writes fast, and unfocused. She methodically edits and organizes. Both know good writing.

Andy, an Englishman, had several of his plays produced, including The Plot and Brodsky and the Bandit. He has also had many screenplays optioned. In his article published in The Writer, he explains just how few good screenplays he has ever read. (About one in 100) It is through this article that Andy and Bonnie met. In it he stated he would read 20 pages of anything, so Bonnie, a writing neophyte at the time, sent him one of her early works. He thought it was one of the few screenplays good enough to merit a phone call.

Since both lived in L.A. beach communities Andy and Bonnie were able to meet at one of Andy's writers' support meetings. Bonnie belonged to a different writers' group. They merged the two groups and co-founded "Writers' Bloc Ink," probably one of the longest running support groups of all time.

Bonnie hasn't been writing as long as Andy, but she has taught writing, has had articles published, screenplays optioned and presently has a high concept story idea favorably placed at one of the major TV studios.

Together they adapted Gisela Alonzo's novel, Distant Fever into screenplay form and are cited as the screenwriters in German Life Magazine. They also co-wrote an action adventure called Noon Break with a New York police officer. Presently they are writing a non-fiction book on sports parenting. Additionally they have written and produced four children's plays with themes of the environment, brotherhood, self-esteem, and virtue.

Andy and Bonnie also produce and host a cable TV show on screenwriting. This past year they served on the jury for the Hartley-Merrill International Screenwriting Competition. Bonnie has served as a reader in several Carl Sautter screenwriting competitions, sponsored by the Scriptwriters' Network. Andy teaches fiction and playwriting for Barnes and Noble.

Their biggest coups have been their successes in the placement of four screenplays directly into the hands of studios. See testimonials.

None of the writers of those scripts had an agent, but Andy and Bonnie were able to broker the material through an agent who valued their critiquing abilities. This agent took the gamble and was willing to represent these writers based on Andy and Bonnie's recommendation. He wasn't sorry. It was a win, win, win situation. He got his agency fees for negotiating the deals, Andy and Bonnie got a percentage for finding the projects, and the writers were able to cash sizable checks.

Realizing they had eliminated one of the major barriers for writers, that of getting an agent (see Free Report) which is almost akin to getting an audience with the pope, they knew they had hit upon something unique.

Armed with their critiquing abilities, show business contacts and good relationships with agents, for whom they had done coverage, they came up with the idea to act as the (middleman/woman) or in less sexist words, Screenbrokers. They would expand and offer their Screenbrokers services to any and all talented screenwriters who, for lack of exposure and the right connections, might never achieve their potential without an agent.

Exceptional, ready-to-go scripts would be guaranteed immediate representation and start making the studio circuit. For those with screenplays not quite ready to make the rounds, Andy and Bonnie offer a complete script evaluation service.

Screenbrokers state that regarding evaluation services, it is important for writers - especially new writers to recognize that anyone can call himself or herself a reader and do coverage.

Andy and Bonnie do most of their own reading, but at times, when overloaded, they do share their work with other trusted and qualified readers. Sometimes this is done by design so that a script of a particular genre, such as science fiction, will be read by a reader with expertise on that subject. They often use these experts for additional input into their evaluations.

Andy and Bonnie are convinced that there are hundreds of good, even great screenplays out there -- better than many of those made into movies and seen on the big screen today. Sadly, what chance will most of these scripts have to see their way to the screen if they never have the opportunity to see their way into an agent's office.

Screenbrokers guarantee agency representation for your exceptional script. Screenbrokers also guarantee they will refund your evaluation fee in full if your script comes in ready to go. Your best product is our best product.

We are Screenbrokers, not agents



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