Story Merchant


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Atchity Productions

 Atchity Productions
In almost every aspect of life “money makes things happen” and making your story into a film is not an exception. For proactive writers with financial resources, Atchity Productions offers a unique way of moving immediately toward getting your story to the screen.

Assuming your story is one we love, we use our years of entertainment industry experience and contacts to work with you to create a ready-to-shoot package that moves your project from the end of the “conveyor belt” to the front where it can move directly into production.

Specifically, we work with you and whatever professional personnel are appropriate at each step to:

  1. Develop and perfect your story into a production-ready film script
  2. Select artistically and financially ideal location(s) for the production
  3. Provide a professional budget, day out of days, and shooting schedule
  4. Provide a project overview for use in marketing your film’s “package”
  5. Work with an experienced entertainment attorney to create or clean up the chain of title, and other necessary contracts
  6. Provide potential location photos
  7. Create a target list of directors, and make best efforts to attach a director who will enhance the story
  8. Create, with him or her, a target list of cast, and make best efforts to attach a value-added lead
  9. Provide a business plan, including profit analysis and ROI, for raising 15-30% of equity
  10. Provide resources to complete the financing with state and national “incentive funding”
  11. Solicit international sales agents to cover a necessary proportion of presales
  12. Work with you to raise the minimum necessary equity

The benefits to you are that, in partnership with us,

  1. You share control over all elements, creative and financial.
  2. You receive your development investment back plus a bonus, when production funding is achieved.
  3. You receive separate compensation for the story rights of the film, both up front and participation in net profits.
  4. You receive separate compensation for the screenplay, if you wrote or co-wrote it, both up front and through net profit participation.
  5. You receive separate compensation as the producer of the film, both up front and back end.
  6. You share control and decisions regarding ancillary streams of income.
  7. You share our knowledge of all transactions associated with your picture.
  8. You share control of disposition of the rights.

If this proactive approach interests you, please call 323-932-1685 or write to to set up a meeting where we can assess together where your story is at the moment, whether it meets our artistic and commercial criteria, and how best to move it forward to production. Depending on our assessment and yourqualifications we will be able to provide you with information regarding the development budget required. Of course, as with anything in life, this course of action comes with no guarantees. But it very well may be the fastest, most proactive way, to set your story on course to become a film.

Read this excerpt from Sell Your Story to Hollywood:
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The Conveyor Belt
Imagine a conveyor belt in the sky that carries every story that’s headed for the screen. Your goal is to somehow get your story from the back of the belt, where “virgin stories” lie, to the very front of the belt where stories are about to leap into “principal photography.”

What do the stories at the “stardust point” of the conveyor belt look like? At the very least, they have

  1. A perfected script that has been vetted numerous times by dozens of highly-critical technical and creative industry readers, and rewritten accordingly. It’s not unusual for a script to have gone through twenty or more revisions.
  2. A finalized (and “bonded”!) budget that has undergone even more revisions than the script.
  3. A “start date” agreed upon by all parties to the filming.
  4. A location that works for the best interests of the film.
  5. A solid legal foundation that provides contracts for everything from the “underlying rights” to the services to be provided by every member of the cast and every member of the crew.
  6. A director who understands the story enough to “enhance the flame” created by the screenwriter (who enhanced the flame the original storyteller created), and who the financers and “completion bond” executives trust to deliver a completed film.
  7. A committed cast suitable not only to the script, but also to the distributors, sales agents, and finance representatives.
  8. An international sales agent who has agreed with the producers on selling the completed film to every possible market.
  9. A “domestic distributor” who has shown interest in distributing the film in the United States and Canada.

By contrast, stories at the far end of the conveyor belt lack any or all of these elements, the farthest from stardust being, in this approximate order

  • a “great idea for a film,”
  • a written “pitch,”
  • a book (fiction or nonfiction),
  • other source material (like a magazine article or life rights),
  • a “treatment,”
  • a stage play, or first draft screenplay.

   They aren’t ready to be filmed until they gather all the other necessary elements.

One of the nearly infinite “Catch 22s” of show business is that every story on the conveyor belt risks being leapfrogged over by a story that has more of the necessary elements. No wonder it takes forever to make a film. I recently got a film into production that I’d been working on for twenty years. It sold to networks twice, but always got stopped along the way by “regime change” or “policy change.”

But first you have to get on that conveyor belt. This book aims to help you figure out not only how to get on the conveyor belt but how to keep advancing.

Excerpt from Kenneth Atchity’s Sell Your Story to Hollywood: Writer’s Pocket Guide to the Business of Show Business, now available on Amazon: