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Insider’s "Done For You" Program Helps Get Your Book
Into The Hands Of A Respected Hollywood Producer

Hi, I’m Nat Mundel,

Imagine tomorrow morning you open up your daily paper or favorite magazine and see this:

What would you do?

Do you send your book or manuscript?

And if you do, how do you send it?

Do you just shove it in a FedEx package?

Do you include a one-page letter with the book?

Or do you write a 12-page pitch all about you and your story?

And how do you know your idea or story won’t get stolen?

So what do you do?

My name is Nat Mundel. I’m Founder and CEO of Voyage Media.

I’ve helped filmmakers & authors develop, package and sell over 2000 entertainment projects ranging from movies, TV series and branded entertainment.

In addition to hundreds of emerging filmmakers, my team and I have served A-list organizations such as Jerry Bruckheimer, Paramount, Lionsgate, Dimension, Anonymous Content, Alcon Entertainment and more.

And I’ve personally seen so many authors and writers totally botch up their opportunity to turn their books or stories into movies, I’ve finally done something about it.

I’m going to show you the right way to get your book or manuscript (whether it’s published or unpublished) into the hands of a producer.

Almost every author who’s put pen to paper wants to see their book come to life on the big screen.

But Hollywood is NOT like book publishing.

Even if the other authors...

...Are more famous than you.
...Have sold more books than you.
...Write better than you and their books are easier to adapt into a movie...

...You’ll have such an extreme advantage over all other writers... a producer will read and evaluate your story like it deserves to be. And the other authors who didn’t do what you did – their books will end up in the slush pile.

And this powerful strategy works even if you’re a...

...First time author with almost no book sales.
...Self published author.
...Still unpublished.

Even if your story is still in manuscript form or a bunch of notes, you can still get a meeting with a producer using this method. That’s because...

According to the Internet Movie Database (IMDB) 29,218 movies started out as books.
Hollywood LOVES turning books into movies because it’s incredibly profitable.

Eight of the top ten, 16 of the top 20, and well over 50 of the top 100 highest-grossing films of all time are adaptations from books, comics, historical events, toys, even amusement park rides!

OVER half of the 100 highest grossing movies of all time are adaptations!

And the trend of turning books (as well as magazine articles, comic books and even blog posts) into movies and TV shows is as strong today as it’s ever been.

Movies based on books grossed about $2 billion dollars last year…

And as of November in network television alone (not including cable) over four-dozen books were optioned for pilot development.

And...

Six of the nineteen films nominated for Academy Awards in 2011 were also adaptations — of novels and nonfiction books/true stories.

And five of the nine films nominated for Best Picture this year were adapted from books.

“Adaptations are super-hot right now,” says Christopher Lockhart, story editor at Hollywood superagency WME
(previously called William Morris Endeavor).

Ryan Condal, who recently sold his first script Galahad for $500,000 says. “Probably 99% of the active projects in Hollywood are adaptations of one kind or another.”

Hollywood needs fresh material… and always will… And bestsellers are not the only game in town.

Especially now with the ever expanding television market, rapidly growing micro-budget movie market, and plethora of online distribution possibilities… Hollywood needs a lot of different kinds of books to adapt for all these new markets…

And each one of these thousands of outlets needs new and fresh content. That’s it in a nutshell. It’s simple supply and demand.

So there is no better time than right now for an author to pitch Hollywood with a movie idea.
And authors like you have a HUGE advantage in Hollywood today because...

The good news for unknown and unpublished writers is: the majority of books and stories turned into movies and TV shows are from little-known books and authors.

For example, one of the most popular and highest grossing movies of the past year was Silver Linings Playbook.

It grossed over $100 million dollars and was based on a book from a first time author nobody ever heard of.

And have you heard of the book Robopocalypse?

Probably not. The book just recently came out. But the author sold the movie rights to the movie BEFORE it was even published! And Stephen Spielberg has committed to direct the film!

And first time novelist Mathew Quirk just sold the movie rights to his first novel, The Five Hundred, to 20th Century Fox for low-to-mid six figures. And the book hasn’t even been published yet!

Are you seeing the pattern here?

Increasingly, Hollywood is turning to first time authors and locking up the movie rights to books BEFORE they’re published.

Sometimes, the movie even gets made before the book is even published!

Can you imagine what that would do for book sales?!

There’s a huge market for authors in the Hollywood landscape, if you know how to work it…

OK, so now that you know how much Hollywood depends on books, let me show you what NOT to do when you want to turn your book into a movie.

Common sense tells you if you want to turn your book into a movie, you should send the book to a Hollywood agent.

After all, if you’re an author or writer, one of the first things you normally do is find a publishing agent, right?

But in Hollywood, things are different.

The truth of the matter is:

If you’re an unknown author or writer and you send your book or manuscript to a Hollywood agent you virtually kill any chance you have of turning your story into a movie or TV show.
Unless you’re already a “Name” talent, it’s going to be really tough to find an agent that’s willing to fight for you.

Agents work on commission. And they know they’re more likely to get a big fat commission working with a star than a first timer.

Agents take the path of least resistance when pitching a movie deal. And in most cases that means going with proven talent that has a far better chance of getting green-lighted than a Hollywood newcomer.

And agents keep their doors shut to outsiders so they retain their image of exclusivity and keep you lined up at their doors, praying to get in.

What you probably know is that agents don’t take unsolicited submissions.

What you might not know is that you first must find a book rep…

…Who knows a lit agent
… Who doesn’t even read your book but sends it to a “reader”
…Who, if you’re lucky, recommends it to the Agent’s assistant
… Who has to stick his neck out and risk his job recommending it to his boss
… Who might (once again if you’re lucky), send it to a producer
…Who sends it to his “reader”
… And it goes on and on in a hopeless loop.  A loop you have absolutely no control over.

You could literally waste away a lifetime hoping that an agent will read your work… years that could be spent building a name for yourself and getting your work into the hands of the people that matter.

So even if it would make for a GREAT movie… even if a producer or movie studio would pay you big money for the rights to your book… you’ll never know because the agent will never even read it… nevertheless get it to the right people.

But the good news is, as a new author, you don’t need an agent to get a movie deal.

The system you’re about to learn totally skips over agents and goes right to the producer.

And in Hollywood, producers are the ones who actually make movies.

Before I tell you how to work with a producer, let’s make sure we’re all clear on exactly what a movie producer does.

We all see their names in big letters before and after a movie. But most people outside of Hollywood have a big misconception of a producer’s job.

They think a producer sits in an office all day and takes meetings. Then goes off for a three-martini lunch and golf.

The truth is a producer is the one who makes sure a movie or TV show gets financed and made.

Producers shepherd the movie or TV production from start to finish.

Typically a producer develops an idea or script with a writer and secures the necessary rights.
The producer often hires the director, supervises casting, and assembles a crew.

Plus, the producer oversees the budget and then coordinates the postproduction work — everything from editing, to commissioning music, to encouraging the film’s stars to plug the movie on talk shows.

But more important to you, producers are often the ones who decide which books get turned into movies in the first place.

Unlike agents, who are in the business for the money almost exclusively, a producer is in it for the love of making movies and telling stories. They want to see their projects brought to the screen.

Agents are business people. Producers are filmmakers and visionaries. And that’s who you want to work with to help you get your book turned into a film.

Finding a producer in Hollywood to read your work is extremely difficult.

That’s because...

And here’s the Catch 22 that exists in Hollywood for authors: You must get the attention of a movie producer, yet movie producers don’t read books from unknown authors.

Every year, thousands of authors, because they don’t know better, blindly send their books to producers.

Put yourself in a producer’s shoes. Every week you get 20 to 30 books from people you don’t know… and this is in addition to everything else you have to get done as a producer.

It’s impossible for producers to read these books. So producers take the easy way out and simply don’t read most of these submissions.

But there is a way for you as an author to get your work seen and read by a producer. It’s a very specific method you must follow.

Hollywood is a one-shot town. You only have one opportunity to make a great first impression.
When you submit an idea or book or script to an agent, producer or studio, and they pass on the idea, the best-case scenario is…

They will never look at that idea again… but if you’re lucky they will at least look at new ideas and books from you.

The worst case scenario is…

You did such a bad job in presenting your work, you’ll be poison to them and they essentially blackball you from Hollywood.

So you need to pitch your project right the first time.

And you have to make it as easy as possible for the producer to see how your book will translate into a movie.

Here’s how you do it.

The first thing you need to do is identify the market for your movie.

Is it a documentary, a romantic comedy, a potential independent film, a big budget science fiction movie, or a potential TV series?

Remember, not every movie will be a hundred million dollar Hollywood blockbuster. So be realistic in your assessment as to whether your book is best as a movie or TV show or anything in between.

Also, keep in mind there are thousands of different media outlets. And new ones being created every year. Look at all of them.

Warren Adler, Best known for movie “The War of the Roses,” and who’s sold movie and film right for 12 books, says of all the media opportunities available to new authors...

“It just may be that the future for story adaptation lies within the little tents, perhaps millions of them world-wide that have sprung up beyond that big tent, spaces filled by imaginative creative people, filmmakers, writers, actors and others in the trade who are finding myriad ways to circumvent the system with inventive new ideas requiring new material from creative writers. Indeed, the real future for novelists may be in venues yet to come made possible by technology that might be just beginning to emerge.”

Once you’ve determined where your book or story idea fits best in Hollywood, it’s time to write your logline.

Remember, producers don’t read books they haven’t heard of. So you must present your work in a way that gets read. That means summarizing your book. So the first thing you must write is a Logline.

Your pitch to producers must contain a logline.

A logline is a one-sentence summary that describes the movie version of your book. It’s the grabber about your movie idea that excites your producer.

And even though a logline is only one sentence long, it’s the most critical part of the process of getting your book turned into a film.

Your logline will be the most important sentence you ever write to a Hollywood producer.

Your logline is the FIRST thing a producer reads and if your logline doesn’t convince the producer you have a can’t-miss movie, you won’t have any chance of getting them to work with you.

And you just killed any chance you ever have of working with that producer again.
But there’s an art to writing attention-grabbing loglines. They have to be exciting, stimulating and eye-catching. Most of all, they must be visual.

Here’s an example of a logline:

“In this epic adventure thriller a young rebellious man struggles to survive and find family amidst competing adolescent tribes in a post apocalyptic American landscape.”

This logline was sent to producers and studios and was picked up to become a TV show! And it all started with this logline.

Here are two more loglines of famous movies. Can you guess what movies they were for?

Logline #1
The extraordinary story of a thoroughbred racehorse - from his humble beginnings as an under-fed workhorse to his unlikely rise and triumphant victory over the Triple Crown winner, War Admiral. 

Logline #2
A 17th Century tale of adventure on the Caribbean Sea where the roguish yet charming Captain Jack Sparrow joins forces with a young blacksmith in a gallant attempt to rescue the Governor of England’s daughter and reclaim his ship.

The first logline is for the movie Seabiscuit.

Logline two is for the movie Pirates of The Caribbean.

See how much visual imagery and description they pack in just one sentence? That’s what you have to do with your logline.

The key thing to remember is that Hollywood thinks VISUALLY.

A film is a succession of PICTURES and a novel is a succession of WORDS.

So when you’re summing up your book or describing your story, make it visual. Make it easy for people to “see” what will be on the screen.

One great way to practice writing loglines is to write a logline for movies and or books that have been turned into movies. Then go find the original logline and see how close yours is to the original.

As an author, you’re accustomed to writing books. But loglines are a different kind of writing, and often are left to experienced professional screenwriters who routinely write for Hollywood.

The bottom line is: If you do not have a powerful and well crafted logline, your book will end up at the bottom of a mountainous stack of books that never get read, regardless how good it is or how well it adapts to the screen.

You know how Hollywood producers don’t have time to read books from unknown authors? There is something they do read to get an idea if a book is right for the screen.

It’s called a “treatment”.

After you’ve written your logline, you’re ready to create your treatment.

Treatment is short for “treatment of concept.”

Your treatment is the actual screen version of your story.

It’s not a summary. It’s a new story based on your novel.

Treatments are often seven to ten pages. They’re not in screenplay format yet but they’re basically in shorthand and describe the screen version of your story.

A treatment must convince the producer that it’s worth his or her time to either read your book or contact you directly.

Here’s what your treatment needs to accomplish if you want a producer to get excited about your project:

• How will the characters and events appear in the film? Take the reader through the story of the film.
• Your treatment must not give more information than the audience of the film will have.
• Even though your treatment doesn’t have to contain every scene, it should go through every sequence.
• Expect your treatment to be anywhere from 7 to 10 pages.
• If it helps you, you can separate it into acts and sequences (with titles).
• Remember, a treatment sells the film to both creative and financial minds, therefore it must:

-Grab the reader’s attention with the first line of the first page.
-Make the reader want to turn to the next page at the end of every page.
-Move the action forward and not linger on descriptions

And just like writing a logline is an art, so is writing a treatment. Here’s a brief outline on how to start your treatment:

• Take all of the language into the present tense.
• Start on action, not description. This goes for the treatment as a whole as well as each paragraph.
• Take out any unnecessary items: for each scene/paragraph ask “does this express conflict” and “does this move the plot forward.”
• Consider using dialogue now and again to help develop the characters and reveal plot points.
• Skip transitions and skim over the back-story. Try and let the background come out as the plot reveals it to the audience.

Finally, you’re ready to move on to step four…

The first thing you have to do is find the right producer to show your work to.

You see, just like certain publishing companies specialize in certain genres or types of books, producers specialize in specific types of movies, or TV shows, or TV series.

Every producer has a passion for a specific type of film. Some specialize in comedies. Others on dramas. Still others focus just on TV series.

So if you have a thriller, make sure to target producers that specialize in adapting thrillers to the screen.

If you have an idea for a 1-hr dramatic TV series, then you need to find producers who specialize in that market.

So instead of sending your movie proposal to every producer in Hollywood… you must find producers who work on films that are similar to your book. One simple way is to find movies similar to your book and see who produced them.

Another thing to do is to find up-and-coming producers who aren’t yet at the top of the industry, but who have a strong passion for your book’s story.

An up-and-coming and hungry producer who specializes in your market WILL go to bat for you and your work.

To find the right producer for your book, you’ll have to scour the industry databases, keep up with industry news, and tap into the IMDB database.

Once you find the producers that are most likely to be interested in your story or book, DON’T send them anything yet! There’s a lot of work you have to do before you contact a producer.

And this is where most authors screw things up from the get-go. They simply send their books, sometimes with a cover letter, sometimes even with a summary of the book, thinking that’s all a producer needs.

Nothing is further from the truth. Producers need a very specific package with just the right elements. So...  An eye-catching, visually stimulating logline, attached to a dynamically and expertly crafted treatment sent to the right producer (one that specializes in producing movies or TV shows similar to your book) will give you the best shot of getting you a meeting with a producer to start negotiating selling the rights to your book so it can be made into a movie or TV show!

Now you can see why so few authors with great books or stories to tell get through the Hollywood system.

With the knowledge and information you’re now armed with, you have an incredible advantage over 99% of all other authors pitching their work to Hollywood.

But...

Even though you now have an exact, step-by-step blueprint for getting your material adapted for the screen...

Few authors know how to write a logline.

And fewer still how to adapt their storyline and create a dynamic treatment. Or how to pair their storyline down to only the essential plot points for a screen story.

And let’s not even mention trying to figure out the best producers to send your work to.
Now that you know what it takes to break through to Hollywood, you have two choices to turn your book or story into a movie...

Choice #1: Take all this information and go at it on your own.

You may have some success if you do all the research and put in the time and effort necessary.

Writing for Hollywood is vastly different than writing for a book publisher.

You’ll need to develop new skills and a different way of writing. This is one reason so many authors fail in Hollywood. Even knowing what to do... they’re not trained in HOW to do it.
If you thought writing and finishing your book was tough, wait til you try writing a treatment in a Hollywood speak. It’s like writing in a foreign language.

But that doesn’t have to stop you.

You have another choice...

Choice #2: The savvy approach…

Book-to-Screen Access

As I mentioned earlier, I’m Nat Mundel and I’m the Founder of Voyage Media, a team of Hollywood veterans that can help you break down the barriers between you and Hollywood producers and movie studios.

We’re creators of the Book-to-Screen Access Treatment.

This is the quickest, easiest and smartest way to get your logline and movie treatment into the hands of producers who are looking for material like yours to adapt to the screen.

We do the work for you. There’s no need for you to start from scratch, try to reinvent the wheel, or pound your head against the wall trying to figure out how to write a logline, create a treatment or figure out which producers to send your work to (and how to reach them).

This method has been tested by our clients and authors for years… literally getting thousands of their projects successfully produced…

And helping them have their dreams realized, without the years of frustration most authors endure... without the need of an agent... and without getting screwed over by Hollywood!

Before we tell you more about the program, let me introduce you to just a few of the Voyage Media team members:

I’ve helped filmmakers & authors develop, package and sell over 2000 entertainment projects.

And I’ve teamed up with an incredible team of Hollywood professionals who are not only incredibly successful in their own right but who are dedicated to helping emerging authors like you have success in Hollywood.

Every person on my team has successfully had projects produced and distributed in Hollywood.

One team member was the VP of Development at Alcon Entertainment. He developed THE BLIND SIDE, THE BOOK OF ELI, THE SISTERHOOD OF THE TRAVELING PANTS 2, and many others films.

Another is a former William Morris Agent turned TV producer who worked with Stephen Colbert, Patton Oswalt, Judy Blume, and who developed TV and Film projects like UNHITCHED, COACH CARTER, and FLYBOYS.

A third has, for 15 years, been the secret-weapon story expert and Executive Producer for Phil Noyce, director of SALT starring Angelina Jolie and the award-winning indie RABBIT PROOF FENCE.

Also on the team are experts who have held major positions at Disney, Dimension, The Discover Channel, HBO New Line Cinema, Lionsgate Films, and many more companies in the business.

Together, we’ve packaged, polished, and pitched hundreds of projects for clients including Wes Craven, the Weinsteins, Paramount Pictures, Jerry Bruckheimer Television, Alcon Entertainment, The Hughes Brothers, Steven Schneider, Lionsgate, and other major players and companies.

The Book-to-Screen Access Treatment is the first screen-adaptation plan for authors that guarantees your material is reviewed by qualified producers… without needing to write or create loglines or a treatment yourself.  Professionals do it for you.

This revolutionary program is specifically for first time and even veteran authors who:

• Don’t have contacts in Hollywood
• Have previously tried to pitch a movie project in Hollywood but were rejected
• Are self published or still unpublished
• Are intimidated by Hollywood and want a guiding hand
• Simply want to get their book turned into a movie the fastest way possible!

This program legitimately puts qualified material into the right hands without gimmicks or false-promises.

The Book-to-Screen Access Treatment is the result of over 10 years of working with producers and novelists to make deals in Hollywood… and analyzing the results of the most successful long-term players in the industry.

As well as looking at the REAL reasons why it’s seemingly impossible for authors like you to break into Hollywood… and creating a one-of-a-kind solution to the age-old catch-22 of “can’t get a producer interested without an agent; can’t get an agent without getting a producer interested.”

With the Book-to-Screen Access Treatment, you’ll easily communicate the screen-vision of your book to producers who are actively searching for material like yours.

Now, let me tell you what Book-to-Screen Access Treatment IS NOT… just so you know exactly what you’re about to experience.

This is NOT another “Guaranteed Path To Overnight Success” program.

This program is for authors who are willing to do the work to go to the next level, and who are truly committed to achieving lasting success.

In short, there are no “easy” paths but I’ve made this Program as easy as it can get.

So if you’re wanting the real answer for how to get producers in Hollywood interested in your work, here’s what you can expect:

If you want to:

• Capture the attention of real producers who are looking for material like yours.
• Avoid wasting years (or decades) of your life hoping an agent will eventually pay attention.
• Understand how your story fits into today’s Hollywood landscape and create a blueprint for how it will be translated to screen.
• Share stories that people want to watch, and that studios or networks will buy.
• And have the recognition you deserve.

Then The Book-to-Screen Access Treatment isn’t just “a” system for you.

It’s the ONLY system for you! Nothing else like it exists for authors.

Anders Anderson and Andy Steinman, two guys with a novel and no experience who we helped develop a TV series (which got set up with a major producer), had this to say:

“For two dudes like Andy and myself, who are just trying to break into television, it makes all the difference in the world to not only show our creative abilities, but our professional approach to our project due to the phenomenal work you and your team did with us.” 

Jerry Turner, author of Downside Road said...

“In a nutshell, the content of the Treatment was truly awesome. The professional team of writers compiled a comprehensive, succinct summary of my novel ‘Downside Road’ to my entire satisfaction missing nothing, and gave invaluable suggestions on how more emphasis on protagonists could be made, in addition to their enhancement of the complete story by adding additional conflicts to make it even more poignant. I’m really chuffed and can’t wait to see the professionally-written Book-to-Screen Access Screenplay.”

Let’s take a look at what you get when you get started with your Book-to-Screen Access Treatment, the first step toward having your material adapted (and considered) for screen…

• Up to 3 different industry loglines for your project: As you know, a logline is the most important first step in catching a producer’s attention about your project. Most book authors have never even heard of a logline let alone written one. For anyone not experienced in writing loglines, it will be the most brutal, difficult sentence you ever write. But with this program, you get up to 3 different loglines written by Hollywood screenwriters.
• Producer analysis and guidance: In addition to your very own screenwriter, one of our producers will guide the entire treatment writing process, ensuring that your book is adapted for the best market possible. The fact of the matter is… many books just don’t translate well into movies. So changes will be made. The producers reviewing your work will question every decision and choice you’ve made about the characters in your book, your vision, the plots and subplots in order to improve the story for the screen and create the best possible treatment that is most likely to get produced into a movie or TV show
• Screenwriter’s Mission Statement: Some books are easily adapted to the screen. However, often, in order to succeed as a movie or TV show, the screen version of the book is radically different from the author’s initial vision. Expect some “tough love” from our team on what you may have to do with the screen version of your book to make it work for Hollywood. Warning: this is not for the easily offended or hurt. But it doesn’t do anyone any good, especially you as the author, if we don’t give you our expert advice and adaptation recommendation.
• A professionally written treatment of your book: You’ll have a professionally written treatment created for you in about 6 to 8 weeks. A treatment written by a Hollywood screenwriter can easily cost $20,000-$30,000. And that’s to hire just one writer who will just write your treatment, without a producer guiding the process!
• You retain all copyright and ownership of your book and your treatment: In the world of Hollywood, this is highly unusual. Usually the screenwriter who writes the Treatment has some ownership rights to the project but I’ve made sure to clear you from any screenwriter ownership.

But here’s the best part…

We will actively promote your project to producers who are looking for novels to option and make!

Here’s what we’ll do on your behalf to actively promote your book and story specifically to the producers who specialize in your topic and most likely to adapt it to the screen…

• Guaranteed one-to-one active promotion of your book & treatment to at least two relevant producers looking for material to option and make.
• Guaranteed inclusion into the Voyage Media proprietary database: Your treatment will be added into our database in which producers search for content to acquire and make.
• Guaranteed Inclusion into our “VALT” (Voyage Available Literary Titles): VALT is Voyage Media’s publication of available book titles and is distributed to 1000s of producers and filmmakers looking for books to option and make into movies and TV shows.

Unless you have industry contacts or an uncle in the business, this is the absolute fastest way to get a professionally written treatment into the hands of a Hollywood producer.

If you were to try to do this yourself, first you have to remember, you’re not a Hollywood insider and chances are you’re out of your league when it comes to dealing with Hollywood.

Odds are, your logline alone would never catch the interest of a producer, let alone your treatment. Writing loglines and treatments is an art and a specialty that only comes with years of Hollywood experience.

If you were to try to get your book to a producer on your own, and you decided to get help from Hollywood veterans piece-meal, here’s what you’re looking at:

• Treatment Writer: $30,000
• Producer’s analysis, recommendations and guidance: $10,000
• Potential travel to Hollywood, film festivals etc to do some of your research and networking: $5,000
• The time and effort it will take for you to find all these people: Months of research and years of headaches are the norm. 10 years of relationship building in Hollywood – going to parties, film festivals, lunches, etc.

You’re looking at a $45,000 investment. Even if you were to do some of the work yourself and worked with the cheapest talent you could find to help you, you’re still looking at around a $25,000 investment. Plus maybe a year putting the whole project together.

However, with this unique opportunity, you won’t have to pay $45,000... $35,000... not even $20,000 to gain access to me and my team (and our endless relationships with producers, production companies, agents, studios and TV networks. And the only traveling you have to do is to your phone. or your computer.

Normally, our Book-to-Screen Access Treatment is $3,497.00. But as our holiday gift to you, we’ve arranged for a very special price.

Before I get to the holiday price, let me tell you about some other special bonuses I’m including if you act now, before Friday, December 4th…

Free Access to Voyage Media’s 5-Video Training Series “Making the Power Move From Amateur To Pro”

Over 4 hours of downloadable video featuring high-powered executives from HBO, CAA, Alcon Entertainment, Wes Craven, the Weinstein’s Dimension Films, and other companies, finally spilling their most honest insights on what it takes to get their attention, build a reputation, and get your material noticed and bought again and again.

Regular Price: $297.00

Your Price: FREE!

A Free 20-minute 1-On-1 Session with me, Founder of Voyage Media

You and I will discuss:

Your individualized goals and how to clarify your road-map and next step action plan
What key resources may exist for you and how to access them quickly and easily
Accessing the cutting-edge opportunities and deal-making approaches used by me.

Regular Price: $350.00

Your Price: FREE!

These two bonuses are currently available but I may take them off the table at any time once my schedule fills up.

Also, keep in mind, due to all the individual attention and personal time invested by myself and the other producers working on your project, we must limit the number of authors we work with.
So this is strictly a first come… first served opportunity.

So, to get you on board right now, and give you no excuse not to sign up, if you act before Friday, December 4th, you can…

At the GUARANTEED LOWEST
ENROLLMENT — ONLY $4144 $2997

Here’s what will happen the moment you order.

First you’ll receive a call or email from one of our Production Coordinators who will provide you with instructions for how to submit your digital book or digital manuscript… They’ll also arrange for you to get the valuable free bonuses. And from there, everything will be taken care of for you!

It’s that simple!

If you really want to see your story come to life on the big screen and don’t want to waste years of frustration and tens of thousands of dollars trying to buy your way in, then Book To Screen Access is the fastest, most efficient way to get your book or story onto the desk of the producers most likely to turn in into a movie.

Sincerely,

Nat Mundel

P.S.To date,  29,218 movies started out as books and eight of the top ten, 16 of the top 20, and well over 50 of the top 100 highest-grossing films of all time are adaptations from books, comics, historical events, toys, even amusement park rides! Hollywood needs ideas from authors and writers like you. But Hollywood is not going to come knocking at your door. You need to be proactive. And you only have one shot to convince a Hollywood producer that your story or book would make a great screen adaptation. And every year, thousands of authors and writers blow their one shot because they botch up their pitch. Let my team and I help you do it the right way the first time. You'll save yourself years of frustration, thousands and even tens of thousands of dollars trying to do it yourself... and you'll have the best team in Hollywood for helping authors and writers get their works into the hand of A-level Hollywood producers. Let us help you starting today!