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The teenager's nightmare was a writer's and editor's dream. Kathy Miller, a young woman from Scottsdale, Arizona, was struck by a car while crossing a street. Literally knocked out of her shoes and socks, muscle torn from her leg, she was in a coma for 10 weeks, the doctors certain she would not live. She did eventually regain consciousness, but gave no signs of being aware of her surroundings. Yet in the months that followed, with the support of her family, she relearned how to walk and talk, and was soon back in school. When her "useless" legs strengthened enough for her to become a competitive long-distance runner, she was awarded the Most Courageous Athlete" award by an athletic organization comprising 105 nations.

I wrote the story from four different perspectives for four magazines: Family Circle, Seventeen, Success and Today's Christian Woman. The drama touched a broad spectrum of readers and was right for television, although neither I nor my publishers realized it at the time. As a result, when Kathy Miller's story became a movie of the week (M.O.W.), none of us involved with the magazine business profited in any way.

Can you sell direct?

Selling a story to Hollywood can be a confusing process, varying as it does from company to company. Alexandra Leh, development coordinator, motion pictures, for television and miniseries at CBS Entertainment, says the network's acquisition protocol doesn't allow for a direct relationship with the magazine. Instead, either a producer or an agency pitches the project. "A magazine would need to go through a production company, an entertainment lawyer or an agency that has a relationship with the network," says Leh. "They would not come directly to the network."

Leh suggests that before approaching a producer or agent about representing an article, the magazine staff should research whether the public will be receptive. Has there recently been a motion picture or a television movie about a similar topic? If so, would the topic be portrayed in a different light? Then, after establishing the viability of the subject, the magazine should approach production companies. Leh recommends contacting a Hollywood union such as Writer's Guild of America, West, to obtain a list of legitimate agents who can then deal with her company.

In contrast, Carey Nelson, manager of TV movies and miniseries at NBC Studios, is willing to work with publishers directly. "Let's say you control the rights to a story," Nelson says. "You can come to me and pitch the story, or you can send me pages, or we can discuss it over the phone. And if it sounds intriguing and interesting, and [it's] something that's viable, then I would have to read the pages."

At the moment, Nelson says, NBC generally is not looking for what she calls "typical TV fare ... the woman-in-jeopardy piece." Producers and the audience want to see something "original": as Nelson puts it, "a page turner" with multiple storylines that is "intriguing, exciting" and that "captures your attention."

How agents work

Although going directly to producers is sometimes possible, the consensus in Hollywood is that you're better off working through an agency. Calls to several of the top agencies indicate that all of them will take an inquiry from a magazine seriously, whereas individual writers often can't get past the receptionist.

Texas Monthly is one magazine that has discovered the rich Hollywood potential of its editorial content. "William Morris Agency represents the magazine, rather than the individual writers." says Marsha Cook, executive vice president, operations. "And we send the whole magazine to them every month - an advance, copy."

The agency selects which stories will be sold, Cook explains. These are placed on a fist of material to be read by staff agents. Since William Morris represents writers, producers, directors and performers, the agency will frequently package a story in-house - that is, arrange for one client to buy another's work so it can be taken to a network or studio as a package. Smaller, more specialized agencies usually have to go outside their client lists from the moment they accept a property for sale. William Morris will also seek input from outside sources, but only if there is no interest from the agency's clients.

The majority of Tow Monthly stories are staff written, and the staff members have a contract that ensures that they receive 75 percent of the net income from a television or movie sale. A 50:50 split of net proceeds is made with freelance writers, except on those occasions when the writer has reserved TV and film rights for himself.

Cook describes the current optioning trend as on the rise for Texas Monthly, especially for senior editor Skip Hollandsworth. Hollandsworth has been one of the most frequently optioned writers, with stories such as "The Meanest Divorce" (October 1992), about a Houston heir who abducted his sons from his estranged wife; "The Almost Great Bank Robbery" (November 1992), which involves a respected San Antonio police officer and his bank-teller girlfriend; the harder-edged story, "See No Evil" (May 1993), a story that traces the prostitute-killing spree of Charles Albright; and "The Seduction of Jane Doe" (November 1994), about a teacher who romanced a student and ended up in Supreme Court. His latest to be optioned is Poisoning Daddy (July 1996), about a high-school girl who did just that, using untraceable chemicals she obtained in a school science lab, only to confess the crime to her best friend a year later.

Act now ... Often your article to agents or producers as far in advance of your magazine's newsstand date as possible - preferably at the galley stage. Even a couple of days' advance notice is better than none because once the periodical appears, it's easy for a production company to work around you.

Call one of the major Hollywood agencies, such as William Morris or ICM. All have branches in New York City. You can also contact a literary agency that either has a Hollywood branch or works with a Hollywood agency.

For a list of legitimate Hollywood agents, contact Writers Guild of America, West, 7000 W. Third St., Los Angeles, CA 90048. Telephone: 310-1000. You can also contact Writers Guild of America, East, 555 W. 57th St., New York, NY 10019. Telephone: 212-767-7800.

Check out Hollywood Creative Directory for its regularly updated compilation of production companies, published by Hollywood Creative Directory, 3,000 W. Olympic Blvd., Suite 2525, Santa Monica, CA 90404. For the current price call 800-815-0503.

Texas Monthly's former William Morris representative, Michael Sheresky, believes an unrepresented magazine can get a shot at a movie deal if the editors first ask themselves the right questions. "In the case of theatrical motion pictures [movies first shown in cinemas], everyone has a pretty good sense of what a movie maybe," says Sheresky. "Basically anything that would be an appropriate vehicle for a movie star is going to be an appropriate motion picture. Motion pictures are still driven by movie star-strong central character - and they tend to be male-driven, but not always."

Television, on the other hand, traditionally has catered to women ages 18 to 54. Stories, especially true crime, that appeal to and focus on this demographic group are most successful on television. However, Texas Monthly's new William Morris rep, Stephen Bulka, notes that the demographic is broadening to try to appeal to younger audiences as well as males.

Option payments' structure

Once there is interest in an article, the purchase will be made in increments. Although some stories are purchased outright, most deals begin with an option agreement.

Sheresky explains: "The producer or the studio will put up a certain amount of money to `option the article,' which means that they will have the exclusive and irrevocable right to purchase that article." This is a way of limiting the financial commitment of a production company, network or other buyer while securing all rights. Option money is usually figured out as a floating percentage of the purchase price, which is the amount that the producer spends outright to own the rights to an article. Usually there are two option periods, each lasting about a year. After the first period, the producer may have the right to extend the option for another year for an additional sum.