Cassie Miles's THE GIRL WHO COULDN'T FORGET and THE GIRL WHO FEELS NO PAIN, to Allison Lyons at Harlequin Intrigue, in a nice deal by Melissa Jeglinski
Anne Marsh's ROYALLY HUNG, about a European prince who marries an unroyal American bride, to Kristine Swartz at Intermix by Deidre Knight
USA Today bestselling author Marilyn Pappano's next two books, to Patience Bloom at Harlequin Romantic Suspense, in a nice deal by Melissa Jeglinski
Michelle Dayton's FAST RIDE, in which an argument over a fender bender turns into a hot one-night stand, and the resulting fake relationship turns very real, to Tara Gelsomino at Crimson Romance, in a two-book deal by Janna Bonikowski
Wendy Roberts's A GRAVE PERIL, book three in the BODIES OF EVIDENCE series, about a woman struggling with personal issues while solving crimes thanks to her ability to find dead bodies using divining rods, to Kerri Buckley at Carina Press, in a two-book deal by Melissa Jeglinski
Jules Bennett's book five in the new Texas Cattleman's Club: Houston continuity series, to Stacy Boyd at Harlequin Desire by Elaine Spencer
Elizabeth Mowers's MOON OVER MARQUETTE, in which a struggling single mother, fighting to protect her son from her abusive ex-husband, comes face to face with a man on the run - her first love lost to her twelve years earlier, to Kathryn Lye at Harlequin Heartwarming, in a nice
Japanese rights to Nalini Singh's HEART OF OBSIDIAN, to Fuso, by Whitney Lee at The Fielding Agency on behalf of Elaine Spencer
- Peter Vronsky's ORIGINAL SONS OF CAIN, to Brilliance Audio by Elaine Spencer
Bryan Kozlowski's THE JANE AUSTEN DIET: Discovering Austen's Secrets to an Incandescently Happy Life, a retrospective look at Austen's unique (and scientifically brilliant) approach to food, fitness, and total body "bloom"; because whether that's learning to eat like Lizzie Bennet or exercise like Emma Woodhouse, living
We don’t make movies to make money, we make money to make more movies.
- Walt Disney
Black Entertainment Television produced Jacquelin Thomas’s HIDDEN BLESSINGS (BET Books) for cable television in 2000.
Cara Lockwood’s I DO (BUT I DON’T), published by Pocket Books/Downtown Press, was already a national bestseller in its third printing when film rights were optioned by Ira Pincus Films, in association with von Zerneck/Sertner Films. The novel became a Lifetime Original Movie starring Denise Richards and Dean
I CHOOSE TO STAY (DaFina Books/Kensington) by Salome Thomas-El and Cecil Murphey has been optioned to Disney Studios, in partnership with Solaris Entertainment, for production as a major motion picture, THE MIGHTY BISHOPS. Filmmaking brother team Greg O’Connor and Gavin O’Connor will helm the project. The O’Connor brothers
NYT bestselling authors Don Piper and Cecil Murphey’s 90 MINUTES IN HEAVEN, in which Baptist minister Piper recounts his death, passage to heaven, and return to earth where he endures a long and grueling recovery and spiritual awakening, to Dawn Parouse Productions (PRISON BREAK, TRU CALLING) for a feature film
NYT bestselling author Gena Showalter’s RED HANDED, to Sony Pictures Television (Stargate SG-1), with Dan Wigutow Productions, by Sean Daily at Hotchkiss & Associates, on behalf of Deidre Knight at The Knight Agency.
Cara Lockwood’s BARD HIGH series, in which students discover that the books they’re reading in class have an uncanny influence over the events in their lives, to Susan Adler at Stun Productions, by Sean Daily at Hotchkiss and Associates, on behalf of Deidre Knight at The Knight Agency.
Beverly Brandt’s romantic comedy ROOM SERVICE, optioned to Emmett/Furla Films, by Deidre Knight at The Knight Agency, in association with Matthew Snyder at CAA.
Monica McKayhan’s INDIGO SUMMER books, about a high school freshman dealing with the pressure of sudden popularity in her new school, to Kimberly Ogletree and Karat Films (LOVE SONG, HAIR SHOW), by Sean Daily at Hotchkiss and Associates, on behalf of Pamela Harty at The Knight Agency.
David Cristofano’s THE GIRL SHE USED TO BE, about a woman who after 20 years in witness protection decides to trust the son of the mobster who she’s been running from since she was a little girl, to Mark Johnson’s Gran Via Productions (THE NOTEBOOK, MY SISTER’S KEEPER) and Julie
Every act of communication is a miracle of translation.
- Ken Liu
Rights for publication of works by Knight Agency authors overseas are handled by a network of foreign rights sub-agents and in some cases by The Knight Agency itself. Working on its own and in conjunction with skilled subsidiary rights agents, The Knight Agency has licensed rights on behalf of its clients in over 50 countries throughout the world.
All inquiries regarding the availability of foreign rights pertaining to Knight Agency titles should be directed at email@example.com
The Knight Agency is proud to be in partnership with the following talented group of foreign sub-agents.
Whitney Lee of the Fielding Agency, handling select titles in Brazil, Bulgaria, China, Croatia, Czech Republic, Estonia, Greece, Hungary, Isreal, Korea, Latvia, Lithuania, Poland, Portugal, Romania, Russia, Serbia, Slovak Republic, Slovenia, Taiwan, United Kingdom
PNLA & Associati Srl / Piergiorgio Nicolazzini Literary Agency
The Lennart Sane Agency
Brazil, The Netherlands, Scandinavia, Spain*, and Spanish-Speaking Countries*
Kristin Olson Literary Agency s.r.o.
Julio F-Yanez, Agencia Literaria, S.L.
Thomas Schlück Literary Agency
Agence Litteraire Lenclud
Read N Right Agency
Kayi Literary Agency Ltd.
Katai & Bolza Literary Agents
Nova Littera Ltd
ANA Sophia Ltd
*except titles represented by Lucienne Diver, which are handled by the Julio F-Yáñez, Agencia Literaria, S.L.