Wendi Niad started out working as a comedy writer and today runs Niad Management, a company she founded that represents an extraordinary slate of new and established writers, directors and actors. A literary and talent manager, Niad also teaches and mentors, helping the up-and-coming learn about the entertainment industry, so this month, we asked Niad to talk with us about the business.

Niad's career began at the Comedy Store as a talent coordinator and comedy writer. Later, she joined the renowned International Creative Management agency (ICM) where she helped package great films such as "Braveheart"; personally represented big talent such as "The Killing Fields" director Roland Joffé and "Ghandi" writer John Briley; and brought the prestigious Cannell Entertainment into the agency as a client. To work more closely with clients, Niad left agenting and formed Niad Management in 1997.

Clients of Niad Management include Hollywood veteran Lee David Zlotoff, writer/director of "Spitfire Grill" and producer on the upcoming feature adaptation of "MacGyver"; screenwriter Misha Green, a staff writer for NBC's "Heroes" and FX's "Sons of Anarchy" as well as the screenwriter of the upcoming feature thriller "Sunflower"; actor/writer/director/producer James Cotten, director of feature crime drama "La Linea" (also known as "The Line") and actor/writer/director of the western "Sugar Creek"; and sci-fi "Ender's Game" author Orson Scott Card, who is exec producing the film adaptation of his novel, "Empire."

Niad also participates in conferences and pitchfests, and teaches the UCLA Extension course "Street Smarts for Screenwriters." Active in contributing to the arts community, Niad's company provides internships and mentors inner city high school students through a number of different charitable organizations. With solid roots in the industry and a commitment to outreach, it's no surprise that she has been tapped for advice in two books: Final Draft's "Ask the Pros: Screenwriting" edited by Howard Meibach and Paul Duran, and "How to Sell Your Screenplay" by Lydia and Joan Wilen. In this interview, Niad shares tips that could help you gear up for the market.

Q: At your company, what goes into long term career planning for a screenwriter?

A: The first question is always, "Where do we/you want to be five years from now?" This lets us know what it is we need to focus on. The plan we map out will always depend on what goal the writer has in mind.

Q: In a perfect world, how many and what type of samples would a new writer have ready before seeking work in television?

A: Ideally, a new writer should have two different spec samples in the same genre he/she would like to work in. For example: if you would like to write in half hour comedy, you should have a spec "Office" and "30 Rock." Don't have an "Office" and a "Law and Order." If you are a new writer, the worst thing you can do is not know what your voice is and what genre you belong in. You need to peg yourself when first starting out or no one will know what to do with you. It will also be to your advantage to have an original pilot.

Q: And for feature films?

A: Have at least two specs and lots of ideas for your next ones. Please, again as above, when you are first starting out, try to stay within the same genre or no one will know how to market you.

Q: When choosing that next idea to write, what should a screenwriter consider?

A: First, stay in your genre. Then consider everything else. Consider the marketability of your idea. Can you cast leads who will be opening weekend box office draw? Will middle America run out to see it the first weekend it opens? These are things that will help your script sell and will help your agent or manager use that script as a sample for assignments at the studios. You want your script to sell, but it should also serve as a sample to get you jobs. If it's about a little person in the year 1300, it probably not only won't sell, but it won't be an appropriate sample for any projects I can think of that are in development around town either.

Q: Where does your company most often find new screenwriting talent?

A: Referrals are always the best. A long time client of mine is a Professor at NYU's Tisch School so she throws me the ones she thinks are the most talented. Competitions are always good as long as they are top quality, like the Nicholl Fellowship or Sundance Lab, etc. Queries will work if you can make your unique voice come through in the query itself AND you have a script I want to read.

Q: Would you describe your UCLA Extension course, "Street Smarts for Screenwriters"?

A: "Street Smarts for Screenwriters" is really about how to be proactive with your career. How NOT to sit back and wait for the phone to ring or ask your agent or manager, "What have you done for me lately?"

Q: Can you share a few tips from the course?

A: LET PEOPLE READ YOUR SCRIPT. As long as you've copyrighted it, no one is going to steal it. If you're afraid of people reading it, you'll never get it made and you'll never get work.

READ AND RESEARCH. You've all got Internet access. If you want to be in the business, then LEARN your business. Read your trades every day. Get your newsletters every day. Know what the trends are. Know who's buying what.

GET OUT AND NETWORK. It's all about who you know and who they know!

Q: Is there anything else you would like to add?

A: Be smart. Yes, writing should be your passion and yes, you should write what you know, but if you want to sell and work in the BUSINESS of writing, then there is more to it than just sitting home alone in a room and writing. Remember, it is a BUSINESS. Learn it. If you were going to work at a car dealer, they wouldn't just throw you out on the floor without knowing about the different cars. You wouldn't try to sell a Porsche 911 to a family of six would you?

To learn more about Niad Management, refer to the company's Web site: www.niadmanagement.com. For more information about Niad's UCLA Extension course, visit the university's Web site: www.uclaextension.edu.