Most of the big media corporations advocate synergy among their different departments, as it is beneficial to develop intellectual property in-house and then exploit it through various labels or imprints. However, in many cases, this works better in theory than practice, as the most effective synergy seems to come from personal relationships. A good example is the productive working relationship between Dan Conaway, executive editor at HarperCollins in New York, and Jonas Goodman, producer with a deal at Front Street Productions in L.A. Goodman is currently working on many book adaptations including We Don't Live Here Anymore, based on two stories by Andre Dubus (Vintage will publish the collection in July, to coincide with the film's release by Warner Independent Pictures on August 13); Ahab's Wife by Sena Jeta Naslund (Morrow); The Bielski Brothers by Peter Duffy (HarperCollins); Judgment Ridge by Dick Lehr and Mitchell Zuckoff (HarperCollins); Hip: The History by John Leland (Ecco Press); and Thane Rosenbaum's novel Second Hand Smoke (St. Martin's).

Conaway is in a somewhat unusual position in that he has worked both in publishing and film. "I've met a lot of producers over the years, but Jonas and I have extraordinary chemistry," he said. "We seem to find much of the same material appealing for similar reasons, albeit to different purposes. What distinguishes my relationship with Jonas is that it is reciprocal. There are scouts who call me to give me a tip that a hot book is going out, hoping that I will get the manuscript and share it with them. That's very different from someone giving me an idea that actually becomes a book I publish, and then they option it."

Conaway, Goodman and Front Street founder

Harvey Kahn were discussing another HarperCollins property when they started talking about the story then unfolding about the murder of two professors at Dartmouth College. Goodman said, "We found ourselves pitching the story to HarperCollins. Dan got enthused and went out and hired the two Boston Globe reporters who were on the case to write the book. We took their proposal to Fox TV Studios, who optioned it for us to produce. [

Todd Schuster at Zachary, Schuster, Harmsworth represented both writers and producers on the deal.] In the middle of developing the project, Fox went out of the TV movie business, so we have now changed our approach and are looking at making it a gritty, low-budget feature."

Conaway and Goodman also worked together on The Bielski Brothers—just published in paperback by HarperPerennial—the story of three Jewish brothers who saved 1,250 Jews from the Nazis during WWII. Conaway said, "My acquisition of this book was one of the most dramatic moments of my career. I had lunch with [agent]

Mary Evans, who told me about the proposal, and I asked whether I could follow her back to her office and pick it up. By the time I arrived back in my office, I knew I was going to buy it." Goodman and producer

Mace Neufeld also wanted to buy the story as soon as they saw the proposal. However, Miramax preempted all other bidders and optioned the story. When their option expired, Conaway called Goodman and offered to show him the manuscript. So Goodman and Neufeld came to an agreement with author Peter Duffy's film agent,

Sylvie Rabineau; attached director

Phillip Noyce (who worked with Neufeld on Patriot Games); and took the project to Warner Independent Pictures, which optioned the book. Goodman also secured the life rights of the protagonists' relatives. Conaway is delighted, as he is now looking forward to publishing the film tie-in edition.

The story of Hip: The History by John Leland also bears out the value of good communication. Goodman had been shown the nonfiction book in manuscript by

Paul Bresnick, the author's agent, and loved it. He became passionate about the idea of making it as a documentary. He had seen part of The Blues, the seven-part documentary series produced by

Alex Gibney, and was trying to track him down. He mentioned it to Conaway, who happened to be working with Gibney on a tie-in book to The Blues, and he arranged an introduction. Goodman and Gibney are now developing Hip, which Ecco publishes in October.

Both Goodman and Conaway appreciate how rare their relationship is. Goodman explained, "Like most producers, I rely on the agents who represent material. But I also like to have close relationships with editors. For a small, independent company, where we don't have a big development staff or a book scout, it's a way to compete. We have to lead with other qualities, such as track record and taste, but we couldn't succeed without editors like Dan." Conaway said, "Sometimes there really can be some mutually beneficial interplay between L.A. and N.Y., films and books." He is the living proof.