Agents?

CLTN said:

Hey everyone, first of all I want to think you for taking the time to read this. I am in the process of writing a screenplay and will finish it soon. I am looking for agents to shop it around. Any information on some good agents that will work with new writers would be appreciated. Most agents do not want you if you haven't written before. Thanks again for your help.

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Write the best screenplay you can, re-write it, get it critiqued by anyone you know in the business, re-write it again, polish it a few times and then write simple query letters to agents - do not send them your screenplay. If they ask for you to send in screenplays without a query (unless it's for a highly specific storyline) then I'd be a little suspicious.

If they like the sound of your letter, they might ask to look at your screenplay. You should consider it a success if a good agent actually reads your screenplay, even if they reject it.

I advise trying to shop it direct to prodcos at the same time. Getting a screenplay agent (especially a big one) is harder than finding the Holy Grail, especially for first-timers.

All the best, and remember that even if your first screenplay never gets made, if it's good it may act as a calling card for other work.

Good luck!!!

The problem with getting an agent is there are so many scripts so very few slots and there are plenty of established writers who are still trying to get those coveted spots. There was a great article about the futility of getting an agent that was posted not too long ago around here but I haven't found it yet, I will be back with the link if I find it.

I'm not saying don't try, I'm saying it's going to be extremely difficult and you may want to try selling to indies, short films and so forth.

As you will hear all over the place there are tons of ways to break in, try as many as you feel comfortable with and keep looking for the little windows that open now and then.

Remember, it's part of the barrier system. It's designed to make the sunshine writers quit. Only the dedicated make it.

You might want to take a peek at this thread on the DD board: The Futility of Pursuing an Agent ...which is a realistic insider look at the agent situation. The thread title speaks for itself, so be prepared for disappointment. But who knows, there may be exceptions.

Also check out the screenwriting tips thread, which offers alternative advice on who and where to query (once you've written your kick-ass script).

-Derek

That's the one! Thanks D-pat.

CLTN, if you click on "Screenwriting" at the top of absolutewrite's homepage and scroll down, there's a link called "Agents" with a list of agents' addresses and phone numbers and whether they accept new writers or not. I believe this list is taken from the WGA East's website (wgae.org), although there it's available as a pdf file.

The only advice I can offer you from personal experience is to avoid any agent that asks you to pay money to him or anywhere else. Two rotten ones I know of are The Screenplay Agency and Dave Mocknick. Avoid at all costs!

Just because you’ve written a screenplay, doesn’t mean you’ve written a screenplay. So, make sure that the product you’re selling is good enough to compete with the tens of thousands of other projects out there. As a new writer, you’ll need to have a project that an agent can sell. Although most writers do not spend eight months writing a script they believe will NOT sell, the truth is most do. For some odd reason, new writers seem to be out of touch with the sorts of movies Hollywood buys. Stay on top of the reality of the business by reading the trades.

The biggest mistake new writers make is rushing their scripts onto the marketplace. It may take four or five scripts until your craft is steady enough to write a competent screenplay. (Yes, some writers hit the ball out of the park the first time – but not most.) Most make the mistake of touting a dog of a script in a query that manages to entice an agent. But once he gets whiff of the dog, that writer will be at the top of his list of which scripts to ignore in the future.

To land an agent without any sort of recommendation or buzz is going to be very difficult. Enter and WIN the few prestigious contests that command the attention of Hollywood and try to win friends and influence people within the industry, so they will look at your material and even make recommendations (if the script allows). Odds wise, it is much easier to win a contest than sell a script. In the Nicholl contest, for instance, you’re competing with 6000 amateur scripts. In Hollywood, you’re competing with hundreds of thousands of scripts – many of them written by professionals.

There are only a handful of agencies that can really do a writer good, so be sure to investigate. Don’t be excited when Joe Blow at AGENCY XYZ agrees to rep you, because you’ll spend a lot of time spinning your wheels. A good agent is one who constantly canvasses the industry, knows or has access to anyone in town, and is aware of most projects in development. As a new writer, do not expect to land an agent who has “A” list clients. You can expect to find a new agent - who is looking to make a name for himself - take interest in you. But even that is an Olympian challenge.

Keep in mind that most new writers get their own work. Agents simply broker the deals. This is why networking is so important. Execs like to work with writers they know and with whom they get along, so it’s often the connections the writer has made that land him work.

Although you should try every trick in the book, it is unlikely that any real prodco is going to purchase your script through a query letter. However, it is likely that you could make a few friends on the executive circuit that way – which is a good start.

Good managers remain the most viable connection to the industry for new writers. These managers will attach as producer to your work and try to land you a deal. They will help develop material and introduce you to all the necessary players in town. When the time is right, a manager will find you the right agent. Because a manager doesn’t need to be bonded or franchised, anyone can set up shop – so you must scrutinize track records. Joining forces with a new manager from the ground floor can be a great start, provided you choose wisely. Warren Zide worked at ICM as an assistant before he branched off to form his own management company ten years ago (and then went on to produce the AMERICAN PIE films). Although he had no management experience, he had a good pedigree. Those are the types of factors that should be considered.

The exciting thing about this busness is that it's all so unpreditable and there is NO ONE WAY OR RIGHT WAY to break in (or make a buck). However, this also makes it difficult, because there is no sure thing or direct path.

Good luck!

I wanted to add it's also best to have more than one project. It's happened more than a few times to me where the person I'm pitching to says "It's not right for us, not quite what we are looking for, do you have anything else?"

It certainly makes sense for a new writer to have more than one script. However, if the writer only has ONE script and it's the right script - it's all the agent needs to sell.

New writers should consider "branding themselves." IMO, it behooves a writer to have several scripts within the same genre. It allows the scribe the chance to perfect his ability to write within that genre. Also, if an agent likes the romcom and wants to see more samples, he'll probably want to see another romcom and not the World War II drama.

Most new writers who manage to break through become "go to" guys in a particular genre (and get on the studio "list" for that genre). It's easier to market a new writer when he can be sold as the "romcom guy" or the "horror guy."

Once the career is established, the writer can break out of the genre.

Just something to think about.

icerose said:

I wanted to add it's also best to have more than one project. It's happened more than a few times to me where the person I'm pitching to says "It's not right for us, not quite what we are looking for, do you have anything else?"

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Yup. It's hard enough getting an agent and even harder with just one spec script. You'll probably need a good two or three to convince an agent you are not a one hit wonder. It also allows them to get an accurate sense of your style, writing ability and career prospects.

http://filmdiva.blogspot.com/2006/06/inserting-foot-in-door.html



http://www.swedenpress.com/writer.htm

Important Question

So you HAVE to have an agent? That's the ONLY way in? NO Backdoors?

IF you HAVE to have an agent can I afford it (as a Freshman, In High School )

Also would anyone produce a 15 year old, from North Carolina (no southern accent or so I'm told) with no family connections on the inside?

Impossible Right? Thought So. Maybe when I graduate (college)

Christopher Paolini, still in his teens, wrote Eragon and that made the best sellers list for over a year? Then sold as a film? He started writing that first book at 15.

Allvin Sergent, the guy who wrote Spiderman 2 and 3 is like 75.

Age doesn't matter.

As for agents. You don't pay them. They take 10 to 15% of your sales.

Do you need one? Wouldn't hurt, but you can sell a script without one.

Would they read your query letter EVEN THOUGH you're only fifteen?

Sure, if the query letter (and ultimately the script) is good enough.

This game is all about having a great script and plugging away at people to get it read and sold.

Selling a screenplay is like selling size 18 red shoes door to door. It's gonna take a lot (a hell of a lot) of door knocking before you find someone who those shoes will fit and even more doors knocked on to find someone who wants to wear them.

Now since that wonderful peace of advice was given what do I need to do when I am done with this?

A: I go with an agent where do I find one
B: I wing it without an agent

many thanks
sw91

Once you have a screenplay that is as good as you can get, you...

Enter it in a few competitions, like Nichols, Austin, Disney... stay away from Joe Blow's 1st annual Screenwriting Competition and Monster Tractor Pull dot com. Stick with comps that have a record of over 1500 entries.

While you wait to see if you won, write a really good query letter with a logline that makes your mouth water and a short paragraph that tells the reader what you story and lead character is about. Sell it baby!

Send those letters to agents, managers, producers. Got an actor in mind for the leads? Send it to their agents and managers, stating in the letter you are looking to "package" your script and the part of Tex would be perfect for their client.

(if you do get an actor attached, put that in the next round of query letters.)

Where do you get the addresses for all those people. Hollywood Creative Directory or get an online subscription to IMDB PRO. Join Scriptpimp.com and send out queries through them. Use scriptblaster to send out a mass email.

Got balls? Make some phone calls. Hi. This is Bob Smith. Can I have a word with Mr. Speilberg (or add appropriate name)? No... he's not expecting my call... Maybe you can help me, Susie the assistant. I got this killer script and I would love some advice on getting it read by the right people... What's it about? Well. Let me tell ya. Imagine a small town...

(I actually got some names of agents that way.)

Send those letters out every week and wait...

By this time, you would have gotten responses from those comps you entered. If you made semi or quarter finals-- then be proud that you have a viable and marketable screenplay. If it went nowhere, then it's time for a rewrite or two. Get professional and respected analysis. Ask around for who to trust.

But let's say you did well on those comps (or even won) congrats again.
Now rewrite those query letters and add that placing into the letter.

Send those out to any rejections you got.

And start sending them out to even more producers, managers and agents.

If, after two years of doing all this and your script hasn't even got read requests, give it up and write something else (actually, you should always be writing and submitting new work. I have three scripts right now at various stages of self marketing)