List of Entertainment Agents??

WGA.org look under their agent list.

If you have the money, you might want to invest in a copy of the HCD's Representation Directory. It's pricey (about $70) but it's updated regularly (very important, since agents routinely change agencies) and it breaks down the agents within agencies by specialty (lit, talent, rights, etc.)

it's definitely worth the price but not at this time. and i'm talking directly to you when i say this because you're just finishing your first script and it's quite unlikely that you're ready for an agent... for various reasons.

Legitimate agents rarely have websites. They are eager to avoid being contacted.

The representation directory is the "phone book" to Hollywood. You will find a copy of it in every agency/prodco in town. It's pricey at $70 and is updated four times a year, so having the most current info can get expensive. You can also view their listings on their website hcdonline.com for around $25 for a one-week trial period. If you're savvy, you'll copy and paste all the info you need in the trial period and then decline the full membership.

IMDBpro also has an exhaustive and current list, though it doesn't list what kind of material the company may be looking for or what kind of client they represent specifically.

coneflower2001 said:

Looks like a great idea.

Can anyone else recommend the Representation Directory? Is is worth the price? Does it have the agents websites listed as well?

I'm full of ???s this morning.

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quote from LIVIN:

I happen to know that the writer of Juno wrote a book first (at the prodding of a certain agent, who saw her blog). Subsequently, said agent told her to write a script. I could even tell you which scripts the writer of Juno studied in the process. But, the point is, this script already had an "in." Therefore, it was not a spec script in the traditional sense of the word.

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based on this information it appears that Cody already had a foot in the door.

and I believe the same goes for the writer of Mr & Mrs Smith who has previous writing credits for XXX flick.

also - you can't always take information you get from the internet as whole truths. first time sales to do not mean first script written. you might have to write 4 or 8 scripts before you figure out/get lucky/win a contest/etc... and make a sale. it will be credited as your first. make sense?

Goddess, could you tell me how to go about selling a script without an agent?

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it's nearly impossible. but with some research you must seek out those producers or managers who will accept material* from first time writers. and out of those you must find the one who is looking for exactly what you have to offer. and then your script must be better than the thousands of scriptwriters who think they have that too.

*btw - there are over 300 listed on the scriptpimp site

I guess you could elaborate for me why I should not seek out an agent?

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just based on experience. i call it "shooting your wad too soon" because most people can identify with that LOL! anyhoo - if you submit something less than great to an agent (or producer) then you will get no second chance to come back and say, "i fixed it". they keep track of rejects in a separate pile. it makes it easier for them to "pass" on you if you keep coming back.
AND
agents don't make any money by just representing you. they only make money if they sell your product. if you have only one script then they're more likely to pass just on that fact alone - b/c they won't have anything else to sell. they'd rather have someone who can provide a continuous return on their investment... with sales and writing assignments. make sense?

All About Agents:

http://www.loreleiarmstrong.com/The Agents.html

coneflower2001 said:

Some good info, thanks! I have been reading through some old posts and just saw scriptpimp. I guess what they say is true. Cover all possible paths. Thanks again. I'm sure to have a ton of ???s.

In your opinion, are contests good? I'm still not sure I'm sold on them.

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The problem is that the number of contests exploded a few years ago. Now you have to sort the wheat from the chaff. Many of the contests charge application fees that can add up very, very quickly.

The most reputable include the Nicholl Fellowship, the fellowships offered by Disney and the other big media companies, the Diane Thomas, and the Austin. Beyond that, the amount of the first prize is a handy rule of thumb. The Nicholl offers five $30,000 fellowships, with a $30 entry fee. On the other end of the scale, there are contests that charge $30 or $40 for entry, but offer $5,000 in total prizes. You do the math.

Agree that the Nicholl and the Disney Fellowship are the heavy hitters in the contest world. I've been a finalist or semifinalist at Austin three times, and no significant script requests resulted. In my opinion, I would only enter the Nicholl.

semifinalist at Austin three times, and no significant script requests resulted.

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do you put this in your query letters (or do you have an agent?)? and if so, do you think it hasn't helped you get your foot in the door?

In your opinion, are contests good? I'm still not sure I'm sold on them.

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lorelai has a blog about contests on that link as well. what Ted said was spot on IMO. but also there are other reasons to enter contests: it forces you to make a deadline for yourself and some do (most don't)* offer good feedback... and more info on that link.

*Nicholl is the most reputable but it doesn't offer any feedback and you just get a number like #5412 meaning you have to beat out over 5400 other scripts in order to win. also, in this particular contest you can see what types of stories win - dramas win nearly 75% of the time. they're more interested in the writing and story than the commercial and market value. the winners of the Nicholl may not get their scripts made (many of them do) but they all get writing assignments -- which is a good thing.

I did have an agent once when I was a semifinalist, and a manager once when I was a finalist. Neither had heard of Austin. My experience when I mention it in meetings or on the phone with producers is either (1) never heard of it, or (2) they think I mean SXSW.

Austin is better known in the indy community. Mainstream Hollywood really doesn't know about it. It's famous among wannabee screenwriters, but not much beyond that.

Don't miss that Nicholl deadline! May 1!