Newby needs representation....

If you are really desperate and you need someone to sub for you right now, you could try the entertainment lawyer route. Joe or Neil could explain the process better than I could, but you basically retain a lawyer to sub for you, but it absolutely has to be an entertainment lawyer, LA lawyer if you're subbing to hollywood. As for getting representation try going to WGA.org and go to the writer's resources and agency list. They have all the WGA approved agencies listed in there.

Read this:

http://www.kullervo.com/The_Agents.html

Briefly, don't assume a legit attorney will be easier to get than a legit agent, and whatever you do DO NOT get an agent in Florida.

Yes. Yes. Yes. Your rep must be in LA. That's the number 1 reason for having a rep. Their job is to tute your horn for ya when you aren't around.

As for getting an agent or manager. An entertainment lawyer is fine once you need negotiating for a impending sale but that's all they are really good for. A production company gets a package from a lawyer, might as well be from the writer, unless the lawyer is well known there or has contacts. Agents have more credibility and manager a bit more than a lawyer but not by much, unless of course they have contacts as said production company, studio, etc...

Ok. Back to getting an agent...

My advice is to first go to that person(s) who said you need an agent and ask them if they can recommend any? Get them to introduce you to them. If not an agent, then how about a manager?

Network. Network. Network. Go to film festivals, film showings with the director, actor. Parties... Anything you can do to get friendly with anyone in the biz is better than no network contacts at all. Even befriend other writers. Do favors for people. read their scripts, maybe they'll read yours... Enter festival writing competitions. Not for the prize or hopes of it looking good on a query letter, but for the networking. Sundance, Slamdance, Moondance. etc... Any comp that has "real" industry judges and a party afterwards is a good criteria for entering. the party is key. Even if you don't win, you can still network if you are a finalist.

If not...

Then polish up those query letters/pitches and send to every agent in the world. You're bound to get a few requests for the script and if it is really good (outstanding actually) then you just might... might, land an agent. But keep in mind that landing an agent is harder than selling a script.

Good luck.

I'm not really sure what you're asking here. And I'm not sure how they would know you "had something" if they didn't look at your work because you lack representation. Aside from the confusion, I'll jump the track a bit to say that if this company (or whoever) were truly impressed and believed you "had something" - nothing would matter. There would be no obstacles. It wouldn't matter if you lacked representation. They would put you in contact with a lawyer or agent. Or they'd offer you a release form.

What happens is an exec or producer doesn't want to reject you outright, so they politely say, "We can't even consider this unless it comes to us through the proper channels." They look like the good guys (leaving you feeling optimistic), and you're saddled with the Sisyphean task of finding representation.

They know that they'll probably never hear from you again.

It's basically a polite way to make writers vanish.

When you have something they want, they'll take it. By hook or by crook, no legalities necessary.

creativexec said:

They know that they'll probably never hear from you again.

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It's very unlikely they even read your stuff, so I'd say creativexec is right. It's a polite brushoff.

creativexec said:

What happens is an exec or producer doesn't want to reject you outright, so they politely say, "We can't even consider this unless it comes to us through the proper channels." They look like the good guys (leaving you feeling optimistic), and you're saddled with the Sisyphean task of finding representation.

They know that they'll probably never hear from you again.

It's basically a polite way to make writers vanish.

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This is a possibility, however, I think the real reason is below

JulieJames said:

... but they wouldn't tell me to get representation and resubmit if they didn't think I had something right??...

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Actually, yes they would.

You see, representation is a gate. There are many gates, doors, passageways, etc. to the promised land.

Problem is, there are MILLIONS (yes millions) of bad scripts, stories, ideas, screenplays, etc, etc. that beat down the path and make a run for that 'Promised Land'.

One of the ways those on Mount Olympus weed out the crap is through representation.

If you (and by consequence your script) aren't good enough to get representation, then your script will be unable to withstand the awesome burning gaze of the studio gods...

o.k. that sucks, but I hope you see my point.

I'm sure you have a good idea and good script. but you've got to understand that there are millions of those. If your idea, script, etc. aren't good enough to make it through the various hurdles, gates, etc, then it is not worthy to be seen by the studio gods.

Put another way,

If it were easy, everyone would do it. In a wierd twisted masochistic sorta way, we writers should be happy these hurdles exist. For it means when we break through, we have some manner of protection and that for the most part, our works are good works.

hmm... i'll have to think on that a little bit more...

but anyways, I hope you kinda see why they are asking you to get representation. It is a proving ground so prove yourself.

good luck

Mel...

JulieJames said:

UGH!!!! Hollywood is so confusing!!!! but I know there are lots of people looking for that quick million dollar sale..... and I understand there is A LOT of crap out there.... I've read some of it from people here that think they can do what I do.... ugh. well. I'm going to enter a contest and probably send out some query letters at the beginning of the year.

Since there appears to be that there are some people within the circles of hollywood already and have a better grasp of the way things work than I do, I was wondering... Lets say the script they have gets written and I finally get representation "IF" (that's a huge If and I understand that) my script is better, will they use my script and drop the other guys or are they more likely to keep me in mind for the next sequal?? I ask this because I've heard that if prodcos come across something better they'll jump on it and drop the old writer.

Thanks for all the info everyone has already given me, I hope I can get my hands on some more usefull stuff. I'm thinking about posting the beginning of my script in the SYW section, I'll let you know if I do.

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Post it!

Julie

Good luck with everything.

Also, might I suggest that you seriously get ahold of some "How to" and "Idiot's guide" books.


Idiot's guide to / How to Write a Screenplay
Idiot's guide to / How to Produce a TV show / movie
Idiot's guide to / How to Direct a Film
Idiot's guide to / How to Find an Agent
Idiot's guide to / How to Pitch an Idea

THere is a lot of work involved in 'breaking through'.

Do not make the amatuer mistake and think that all you need to do is write a good script. Why? Like I said, there are a thousand of those. You will need to put the time in to understand the market/industry. (you will understand after you read those books)

You need to read those types of books. Yes, the entire books. You should buy them so that you can highlight and write in them. No, do not get them from a library. Buy them. Own them. Read them, study them, know them backwards and forwards.

It is good that you got on this site. This site will be an invaluable aid to you. But you will still have to do some homework. You will understand what i'm talking about AFTER you read those books.

Did I mention how important it is to read these books?

Mel...

p.s. read those books immediately if not sooner