"Getting signed by an agent or meaningfully considered by a producer takes a wave of momentum that unless you were born the daughter of Francis Coppola is very difficult to arrange twice.
To those who advise this random tossing of mud at the wall hoping something sticks - the problem is that whatever connections one has are precious commodities in the beginning. Getting them to read a rewrite of a script that's not quite there is extremely difficult unless they are a very, very close friend. Getting them to read a second or third script if they didn't like the first one is damn near impossible.
On the other hand, through writing groups, very close, smart friends and through readings (the single best way to get feedback about whether you're on the right track) you can find out where your work stands in relation to other stuff out there without burning your leads.
One of the leading characteristics of amateurs is a preference for their grandiose illusions over a realistic assessment of their chances. they live in a gauzy world where typing 120 pages, buying a stamp and fantasizing about big money is the extent of their commitment to their craft.
When nothing happens, they don't change course, they just wash and repeat. A few years later they write less, pursue a different line of work and are confused as to why they never felt they got anywhere.
These people didn't get anywhere because they didn't eat their vegetables before their dessert. Sending the work out is irrelevant. Making the work GOOD is what is important. If you are serious about success:
-have you done research on the architecture, business practices, professional habits, dialect, regional culture represented in your script?
the professionals have.
-have you physically visited the city your script is set in?
the professionals have.
-have you done several "page one" rewrites of your script, that involve throwing out 90 percent of what you have and allowing the story to organicallly develop in completely different, unexpected directions?
the professionals have.
-have you had a reading of your script? have you gotten specific feedback and notes from twenty different people in different demographic groups to understand how your script appeals or doesn't appeal to different people? Do you really know your audience?
the pros do.
The overwrought point being that we can live in the matrix, or outside the matrix. If you choose to live in the illusion that because you've had the gumption to actually write a script God will bestow fame and riches upon you - without you thinking through the muddy politics of improving that script in a ruthless, methodical way - AND - if it never hits the bar (in terms of audience reaction) going back to the drawing board with a new script without EVER sending out the first one - then that illusion will be your career. The career in your imagination will replace the real career that you might be able to have.
and when you've done your best, and you have something that hits that mark as close as you think you can ever get it...When you've got the script that is the summation of what you are able to achieve as a writer...
then you market it with the same intention and intensity that you employed in making the script great.
-send them out all at once to all your different contacts
-call in your one or two favors from "godfather" figures in your life...powerful people you might only be able to ask to go to bat for you once.
-focus on the producers and/or agents that are most likely to be drawn to your type of material. find out which agents at your target agencies have been recently promoted to agent and are therefore open to signing new talent.
-win a couple contests (at least minor ones). if you can't, your script probably isn't good enough.
-put your contacts together. interrogate them. do any two of them know any one of your target producers or agents? you want your referrals to feel like a squadron, a blitzkrieg (this is especially true for getting an agent). an agent must feel they are about to lose out on something big before taking the trouble to sign you.
employing referral squads, including a couple prominent people, will juice the agent to read you. And then saving a REAL godfather for the aftermath (assuming the agent loves your work) will push them to actually sign you.]
If you've done the steps listed above, you should have a raft of contacts and well-wishers and teachers and some Hollywood players in your corner already. Good work gets passed around and discussed. Your work needs to travel. If a teacher doesn't say to you: "this is really special and I'm going to go to bat for it" - then your script probably isn't good enough. So this approach PRESUMES you have done your homework and reached the logical rewards that a person that's committed and has talent should already have reaped.
often, producers can and should be part of this team of helpers
agents come AFTER all this.
peace out
tao
The above wisdom should not be consumed while driving or under the influence of alcoholic beverages."
p068.ezboard.com/fdonedea...1502.topic
To those who advise this random tossing of mud at the wall hoping something sticks - the problem is that whatever connections one has are precious commodities in the beginning. Getting them to read a rewrite of a script that's not quite there is extremely difficult unless they are a very, very close friend. Getting them to read a second or third script if they didn't like the first one is damn near impossible.
On the other hand, through writing groups, very close, smart friends and through readings (the single best way to get feedback about whether you're on the right track) you can find out where your work stands in relation to other stuff out there without burning your leads.
One of the leading characteristics of amateurs is a preference for their grandiose illusions over a realistic assessment of their chances. they live in a gauzy world where typing 120 pages, buying a stamp and fantasizing about big money is the extent of their commitment to their craft.
When nothing happens, they don't change course, they just wash and repeat. A few years later they write less, pursue a different line of work and are confused as to why they never felt they got anywhere.
These people didn't get anywhere because they didn't eat their vegetables before their dessert. Sending the work out is irrelevant. Making the work GOOD is what is important. If you are serious about success:
-have you done research on the architecture, business practices, professional habits, dialect, regional culture represented in your script?
the professionals have.
-have you physically visited the city your script is set in?
the professionals have.
-have you done several "page one" rewrites of your script, that involve throwing out 90 percent of what you have and allowing the story to organicallly develop in completely different, unexpected directions?
the professionals have.
-have you had a reading of your script? have you gotten specific feedback and notes from twenty different people in different demographic groups to understand how your script appeals or doesn't appeal to different people? Do you really know your audience?
the pros do.
The overwrought point being that we can live in the matrix, or outside the matrix. If you choose to live in the illusion that because you've had the gumption to actually write a script God will bestow fame and riches upon you - without you thinking through the muddy politics of improving that script in a ruthless, methodical way - AND - if it never hits the bar (in terms of audience reaction) going back to the drawing board with a new script without EVER sending out the first one - then that illusion will be your career. The career in your imagination will replace the real career that you might be able to have.
and when you've done your best, and you have something that hits that mark as close as you think you can ever get it...When you've got the script that is the summation of what you are able to achieve as a writer...
then you market it with the same intention and intensity that you employed in making the script great.
-send them out all at once to all your different contacts
-call in your one or two favors from "godfather" figures in your life...powerful people you might only be able to ask to go to bat for you once.
-focus on the producers and/or agents that are most likely to be drawn to your type of material. find out which agents at your target agencies have been recently promoted to agent and are therefore open to signing new talent.
-win a couple contests (at least minor ones). if you can't, your script probably isn't good enough.
-put your contacts together. interrogate them. do any two of them know any one of your target producers or agents? you want your referrals to feel like a squadron, a blitzkrieg (this is especially true for getting an agent). an agent must feel they are about to lose out on something big before taking the trouble to sign you.
employing referral squads, including a couple prominent people, will juice the agent to read you. And then saving a REAL godfather for the aftermath (assuming the agent loves your work) will push them to actually sign you.]
If you've done the steps listed above, you should have a raft of contacts and well-wishers and teachers and some Hollywood players in your corner already. Good work gets passed around and discussed. Your work needs to travel. If a teacher doesn't say to you: "this is really special and I'm going to go to bat for it" - then your script probably isn't good enough. So this approach PRESUMES you have done your homework and reached the logical rewards that a person that's committed and has talent should already have reaped.
often, producers can and should be part of this team of helpers
agents come AFTER all this.
peace out
tao
The above wisdom should not be consumed while driving or under the influence of alcoholic beverages."
p068.ezboard.com/fdonedea...1502.topic
