Finding an Agent

red hawk said:

So I have the WGA literary list as well as I'm waiting to see the new version of the Hollywood Representive Directory which comes out in Oct. I have read up on some of the Agents. I have found most want a Refferal or it has to come from some other accredited person.

Anyhow I know I could send out a query letter without any and hope it catches their eye.

I was wondering if there is another way to find representation? Or at least an easier route?

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Good question. I think I have pretty weak query letters, because I sent (in rotation) to the agents that take unsolicited letters. I ended up sending out about 150. Two "we have things like yours", one rejection, and over 100 unaccounted for.

I put it all on hold while I finish 5 scripts so when I do the next set of queries I'll have 5 scripts to pitch. I figure one will catch their eye.

Let me know if you find out anything else.

Mike

I feel your pain with the queries. Two postage stamps a pop-- do those people have no heart? That stuff gets expensive after a while.

Mikey B said:

Good question. I think I have pretty weak query letters, because I sent (in rotation) to the agents that take unsolicited letters. I ended up sending out about 150. Two "we have things like yours", one rejection, and over 100 unaccounted for.

I put it all on hold while I finish 5 scripts so when I do the next set of queries I'll have 5 scripts to pitch. I figure one will catch their eye.

Let me know if you find out anything else.

Mike

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That might be part of your problem. You should really only pitch one script per agency at a time. Figure out which is your strongest and lead with that one with agencies who are stronger in that genre.

But if they recieve five different query letters at the same time from the same person pitching five different scripts, that tells them you're using the scatter shot method and they most likely won't even bother to reply.

Second, you're destroying your chances of refining your script and your query letter by killing all the birds with one shot. And in this kind of game, killing the birds isn't a good thing.

gophergrrrl said:

I feel your pain with the queries. Two postage stamps a pop-- do those people have no heart? That stuff gets expensive after a while.

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It could be worse. I calculated I spent over $400 submitting to contests last year.
Well, my script is worth 82 cents...at least.

As posted previously, I targeted production companies and fortunately, one liked my writing enough to refer me to an agent. I also queried through email and found that I had more success with that then sending a letter. One person's experience. Your path may be totally different.

My advice is not to go after an agent or manager if you don't already have one.

Go after producers, assistants to producers (who want to become producers and are actively looking for their big break with a hot property), development execs, etc...

An agent is looking for a property they "think" they can sell and if they have one (or more) clients with a similar story, theme, genre, etc... they won't consider you.

But a producer doesn't have clients that you have to compete with or have to wonder which producer contact of theirs would be interested in it. If they love the script, they will try to get the financing for it.

In short eliminate the middle man for now. After your first sale and when agents are more receptive to taking you on (or fighting with other agents to nab you) then go for it.

Until then go where the money is, not where they take a percentage of it.

Of course what works for me doesn't for all. We all have different methods and many will get you from point a to b, just different streets.

I say we build a NEW damned Hollywood out in the Southern California desert and start this whole thing all over.

I'm out here in Tinsel Town, so you know how I eventually might get an agent? Connections. That is by far the factor that overshadows everything else - the one that eclipses the Sun.

We've written good stories, solid scripts, winners. Yet getting people to listen or look or read in this business is so frustrating an effort that it is almost enough to make you stop altogether.

I did one of those PitchFests here in Hollywood, where you can hit 12 or 15 companies in a single day with live pitches. And, you get to submit the first act of your script that they copy to the agencies who participate. This script I pitched - already was a finalist in a film festival contest. Good, solid, original story. Know what I got from this? ZIP! Not one call, not one email, not NUTHIN'! So I'm $400 plus lighter in the money clip, and nothing to show for it. Bastards.

Got another script that has been awarded in 3 film festival screenwriting contests. People love it - and by "people" I mean the intended audience. Murder mystery. Should I go to another PitchFest and spend the $400 to pitch this winner? NO! Again, they won't care. And I'll be even MORE pissed off. So, connections. Going around end. Doing a double-reverse fake, then hitting the tight end on a flare pass. Schmoozing. Hoo boy. Why do we do this to ourselves?!?

Let's build that new Hollywood RIGHT NOW and start turning out quality flicks at the speed of light. Who's got nails? Extra plywood from the New Deck Disaster That Didn't Quite Work Out? Office partitions? Get all that stuff into trucks and let's meet in the Mojave!!! Oh - anyone got a shovel for the Groundbreaking Ceremony?

Write_At_1st_Light said:

I say we build a NEW damned Hollywood out in the Southern California desert and start this whole thing all over.

I'm out here in Tinsel Town, so you know how I eventually might get an agent? Connections. That is by far the factor that overshadows everything else - the one that eclipses the Sun.

We've written good stories, solid scripts, winners. Yet getting people to listen or look or read in this business is so frustrating an effort that it is almost enough to make you stop altogether.

I did one of those PitchFests here in Hollywood, where you can hit 12 or 15 companies in a single day with live pitches. And, you get to submit the first act of your script that they copy to the agencies who participate. This script I pitched - already was a finalist in a film festival contest. Good, solid, original story. Know what I got from this? ZIP! Not one call, not one email, not NUTHIN'! So I'm $400 plus lighter in the money clip, and nothing to show for it. Bastards.

Got another script that has been awarded in 3 film festival screenwriting contests. People love it - and by "people" I mean the intended audience. Murder mystery. Should I go to another PitchFest and spend the $400 to pitch this winner? NO! Again, they won't care. And I'll be even MORE pissed off. So, connections. Going around end. Doing a double-reverse fake, then hitting the tight end on a flare pass. Schmoozing. Hoo boy. Why do we do this to ourselves?!?

Let's build that new Hollywood RIGHT NOW and start turning out quality flicks at the speed of light. Who's got nails? Extra plywood from the New Deck Disaster That Didn't Quite Work Out? Office partitions? Get all that stuff into trucks and let's meet in the Mojave!!! Oh - anyone got a shovel for the Groundbreaking Ceremony?

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Your enthusiasm and spirit are in the right place, but know this: A great majority of contest finalist scripts aren't written at a high enough level to compete with professional screenwriters. Being the best (or one of the best) in a field of amateurs doesn't mean Hollywood is going to come calling. While contests are a good barometer of how you stack up against other aspiring screenwriters, they really aren't a true representation of the competition that is really out there in the screenplay market. The DOW lost 700 points yesterday. Media stocks are down. Fewer movies are being made, and the ones that are are remakes, sequels, books or video games. Selling a spec has never been harder, and it's not ever going to get any easier.

Pitchfests have and always will be cattle calls and money makers more than anything. I don't think there has ever been a script discovered at a pitchfest that went on to be produced by a major studio. But don't feel bad about being rejected at the pitchfest, because no one with any decision-making ability actually attends these things. In all likelihood you pitched to an intern or at best, an assistant.

zagoraz said:

Your enthusiasm and spirit are in the right place, but know this: A great majority of contest finalist scripts aren't written at a high enough level to compete with professional screenwriters. Being the best (or one of the best) in a field of amateurs doesn't mean Hollywood is going to come calling. While contests are a good barometer of how you stack up against other aspiring screenwriters, they really aren't a true representation of the competition that is really out there in the screenplay market. The DOW lost 700 points yesterday. Media stocks are down. Fewer movies are being made, and the ones that are are remakes, sequels, books or video games. Selling a spec has never been harder, and it's not ever going to get any easier.

Pitchfests have and always will be cattle calls and money makers more than anything. I don't think there has ever been a script discovered at a pitchfest that went on to be produced by a major studio. But don't feel bad about being rejected at the pitchfest, because no one with any decision-making ability actually attends these things. In all likelihood you pitched to an intern or at best, an assistant.

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Yep. Pitchfests are for the boids. If I'm going to get a movie made from one of my scriptolas - it'll be because of who I know. Probably through my acting gigs. Pretty much it.

Ain't gonna stop me from writin' though. I like doin' creative writin'. So I'll keep doing it, just like I have for the last 40 years.

But forget about that. I still MUST insist we create a new Hollywood out there in Mojave-Land. We need cinder blocks for the foundation of Sound Stage #214, can we count on you for that?

Write_At_1st_Light said:

Yep. Pitchfests are for the boids. If I'm going to get a movie made from one of my scriptolas - it'll be because of who I know. Probably through my acting gigs. Pretty much it.

Ain't gonna stop me from writin' though. I like doin' creative writin'. So I'll keep doing it, just like I have for the last 40 years.

But forget about that. I still MUST insist we create a new Hollywood out there in Mojave-Land. We need cinder blocks for the foundation of Sound Stage #214, can we count on you for that?

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Well, I wish I knew that before I booked a flight to LA for the November Expo. But like the saying goes...

Two nothin's is nothin'!

Maybe I can book a real meeting on the side the Friday I get out there. I have a list and I'm mailing.

As for a new Hollywood, there's a bunch of them. In NYC and it's suburbs (Jersey, CT, Long Island) and Minneapolis and Baltimore and Miami and Austin and Toronto. Did I miss anyone? N'Awlins? Denver?
Never underestimate the scrappy, underfunded and enthusiastic indie studios to show up the bureaucratic and bloated giants. The ones who don't care what the stock market says, they're making their movie because that's what's important. Sounds like a plan, 1st Light?

mario_c said:

Well, I wish I knew that before I booked a flight to LA for the November Expo. But like the saying goes...

Two nothin's is nothin'!

Maybe I can book a real meeting on the side the Friday I get out there. I have a list and I'm mailing.

As for a new Hollywood, there's a bunch of them. In NYC and it's suburbs (Jersey, CT, Long Island) and Minneapolis and Baltimore and Miami and Austin and Toronto. Did I miss anyone? N'Awlins? Denver?
Never underestimate the scrappy, underfunded and enthusiastic indie studios to show up the bureaucratic and bloated giants. The ones who don't care what the stock market says, they're making their movie because that's what's important. Sounds like a plan, 1st Light?

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Hi Mario -

Hope something comes from this Expo out here in Tin-Town for you. If you haven't been to one of these, it's going to be an interesting experience regardless, so I hope you fully enjoy it! I'd been skeptical of the PitchFest, but I'd never done one and the idea of rapid-fire script-pitching was intriguing. I had to go. It was a bust as far as making any kind of contact at all. The most fun was hanging out with all the other writers as we played musical chairs for the pitches. So at the very least - try to have fun and laugh it up with your peers there.

The hard reality of Hollywood - a concept of which we are fully aware, but never wish to acknowledge - is intractable. For the big films? They won't budge unless there's some kind of implied guarantee in place, and that means long-term familiarity with you and your work. And/or coupled with solid endorsement from some Big Hammers in the biz. This is a rigged town, and they like a stacked deck.

For the new Hollywood out in the charming (yet desolate) Mojave Desert: We'd like you to bring the roofing nails. 30,000 will do, just fine. You must pretest each of them or we'll send you back. Suggest pretesting by building a one-third scale model of a soundstage in your backyard. Provide us infrared pictures, climatic data, stress-test analysis (jump up and down on the roof while holding a barbecue up there with at least 17 avoirdupois neighbors), and of course gas chromatography on the nails themselves to ensure purity of the alloys used in their manufacture.

Okay, here's a very obvious question! If we all know (or accept) that agents, prodco's etc. have a backlog of hundreds and hundres of scripts (mostly unread), and that 99% of people (you know who you are) mailing to them are ametuers, and that your chances of getting anyone to read your darling are 1 in a kazillion, WHY EVEN MAKE THE EFFORT?
Sure, all of us have our fantasy of success, but in the real world, it's hopeless.
I know the standard answers, if you don't try, yadda, yadda...but, smell the coffee...
What say you?

I never send scripts to anyone who hasn't asked for it. Waste of paper and postage.

Query letters is another matter. I have stopped sending those about about a year and a half ago.

I prefer email now. Find the person you want to pitch and shoot them a very quick email. Plenty of databases out there with contact info, but be warned. people switch companies and positions in hollywood faster than the life expectancy of a fruit fly (16 days in case you were wondering).

Some services, like Scriptblaster seem cool and I had some reads from them. worth the cash if you can spare it. Scriptpimp's query database is cool, but never got a hit from it. Inktip is also good in my opinion.

Best approach is pounding the pavement and networking. Chatting over a beer at a party is still the best way to get read requests.

bison said:

Okay, here's a very obvious question! If we all know (or accept) that agents, prodco's etc. have a backlog of hundreds and hundres of scripts (mostly unread), and that 99% of people (you know who you are) mailing to them are ametuers, and that your chances of getting anyone to read your darling are 1 in a kazillion, WHY EVEN MAKE THE EFFORT?
Sure, all of us have our fantasy of success, but in the real world, it's hopeless.
I know the standard answers, if you don't try, yadda, yadda...but, smell the coffee...
What say you?

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I guess in the end - you really end up writing for yourself, mostly. That is, if you are writing because it's challenging, stimulating and fulfilling. I like starting with nothing - a blank page - and creating a structured fantasy from that point forward. And although I don't consider screenwriting a hobby for me - I fully intend to get them to screen, somehow - it's an enjoyable job of work.

I picture a screenplay as building a custom freight train for a one-way trip. The track is the layout of the story, the settings, scenes, the obstacles and stops along the way. The engine is the plot - pulling the characters through the story at variable speeds. Behind the engine are the boxcars - those are the characters. The biggest cars are immediately behind the engine, and they diminish in size from there, back. When the story starts, the sliding doors of the boxcars are all closed. We don't know anything about the people yet. They'll open wider and wider as the train moves along the track.

I'm researching my 4th script, building that custom train, pulling in concepts, bits of dialogue, characterizations and so forth while I'm reading background material. I can't wait to get started. That's really why I do this scriptwriting deal, at the core anyway. And if I've done it right, there's a ghost of a chance it might get lensed. Yet what I like best is getting that completed script to readers - the intended audience. Not writers. Not critics. Not people who are going to tear it to shreds just for the sheer fun of it. The gentle reader. That's whom I aims ta please. Because they are also the gentle viewers of the future film.

"...in the end-you end of writing for yourself, mostly."
True, but isn't that mental mastrubation?
I detest being so negative, but a million or so (well, it seems like it) rejections will do it for you. Perhaps the need to create could be put to better use. We should go take a class in stained glass, or painting in oils, or become carpenters.
Wouldn't it be best to pursue a creative endavor that you had some control over the end use?
Excuse me, I'm going out into the garage and slash my wrist (no, not really. Just another fantasy, like getting a script produced.)

bison said:

"...in the end-you end of writing for yourself, mostly."
True, but isn't that mental mastrubation?
I detest being so negative, but a million or so (well, it seems like it) rejections will do it for you. Perhaps the need to create could be put to better use. We should go take a class in stained glass, or painting in oils, or become carpenters.
Wouldn't it be best to pursue a creative endavor that you had some control over the end use?
Excuse me, I'm going out into the garage and slash my wrist (no, not really. Just another fantasy, like getting a script produced.)

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Well, not to be even more negative -- but if you've really gotten that many rejections, you might consider taking a class in screenwriting. Now, that can be a hit or miss affair. What you get out of it will depend on the teacher and on the feedback you get from the class.

But you have to think about it this way -- think about it as if you were aiming to play for the majors.

How many major league baseball players are there? A handful. Take in the minor leagues (say the equivalent of TV writers). Still little more than a handful.

Compare that to all of the people who dream of playing ball professionally -- hundreds of thousands? Millions?

So what are the odds? And yet out of those hundreds of thousands, some will rise to the top.

You can top about who you know and this or that writer who has a relative in the business, but if you don't, you don't. In the end, you can only really succeed in the business by being good enough.

So if your work isn't good enough, the ultimate trick is to make it good enough.

And by "good enough" I mean good according to the standards of the people who are your market -- the people who are buying screenplays. And yes, the spec market today is tighter than it has been.

But it's still there. And if you write a great script (not just a script that's better than something you saw that you thought was lousy -- but a really great script) -- then it will get noticed.

As for how to go about selling your great script (and if it isn't great, you shouldn't expect miracles by way of any marketing technique) -- I wrote a rather long post for the FAQ of another NG that includes some info about how to go about doing this -- at any rate, my advice about it, which you're free to take or leave alone.

Here it is:

http://www.panix.com/~mwsm/nms_faq.html

NMS

bison said:

Okay, here's a very obvious question! If we all know (or accept) that agents, prodco's etc. have a backlog of hundreds and hundres of scripts (mostly unread), and that 99% of people (you know who you are) mailing to them are ametuers, and that your chances of getting anyone to read your darling are 1 in a kazillion, WHY EVEN MAKE THE EFFORT?
Sure, all of us have our fantasy of success, but in the real world, it's hopeless.
I know the standard answers, if you don't try, yadda, yadda...but, smell the coffee...
What say you?

Click to expand...

I've been writing for 12 years. I took a break from writing books after getting two stuck with a really bad company. I've been writing scripts for the last three years, learning a lot as I go along.

I'd have to say writing is an addiction. A safe addiction, but an addiction nonetheless. I try because I have a gut feeling that someday I'll make it. It helps that I've actually made money off my writing and am currently a working (albeit low paid) script writer. I have five episodes credited to my name and a handful of feature options. It's a very small start, but a start. I'm hoping my episodic work gets reviewed so I can get an IMDB page, because that would certainly make things a little easier, but that probably won't happen for another year as they want a full season completed and produced as well as the feature before they get it reviewed and distributed. They took the trailer to Cannes but again, not a full episode so no dice.

After that, we'll see. I'm a stay at home mom, writing keeps me sane with a shot of actually creating a career out of something I love/loathe (depending on the stage) doing.

That's my reasons for trying. I've got nothing to lose. I don't enter contests, too expensive, I don't buy script writing books, movies, classes, or attend expos. I can't afford them. All I can do is study and write and rewrite. And so far, I'm not doing too bad.

I look at screenwriting much the same way as becoming a musician.

It takes talent, but so much more. Luck, timing, being noticed by the right people, etc...

There are lots of "paid" musicians in the world and the vast majority of them have day jobs that do not have anything to do with music. They may be great, but they lack something that hasn't taken them to the next level, or maybe havent met the right record producer or manager yet?

There are less working musicians that do nothing else, except maybe teach. My guitar teacher was awesome and his band rocked and deserved a record contract, but alas none ever came. Did that make the band any less of a talent than a band that sells out arenas?

There are even fewer musicians that make a good living at just being musicians. again. they are good at what they do, but for some reason are not on MTV. Studio musicians, local and regional bands, etc...

There are only handful of rock stars. Are they rock stars because they are better than others, or perhaps they got a break, or got noticed by someone at the right time?

If you want to become a rock star you have to be wiling to settle for playing Proms or Subway stops for nickels and dimes. Otherwise you become bitter.

Do you write to be the next William Goldman, or do you write because you love it regardless of the pay or the notoriety?

I know many writers who sell regularly, but have not had many films produced. I myself have sold and/or optioned several scripts in the past 5 years. I have an option right now going around at all the major studios for the past two months and has a very big and notable prod co. attached to produce. You would think it would have sold in the first week? Nope. Not yet. I've already forgotten about it and only send an update email once a week to the producers. If it happens, it happens...

This business will drive you crazy if you live on hopes and dreams. You got to be realistic. Even the rock stars of screenwriting don't sell everything they write. What makes you think you are any better than them?

I'm not at all suggesting that one who is motivated to do so shouldn't try, try and try again. I'm simply pointing out that too many people have stars in their eyes (pun intended) and are not in touch with reality regarding what it takes to be successful in this whacky business.
The suggestion to take classes in screenwriting in, IMO, a waste of time and money.
Joe C. can tell it like it is and most of us (yes, me included) probably should be doing something else with our time.
The notion that one writes for oneself is interesting. What do you do with the finished product? Do you have stacks and stacks in the garage, never sent out to anyone? I think not. You are probably still trying to find a suitable agent or prodco or rich uncle, etc. to get your baby out there. You still seek fame and fortune...'fess up! That's rationalization for not being able to get the call-backs you desire.
Enough negative spew, but, damn it felt good!
Out that door to victory men(and women)! Win one for the Gipper!

bison said:

I'm not at all suggesting that one who is motivated to do so shouldn't try, try and try again. I'm simply pointing out that too many people have stars in their eyes (pun intended) and are not in touch with reality regarding what it takes to be successful in this whacky business.
The suggestion to take classes in screenwriting in, IMO, a waste of time and money.
Joe C. can tell it like it is and most of us (yes, me included) probably should be doing something else with our time.
The notion that one writes for oneself is interesting. What do you do with the finished product? Do you have stacks and stacks in the garage, never sent out to anyone? I think not. You are probably still trying to find a suitable agent or prodco or rich uncle, etc. to get your baby out there. You still seek fame and fortune...'fess up! That's rationalization for not being able to get the call-backs you desire.
Enough negative spew, but, damn it felt good!
Out that door to victory men(and women)! Win one for the Gipper!

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I absolutely have hopes and dreams of really selling a piece and seeing it produced, but I'm also a realist and I recognize it takes a lot of hard work and time and there's no guarantee anything will come from it.

There's nothing wrong with being a dreamer, as long as you're well grounded. Anyone looking at writing as a get rich scheme, or any other creative profession, is out of their minds, but the rejections will set them straight soon enough. This industry isn't the only brutal one.

That being said, at the end of the day everyone has to decide for themselves if it's worth it. For some it isn't, for some it is.

bison said:

I'm not at all suggesting that one who is motivated to do so shouldn't try, try and try again. I'm simply pointing out that too many people have stars in their eyes (pun intended) and are not in touch with reality regarding what it takes to be successful in this whacky business.
The suggestion to take classes in screenwriting in, IMO, a waste of time and money.
Joe C. can tell it like it is and most of us (yes, me included) probably should be doing something else with our time.
The notion that one writes for oneself is interesting. What do you do with the finished product? Do you have stacks and stacks in the garage, never sent out to anyone? I think not. You are probably still trying to find a suitable agent or prodco or rich uncle, etc. to get your baby out there. You still seek fame and fortune...'fess up! That's rationalization for not being able to get the call-backs you desire.
Enough negative spew, but, damn it felt good!
Out that door to victory men(and women)! Win one for the Gipper!

Click to expand...

Regarding your opinion about taking classes.

That's really what's sort of the heart it -- your opinion. It may be that "in your opinion" -- your work is as good as the stuff that's being sold and being made. Yet it isn't selling.

Is that just because you don't know the right people or haven't marketed your stuff correctly or aren't "an insider" -- or is it because your work just isn't good enough. In that case, maybe the problem is actually that your opinion -- that is, your own ability to properly judge the quality of your work isn't what it needs to be.

If you've been writing for some time and your work isn't improving and isn't selling, then that should tell you something -- that you need a game changer. Not in respect to how to sell, but in respect to how to improve the quality of your work in a significant way.

You can't look to potential buyers as teachers. That's not their job. And while you can certainly learn things from books, the extent to which you've really understood and applied the lessons of a book to a new work, again, depends on your own judgement -- on your own ability to look at your work with some level of objectivity and say whether the finish work has really achieved the level of quality that it needs to achieve.

Sharpening that critical ability is part of what you gain in a classroom setting (whether on-line or in an actual classroom) -- the ability to look at other people's work, at the level of a work in progress, and understand what is working and what isn't and why, and then be able to take those skills back to your own work.

It is very difficult to gain those skills when all you ever have to deal with is your own work.

NMS

Writing is just like any other profession: you have to learn to master it. No one, NO ONE is born a great writer. It takes practice, practice, and schooling (whether it be paid or researched).

So taking classes, IMO, isn't a waste of money or time if one is seriously considering a career in writing.

Take the baseball example. You think the people playing Major Leagues never practice? Learn stuff? Go to places? (OK I know nothing about baseball so maybe it's a bad example for me to use).

Acting. Acting I'll use, because it's somewhat relevant to this kind of writing. Now I don't have any factual evidence here, but from what I've read (articles, interviews, etc) of other well-to-do or even average actors is they, at one point in time, have taken an acting class of some sort. Time. Money. Yet it equaled to some sort of success.

Practice can only get you so far if you lack the knowledge of really perfecting your craft. I believe a writer gets to a point in their writing where they don't move up, they continue on the same level of writing, and it's mediocre. Writing workshops, critique groups, classes, retreats, conferences, all different things to not only get connections and network, but to learn. To become a MASTER of your profession.

Now, if one isn't serious about this and it's just a hobby, than yeah, I can understand maybe saying it's a waste of time and money to find a workshops/class, etc (but do your research, not all are cracked up to be what they should be). But still...if it's just a hobby, why get so worked up if your stuff isn't selling or getting picked up?

All of the above is simply my opinion, of course, take it as you will.

NMS,
This is taking another direction,but, to respond to a couple of comments, I have a degree in Journalism. I'm not an expert, but I know a bit about writing. I have three novels published.
Screenwriting is another critter.
Whether I have the talent to go with that knowledge is yet to be determined. It isn't looking good right now, I'll admit.
Some people benefit from classes, but classes are a dime a dozen. There are many "if you can't do it, teach it" people out there trying to tell everyone how to proceed.
I think it goes like this. The main reason I wasn't Emperor of Rome is because I wasn't there at the time. Time and circumstance play a more important role than all the schooling in the world.
Yes, if one keeps on keeping on, one may be in the right place at the right time. It has happened to many. Lightning can strike.
So...if one is serious, one surley should continure on.
Most wannabes should hang it up, again IMO. It would be kinder.
Put down the rocks, you don't have to agree! That's what causes conflict!