Should the choice of an agent be a function of the percentage of cut they would like, or are there other factors. Seasoned writers already have their favorite agents but for first-timers, picking an agent seems more problematic.
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I'm not sure what your question is. Agents get 10% of what you make. No more no less. You can't talk an agent down to 8%. Similarly, he won't be asking you for 11%...
Should you be so lucky as to get a representation offer, you have to do some research to make sure the agent is legit... obviously. But since you are new, I think your options will be extremely limited.
Should you be so lucky as to get a representation offer, you have to do some research to make sure the agent is legit... obviously. But since you are new, I think your options will be extremely limited.
you don't pick your agent. you agent picks you. of course, you have to sell yourself first. agents only want writers who can show longevity and continued success. you must work hard on yourself until you can convince an agent that you are that writer.
write on!
write on!
Ah, the agent thing has always been a problem for me... I truly don't know how writers actually manage to get an agent... I've never even been able to persuade one to read my spec scripts. Over the past decade I've just relied on my manager and entertainment attorney to get me work and now, of course, I have repeat directors and producers so I don't need an agent. I've never minded how much of a percentage I have to pay out... my manager gets 25% and my lawyer gets 5% + his regular fees... because there's so much money in this business that it seems unreal. I figure if I can walk away with 50%, that's grand. But now, again, I have this desire to get an agent. I write spec scripts for fun and they get me as many writing assignments as I can handle but that's all they are to everyone but me -- the means to an end. The last director I worked with was like all the other directors (and believe me, I'm not complaining), he read one of my scripts and said he "loved it!" and believed fate had sent me to him... I was thinking he meant me AND the script but, alas and again, he said "I have this idea I want to develop into a screenplay..." And of course I did it. But now my pile of 20+ spec screenplays seems to be beckoning... they are, in one way, my life's work... and doomed to oblivion... unless, oh yes, I can capture that elusive agent. Yeah, just a fantasy, I know. But if anyone can give me tips on how to snag one, I'd gladly give 10-15 % of ALL I do to this agent just to give my pile'o'scripts a chance. Just don't say send in a list of my accomplishments and awards -- I have and that list is very long indeed. I'm considered a writer-for-hire a.k.a., a hack and, possibly, not capable of original expression. Though, honestly, my specs truly belie that... if I could just find the right agent... And so my story goes, ad nauseum. Suggestions welcome!
No offense Atreus but it sounds like you're getting screwed over...unless you've just made a couple of terminology mistakes in your post.
1) Your attorney should not be collecting 5% plus his regular fee. That's highway robbery. The industry norm is 5%, but an attorney getting 5% is getting it IN LIEU of his regular fee, not IN ADDITION to it. If you're paying is regular rate...why does he get a cut?
That information was more for anyone who may have read your post and thought that was the case. I'm assuming your relationship is more normal, and your attorney is collecting 5% + his costs. i.e. for postage, correspondance, etc. That I could understand.
2) Managers are an unregulated business, so I suppose it's okay for your manager to collect 25%, especially if you don't have an agent, but it is a helluva lot, most managers don't take a quarter of your cut. Be forewarned that if you do get an agent, your manager should reduce his take down to 15% on the high end, 10% at the least....
BUT that leads me to my last point.
If you have a manager and attorney AND are getting paid assignment work, and barring the fact that you are a miserable writer, you SHOULD be able to at the least get READ by an agent.
You shouldn't be doing the work of trying to get read by an agent. Most don't want to hear from writers directly. But you have a manager and an attorney, and a stable of directors and producers who should be able to refer you to agents. If they're reputable, they should have relationships with agents that should get you read.
AND if you're good enough to get paid, an agent will be good enough to sign you. If only for the commission.
For instance, this last director who wants you to work on an idea with him. If he's a decent director he should have representation. Ask him for a referral to a few agents.
The business is built upon relationships, and the best way to get your work infront of an agent is to use your relationships with people who know agents.
Good luck.
1) Your attorney should not be collecting 5% plus his regular fee. That's highway robbery. The industry norm is 5%, but an attorney getting 5% is getting it IN LIEU of his regular fee, not IN ADDITION to it. If you're paying is regular rate...why does he get a cut?
That information was more for anyone who may have read your post and thought that was the case. I'm assuming your relationship is more normal, and your attorney is collecting 5% + his costs. i.e. for postage, correspondance, etc. That I could understand.
2) Managers are an unregulated business, so I suppose it's okay for your manager to collect 25%, especially if you don't have an agent, but it is a helluva lot, most managers don't take a quarter of your cut. Be forewarned that if you do get an agent, your manager should reduce his take down to 15% on the high end, 10% at the least....
BUT that leads me to my last point.
If you have a manager and attorney AND are getting paid assignment work, and barring the fact that you are a miserable writer, you SHOULD be able to at the least get READ by an agent.
You shouldn't be doing the work of trying to get read by an agent. Most don't want to hear from writers directly. But you have a manager and an attorney, and a stable of directors and producers who should be able to refer you to agents. If they're reputable, they should have relationships with agents that should get you read.
AND if you're good enough to get paid, an agent will be good enough to sign you. If only for the commission.
For instance, this last director who wants you to work on an idea with him. If he's a decent director he should have representation. Ask him for a referral to a few agents.
The business is built upon relationships, and the best way to get your work infront of an agent is to use your relationships with people who know agents.
Good luck.
Thanks for your reply JK -- you are right about the attorney, that's how it is precisely.
And, yes, managers can ask for whatever they want and mine is the best... he gets me writing assignments all over the place WITH the codicil that I answer only to the director for rewrites... in other words, I can bypass development hell. Before working with him I once did 23 rewrites (paid) to satisfy the entire strata of producers. I almost quit the business entirely as that was so absurd... I spent a year doing that and the movie was never made.
I did ask the director I'm working with now to recommend me to an agent and he did: he recommended me to his agent who calls himself a "packaging agent" and doesn't represent writers. The agent says that when I am working for his client, the director, I am part of a package and my contracts and business interests are represented and protected by my attorney. Within his agency, he says that the literary agents aren't accepting new clients. In other words, thanks but no thanks and go away.
I have asked my attorney to recommend me to an agent. He says, "Why? You have enough work" but he did recommend me to one he knows and likes. This agent is a wonderful fellow and works to develop new writers. He wants to teach, to mentor and to guide. I admire him for that but I JUST WANT AN AGENT TO PEDDLE MY SPEC SCRIPTS. I'm not saying I can't learn anything new, I just don't need to start over with a new method.
I probably sound like an idiot -- wanting an agent when I'm working but I really like my spec scripts and they have no other chance unless I can blackmail one of the directors I work with into doing one of them... but I doubt that's possoble as, well, they'll just get another writer. The bottom line: every director I've worked for ALREADY has a script story in mind and just needs someone to develop it.
Yes, I understand the stuff about cultivating relationships but I find it impossible to work AND meet-and-greet too. I work a good 70 hours a week writing when I'm not doing field research and so that leaves little time for socializing. I should have done this all in the beginning -- I fear now it's too late.
You are certainly right that agents don't want to hear from writers... I've had no success with the most polite query letters imaginable.
Thanks for your advice.
And, yes, managers can ask for whatever they want and mine is the best... he gets me writing assignments all over the place WITH the codicil that I answer only to the director for rewrites... in other words, I can bypass development hell. Before working with him I once did 23 rewrites (paid) to satisfy the entire strata of producers. I almost quit the business entirely as that was so absurd... I spent a year doing that and the movie was never made.
I did ask the director I'm working with now to recommend me to an agent and he did: he recommended me to his agent who calls himself a "packaging agent" and doesn't represent writers. The agent says that when I am working for his client, the director, I am part of a package and my contracts and business interests are represented and protected by my attorney. Within his agency, he says that the literary agents aren't accepting new clients. In other words, thanks but no thanks and go away.
I have asked my attorney to recommend me to an agent. He says, "Why? You have enough work" but he did recommend me to one he knows and likes. This agent is a wonderful fellow and works to develop new writers. He wants to teach, to mentor and to guide. I admire him for that but I JUST WANT AN AGENT TO PEDDLE MY SPEC SCRIPTS. I'm not saying I can't learn anything new, I just don't need to start over with a new method.
I probably sound like an idiot -- wanting an agent when I'm working but I really like my spec scripts and they have no other chance unless I can blackmail one of the directors I work with into doing one of them... but I doubt that's possoble as, well, they'll just get another writer. The bottom line: every director I've worked for ALREADY has a script story in mind and just needs someone to develop it.
Yes, I understand the stuff about cultivating relationships but I find it impossible to work AND meet-and-greet too. I work a good 70 hours a week writing when I'm not doing field research and so that leaves little time for socializing. I should have done this all in the beginning -- I fear now it's too late.
You are certainly right that agents don't want to hear from writers... I've had no success with the most polite query letters imaginable.
Thanks for your advice.
maybe put your mindset on a diff level - meet & greet/socializing - change it to networking and you might find the time.
23 rewrites?! :lol well, maybe that seems ridiculous but, you should read the "remake" history of Total Recall: the number of remakes and writers seems astronomical in comparison. yeah, it's still discouraging but, that doesn't mean you can market that script elsewhere....and look how many rewrites you already have handy
write on!
23 rewrites?! :lol well, maybe that seems ridiculous but, you should read the "remake" history of Total Recall: the number of remakes and writers seems astronomical in comparison. yeah, it's still discouraging but, that doesn't mean you can market that script elsewhere....and look how many rewrites you already have handy
write on!
With all your credits and awards, it would seem to me that you wouldn't have too much of a problem getting an agent. And you mentioned you wouldn't mind paying 10-15% for a theatrical agent. A theatrical agent NEVER charges more than 10%. Any theatrical agent who charges more is probably not legit. Check with the Writers Guild of America for legimate agents sanctioned by the Guild. Good luck!
I actually think he's pulling our chain to see how we react to the story, which, honestly, sounds insane. I've been working in this town for 10 years now. I NEVER heard of anyone paying 25% to a manager or doing 23 paid rewrites. I mean, most of the movies go through more than that. It's just they are not by the same writer. If they are, he/she gets paid for 2 or 3 max... No contract will let you do more than that... And I certainly never heard of a working writer not being able to get read by an agent unless he's a hermit living on top of Everest.
sounds like bushwa t'me, too, devo!
just take a good look at the writing... the hi-falutin' tone of that post... if it looks like a wannabe, walks and talks and squawks like a wannabe, it's probably a fauxpro, if you catch my drift...
just take a good look at the writing... the hi-falutin' tone of that post... if it looks like a wannabe, walks and talks and squawks like a wannabe, it's probably a fauxpro, if you catch my drift...
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