I just helped to avert a possible disaster. Well, maybe not a disaster, but definitely a major bump in a budding screenwriter’s career. Here’s what happened:
A teenager contacted me recently and asked if I would look at her recently-completed script. I told her to send the first 15 pages and I’d be happy to read them and at least see if she was on the right track with her writing. Based on her age, my guess was she wasn’t. So I read the fifteen pages. As I suspected, the pages needed quite a bit of work; they were nowhere near being ready to be sent to agents or producers. I told her she still needed some significant time of study and writing under her belt before she'd write anything truly professional. I gave her some tips, pointers and suggestions and she seemed happy enough. Then she told me she was with an agency.
That’s when I saw a dozen red flags go up.
I then discovered the agency in question was known as The Screenplay Agency. Many of us know who these guys are. There have been lots of complaints about them over the years. I really don’t know how they stay in business. Anyway, this young girl told me she was about to sign some paperwork with them. (Not sure how that works considering she’s underage.) I then told her to do some research on the fine folks at The Screenplay Agency. She did — and quickly discovered a flurry of complaints from other screenwriters.
What’s interesting to me — not in a good way —is that I warn about this sort of thing on my website. I’ve also warned about this sort of thing here on my blog (see my July 14, 2007 entry). This young girl says she’s read my site…so isn’t she taking notes?!
C'MON, PAY ATTENTION!!
If an “agency” tells you they love your script and want to rep you, don’t immediately think you’ve struck gold and sign on the dotted line. Do research. Get on Google (or wherever) and check ‘em out. Read the fine print in their contract. If they tell you there’s a fee of any kind, drop 'em like a hot rock. DON’T GET RIPPED OFF.
Movie Geeks interview is up!
If you missed the live podcast, you can listen to my interview with the Movie Geeks on their website (link below). Also on the podcast is screenwriter Allison Burnett, screenwriter of the upcoming release RESURRECTING THE CHAMP (and one of the interviewees in my book, Q & A: The Working Screenwriter). This is a very informative show, so I hope you'll log on and listen in. Here’s the link for the site: Blog TalkRadio Movie Geeks United!
Reader question #3...
Q: John from Canada asked how he could get his R-rated comedy scripts read. He was leery of pitchfests and also felt his particular brand of material wouldn’t fare well in a typical screenwriting contest. So what is a Canadian family man/writer to do?
A: As we all know (or should know), success in this business is contingent upon networking. It’s about making that necessary “face time” with people in The Biz. You need to make them aware of who you are and that you have talent. So if you don’t live in a filmmaking hub such as Los Angeles, then you obviously have to find other avenues to establish connections. Based on your location (Canada) and inability to travel (due to the wife and kids), I think your best bet is going the query route: letters to agents and producers. While it is possible for you to have some success with this, just know that the odds aren't that great.
Let’s begin with agents and managers: Order a copy of the Hollywood Creative Directory (HCD) for Representation. This book is a bit on the pricey side, but it’s brimming with solid contact information. Yes, you can query the big agencies (CAA, ICM, William Morris, etc.), but I strongly suggest you target the smaller, boutique agencies. (For my reasons for this, visit the “Questions & Answers” section on my website.) Send these folks a query/pitch via snail mail or e-mail.
ULTRA-IMPORTANT: Puh-leeze make sure you know how to write an effective query. Make sure you can effectively pitch your script succinctly. If you are unable to do this, don’t send your query/pitch until you can.
Remember, this is a numbers game, so be prepared to send dozens of queries. Your response rate will more than likely be very low, but all it takes is one “yes” to get a career going.
Now, let’s move on to production companies: Order a copy of the HCD for Production Companies. Yes, this book is also on the pricey side, but it’s brimming with solid contact information. Search the HCD and find a company that produces material similar to yours. (In other words, don’t send Jerry Bruckheimer American Pie 6.) Send these folks a succinct query/pitch via snail mail or e-mail. Again, this is a numbers game, so be prepared to send queries to dozens of prodcos. Your response rate will more than likely be very low, but all it takes is one “yes” to get a career going.
ULTRA-IMPORTANT: Puh-leeze make sure you know how to write an effective query. Make sure you can effectively pitch your script succinctly. If you are unable to do this, don’t send your query/pitch until you can.
Also know that most prodcos won’t read your script without some sort of representation (i.e., agent, manager, entertainment attorney), but some will. If a prodco says they’ll accept your script only if it’s submitted via a rep, then you can always contact an entertainment attorney in Los Angeles and ask if they’ll submit for you. Some will even be willing to do this...if you pay them a fee. Hey, if that’s what it takes, then that’s what it takes.
As for the “pitchfests” that seem to pop up every so often...well, you probably already know my opinion on those. Sorry, but I just think there’s something wrong about paying someone to hear a pitch. I guess these things wouldn’t be so bad if writers were better able to pitch their stories. Most deliver a stumbling, fumbling pitch – and the stories they’re trying to pitch are not exactly shining examples of cinematic entertainment. If you go the pitchfest route, make sure it’s one of the better known ones. Don’t go to Earl’s Pitchfest out on Route 9 and expect anything big to happen to your career.
Of course, none of this means much if your script isn't first-rate. So make sure your script is at a professional level before you send it to producers and/or potential representation. One more time: Make sure your script is at a professional level before you send it to producers and/or potential representation. Enough said.
(For my opinions on pitchfests and more on the querying process, visit the “Questions & Answers” section of my website.)
My book, Q and A: The Working Screenwriter -- An In-the-Trenches Perspective of Writing Movies in Today's Film Industry, is available at Amazon.com!!
A: As we all know (or should know), success in this business is contingent upon networking. It’s about making that necessary “face time” with people in The Biz. You need to make them aware of who you are and that you have talent. So if you don’t live in a filmmaking hub such as Los Angeles, then you obviously have to find other avenues to establish connections. Based on your location (Canada) and inability to travel (due to the wife and kids), I think your best bet is going the query route: letters to agents and producers. While it is possible for you to have some success with this, just know that the odds aren't that great.
Let’s begin with agents and managers: Order a copy of the Hollywood Creative Directory (HCD) for Representation. This book is a bit on the pricey side, but it’s brimming with solid contact information. Yes, you can query the big agencies (CAA, ICM, William Morris, etc.), but I strongly suggest you target the smaller, boutique agencies. (For my reasons for this, visit the “Questions & Answers” section on my website.) Send these folks a query/pitch via snail mail or e-mail.
ULTRA-IMPORTANT: Puh-leeze make sure you know how to write an effective query. Make sure you can effectively pitch your script succinctly. If you are unable to do this, don’t send your query/pitch until you can.
Remember, this is a numbers game, so be prepared to send dozens of queries. Your response rate will more than likely be very low, but all it takes is one “yes” to get a career going.
Now, let’s move on to production companies: Order a copy of the HCD for Production Companies. Yes, this book is also on the pricey side, but it’s brimming with solid contact information. Search the HCD and find a company that produces material similar to yours. (In other words, don’t send Jerry Bruckheimer American Pie 6.) Send these folks a succinct query/pitch via snail mail or e-mail. Again, this is a numbers game, so be prepared to send queries to dozens of prodcos. Your response rate will more than likely be very low, but all it takes is one “yes” to get a career going.
ULTRA-IMPORTANT: Puh-leeze make sure you know how to write an effective query. Make sure you can effectively pitch your script succinctly. If you are unable to do this, don’t send your query/pitch until you can.
Also know that most prodcos won’t read your script without some sort of representation (i.e., agent, manager, entertainment attorney), but some will. If a prodco says they’ll accept your script only if it’s submitted via a rep, then you can always contact an entertainment attorney in Los Angeles and ask if they’ll submit for you. Some will even be willing to do this...if you pay them a fee. Hey, if that’s what it takes, then that’s what it takes.
As for the “pitchfests” that seem to pop up every so often...well, you probably already know my opinion on those. Sorry, but I just think there’s something wrong about paying someone to hear a pitch. I guess these things wouldn’t be so bad if writers were better able to pitch their stories. Most deliver a stumbling, fumbling pitch – and the stories they’re trying to pitch are not exactly shining examples of cinematic entertainment. If you go the pitchfest route, make sure it’s one of the better known ones. Don’t go to Earl’s Pitchfest out on Route 9 and expect anything big to happen to your career.
Of course, none of this means much if your script isn't first-rate. So make sure your script is at a professional level before you send it to producers and/or potential representation. One more time: Make sure your script is at a professional level before you send it to producers and/or potential representation. Enough said.
(For my opinions on pitchfests and more on the querying process, visit the “Questions & Answers” section of my website.)
My book, Q and A: The Working Screenwriter -- An In-the-Trenches Perspective of Writing Movies in Today's Film Industry, is available at Amazon.com!!
Reader question #2...
Q: Tom asked: “Is it true I need to have several scripts, each in a different genre?”
A: You should have more than one or two completed, ready-to-go scripts on your shelf. After all, if you’re a screenwriter, you need to have product. But no, you don’t necessarily need to have one script from each genre (i.e., horror, thriller, comedy, sci-fi, action-adventure, etc.). I’d never suggest you write a sci-fi script if that’s not your thing. After all, you can’t do the genre justice if you’re not a fan or don’t quite “get it.” Personally, I’d never write a big fantasy adventure like “Harry Potter” or “Lord of the Rings”; I’m just not interested in that sort of thing. I like my stories a bit more down to earth, so I tend to focus primarily on psychological thrillers, horror, and comedy. Keep in mind, a certain amount of prolificacy is definitely required in this business, so being known for just one specific genre can be a detriment to those wanting to get a career off the ground. For instance, let’s say your focus is on the horror genre. Producers who have read your three gory horror scripts might not even consider you for a spy thriller or teen comedy. I guess what it all boils down to is this: have an interest in as many genres as possible, because if you write what you’re interested in, you’ll be a much happier, much more productive writer.
Visit me at http://www.theworkingscreenwriter.com/ -- a site for the pre-pro screenwriter!
A: You should have more than one or two completed, ready-to-go scripts on your shelf. After all, if you’re a screenwriter, you need to have product. But no, you don’t necessarily need to have one script from each genre (i.e., horror, thriller, comedy, sci-fi, action-adventure, etc.). I’d never suggest you write a sci-fi script if that’s not your thing. After all, you can’t do the genre justice if you’re not a fan or don’t quite “get it.” Personally, I’d never write a big fantasy adventure like “Harry Potter” or “Lord of the Rings”; I’m just not interested in that sort of thing. I like my stories a bit more down to earth, so I tend to focus primarily on psychological thrillers, horror, and comedy. Keep in mind, a certain amount of prolificacy is definitely required in this business, so being known for just one specific genre can be a detriment to those wanting to get a career off the ground. For instance, let’s say your focus is on the horror genre. Producers who have read your three gory horror scripts might not even consider you for a spy thriller or teen comedy. I guess what it all boils down to is this: have an interest in as many genres as possible, because if you write what you’re interested in, you’ll be a much happier, much more productive writer.
Visit me at http://www.theworkingscreenwriter.com/ -- a site for the pre-pro screenwriter!
Reader question #1...
Q: Pamela asked: "Do you have any advice for newbies... to take advantage of the [Expo] networking events and parties?"
A: I’ve been to a handful of the Expo networking events and parties and I’ve never met any Hollywood big shots, so don’t go expecting to hobnob with A-list producers, agents and/or development execs. I’m not saying they won’t be in attendance, I’m just saying they might be awfully difficult to find. But I never go with the intent of meeting industry insiders. I go to meet other writers, talk shop and swap war stories. It’s a fun, pleasant way for me to spend a couple hours. So even if you don’t meet anyone who can directly advance your career, perhaps you’ll meet a talented writer you can partner up with. Or perhaps you’ll meet someone with a connection to an agent or producer. This is how careers begin.
“Networking Events” vs. “Parties”: I think your best bet for meeting industry reps will be at the networking events. The “parties” are typically more for writers to mingle and relax after a long day at the Expo. But definitely go to at least one of these functions. You’ll be glad you did.
Some tips: Have your pitch(es) memorized. Bring business cards (not scripts). Look presentable. Don’t drink too much alcohol.
A: I’ve been to a handful of the Expo networking events and parties and I’ve never met any Hollywood big shots, so don’t go expecting to hobnob with A-list producers, agents and/or development execs. I’m not saying they won’t be in attendance, I’m just saying they might be awfully difficult to find. But I never go with the intent of meeting industry insiders. I go to meet other writers, talk shop and swap war stories. It’s a fun, pleasant way for me to spend a couple hours. So even if you don’t meet anyone who can directly advance your career, perhaps you’ll meet a talented writer you can partner up with. Or perhaps you’ll meet someone with a connection to an agent or producer. This is how careers begin.
“Networking Events” vs. “Parties”: I think your best bet for meeting industry reps will be at the networking events. The “parties” are typically more for writers to mingle and relax after a long day at the Expo. But definitely go to at least one of these functions. You’ll be glad you did.
Some tips: Have your pitch(es) memorized. Bring business cards (not scripts). Look presentable. Don’t drink too much alcohol.
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