Let’s start off this blog with the most popular question I get. There is not one right way to get one. I’ve seen writers get signed for all kinds of reasons.
The most important thing is talent. If you are really an amazing writer, don’t worry, agents and managers will come to you.
If you are a good or decent writer, you can still get signed. Yes, it’s true! If you are a good in a room, that is a huge benefit. Let me put it to you this way. I would rather sign a decent writer who is amazing in a room, over a talented writer who is a dud in a room. Remember, being a writer is a job after all. When you are put up for writing assignments and meet with executives for rewrite jobs, executives want to work with people they will get along with.
Most writers make getting an agent or manager their focus. Trust me, if you write a great script, an agent or manager will come to you. If this has not happened yet, and you have had your script out in the world for a long time…go back and do more work on your script. Focus on writing rather than getting repped.
So if you really think your script is amazing and you don’t have an agent or manager there are several ways to expose yourself to the entertainment community. You can try what most writers do and submit query letters. Don’t send query letters by snail mail. No one reads those. Well, maybe the interns do, and they make fun and keep the worst ones to share around the office. Sometimes, if your script has a real catchy logline, then you can try email, but most agents and managers will delete after reading the subject line. At this point, my eyes are trained to delete query emails the same way I’ve been trained to delete viagra emails. In my opinion, one of the best ways for a brand new writer to get exposure is to submit your screenplay to screenwriting festivals. A good one is the Nicholl Screenwriting Fellowship. You may not get many agents calling you, but if your script is good, you will get managers and smaller producers calling you. They have more time to read these scripts and they will request the top 5 scripts of the competition. Once this happens, your script will make it’s way around town, maybe not the right way, but you need to start somewhere.
There are many other ways to access a rep. Try interning for a management company, agency or reputable production company. You can be a reader and do work for free. After you read enough scripts, the manager or agent will be more than happy to read your script! If you do happen to live in Los Angeles, being in the right social circles helps. You can meet plenty of managers and agents at parties, and more than likely they will be drunk…they will agree to read your script.
Above are the best ways I think to access agents and managers. Just remember, in the end, it’s an organic process, if you have an amazing script, you will have agents and managers knocking on your door.
Here is a quick summary of ways to get an agent or manager:
- Submit your screenplay to screenwriting festivals.
- Intern for an agency, reputable management firm or production company.
- Attend entertainment mixers and parties. Get business cards and send them scripts the following week.
- Meet other writers who have agents. They can send your script to their own agent.
- Send email queries (low percentage unless your logline is amazing).
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4 users responded in this post
Hi,
Just wondering, is writing a logline an art?
I say yes and it cannot be taught.
Regards,
Benjamin Ray
www.hollywoodtoronto.com
Great blog. Thanks for the advice.
Useful advice indeed and I consider the intern idea excellent. This said, I am wondering how someone from a country outside the US might set about garnering the attention of a US agent; most particularly if your script is your first screenplay. I am working with a script consultant and within that process there is a fairly rigorous set of steps and review processes. I wonder if appending a brief commentary from them at the point where they are giving you the thumbs up would have any value or whether it may, inadvertently, give a negative impression.
Benjamin, my original profession was education and I must disagree that you cannot teach someone to write loglines. It is formulaic and as long as the ’student’ understands the pattern and its options - and of course has creative intelligence - it’s eminently teachable. I don’t consider it a complex concept.
Interesting piece… but the real discussion isn’t about how you get an agent, but whether you actually need one.
As you rightly point out agents and managers will flock to you at the point you’ve gained enough heat for you to look like an easy business proposition… and as you say, an agent prefers a client who can network and work the room. Something I figured out for myself a few years ago, when I realized that I can pitch my screenplays better than anyone else in the world. (OK it does helps that I was one of the UK’s top advertising creatives before I went into film and love to pitch! LOL)
The truth is that a writer with talent and a great script is in a much stronger position within the industry than they might imagine.
I’ve always encouraged writers to stop looking to others to make the breaks for you, take control of their own careers… which is why I made the move from being a writer to being a writer/producer.
Basically, this means networking with directors and other producers… finding out who is in the market for what kind of project and positioning myself a co-production partner… in real terms this is involves a change of mindset; instead of pitching to directors, I understand the value of my script to their career and am “in effect” auditioning directors to work with me on the film… I’m not an employee, but a potential business partner.
Bottom line is, there are always more great directors and hungry producers than there are great scripts. So, I’d be insane to act like the director is doing me a favor by making my film.
It’s just supply and demand economics… and the truth is agents know this and that often their ability to do business depends solely on the unwritten agreement between them and some producers to act as gate keepers for the industry.
However, that agreement turns out to be mostly worthless once you get access directly to both directors and producers… all they’re interested in is the next project, not where it came from.
In terms of my career I’d only consider using an agent if they could get me meetings on a $54M plus budget movie, faster than I could generate those meetings myself… now, a year ago a good US agent might just have had the advantage… today it would be a close race… in year’s time I’m confident that my lawyer would be negotiating the deal before an agent’s call had made it past reception.
Now, sure this means some doors are closed to me at the moment… but the trick is to ignore those doors and concentrate on the doors that are open. .. and there are plenty of those.
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