Screenwriting Agents Accepting new ClientsScrewriting agents who accept new customers
The Screenwriter Agencies (Here are 15 boutique agencies)
You' re sure your screenplay is great. A 110-140-page screenplay that becomes a worldwide recording spectacle.... or your screenplay is a 90-100-page, affordable, stand-alone screenplay with a great cast of characters and beautiful man subplots that come to an astonishing end... or your screenplay is a 50 page TV drama that takes the "Law & Order" excess to the next stage... or your screenplay is a 25-page sitcom,
and you need an operative. Try one of the smaller boutique agents who work in a company with 5-7 agents instead of 200-500 and usually have"& Associates" in their titles, which means that they are probably a 1-2 persons agency and actually answer the telephone when it bells.
FIFTEEN BOUTIQUES AGENCIES: Also, I begin at the end of the script.... The agents that begin with "A" are always the first to be met.... Let's begin with the character "S" and go to "Z". It' now up to you to do a little footwork and Google or Bing'em and get the name and telephone number of the respective bro.
So how do you get an operative?
One of the things an operative does all the time is: having breakfasts, lunches, drinks and dinners with industrialists and trying to do (1) and (2). If your customers have been successful with (1) or (2), you should be able to bargain for them. Attend demonstrations of films written by your clients. Return home and reread scripting to see if she and the authors who have written her are deserving to be represented so that she can do more from (1) to (5).
She is looking for a well-worked scenario with a great catch. Well, a good wife knows a lot of the folks that your writing-- She' s earned a good name with them for writing good stuff so if she says that your storyboard is really good, they'll quickly get to it.
As soon as she has signed you, she will take a weeks or two to discuss your screenplay with all the developers she knows in the big manufacturing firms. This means she has a pile of thirty pieces of your screenplay in a cardboard case, each in a 9 1/2" x 12 1/2" jacket with the logotype of her agent, each with a covering note that introduces you and your screenplay.
A messenger agent, Go Between, collects the mailbox and ships all thirty copies to the various receivers within about three hour. Now, actually, she makes about a million other telephone conversations for other clients and waits for the telephone to ring in your screenplay. She is hoping that two producers will fall in favour of the screenplay and want to buy it.
The only way to get the big payday days you see in Variety and The Hollywood Reporters is through a competitive auction. When no one is buying your scenario, your agents will try to put it somewhere in an options game. Now she sends out your scripts one by one.
She can keep you as a customer for six month or two, in the hope that she can either sale or buy you a screenplay or a desk position, or that you can create a new and better screenplay to go out with, according to how much she loves you.
Meanwhile, she will keep your screenplay in the back of her head, so if a production manager or manager says he is looking for something like this ("right now we're looking for nervous children's films" or "I need a mystery story that can be made in Puerto Rico for a prize"), she can say: "I have the right thing" and mail your screenplay.
It' impossible to mail thirty screenplays at once. They don't know who to mail it to, and you probably can't get thirty developers to actually see your code, even if you have a great one. They do not know when it makes business to take an options transaction and when you should be insisting on a transaction.
Here is why even an ineffective operative is better than no agent: Agents earn 10% of your screenplay earnings. A lot of manufacturers won't be reading a screenplay sent in by an attorney or an attorney. It is claimed by some that this has something to do with protecting against legal action. I' m not quite sure how your agents protect them, but that's the practice of the game.
They can give you approval documents to be signed if you don't have a substitute, but they can also simply decline to review your screen. To have an agents means that at least one individual will like your scripts for pure greed. She' s gotta think your screenplay is market-ready. Even a so-called operative confirms your letter to other overt.
When selling your screenplay, you really shouldn't be negotiating on your own account. so you can be the good guy. When you are considering rewriting a screenplay, it can tell you if there are other scripts like this or if your ideas are not as commercial as you think, which saves you a lot of space and disappointment.
So you need an operative. So how do you get an operative? Sure. The regular way is to write a request to one of our agents. It is exactly the same request message as described in Section Two, but it says that you are looking for a presentation. You' ll probably want to mail tens and tens of inquiry notes to different agents at different agents in the hope that at least one will radio to your footage.
Usually the way to find out the name and addresses of the agents is the author guild's register of signatories. Either you can mail a self-addressed postage-paid envelop and a $1 to the WGA at 7000 W 3rd Street, Los Angeles, CA 90048-4329, or you can go to their website and get it for free.
But they are usually not the sexiest and most influential agency, so you can just as easily submit requests to anyone.
And I don't think an operative who didn't sign with the WGA might be able to help you, and I think they might be hurting you. In Montreal and Vancouver there are also a few agents with mainly grassroots work. I' ve got 335 literature and talents agents in my Roleodex. They can' t help you because they don't go to dinner with the right guys.
When I receive a deed from an Arizona salesman or attorney, it doesn't get more publicity than I would give to a deed from a long-haul hauler in Arizona. Don't worry about someone who leads a seminar, gives training courses, provides script analyses or does anything else for a livelihood.
Anyone, who is a genuine medium, should rely on her 10% Commission on all the moneys she gets for her clients. The most important thing in his head is that you attend his workshop so he can get the $500 prize.
Do not simply write a note to the general office. You' ll have to mail your message to a specific person, otherwise it will be sent to a unnamed servant. Repeat: With every move you want to stay away from henchmen because they can only say "No".
Try to find out who is the most hungry young woman in every office. She' s the one who will pay the most interest to your screenplay, because she's still developing her customer census. If you want the name of the most hungry young operative, call the office. Find out who is most interested in writing your screenplay and standing in for you.
In case the desk clerk does not know, you can either try to find the agents' name in The Hollywood Reporter and Variety in the quarterly section "spec sales", or you can get the list of agents & managers in the Hollywood Creative Directory. While the Agents & Managers Directory will not tell you who is young and starving, the least experienced on the list of agencies are the ones with the least impact and expertise.
Virtually every times you run across a show biz chart when it's not in alphabetic order, it's in order who has the biggest influence. PeopIe get tempted when someone with less influence is over them in a party listing, so peopIe who make listings are very cauIous about this sort after all.
Top agents get the top wizards. Another way to find out who to contact is to ask for one of the top agents by name. I' ll have his helper answer the telephone. Inquire which other agents of the agencies you should contact.
It is not necessary to submit all your request documents at once. When you don't, you will sometimes receive feedbacks from a kind spy who is willing to speak to you after refusing your scripts. At the same token, if you are interested in your request all at once you have a greater opportunity to get two agents at the same one.
When you are unbelievably fortunate, two agents will want to present your footage instead of just one. An enthusiastically wild middle-level operative is better than a slightly enthusiastically high-level operative; but an operative who is not taken seriously will not be useful no matter he is. who works at your home in Minneapolis can help you a lot.
However, a fiercely keen operative in a small employment service (assistant, but not a receptionist) can be more useful than a semi-interested operative in a top employment service. As more shifts you have to go through to speak to your agents, the more realistic is your agencies. When you speak to a hostess and then an assistent and only then the agents, you are talking to an offi ce that has at least a fistful of agents and enough money to employ them.
Employees only receive revenue when their customers earn cash, so shifts of employees mean that their customers are working. On the other end of the range, if your agents answers her own telephone or voicemail, she's not doing so well. Your operative wants you to buy a copy, she probably doesn't feel so good.
When you are a customer of a B-ranked advertising company, you are solely responsible for providing her with a copy of your scripts or sending her a copy by e-mail. An unsuccessful operative might ask you to refund her copies. An unsuccessful operative could ask you to cover shipping.
Should an agents ask you for other charges - read costs, advice or anything else - call and call the WGA immediately. I' m not letting agents bill for copies and shipping, nothing else. If you want to "represent" your non agentscript, whether it costs or not, you probably won't be able to help.
Some on-line service providers say that they will be reading your book for a considerable charge and, if they like it, passing it on to important individuals. These" services" earn their living from the charges you make to them, not a provision from the income you earn from the sale of your play. So if an agency wants to replace you, you can and should ask her who else she is representing, or what screenplays she did sell last year.
Note down the customer name, verify their credit on the Internet and see if they are succeed. When she doesn't have a winning customer, what are the chances she can help you? Was Variety reporting two month ago selling someone's first $500,000 screenplay for $1.5 million?
I' m supposed to tell you, virtually nobody gets a good operative through interrogation notices. Good agents you get through contact in the film world. I' ve got my first one from the WGA lists of agents who are accepting unasked scripting. They didn't sold my screenplay or get me a gig, but they sent me to some of those sessions and I got some notoriety.
This made it easy to get my next spy, who was a move up, and she made it easy to get my next spy, who was another move up, and so on. Let's say you already sent out a screenplay, and someone liked it even though he didn't buy it. You ask him if he can suggest an operative that suits you.
He' probably can tell you the name and number of an female operative who makes up for her deficiency in power with a lot of work and happy stamina that keeps send him good screenplays from'baby writers'. "This is the kind of asset you want right now. You can now send her a request for information that says "Joe Thalberg from Wahoo Productions proposed that I get in touch with you.
" Once you receive a favorable reply to your request, you can submit your scripts to the interested agen.