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FREQUENTLY ASKED QUESTIONS: AGENTS!

Question: How do I find the contact information on legitimate film agents?

Answer: The Writer's Guild site (www.wga.org) has a complete list of signatory agents that work with the movie studios. Not all agents will take on unsold/unproduced writers, in fact few of them will. The WGA list indicates which agencies will accept query letters from unsold/unproduced writers. Work from this list. Pursue other marketing avenues at the same time, as it is rare for agents to sign unsold writers.

Question: People tell me I need to register my script. How do I do that?

These are the two best ways:

Writer’s Guild: Go to the Writer's Guild site (www.wga.org) and click on ‘Script Registration’ in TOC. Once your script is registered with them, they (their legal staff) will back you up in a dispute even if you’re not a member of the Guild. I believe it costs $20 for non-Guild members to register each project. Please do it.
U.S. Copyright Office: Copyrighting your script with the Library of Congress also helps protect you from theft. Go to www.loc.gov/copyright/ for instructions on how to do that.

Question: Why don’t agents want new, energetic writers – isn’t the idea of fresh blood with fresh concepts appealing to them?

It is rare for agents to sign unsold writers because it is a big job to sell a new writer to the establishment in Hollywood. Movies risks tens of millions of dollars, Producers and film companies want a writer who can deliver a screenplay that will make a great movie. They are very conservative about giving new writers a chance. Don’t be discouraged. Great scripts attract attention eventually.

Question: Any tips for convincing an agent to represent me?

Answer: Besides writing a couple of great scripts, I would suggest that it’s worthwhile to get your writing on film somehow. Some new writers write short films, like a ten-minute movie and then try to film it. Either they film it themselves with friends or they align themselves with an independent filmmaker or student filmmaker. You could do this if there is a college campus near you, or film it as a school project. Some writers even film a few scenes from a feature length script as a marketing ‘sample’. Sometimes agents or producers will more readily agree to look at a short piece of film than they will commit to reading a 120-page script.

You should still query them first, before you submit a film short. And remember to keep excellent records of all movie pros who are exposed to your material.

Question: Hollywood is interested in my self-published novel. I'm looking for an agent in California to represent my interests.

Answer: Congratulations on the interest your book has attracted. I applaud your industry in self-publishing this novel. Recently when so many big publishers started self-publishing units and epublishing units I believed this would be a boon to energetic screenwriters like you who write on spec. And it's proving to be true. Having a published book in your hand to sell - whether it is self-published or not - gives your story a professional endorsement - something every unsold writer needs. This professional recommendation helps you get it read, recommended and sold. Below are several questions and answers regarding agents that should interest you.

Question: I live in Minnesota, not exactly the movie capital of the nation. How do I get an agent to represent my work in Hollywood?

Screenwriting really is two full time jobs - writing movies (learning how to write them as you go) and then marketing the scripts you've written. There is a lot to learn about each half of the job. Though you don’t have to live in Los Angeles, New York, Toronto or London to write movies, your representative (agent or manager) will probably live in one of those film centers. And you will have to travel to these film centers periodically to do business and promote your material in order to establish a screenwriting career.

Question: What script format program do agents prefer?

Answer: The best selling professional program is Final Draft, next is Screenwriter 2000 by Movie Magic and then Scriptware and Script Thing are close behind. The Writer's Store in Los Angeles offers free demo downloads so you can try them out. Or check out my formatting tutorial.

Question: Can I send my scripts to agents without knowing them personally?

Answer: I hope you 'query' these agencies before you send your script. A query is a letter asking for permission to submit your script to them. This is done for several reasons - not just politeness. These agencies must protect themselves against people who might sue them for 'stealing' story ideas. Take time with your query letter; describe your movie script in a way that (hopefully) hooks the reader into wanting to look at the script. Entice them into requesting your script. Somehow make them believe it's a movie they want to read, and a movie they want to see.

Be sure you target agents that handle your particular type of movie story. There are many helpful databases on the Internet that tell you which agents handle which stars, writers, and directors. Look up these movie pros in the Internet Movie database (www.imdb.com ) or with Hollywood Literary Sales (http://www.hollywoodlitsales.com).

You can use this same type of letter if you decide to submit your script to production companies later on. Query them first, and then if they agree to look at your script, you send it to them.

Question: I sent my first script to a literary agency back in October. I waited twice as long as they told me I should wait for a response. When I called, they still hadn’t read it. Should I have waited longer?

In your query to each agent, ask him/her when you should follow up. I would wait at least the time they recommend, and then I would follow up. You don't have to be a pest, be professional in your communications with them. However, keep submitting your script other places at the same time. It's a big marketplace.

Question: The agent who wants to read my script insists I have to sign a Release Form before she will read it. Why?

Legitimate agencies and production companies will ask you to sign a 'release form' before they will read your script. This protects them from nuisance lawsuits. It states that you own the material you are sending to them, in other words you have the right to sell it. Also this paper guarantees that you will not sue them if they already have a similar script in development. Some writers are afraid to sign these releases, but you must sign them or they will not consider your material. I've signed dozens over the years. You must be 18 years old to sign a contract like this.

Warning: Do not deal with agencies that charge you to read your scripts. This is not a legitimate practice and agents who are signatories of the Writer’s Guild are forbidden to charge writers to read scripts. You want to sign with a signatory agent.

Question: Do agents ever steal writers’ ideas?

You should always protect yourself and your material from theft by registering your script or story with the Writer’s Guild of America or the US copyright office so that you will be established as the author and the date of creation will be on record.

Question: Should I go with a ‘packaging’ agent, or should I stick with the agent who represents the individual writer?

Answer: When you say packaging agency I assume you are talking about one of the major Hollywood agencies: CAA, ICM, William Morris, Endeavor, Ovitz's New Artists Group, etc. These agencies - if they are enthusiastic about you as a storyteller (and not just your project) - can be very helpful.

Advantages of packagers:

They have access to the first class elements you need to transform your book into a shooting screenplay and then into a movie. These elements are: stars, directors, and hot producers.
They can package your book/screenplay within the agency and set it up full-blown at a studio. This saves time, energy and heartache.
One reservation: You need a packaging agent who is experienced, not some mailroom hotshot.

Disadvantages of packagers:

The script is (usually) the least powerful element of most film packages. The screenwriter is usually the lowest prestige element of most film packages anyway, but this is particularly true within the packaging agency. This is not because the writer is less talented of course; it's related to the salary limitations. Harrison Ford made 24 million dollars for 22 days of shooting on his latest pix. Who is going to have his phone call returned - you or Harrison?
Packaging agencies have lots of highly paid/very experienced screenwriters already signed with them. Sometimes a studio will buy a film package because they know the agency will get one of their busy hotshot screenwriters to punch up the script. Where does that leave you?
You might wait around forever in limbo till one of their signed actors or directors is available. They're more concerned with keeping their high rollers busy with back up assignments than with getting your career rolling.

Advantages of a boutique (literary) agency:

The script can be the star of the package. They will try a little harder to keep you with the film longer - maybe all the way through shooting to the premiere.
Literary agencies work harder to build the careers of their writers. Some will even help clients polish their scripts or their pitches.

Disadvantages of a boutique agency:

It takes literary agencies a very long time to package an original script because their access to the other elements is not direct or a conflict of interest.
Often they encourage you to sell or option your script to a powerful producer who has a current deal at a studio. This producer then uses the studios resources to package the movie. This can be good, but you can lost control and influence in the trade-off.

Which type of agent will get more money for you in your deal? I don't know. If you have a first class packaging agency interested, really interested, hey, how wrong can you go?

If an agent is not doing the job for you, you can always leave. Though of course you will owe them a commission on any work they have already contracted for you.

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