Comments on: How Screenwriters Get Hired: The Unspoken Truth!

By: jack123

2008-10-31T09:02:48Z

Hi Yeets,
Yeah, it certainly is a rollercoaster from praise to reality. Years ago I experienced similar things when I worked in the music bizz. The A&R people used to follow each other around looking for talent similar to the latest headliners-signed-by-so-and-so, by-passing all else, regardless of quality. If, by some quirk, another band came through, these same A&R would set off on a search for something similar -ad infinitum. They weren’t referred to as the sheep patrol for nothing! The point is, they didn’t have the courage to take a risk on something they genuinely liked, unless it was qualified by one of their peers. I think this is, to some degree, the problem here. Agents have so much in their favour they’re unwilling to take a risk on someone new, unless, of course, he/she comes in already succesful (qualified-by-so-and-so!) then, all of a sudden, there’s plenty of room in their books for another!! This is why I really warm to Curt’s post as it is the way for us to get ourselves ‘qualified’ - and only then will the agents will open up their ‘too-full’ books. Once more into the breach, my friends….

By: Yeets

2008-10-29T21:50:08Z

Yeah, you know, Jack, that situation makes me sick. You send a script out, people like it, you think you’re going to have to be buying the house with a ballroom for all the hot celeb parties you’re going to be giving - then nothing! There’s like some basic gap somewhere - we got to work out how to bridge it!

By: jack123

2008-10-28T09:07:40Z

This advice is superb. Thanks Curt and Phil for making it available. It’s obvious from other posts that the subject of agents is a prickly one. It seems we all want one but they already have too many writers to represent. What can we do - a cull, perhaps; I know I have a big stick around here somewhere!
One of my scripts, for a low budget British film, was recently assessed by the UK Film Council appointed, The Script Conection, who said “..you give us an interesting world, delivered in a confident, original voice and there is every reason to continue with this project as it really stands out from he crowd.” They also gave me some poignant notes to absorb, which I’m currently engaged with. What they, or anyone else, it seems, can’t offer is the ‘what next?’ Curt and Phil have done that with this blog. No more wasting time and energy on agents, for the time being. Procuring working directors, working producers that’s surely the way forward - so, mother, put that big stick away for me please and pass me the phone book…..

By: dee

2008-10-27T18:05:03Z

Hummmmm…I’ve read so many opinions about this subject of a closed Hollywood circle. I’m a good writer…damn good writer. I have not tried yet to market anything or even get an agent because of the walls that exist. So I have decided to just film something that I have written. A short. I am in the process of looking for people who fit my characters once I have them I will film my short, show it to a few people. Then enter it in some film festivals. I think from all I have read and heard this gives me a better chance of being noticed as a writer with potential.

By: Writefree

2008-07-18T17:39:26Z

Good points…

What also makes the selection process difficult is the fact that every time an agent accepts a new writer that agent is putting his/her reputation and career on the line. So I can image the high level of agony and pressure one has to go through when making this arduous decision.

If you’re an Agent or Screenwriter, I would recommend reading Robert McKee’s book “Story”. This is a masterpiece, and will sharpen your conscious mind in a laboriously challenged industry.

*As a writer you want an agent who would risk their career on quality.

*As an agent you want a writer who doesn’t hide from the truth, but lives deeply, and observes closely.

*If you can find this quality in each other, then people will come to you!

-Moses

By: Screenwriting Compass

2008-07-17T16:59:20Z

Kailua,

That’s an interesting post. That’s a post a lot of screenwriters would have written. Let me give you the view from our side of the business. First off, getting clients from other agencies/management companies is a great thing for us. The answer to that is obvious…already proven and they have a quote (of course, i’m talking about working writers, there are many not working at the bottom of the list). However, you have to understand MOST agents/manageres have to start from the bottom as well. A young rep can’t sign the top talent. So yes, they have to look for new and UNKNOWN talent, and it happens all the time. I have a stack of about 20-30 scripts right now of NEW unrepped and UNKNOWN talent. The question is, with so many scripts to read, why would I keep adding to my heavy pile by answering YES to every query? My stack would be 1000 scripts by the end of the week!! The key for you guys is going to be making it to that select pile.

By: The Kailua Kid

2008-07-17T03:21:26Z

Literary agents are like cops, they’re never around when you need one.

One can spend all the money in the world on screenwriting books, on classes and seminars to learn how to write that perfect “query letter”. One can send this perfectly composed inquiry to a hundred agents listed on WGA’s list of signatory agencies.

The “query letter” still comes back to the sender, stuffed inside the agency’s own letterhead envelope (despite my own convenient SASE)along with a terse letter from their legal department stating “it is our agency’s universally accepted practice not to accept any “unsolicited material”. Consequently, we have returned your material to you unread.”

What “unsolicited material”? It was only a “query letter”. I only asked whether or not they would like to receive some real-live solicited material. It’s one thing to have your screenplay rejected; it’s another thing all together to have a simple query letter regarding possible representation get tossed out as well.

Literary agencies are not unique when it comes to talent. A lot of businesses become satiated on “low hanging fruit”; enticing already proven writers to leave another agency for their own. The hard work is taking the time to read the work of someone new. If they had, THEN it would be interesting to watch while that agent works the room and successfully sells the work of an unknown writer. That, to me, is the sign of a great agent.

If “Screenwriting Compass” is interested in showing how good an agent he/she really is, I’ve got a couple of screenplays I’d love him/her to read. You know where to get hold of me… or do you?

By: Screenwriting Compass

2008-07-17T01:03:19Z

This advice I guess is OK for someone without an agent. If you do have an agent, and then you submit it to Julia Robert’s company or Sylvester’s company through a friend, first off, your agent will kill you. It takes us (agent or manager) one phone call to get it over there. And if it’s an amazing script, why limit yourself to ONE producer? We can get it to the town to every big producer. Also, the impact of a script coming through someone who is not a rep will not look that great.

Agents may not make movies, but are the best way to move your script strategically in Hollywood. That’s our job, we do it EVERYDAY. Would you try and operate on your friend if you were not a doctor? NO.

If you don’t have an agent, then that’s a different story and longer discussion.

By: Writefree

2008-06-14T14:49:01Z

Greetings All,

Thanks for that wholesome advice Curt…in this Screen writing business, to be successful it takes 10% skill, 10% knowledge, and 80% luck! Many are called, but few are chosen.

Moses

By: Amit

2008-06-13T20:36:39Z

Phil,
Reading Curt, I find things are not much different in Indian (Mumbai Film Industry..or Bollywood as some would find it more convenient to refer to Indian Cinema)film industry either.The concept of agent to market your story is still non-existent in India. Things for writers become easy once you convince a saleable Actor/or Director for your story , than everything gets into its place, producers are ready to produce as, then getting finance is no problem. But to be able to narrate your story to saleable actor and director is a massive task to achieve. It is very time consuming and needs lot of luck. In Indian films , herd mind set has deep roots.. . if one film gets a box office success, there is a series of similar films, which does not make a success at box office, but still recover the cost. Producers are not artists and are not educated from view point of understanding film language. They have yet to accept film making as an art form. It is just business and in their opinion should include content of movies that were successful at box office in the past. They want to play a safe and proven game. At times it is very predictable(sickening) and frustrating to keep watching absolutly erronous films making from the point of view of language of this art form. But , luckily, with lot of exposure of world cinema( and at times its dubbing in the local language)now at cable TV , things are changing. It would be French and European cinema that is going to influence the new film makers, as Indian sensibilities are, in my opinion, more close to sensibilities of European cinema. In coming years, hopefully much more sensitive and world class movies are likely to come out of India.

By: manfred von

2008-06-13T18:18:05Z

thank you curt;
thank you phil.
chillingly practical advice for aspiring screenscribes.
this piece is what makes the forum a goldmine.
we fortunate few that know where the gold is must now guard the secret…
…i’m telling nobody.
thanks again gents.
very well done.
m.

By: AaronAadamson

2008-06-11T05:36:34Z

For those of us that live more than a quick hour slog down the freeway to get to Sunset and Vine, this sounds a bit discouraging even if we haven’t written our first Script. But I have to thank both Phil and Curt Sell (what a great name) for giving us newbies and wantabies the guidance that could save us years of frustration and drinking . . . alone . . . in the dark . . . (just kidding–we’ll probably still do that, anyway, LOLOL).

But I know what you mean, Curt, about other people’s ideas. They just never seem as good as your own ideas. I wonder why that is! Must be a human genetic flaw; that could explain a lot. Oh, now, there is a story idea in there somewhere, Shirley. (sic)

Anyway, thanks for sharing, Curt.
And to you, too, Phil, for puttin’ the thumb screws to him to do it. Hahahahaha

Aaron

By: JohnB

2008-06-11T00:35:37Z

This blog was such a revelation and shows me just how in-accessible the career I am trying to pursue really is. Like trying to break into fort knox.

By: The Kailua Kid

2008-06-10T19:56:57Z

Great essay and I couldn’t agree more. Phil’s key points really struck home with me, especially the part about agent representation.

Most of the texts and screenwriting classes teach you how to write a query letter. What they don’t tell you is that such letters sent to agencies in a hope of seeking representation(i.e. The William Morris Agency as a real example), are returned to you through their legal department with a terse admonishment that do not accept solicitations of any kind.

Mind you, my screenplay was not included with my query letter. I only inquired whether or not they might be interested in receiving my actual work.

Oh, and my own self-addressed, 42 cent stamped envelope wasn’t good enough for them, either. They had to emphasize their point with a $5.90 registered letter.

It’s easier to talk to the prisoners being held inside Guantanamo. Speaking of which, I wonder how many of them are writing their own “spec” during their spare time in Cuba.

By: Progger

2008-06-10T17:49:13Z

Hi, Phil.

As someone who has been banging away at the Hollywood gate for over 20 years, it is AMAZING how your blog had me nodding my head and saying, “Yup!” over and over again.

It is a sad truth that the film industry is basically closed off to new and different ideas — they have to go with the tried and true to make a profit, because, after all, that’s why they call it “show business” — it’s a business.

I have learned a great deal from trial and error over the many years I have been writing. Many mistakes were painful and could’ve been completely avoided (had I knew then what I know now…) Experience is the best teacher. That is why is is so beneficial to have forums and blogs like this that share the tools that writers need to navigate the competitive world of screenwriting.

I think the best advise is to make friends with people in the industry. And to write FOR them. It is extremely important for people who wish to work in the filmmaking community to first be a part of it and to show that they are “good eggs” and easy to work with.

Kudos to you and your very succinct and well written blogs and articles!

Progger

By: Phil Gladwin

2008-06-10T16:16:00Z

Cheers Ben - and thanks Curt for taking the time out to articulate and reinforce this particular angle.

By: Ben

2008-06-10T16:10:20Z

Hey Phil,

While driving between blogs, it has been a while since I read such a rewarding/timely/sophisticated post.

Phil you make the business of Hollywood most attainable. Like a gourmet meal, this is a brilliant serving.

With this much good advice/feeback/mentoring ….we are capable of accomplishing whatever we believe….

Regards,
Benjamin Ray
Screenwriter
http://www.hollywoodtoronto.com