Thursday, October 5, 4 New Literary Agencies Seeking Clients New agencies are usually started by literary agents who want to leave their own unique mark on the industry. These agencies are eager to build their client lists, and they welcome queries.
Writing Movies That Get Made Agents Unless you know a bankable director or star, the best person to put your script in the hands of someone who can buy it is an agent.
If you don't get paid, she doesn't get paid. In the book business, someone who represents books is called a "literary agent" whether the books are literary or not. But in show business, a screenwriter's agent is called a "literary agent" and someone who represents books is called a "book agent.
Call development people and producers and tries to get jobs for her clients Call development people and producers and tries to get them to read and buy her clients' spec screenplays.
A "spec" screenplay is any screenplay the writer wrote without getting paid by a producer to do it.
You're writing a spec screenplay. Have breakfast, lunch, cocktails and dinner with industry people and try to do 1 and 2. Negotiate deals for her clients when they have succeeded at 1 or 2. Go to screenings of movies her clients wrote. Go home and read scripts to see if they, and the writers who wrote them, are worth representing, so she can do more of 1 through 5.
What she is looking for is a well-crafted screenwriting agents unsolicited calls with a great hook. If she thinks you've got one, she'll sign you. Here's how it's supposed to work: A good literary agent knows a big chunk of all the people your screenplay should go to.
She has built up a reputation with them for sending good material, so that if she tells them your script is really good, they'll read the script quickly. Once she signs you, she is going to spend a week or two talking up your script to all the development people she knows at the major production companies.
Then on the appointed day, she'll "go out" with it. Go Between, a courier agency, picks up the box and delivers all thirty of the scripts to the various recipients within about three hours.
Then she waits for the phone to ring. Well, actually, she makes about a million other calls for other clients, waiting for the phone to ring on your script.
What she hopes is that two production companies will love the script and want to buy it. A bidding war is the only way you get those big paydays you read about in Variety and The Hollywood Reporter.
If all goes perfectly, within a week she has a buyer or two, and you make a deal.
If no one buys your screenplay, your agent will try to get it set up somewhere on an option deal. I'll explain what that is in a moment. Now she's sending your script out one copy at a time. Depending on how much she believes in you, she may keep you on as a client for six months to two years, hoping she can sell or option your script or get you a writing job, or that you'll write a new and better spec script she can go out with.
In the mean time, she will keep your script in the back of her mind, so whenever a producer or executive mentions that he's looking for something like it "right now we're looking for edgy children's movies," or "I need a thriller that can be shot in Puerto Rico for a price" she can say, "I've got the perfect thing" and send your script.
If you live in LA, or can come to LA for a few weeks, she'll try to set up meetings for you with producers and development people who liked your script but didn't buy it. At these meetings, you talk about your upcoming projects and hear about what they're doing.
You may be considered for writing work. They'll give you some material - a novel that needs adapting or a script of theirs that needs rewriting - and ask you to read it and think about and come back with your take, the theory being that if your take is the best they'll hire you to do the rewrite.
I have my doubts about how many times they actually do hire the person with the best take if he's not someone who's already sold a spec script, so you'll need to decide for yourself whether working all week on a take for a producer is really worth your time.
You can't do any of this yourself. You can't send out thirty scripts all at once. You don't know whom you should be sending them to, and you probably can't get thirty development people to read your script even if you have a superb hook.
You don't know how much money it's realistic to ask for. You'll ask for too little, or too much. You won't know when to take the money offered, and when to hold out for more. You can't create a bidding war. You don't know when it makes sense to accept an option deal and when you should insist on a purchase deal.
Here's why even an unsuccessful agent is better than no agent: Until you have income, it's a free service. You might have to pay for photocopies, but you don't have to type the addresses or schlep to the post office yourself.Below I have compiled a list of UK based LITERARY AGENCIES and TALENT AGENCIES that represent screenwriters.
For a list of Agents in the U.S.A. see the W.G.A. site. Let me know sites that you have found the most useful/useless.
Now with that said, I personally don’t think you need to worry about this because most companies, even if they say “no unsolicited submissions” still might read your script if . Screenwriter of 'Die Hard 2' tells how he found his first screenwriting agent. His Lucky Dey books exist between the gutter and the glitter of a morally suspect landscape he calls Luckyland Is this still relevant? If you can’t walk to the WGA in LA, can you still get a copy of the agents who accept unsolicited scripts by calling?. Screenwriting Agents & In spite of what you may have heard, screenwriting agents almost never respond to query letters or unsolicited submissions. The legal risks are too great, and the slush pile of submissions would also be too great. while others won’t even bother to return your calls. Should your work receive a positive response.
That list of agents is simply a list of agents who have agreed to the WGA’s terms. It is not necessarily intended as a tool to find an agent, especially one who accepts unsolicited material — which is literally no one (as stated on the WGA’s webpage).
You're only other option are getting an agent, but then the majority of agents dont accept unsolicited scripts either without recommendation from an industry professional so then you can either try and produce your script yourself as a webseries or enter Screenwriting competitions to build .
Agents Unless you know a bankable director or star, the best person to put your script in the hands of someone who can buy it is an agent.
A literary agent is someone who represents you, and takes 10% of whatever you make from your screenplay, and is therefore highly motivated to . The way in which screenplay agents answer that question may influence your choices when you decide how to write your screenplay..
While I haven’t been an agent myself, as an executive I’ve worked with all the big agencies, and as a writer I got an agent . Screenwriter of 'Die Hard 2' tells how he found his first screenwriting agent.
His Lucky Dey books exist between the gutter and the glitter of a morally suspect landscape he calls Luckyland Is this still relevant? If you can’t walk to the WGA in LA, can you still get a copy of the agents who accept unsolicited scripts by calling?.