Agent coma

p3anut

p3anut

Member
Hey guys I realise there are old threads about agents but I wanted to 'retouch' the subject, because as of late, all I seem to be doing is looking forone, and I don't even have a full script yet!!!

I just decided one night while having a case of writers block, to check out how to get an agent and found:

1. That it's F***ING hard

2. That it's F***ING hard

I just wanted to ask, does anyone actually have or had an agent and if so, how did you go about getting one. Or if none of the above applie, would anyone know where to start looking?

I have since gooten out of my agent coma and have returned to finishing my script - thankfully
 
You aren't going to get an agent with no finished material. It's not going to happen. It isn't even a possibility.

Something people can't seem to get through their heads is you don't go looking for an agent, agents go looking for you. Watch Entourage. They don't get paid until you get paid. You need to be a viable asset for them to even consider your existence. If you don't show any promise, they don't care, because they would be wasting their time.

Write a script, win some awards, or get the thing made (then win awards or be financially successful, or be really really good) you will start getting calls from people. Like I said, you aren't even close to being on their radar. You have to make some moves for yourself for people to be interested in you.
 
hey matt, yer i'm aware I won't get an agent without a finished script. I havn't contacted anyone yet for that reason, I have just been looking. Living in australia makes it harder I guess because the movie biz is on a much smaller scale to the US and the same applies to contests or comps, a majority I have found state that you if you got noticed or won that you would then get a meeting with an agent/producer but unless they want to do it on the phone, it ain't gonna happen, because I can't get there in a hurry. Thanks for the reply though.
 
Oh man, I saw the title of this thread and thought that it was going to be about some poor writer whose agent was about to close the deal on a sale of one of their spec scripts, and then the agent had an injury or illness and went into a coma thus killing the script sale.

But as Mattykins said, sadly it is very hard to get an agent until you can stand out from the massive herd of aspiring scribes.
 
I probably wouldn't contact an agent until I had at least 3 scripts done. Two might work, but you want to have multiple chances of gaining representation. They are always going to ask you what else you have that they can read. Be ready. They want to work with people who make things happen on their own. They don't want to have to do anything...there are too many writers that make it happen without an agent...that is who they want to represent. No hand holding. Show them you don't need them and they will be lining up to rip a piece of meat off the carcass. Show them you need their help and they will run the other direction.
 
Kess said:
They want to work with people who make things happen on their own. They don't want to have to do anything...there are too many writers that make it happen without an agent...that is who they want to represent. No hand holding. Show them you don't need them and they will be lining up to rip a piece of meat off the carcass. Show them you need their help and they will run the other direction.
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Hmmm... then what is the point of getting an agent if you end up doing all the work and they take 10%? I mean, besides the legal advise they can give you, if you have to make it all happen then isn't that taking away a big chunk of the advantage an agent is supposed to give you? How then do you get your script in a producer, director, actor, or studio reader's hands then? How can you make it happen if no one will read your script without representation? Seems like that saying, "if a tree falls in the forest and no one is there to hear it hit the ground, does it still make a sound?"
 
For starters, nektonic, couldn't agree more mate. I think at the end of the day your probably better off tying a copy of your script to your naked body and running flat strap into the producer of your choice office or studio. That should get you noticed. The world of agents, as far as I am concerned, evolves around someone knowing someone knowing someone! I mean appart from knowing what we have all read on the "internet" which is, IMO, bullshit, how does anyone actually know that you need a few scripts up your sleeve, if no one has had an agent?
 
I'll tell you what, cold call an agent, ask him to rep you. Tell him that you don't have anything written but you really want to be a writer and you are really good.

Then report back, let us know how it goes.

PS> Almost every single production company and studio in existence will not take unsolicited material. You send it in, and the envelope isn't even opened. It will be tossed in the garbage, unread, unopened. (This coming from knowing a few readers and assistants). And you ask why you need an agent, that is the reason.
 
Mattykins :Why the hell would I do that? I apoligize if from my previous post you have gathered I am some sort of twit, but I must sadly miss inform you that it is a simple case of your inability to read.... If you go back and read the post again... take your time.... you'll see that I said:

1. I just decided one night while having a case of writers block, to check out how to get an agent.

please tell me, how from this msg, you took that to mean : HEY I'M A MORON WITH AN UNFINISHED SCRIPT AND I WANT AN AGENT.

2.yer i'm aware I won't get an agent without a finished script. I havn't contacted anyone yet for that reason.

now did you think the same as before? I just wans't sure.

Perhaps if you could read my post properly and actually answer the F***ing question I asked, which was, read it slowly now: HOW DO YOU GET AN AGENT? ok? I didn't mention anything about wanting one RIGHT NOW, no? Ok just wanted to check.

I already know i will not get one without any actual material to submit, thats common sense.

Well all that out of the way, please only reply to this thread again if you have something constructive to say. Thanks mate.
 
I think at the end of the day your probably better off tying a copy of your script to your naked body and running flat strap into the producer of your choice office or studio. That should get you noticed....I mean appart from knowing what we have all read on the "internet" which is, IMO, bullshi*, how does anyone actually know that you need a few scripts up your sleeve, if no one has had an agent?
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Really, I misread that? I went back and read it, but it looks the same as the first time I read it. Looks as if you said everyones opinion of how to get an agent is bullshi*. I read your "poo pooing" question and I answered it the first time. I read your remark and I again, answered your poo pooing question and gave some more info regarding the submission process.

But what do I know? PS. Chill the poo poo out.
 
yes you provided advice tip toeing arround the question While I do appreciate this, and I really do, it just appeared to me that you may have miss understood the originall question and queried my intelligence. I apoligize for the outburst but i'm sure you are aware as many writers would be, the subject of actually getting anywhere once you have completed your 'baby' is touchy. My originall question however is How do you get an agent? For example does anyone know a process? Like a list you can look at etc cheers

Just to elaborate: Where woukd you actually find them?
 
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You can find agents lists on the Writers Guild website or any number of sites. The key here is that if you don't have an agent how do you get one? And the fact is you have to either know someone to get you into the agency, win a top-notch screenplay contest (doesn't mean you will get looked at), or you have to get red hot with your just produced film. Agents are currently representing enough writers already and in a downturning market so they have little interest in signing new writers unless you have proven yourself. Your script has to stand out amongst the other 70,000+ scripts written each year. How do you do that? Networking is the key to getting into the party. It's who you know that can get you into the agency. Once you are in you still need to work it. I would seriously look to going after prodcucers and then after you flail around doing that...make your movie!

Go make your movie!
 
I think the general idea is that you write one or two good spec scripts and send them out into reader hell. Hope they're eventually noticed. Then when a player becomes interested in your spec or your style, they'll ask if you have an agent. Around this time you might be getting calls, or the executive might put you in touch with someone, or if you sell your script you're certainly going to get calls.

My understanding of the process was that you have to become great on your own and endure the trial by fire of breaking in with your own work. After that, agents can help you wade through all the bull and get gigs more reliably.
 
Kess said:
You can find agents lists on the Writers Guild website or any number of sites. The key here is that if you don't have an agent how do you get one? And the fact is you have to either know someone to get you into the agency, win a top-notch screenplay contest (doesn't mean you will get looked at), or you have to get red hot with your just produced film. Agents are currently representing enough writers already and in a downturning market so they have little interest in signing new writers unless you have proven yourself. Your script has to stand out amongst the other 70,000+ scripts written each year. How do you do that? Networking is the key to getting into the party. It's who you know that can get you into the agency. Once you are in you still need to work it. I would seriously look to going after prodcucers and then after you flail around doing that...make your movie!

Go make your movie!
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I'm all for going and making the film, if it is possible. The problem that arises here is that what if your script would require a large budget to translate to the screen? I'm not talking 100 million, but how about 20-30 million? That is not the type of capital an unknown just goes out and raises for an indie feature. Sure we can attempt to write a script that could be done for a couple million or even maybe a few hundred thousand bucks. But then again, we can't always choose the ideas that move us and set the fire inside that will burn long enough to complete a great screenplay.

I guess for those of us that want to write bigger budgeted films, we pretty much have to either know someone, or turn that script into a novel, comic book, videogame, web series, etc... basically we need to market the hell out of our stories in various formats and turn them into brands before Hollywood will take notice. Lately I've been thinking of how to take a script and turn it into a brand or at the very least a property that is working to get the you the writer noticed and make some money prior to any kind of spec sale. Here is a possible outline of steps to take your script's story and concept from just a great idea to a brand:

1) WRITE YOUR SCRIPT AND TELL PEOPLE ABOUT IT
Create a website and or a blog solely for your script and then blog/Twitter/Facebook/Myspace the hell out of your story once you've begun writing the script. I'm talking daily or every-other-day entries on your blog and Twitter. Also, don't just write about your script and the hell you're going through trying to make it the best darn script ever written, but do fun things like contests and post concept art or make a one-sheet (movie poster) based on your script. Give your growing fan base some visuals to go with your words. Create avatars they can use in forums. Make some cool desktop artwork they can download and use on their screens at home or at work. You could even sell merchandise like mugs, T-shirts, hats, pens, and even that poster I mentioned earlier (Hey, if it worked for George Lucas and Star Wars, why not make it work for us?).

2) WIN SOME AWARDS AND OPEN THE FUNNY PAGES
After finishing your screenplay, send it out to the appropriate screenplay competitions, then start translating it into a comic book script format. While you are doing this, begin searching for a comic book artist that will: illustrate your story in the appropriate style, work well with you, and will be either free or affordable enough for you to collaborate with in the first place.

3) THE GREAT AMERICAN SCREENPLAY BECOMES THE GREAT AMERICAN NOVEL
Once said artist is working on the comic, you then begin to translate your screenplay into a prose format. Once finished you could either self-publish this novel to your fan base, or shop the manuscript around to an appropriate publisher. Note: if you are able to land a literary agent, they may be able to assist in hooking you up with a film agent or manager.

4) HOLLYWOOD LOVES COMIC BOOKS THESE DAYS
Once the comic book is completed, just like the novel either self-publish or shop it around to see if you can sell it to a comic publisher. Either way it is something you can use to make money from your growing fan base and also promote your brand.

5) THE FOLLOWING PREVIEW HAS BEEN APPROVED BY YOU
Next you can shoot some key scenes and make a promo trailer for your film. This will do two things: A. Be usable as a promo piece to show to Hollywood. B) Be something you can tweak a bit to work as a book trailer for the novel version of your story as well as an all around cool little thing to have at the top of your site's homepage.

6) GAME FACE
Another possibility is to shop your story around to video game developers. Now, this obviously won't apply to every script, but for some it might be an interesting possibility.

7) NO ONE WAY ABOUT IT
Of course, these exact steps are not going to work for everyone's script. Some that you might write could be done for a lower budget, so you would just make the movie and maybe cut out the comic book step. As we would be in the middle of this process, we might come up with some new ideas to add to the ones already listed. As long as it promotes your story and your brand, then I say go for it if it is feasible for you to do so.

I figure that we live in an age where no one single medium is the end all be all anymore. Hollywood is stuck on remakes, adaptations, sequels, and prequels while the video game industry is gaining ground and looks to possibly overtake the film world or merge with it in the not too distant future. Sometimes I wonder if the spec script market will even last through the next decade. Then you have attention spans shrinking daily with Youtube and Twitter and the virality of the internet. Maybe in this tumultuous time of upheaval for story, we all need to broaden our approach to storytelling instead of being fixated on one medium of delivering our narratives?
 
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Maybe you do not need an agent. I used to think I would need an agent, now I am not so sure. One member and screenwriter here sold his script for low seven figures and did not use an agent, has told me that agents are overhyped, better to market your own script without an agent. Bill Martell talks about this on his audio CD (Bill Martell's audio CD on 'Guerrilla Marketing" of your screenplay-- well worth it imho).
randall
 
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Mattykins said:
I'll tell you what, cold call an agent, ask him to rep you. Tell him that you don't have anything written but you really want to be a writer and you are really good.

Then report back, let us know how it goes.

PS> Almost every single production company and studio in existence will not take unsolicited material. You send it in, and the envelope isn't even opened. It will be tossed in the garbage, unread, unopened. (This coming from knowing a few readers and assistants). And you ask why you need an agent, that is the reason.
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..and this is why I'm scouring the garbage bins of studios like a rat, getting all of the juicy scripts! :Drogar-BigGrin(DBG)
 
Randall_Oelerich said:
Maybe you do not need an agent. I used to think I would need an agent, now I am not so sure. One member and screenwriter here sold his script for low seven figures and did not use an agent, has told me that agents are overhyped, better to market your own script without an agent. Bill Martell talks about this on his audio CD (Bill Martell's audio CD on 'Guerrilla Marketing" of your screenplay-- well worth it imho).
randall
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The problem with this is, who is going to read it? Basically, how do you get those people in Hollywood whose business is to buy scripts to read yours unsolicited?

Also, having an agent or at least an entertainment attorney will be necessary when a studio or production company actually wants to buy your spec, otherwise they might try to take advantage of you. Once word gets around that you're a pushover, any new deals and assignments you get offered might not pay what you are actually worth, and in worst case scenarios they might even try to screw you big time. Isn't there already a nasty trend of producers asking writers to work on spec for free and then promising them a payday once the studio gets behind the script? I've heard about this happening more over the recent years.

Sure, you might not need an agent before you start to gain some attention, but eventually won't you need to have one to properly move on with your screenwriting career? But if all the agents that are worth anything are already tied up with proven writers, then do you go with an inexperienced one? Will that botch the chances of your spec selling or any assignment work?

I hate to be a party pooper, but in the past the odds were stacked against us, but nowadays it does seem truly impossible to break in unless you have a major connection. Maybe I should move to Hollywood, become a pimp for some high-class hookers, and give agent/producer/studio exec discounts and perks? Seriously though, it seems like an extremely screwed up time to be a screenwriter, especially an aspiring one. I guess I'll have to check out Mr. Martell's CD for some guerrilla marketing ideas. Maybe the days where the screenwriter executes a really clever and even gimmicky marketing campaign targeted directly at agents and studios are going to make a comeback?
 
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It sure does seem an impossible task to even start applying for one. I think when I compplete a few features and want exposure I will just contact studios directly. We all know this is really not the way to do it but , with the amount of production companies out there it's probably got just about as much chance of getting somewhere as getting an agent. I agree with randall that you might not need an agent and it's probably going to be the new trend. When all the agents realize this is happening then the whole process will get reviewed and made easier, I think. People like us are creating a revolution.
 
All good advice here on this thread. With a larger budget film that is beyond your own personal financing you will have to find bigger partners or sell it. The key is never taking "No" for an answer. No simply means they haven't said yes or you haven't found the right person to say yes. It's all about being persistent and a down right pain in the rear. It only takes one yes! So the approach is to find that one person who can get you in to a producer, agent, lawyer, studio, director, actor, or person that knows someone, etc. It is not that hard...just takes time and never giving up. So write the best script(s) that you can and keep going after the contacts. Try and spend at least and only 15 minutes each day making more contacts...by reading Variety, The Hollywood Reporter, deadlinghollywooddaily.com, done deal, thewrap.com and read the articles that discuss agents, scripts, etc. Cut and paste the names of those agents, lawyers, etc. Go on imdb.com and find the producers of films similar to your script...or any producer that may have a credit along those same genre lines. By the time you finish the script(s) you will have a very large list of contacts to start the networking. And don't write the same old query letter. Make it jump off the page. None of the "Hi my name is Prince and I would like you to read my script." You have to set yourself apart from the masses. Maybe start off with a question. "What are you going to do in your last 60 seconds before the end of the earth?" If that fits your script. I'm rambling here, but you have to make your letter interesting. You can't stop at one rejection...or two...or three. You can't stop until you get in. Most people stop the first time they hear no. Don't be in that group.
 
Good points Kess. The same persistent mentality you speak of is what I was thinking with my 7 steps idea a few posts above. Basically a, "this movie will get made, this story will be told no matter what" mindset. I want to go from the finished script to something else productive with that same story, whether that is an actual produced film or a comic book or whatever.

And your query letter idea actually might apply to a script I'm working on now. Not the 60 seconds before the end of the earth theme, but the idea of asking a provacative question related to your script. I can see that working for me on this one when I get around to writing a query letter. Thanks for the tips.

p3anut said:
It sure does seem an impossible task to even start applying for one.
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If only they would make it easy on us and let us fill out an application for an agent, just like when applying for a job or a credit card.
 
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