Writing for 2014.

Eric Boellner

Eric Boellner

Well-known member
Hey all, I've had some of these discussions on Twitter in the past year (though not so much in the past 6mo, due to busy schedule, etc.), mostly with the #scriptchat group and the #tvwriterchat group. Anyway, just wondering what the screenwriters on here think...

I've heard from numerous working writers in H-wood, as well as some producers, and a lit agent, that the first step for a writer looking to "break in" is (after writing great scripts) to get a manager. Some of the old-timers disagree with getting a manager, because the predominant thought is "What is a manager doing that actually makes them worth that extra 10%?" But from what I understand, a manager is beneficial in two ways: 1.) It's almost impossible to get an agent without a referral or personal connection, but a good manager will get you out there; 2.) An agent will put your specs in front of the studio readers, and will get you in meetings for OWA's (open writing assignments, a working writer's bread and butter), but a good manager will work with you personally to get you "there," so that when the readers read your spec, you'll have already worked it till it's ready, and when you stand in front of Paramount development executives, you know what you're doing.

Do any writers here have managers? Or have any of you submitted to managers?

I know the general rule is to have 2-3 good scripts, ready to go, in the genre you want to work in before you go out to managers/agents. But how much is an indie film worth? I mean, I know that a film in the can is worth ten on the page, but if you're focused on getting in the game from a writing standpoint, would it be advisable to try to get a feature done "back home," so to speak, before heading west?

I can't really do anything as far as actually shooting something, or heading out to LA again, till probably May of 2014, due to current personal circumstances, but I've set a gameplan to get me through to January, with two particular scripts I intend to finish. Now I'm trying to also determine what my gameplan will be once I can actually do something with these scripts.

Might make another topic about writing for the indie scene. This site doesn't seem to get a whole lot of serious discussion in the screenwriting forum, except for some arguments about a given scene in a given film, and the ever-present "how do I..." which I suppose this topic kind of falls under. But really, I know there are at least a few working writers on this board, and I'm just curious to hear what you guys think is the best way in nowadays. Seems like just 3-4 years ago, managers were a no-go, but now everyone I know in H-wood seems to suggest that managers are the new gatekeepers and your new best friend as a writer.

-EMB
 
I have never worked with a manager, or at least not a legit one that supposedly knows what they are doing, so I can't compare that with working solo. Would I consider a manager? Yes, because I prefer to spend my time writing than sending out endless emails and script copies with about 1% of the recipients ever responding. Wears you out. I have a lot of work sitting on a shelf because I just can't get in that zone to shop them around - the features at least. The one feature I did get produced was ripped off in the end and production canceled.

The s*%tty thing there is, it's not just about the credits or the cash, Writers, like any craftsperson, would like to see their work in the finished manner intended. A script is written to be a film, lyrics are written to be sung or rapped, poems written to be bound and read, and so on. Getting credit for a film, be it feature or short, and no film to see how it all translated is pretty unfinished business. Like trying out a new recipe and never tasting it. The other half of the orange.

Actors would like to see their performances, a director would like to see his or her handiwork, as would the lighting dudes and dudettes, sound, costume, editors, and on and on. Credits can help in the pursuit of more work, but nothng else to show? No grabs? No footage? Arg.

Oh, here's the script by the way ...



I think the yes, manager, no manager will change with the season, and different folks will have different experiences, from good to great to lousy. I think getting the right manager that gets your work and can move one script into the best possible direction to go all the way is a far better win than a manager that can sell 5 of your scripts only to see them shelved for all eternity. They get 10% and move on, while your story dies a slow death - granted some writers don't care so long as the other 90% clears. All valid.

a
 
Look its nearly impossible to get a sale at all ever. If a manager can get you that sale great. But odds are you'll need to get a sale before you get a manager. Of course a manager is only as good as their contacts. If they have none they're not going to do anything for you.

Don't move to LA until you've had some success. It'll be easier that way. indie guys are all over the country. If you do well you may find that you don't have to move. Just remember it's nearly impossible to sell a script let alone get a movie made, keep this in mind and things will go easier on your psyche.
 
Chris_Keaton said:
Look its nearly impossible to get a sale at all ever. If a manager can get you that sale great. But odds are you'll need to get a sale before you get a manager. Of course a manager is only as good as their contacts. If they have none they're not going to do anything for you.

Don't move to LA until you've had some success. It'll be easier that way. indie guys are all over the country. If you do well you may find that you don't have to move. Just remember it's nearly impossible to sell a script let alone get a movie made, keep this in mind and things will go easier on your psyche.
Click to expand...

Oh, I'm not really looking for a spec sale. I want to direct my own scripts once I've worked my way into that arena, but that's another topic. If I can sell one, yeah, of course I would, but as far as writing goes, I want the OWA's. I want to pitch my take on the next Taken movie, or my vision for how to adapt A Tale of Two Cities, or a remake of Man of Steel (too soon?). Spec sales are golden tickets for a very tiny number of lucky kids who get to tour the Chocolate Factory. I want to be an Oompa Loompa and work there.

From what I've heard, the idea is to have a few great specs in your pocket, in the genre you want to work in, and while you're willing or even hopeful that they'll sell, the main idea is to be a manager/agent's wet dream: a talented, focused writer who wants to work for the studios on the money projects, not someone who writes his incoherent, black-and-white, silent film, passion project screenplay and complains endlessly when the manager/agent can't get it off the ground.

What makes you say "But odds are you'll need to get a sale before you get a manager."? Is that true of spec sales? (I thought pretty much any prodco/studio worth selling to wouldn't read a script unless it was submitted by an agent? Maybe I'm wrong about that, though...)
Don't move to LA until you've had some success. It'll be easier that way. indie guys are all over the country. If you do well you may find that you don't have to move.
Click to expand...

Good point. By "success," do you mean until I've actually sold the film, or does it make sense to get the film in the can and take it west with me?

Appreciate your guys' thoughts.

-EMB
 
alex whitmer said:
Would I consider a manager? Yes, because I prefer to spend my time writing than sending out endless emails and script copies with about 1% of the recipients ever responding. Wears you out.
Click to expand...

I think this is true, though, regardless of whether you have a manager/agent or not. There's never going to be anyone pushing as hard for you as you will for yourself. And I think managers/agents specifically try to weed out the writers who expect them to do all the work (not that you do). The way I look at it, if I get a manager, I'm going to be out there setting up meetings, talking to director and producer friends to set up projects, making the rounds, the calls, all of that. The fact that I have a manager would just be another step toward legitimacy in a studio/prodco's eyes.

In my opinion, a good manager should be a magnifier of your own effort. He's not there to do all the heavy work, so that you can focus your god-endowed glorious talents on just writing. He's there to put in as much toward your career as you are. A manager should be in it for the long haul, not that quick sale you might want.

I think getting the right manager that gets your work and can move one script into the best possible direction to go all the way is a far better win than a manager that can sell 5 of your scripts only to see them shelved for all eternity.
Click to expand...

I agree. There's definitely the bad apples to watch out for. For myself, being primarily interested in OWA's, this would be the difference between a manager who's happy to send me into a pitch meeting for Air Bud 7, versus a manager who knows my strengths and weaknesses, plays in my genre, and actually can help me come up with and work toward a gameplan to get me where I want to be.

-EMB
 
I think making your own films is the one guaranteed way to get your movie made. But success can come with filming your own movie, show you can do it. The specs you write will get you into the door to get hired, but you are still selling yourself and the spec. At that point you are competing against all the other dreamer spec writers. Which is why it is hard to get your foot in the door. A award winning movie can do that, maybe even a short.

All it takes to get read is to have a great title and logline. Most places say they don't accept unsolicited scripts,but rarely do they say they don't take unsolicited querries. See if your querry is good they'll ask for the script at that point it isn't unsolicited anymore.
 
IMO, you should look for a manager whenever you're ready. I sent out query letters to managers 5 years ago but I did not get any meetings (because my script was bad structurally and submitted with a "nothing to lose" mentality). Most filmmakers dump their manager once they feel they don't need their services anymore and this is when you hear the stories about disloyalty and ruthlessness. Managers guide your career and sort of "show you the ropes" but there are so many managers who operate in many different ways- managers don't need a license, agents do. For example, if you are lucky enough to get signed by a management/production company like Energy Entertainment or Anonymous Content, they may want to produce your script and even bring you on as a producer. For now if I were you, I'd try to place in as many competitions as possible. If you place in one like the Nichols, you will have no problem finding a manager or agent (or attorney).
 
Eric Boellner said:
Hey all, I've had some of these discussions on Twitter in the past year (though not so much in the past 6mo, due to busy schedule, etc.), mostly with the #scriptchat group and the #tvwriterchat group. Anyway, just wondering what the screenwriters on here think...

I've heard from numerous working writers in H-wood, as well as some producers, and a lit agent, that the first step for a writer looking to "break in" is (after writing great scripts) to get a manager. Some of the old-timers disagree with getting a manager, because the predominant thought is "What is a manager doing that actually makes them worth that extra 10%?" But from what I understand, a manager is beneficial in two ways: 1.) It's almost impossible to get an agent without a referral or personal connection, but a good manager will get you out there; 2.) An agent will put your specs in front of the studio readers, and will get you in meetings for OWA's (open writing assignments, a working writer's bread and butter), but a good manager will work with you personally to get you "there," so that when the readers read your spec, you'll have already worked it till it's ready, and when you stand in front of Paramount development executives, you know what you're doing.

Do any writers here have managers? Or have any of you submitted to managers?

I know the general rule is to have 2-3 good scripts, ready to go, in the genre you want to work in before you go out to managers/agents. But how much is an indie film worth? I mean, I know that a film in the can is worth ten on the page, but if you're focused on getting in the game from a writing standpoint, would it be advisable to try to get a feature done "back home," so to speak, before heading west?

I can't really do anything as far as actually shooting something, or heading out to LA again, till probably May of 2014, due to current personal circumstances, but I've set a gameplan to get me through to January, with two particular scripts I intend to finish. Now I'm trying to also determine what my gameplan will be once I can actually do something with these scripts.

Might make another topic about writing for the indie scene. This site doesn't seem to get a whole lot of serious discussion in the screenwriting forum, except for some arguments about a given scene in a given film, and the ever-present "how do I..." which I suppose this topic kind of falls under. But really, I know there are at least a few working writers on this board, and I'm just curious to hear what you guys think is the best way in nowadays. Seems like just 3-4 years ago, managers were a no-go, but now everyone I know in H-wood seems to suggest that managers are the new gatekeepers and your new best friend as a writer.

-EMB
Click to expand...

I reckon the solution is to be prolific, be good. Then try all the avenues. And if one door slams in your face, you start again with the next one. Banging your head and working your way through the system.

You might have to fire a manager / agent or two. There's a script notes podcast about that.
 
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