When do you NEED an agent?

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  • When do you NEED an agent?

    Cyfress brought up a good question over in Screenwriting- 'are you ready for an agent?' That got me thinking...

    When do you <!--EZCODE UNDERLINE START-->need<!--EZCODE UNDERLINE END--> an agent?

  • #2
    When your writing is strong enough and you are strong enough to be able to do it for a living. I think, anyway. Maybe one of the pros can give a better answer.

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    • #3
      This brings up another question for me.

      I feel like it would be almost unfair of me to expect an agent/manager to shop me around if I'm not living in L.A.

      They are the ones that would be hearing...we don't want someone who can't work on assignment....not if they can't make it to last-minute meetings, etc.

      Considering they work off commission, it would be pointless for them to put too much effort in going to bat for someone who could offer potential income only for spec sales.

      So, I'd add to that list, besides the writing being ready, and the writer being ready, I personally wouldn't seek out an agent until I'm in the process of relocating.

      If I don't want to relocate, I'd probably just hit the production companies.

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      • #4
        You can always make the move, and if the agent really cares about your career, he/she will do their best to get you work.

        Unless you are Steven King, you'd want to make the move to take on a writing assignment.

        FYI, you might want to have some agents lined up, who are reading your work, while you move, because once you arrive, you'll just have to do all the dirty work. Might as well kill two sharks with one bullet!

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        • #5
          When do you NEED an agent

          I'm by no means a PRO, but I have a few thoughts about this...

          It depends on what you hope to do, and what resources you have at your disposal. Yes, your writing should be great, and you should have MORE than one script completed (really polished), but when you NEED an agent can vary. If you're a TV writer, you need an agent before you can go job hunting. Don't even think about calling show EPs without your agent's name to throw around. I've made a dozen calls this staffing season, and the one thing that got me the OK to send work was the fact that I had representation.

          If you're a feature writer, I think you have more wiggle room. I think it's possible to network your script into a feeding frenzy, get enough people interested and have an agent come to you. It's possible to basically work out a deal yourself, then send in an agent just to close. The same can apply to the TV market (a little less, perhaps) depending upon - yes unfortunately - who you know.

          Just because you don't have an agent doesn't mean you can't network your wares to others to create a buzz about it. And a buzz always helps secure representation anyway.

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          • #6
            "When do you need an agent?"

            Two ways to take that question.

            1) When are you ready for an agent?

            2) When do you absolutely have to have an agent?

            My opinons are:

            1) You are ready for an agent when an agent is ready to take you. (and by "agent" I mean legitimate agent). That person will evaluate your work and decide whether or not he can sell you or your work. So, at that point, at least one other person feels that you are ready to be seen. More importantly, someone else believes in your work enough to put their reputation behind it.

            2) Some Writers have entire careers without an agent. Not many, but they exist. It all depends on your chutzpah and your willingness to do what an agent does. Even then, if you have the time to make the contacts, phone calls, mailings, etc. you are still missing the second person credibility that an agent gives you in the business. So, in general, you need to have an agent as soon as you can get one. If for no other reason that it gives you a letterhead to use.

            The question about whether it's fair to have an agent if you aren't in L.A. isn't something to worry about. If you can get an L.A. agent at all and not live here, more power to you. If an L.A. agent is willing to take someone on from out of town, then they either have a strategy that makes that a non-problem or they are hoping to take 10% when you make a sale. Unfortunately, it's usually the latter in long distance cases.

            ZODITCH
            "It may be hard for a writer to succeed without an agent, but it's impossible for an agent to succeed without writers."

            (edited to change one word... one important word that changes the entire intent...)

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            • #7
              You need an agent when you need someone to close the deal - to prod the producer into making a decision.

              I have no agent. I can have a perfectly good career as long as I only deal with producers who actually make movies... who have a NEED to make movies. These are "motivated buyers" - they have to buy scripts, they have to make the scripts they buy into films.

              My dealings with studio based producers has been frustrating. Several years ago a guy who has produced two Ah-nuld films got hold of one of my scripts - he loved it. I've had a bunch of meetings with him, he's paid for a couple of VERY expensive lunches... but he hasn't bought the script. There's no way I can press him into buying it. I've had hundreds of studio meetings on scripts, no sales. I have been up for rewrites, didn't get them. No one is pushing for me - and you can't really push for yourself without looking pushy. The problem is - studio based producers buy a lot of stuff that never gets made... so they never HAVE to say yes, and when they do say yes they don't have to live with that decision. They can just not make the film.

              You need an agent when you need someone to be the "bad guy" - to do the things you can't do.

              - Bill

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              • #8
                kklstef,

                You need to move out to LA like I am. C'mon...all of your friends have done it.

                Thanks for your insights, Bill and Zoditch.

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