Re: The Art of the Query
Given how may of these I have been sent recently, I thought I'd add some thoughts to this post. See in red above.
Nice outline you put together.
Originally posted by madyellowduck
View Post
Disclaimer: this is by no means exhaustive or a claim to be the definitive method of querying. But as we're at the start of the query season (and procrastination being the writer's best friend...) - some collected thoughts on this subject. I am sure there are many others with useful experiences as well to contribute.
As Sundance is Jan 20-30th, there are many who say that the Town really only gets back to work after that. Which means anyone planning to query has a good 2-3 weeks to prep for open query season.
PREPARATION
- Buy a subscription to IMDB Pro. You will need this to establish a manager/agent's client list, which is essential in order to position your query to the right person but also, to someone open to your genre. A Trial to studiosystem.com is far more useful. People in lit use it more than imdb.pro
- Download the Limama's Lit Manager list* (for the emails but you'll also get the emails from IMDB pro) and run the names against Trackingb to see what are the types of scripts they have taken out in the last year (trackingb's old entries are free).
* I do not have a copy of this list. Please post your request above for it from the DDP community.
- Set up a spreadsheet to track your queries and progress then key in the names of the reps you plan to query. Remember to fill the sheet as you go along so you don't double query someone accidentally.
- Proofread your script thoroughly - it's a good idea to get another pair of eyes as you'll be amazed how many typos appear to the person not reading the script for the 40th time. (especially important if English is not your first language)
- PDF the file.
- Draft Query Letter.
THE QUERY LETTER
Crafting a query is more challenging than it seems - brevity without sacrificing impact is required. There are varied opinions on whether or not you should use a catchy subject line, place the word Query in your subject line, introduce yourself etc etc. Personally I put the word query in the subject heading because I don't see the point in 'tricking' someone to read your query by making them think it's something else. Some managers on the other hand may admire the ingenuity that goes into that. I'm practical and prefer it if people are straight with me. But this is open to debate.
- Place the TITLE and GENRE in the subject line. This way, they can decide EVEN faster if they want to open the mail or not.
- Address them by name.
- If you think their list closely connects to the type of genre you write, mention this briefly - this appeals to some managers but not all. But don't stuff it in for the sake of it. That being said, do try to make your query personal in some way but only if you can.
- Mentioning your script is similar to something they sold recently looks like you've done your homework but may make them simply lose interest (why would they want to sell the same thing twice?). If the genre is the same you might be safe, but certainly not the same concept. Only do this if you really know what you are talking about and have a great example. Plus, you can easily reference an older film. I'd love to be sent a new DIE HARD.
- Include a VERY BRIEF INTRO of yourself but only if you have a background that matters ie: MFA in Film/Writing. A significant contest placement/win is worth mentioning VERY BRIEFLY. The intro should be no more than 2 short sentences. Two short ones at most
- LOGLINE - most important part of the query letter. Short, brief, but catchy. This is the part of the Query that requires the most effort. Good steps to take include getting it critiqued at DDP's forums but also, don't use the first logline you write. Try writing it out in 20-30 different ways - it's like crafting a tagline or a slogan. You rarely get it right the first time. The most important part of your letter. I am sent dozens of these per week, i may read one per month (if that). Sadly this is because what most new writers fail to realize is that it all comes down to a great, commercial idea. I don't want to read THE BREAKFAST CLUB meets DRIVING MISS DAISEY (yes, ideas like that are sent out daily).
- Have more than one logline to use to query. If you have two scripts on hand, it helps because
a) some managers want to see more than one script before signing
b) if your first batch of queries doesn't work, you have a 2nd script to try with.
SENDING QUERIES
Use a neutral email address (something that doesn't give away a foreign location although nowadays, newer managers don't seem to have issues with this). A professional email address (your name/initials etc) is better than one with your pet nickname.
Batching out queries is a good idea so send out 10-20 at your first go. This enables you to test your logline - if at the end of 20 queries and you have no nibble, test another 20 with a different logline. If at the end of 200 queries (random number I selected), you have NO READS, the query is definitely flawed and possibly, the script may not be right for the market. (ie: you query a western after westerns died at the b.o). This should be perfect before sending out. Run it by your friends, other writers, even the random person at star bucks before sending it out.
Although some people take the view that you should follow up with a query, I am not of the view that's necessary except perhaps where you are querying off someone's recommendation. Otherwise, it's less torturous (and less emotionally stressful) to just assumed they pass.
EXPECTATIONS AND OUTCOMES
No reply effectively should be interpreted as PASS. Some managers will actually deign to reply 'Not for me', but you should also expect some to just ignore your query entirely or not bother to answer 'no'. Silence is best interpreted as a polite no. Very true.
'not for me' is just shorthand for anything from 'too busy now' to 'not really interested' to 'that's the worst idea I've ever heard'. It is productive to NOT badger someone into the reasons why they didn't want to read the script OR to be pissed off. They may tell you what was the reason briefly or they may not. They may offer comments or they may not. At the end of the day, move on is the operative mindset here.
READ REQUEST - Bingo. Send PDF asap. I'm of the view that rewriting a script after a request has been received is a bad idea - you don't want to delay their interest and it seems unprofessional (why are you querying if it's not ready). A quick 24 hour proofread for typos maybe but a read request should be responded to asap.
A READ REQUEST could be followed up with
a) REPRESENTATION (!!!) - break out the bubbly. You're signed.
b) LET'S CHAT - this is when they're not sure and want to know more about you or want to get a better sense of the person they're thinking about signing. This could happen with Jnr Managers (they need to convince the pecking order to sign) or it could just happen for Managers who are selective with who they work with.
Sometimes, they offer you notes or suggestions for improvements but there is no overt offer of representation.
It's a good idea during the phone call to have 1-2 loglines to throw at them to see if they are interested to read your other material (another reason to have more than one iron in the fire). Most importantly is to specifically ask if it's okay to send them other stuff in the future.
It is best not to mull over the reasons for (b) - they could be numerous or just random (they're too busy to take someone then, they were tired, they liked the script but aren't sure about you etc etc). See it as a door opened, an opportunity for the future.
If (a) is the appropriate response, it is best not to get too excited either. There are cases of reps losing interest quickly after signing on someone. Treat it as a positive move forward, but not the be all and end all.
FOLLOW UP
A read request should always be followed up - one week (including a weekend since a lot of reads are done over the weekend) is a good idea, but up to two weeks for someone to read is also possible. That being said, some managers also read very fast and respond quickly but those aren't the ones you'd have to follow up with usually! Follow up on the Monday after the 2nd weekend has past.
I personally think two follow ups (reminder,2nd reminder) should be the max - beyond that and it becomes stalking.
QUERIES OUTSIDE USA
- A Blackberry will make your life less stressful because when you query, your life suddenly becomes taken over by email and you are held hostage by your computer. Since H'wood's day is night on the other side of the world, a BB will let you know at least when you wake up that either today was your day, or not your day (try again)
- It is possible to secure representation from outside of the USA but not all managers are prepared to handle this. But there are a lot of signs that this is increasingly changing - DDP has a number of people who live outside of the US and who are repped by managers in the US. Find out who these managers are as they would be more open to foreign queries. But generally, don't limit yourself. If they love your writing (and think they can make money from you), they'll find a way to make it work.
Additional Further Useful Information can be found at the post Query Letters, Tips, Dos and Don'ts written by CommandD (a producer)
As Sundance is Jan 20-30th, there are many who say that the Town really only gets back to work after that. Which means anyone planning to query has a good 2-3 weeks to prep for open query season.
PREPARATION
- Buy a subscription to IMDB Pro. You will need this to establish a manager/agent's client list, which is essential in order to position your query to the right person but also, to someone open to your genre. A Trial to studiosystem.com is far more useful. People in lit use it more than imdb.pro
- Download the Limama's Lit Manager list* (for the emails but you'll also get the emails from IMDB pro) and run the names against Trackingb to see what are the types of scripts they have taken out in the last year (trackingb's old entries are free).
* I do not have a copy of this list. Please post your request above for it from the DDP community.
- Set up a spreadsheet to track your queries and progress then key in the names of the reps you plan to query. Remember to fill the sheet as you go along so you don't double query someone accidentally.
- Proofread your script thoroughly - it's a good idea to get another pair of eyes as you'll be amazed how many typos appear to the person not reading the script for the 40th time. (especially important if English is not your first language)
- PDF the file.
- Draft Query Letter.
THE QUERY LETTER
Crafting a query is more challenging than it seems - brevity without sacrificing impact is required. There are varied opinions on whether or not you should use a catchy subject line, place the word Query in your subject line, introduce yourself etc etc. Personally I put the word query in the subject heading because I don't see the point in 'tricking' someone to read your query by making them think it's something else. Some managers on the other hand may admire the ingenuity that goes into that. I'm practical and prefer it if people are straight with me. But this is open to debate.
- Place the TITLE and GENRE in the subject line. This way, they can decide EVEN faster if they want to open the mail or not.
- Address them by name.
- If you think their list closely connects to the type of genre you write, mention this briefly - this appeals to some managers but not all. But don't stuff it in for the sake of it. That being said, do try to make your query personal in some way but only if you can.
- Mentioning your script is similar to something they sold recently looks like you've done your homework but may make them simply lose interest (why would they want to sell the same thing twice?). If the genre is the same you might be safe, but certainly not the same concept. Only do this if you really know what you are talking about and have a great example. Plus, you can easily reference an older film. I'd love to be sent a new DIE HARD.
- Include a VERY BRIEF INTRO of yourself but only if you have a background that matters ie: MFA in Film/Writing. A significant contest placement/win is worth mentioning VERY BRIEFLY. The intro should be no more than 2 short sentences. Two short ones at most
- LOGLINE - most important part of the query letter. Short, brief, but catchy. This is the part of the Query that requires the most effort. Good steps to take include getting it critiqued at DDP's forums but also, don't use the first logline you write. Try writing it out in 20-30 different ways - it's like crafting a tagline or a slogan. You rarely get it right the first time. The most important part of your letter. I am sent dozens of these per week, i may read one per month (if that). Sadly this is because what most new writers fail to realize is that it all comes down to a great, commercial idea. I don't want to read THE BREAKFAST CLUB meets DRIVING MISS DAISEY (yes, ideas like that are sent out daily).
- Have more than one logline to use to query. If you have two scripts on hand, it helps because
a) some managers want to see more than one script before signing
b) if your first batch of queries doesn't work, you have a 2nd script to try with.
SENDING QUERIES
Use a neutral email address (something that doesn't give away a foreign location although nowadays, newer managers don't seem to have issues with this). A professional email address (your name/initials etc) is better than one with your pet nickname.
Batching out queries is a good idea so send out 10-20 at your first go. This enables you to test your logline - if at the end of 20 queries and you have no nibble, test another 20 with a different logline. If at the end of 200 queries (random number I selected), you have NO READS, the query is definitely flawed and possibly, the script may not be right for the market. (ie: you query a western after westerns died at the b.o). This should be perfect before sending out. Run it by your friends, other writers, even the random person at star bucks before sending it out.
Although some people take the view that you should follow up with a query, I am not of the view that's necessary except perhaps where you are querying off someone's recommendation. Otherwise, it's less torturous (and less emotionally stressful) to just assumed they pass.
EXPECTATIONS AND OUTCOMES
No reply effectively should be interpreted as PASS. Some managers will actually deign to reply 'Not for me', but you should also expect some to just ignore your query entirely or not bother to answer 'no'. Silence is best interpreted as a polite no. Very true.
'not for me' is just shorthand for anything from 'too busy now' to 'not really interested' to 'that's the worst idea I've ever heard'. It is productive to NOT badger someone into the reasons why they didn't want to read the script OR to be pissed off. They may tell you what was the reason briefly or they may not. They may offer comments or they may not. At the end of the day, move on is the operative mindset here.
READ REQUEST - Bingo. Send PDF asap. I'm of the view that rewriting a script after a request has been received is a bad idea - you don't want to delay their interest and it seems unprofessional (why are you querying if it's not ready). A quick 24 hour proofread for typos maybe but a read request should be responded to asap.
A READ REQUEST could be followed up with
a) REPRESENTATION (!!!) - break out the bubbly. You're signed.
b) LET'S CHAT - this is when they're not sure and want to know more about you or want to get a better sense of the person they're thinking about signing. This could happen with Jnr Managers (they need to convince the pecking order to sign) or it could just happen for Managers who are selective with who they work with.
Sometimes, they offer you notes or suggestions for improvements but there is no overt offer of representation.
It's a good idea during the phone call to have 1-2 loglines to throw at them to see if they are interested to read your other material (another reason to have more than one iron in the fire). Most importantly is to specifically ask if it's okay to send them other stuff in the future.
It is best not to mull over the reasons for (b) - they could be numerous or just random (they're too busy to take someone then, they were tired, they liked the script but aren't sure about you etc etc). See it as a door opened, an opportunity for the future.
If (a) is the appropriate response, it is best not to get too excited either. There are cases of reps losing interest quickly after signing on someone. Treat it as a positive move forward, but not the be all and end all.
FOLLOW UP
A read request should always be followed up - one week (including a weekend since a lot of reads are done over the weekend) is a good idea, but up to two weeks for someone to read is also possible. That being said, some managers also read very fast and respond quickly but those aren't the ones you'd have to follow up with usually! Follow up on the Monday after the 2nd weekend has past.
I personally think two follow ups (reminder,2nd reminder) should be the max - beyond that and it becomes stalking.
QUERIES OUTSIDE USA
- A Blackberry will make your life less stressful because when you query, your life suddenly becomes taken over by email and you are held hostage by your computer. Since H'wood's day is night on the other side of the world, a BB will let you know at least when you wake up that either today was your day, or not your day (try again)
- It is possible to secure representation from outside of the USA but not all managers are prepared to handle this. But there are a lot of signs that this is increasingly changing - DDP has a number of people who live outside of the US and who are repped by managers in the US. Find out who these managers are as they would be more open to foreign queries. But generally, don't limit yourself. If they love your writing (and think they can make money from you), they'll find a way to make it work.
Additional Further Useful Information can be found at the post Query Letters, Tips, Dos and Don'ts written by CommandD (a producer)
Nice outline you put together.
Comment