Where Do I Begin?

[kskywalker]

I just found this forum the other day, and I am loving it. I have read through a ton of pages and comments and really enjoy reading about people like me, people hungry to make it as a writer in TV or film.

I have been writing during my spare time for over 8 years, but now I am out of college and need to either go at this really hard and make one last effort to get into the business, or just enjoy my normal 9-5 job for the rest of my life.

While I think I have grown a lot as a writer, my main strength is coming up with original concepts. I have over 150 full synopses of shows I have written covering every genre and subgenre. I would love the opportunity to join any writing team, even as an assistant, but I really think if I were able to get a pitch meeting with any broadcast or cable network that I would have multiple shows tailor-made for their demographic that I know can succeed.

I guess I am looking for any contact info of production companies who could get me that meeting, or at the networks themselves that would read my bible or synopsis etc. I have just been hitting brick wall after brick wall for years and really believe someone here can help me.

I look forward to hearing from all of you and spending a lot of time here discussing my writing with everyone.

[jtwg50]

Hi, K. Your 150 synopses and/or Bibles do not mean anything. What you need are high-quality, multiple sample scripts -- completed and polished. Without those, you won't be able to get an agent or manager. And even with an agent or manager, you will need several A-grade sample scripts to get pitch meetings. So, the answer to your question of where to begin is to start writing...
Then, once you have what you think are at least a couple of scripts that are the best you are capable of, it's time to start the daunting process of getting an agent or manager -- which is not easy these days.
But the ticket to the promised land is the scripts.
Create those and the other stuff will start to fall into place.
And if you really want to work in TV (or film for that matter), it's best to move to L.A. and get a job in the industry if you can. That's the classic road to Hollywood success.

[fanatic_about_film]

I don't see what a 150 synopsis' are going to do for you?

And it's not about what you know would succeed, because the truth is, you don't. The person who knows is the person hosting the meeting (or at least they're more qualified to answer that then you or any one else).

The only reason you're ever going to get a pitch meeting is to prove your worth as a writer by actually writing (not buy making a synopsis).

I don't understand how you think this is your way in? After 8 years have you not learned this?

And what are these brick walls you've been hitting exactly?

[kskywalker]

Originally Posted by jtwg50

Hi, K. Your 150 synopses and/or Bibles do not mean anything. What you need are high-quality, multiple sample scripts -- completed and polished. Without those, you won't be able to get an agent or manager. And even with an agent or manager, you will need several A-grade sample scripts to get pitch meetings. So, the answer to your question of where to begin is to start writing...
Then, once you have what you thiank are at least a couple of scripts that are the best you are capabale of, it's time to start the daunting process of getting an agent or manager -- which is not easy these days.
But the ticket to the promised land is the scripts.
Create those and the other stuff will start to fall into place.
And if you really want to work in TV (or film for that matter), it's best to move to L.A. and get a job in the industry if you can. That's the classic road to Hollywood success.

I should clarify, I have written a plethora of scripts. I am not just writing a synopsis, most of them I have completed the pilot for, one particular comedy I have three seasons either completely written or outlined.

I have found very few agencies/production companies wanting query letters, let alone scripts. The few I have do accept letters before they read your script and that is why I have spent time working on that.

I guess I am asking for any contacts/e-mails to production companies that have actually put a show on the air recently or have a show on the air. That way if I send them my letter, bible and/or script I know it is actually getting to someone who has a chance of doing something with it.

[UnequalProductions]

Originally Posted by kskywalker

...my main strength is coming up with original concepts.

If your main strength is coming up with original concepts, then I'd say stick with the 9-5 job. If you want to be a screenwriter, your main skill needs to be writing scripts.

Everyone thinks they're great at coming up with concepts. You won't meet a single person in Hollywood who doesn't think they've got a bunch of great ideas for films or television. Managers, agents, producers, drivers, PAs. They're all wonderful writers who just don't have the time to sit down and write their scripts (in their own minds).

Writing isn't valued in Hollywood for this very reason. How many movies do you see with the writer's name above the title? That's why you have to either be a brilliant writer or have incredible connections to get anywhere.

I'm sure your 150 ideas are great. And I'm sure there are 1,500 people in Los Angeles who also have those ideas. The execution is all that matters. So either write scripts or stay home.

[Levenger]

Then post some loglines/pages here. Maybe there will be someone who likes your writing enough to want to help out.

[jtwg50]

K: Thanks for the clarification. If you're writing scripts and hitting walls, it's because either your scripts aren't good enough or you're not querying very well to get read in the first place.
It is an indisputable truth that a strong commercial query will get your read all over town and a great script will get you repped. It happens every week for new writers.
I know because it happened for me last year. I got signed by a very good agent from my second script and I live 3,000 miles away and didn't have a single contact in Hollywood when I started out.
So, if you've been writing scripts for years and haven't gotten anywhere, you might need to do a self-evaluation of what your real potential is in this business.
One way to do that would be to send your "best" script for notes from EvilRbt or ScriptGal here. Then you'll know where you stand.
And Levenger is right -- post some loglines and script pages here and if you have the goods, somebody here will help you. I just read a script from a DD'er a few weeks ago and referred him to my agent. And there are lots of folks here with more clout than I have.

[nathanq]

Don't plan on getting picked up as a professional screenwriter instead of a real job. Even if you re the .001% of those who do it, it will likely take a long while before paychecks come in that you can live off of.

If you want to get an internship in LA or be an assistant, that's different.

[kskywalker]

Originally Posted by jtwg50

K: Thanks for the clarification. If you're writing scripts and hitting walls, it's because either your scripts aren't good enough or you're not querying very well to get read in the first place.
It is an indisputable truth that a strong commercial query will get your read all over town and a great script will get you repped. It happens every week for new writers.
I know because it happened for me last year. I got signed by a very good agent from my second script and I live 3,000 miles away and didn't have a single contact in Hollywood when I started out.
So, if you've been writing scripts for years and haven't gotten anywhere, you might need to do a self-evaluation of what your real potential is in this business.
One way to do that would be to send your "best" script for notes from EvilRbt or ScriptGal here. Then you'll know where you stand.
And Levenger is right -- post some loglines and script pages here and if you have the goods, somebody here will help you. I just read a script from a DD'er a few weeks ago and referred him to my agent. And there are lots of folks here with more clout than I have.

Thanks, I appreciate that. I'll post one of my queries here soon so people can help me perfect it. I don't want to ask too much of anyone, but if those users are willing to read my best script I would definitely appreciate that as well.

[hhh2]

i'd say focus your energy on your day job, 150 concepts is like 150 blue berries you can pick down the road. Gone in a few second. instead of watching californication, and all these romantic stories about artists, do something genuine to help humanity, like charity, or helping some one somehow as a job; a lot more rewarding.

most people get into writing for film/t.v for the wrong reasons, they teach now at thousands of schools that it's a viable career, when it's not for most people who attempt it. At the end of the day, it's art. 95% of movies are crap. there's few exceptions. if you want to do art, you do art, there's no such thing as commercial art- that's entertainment. it's not worth the time if you want to be an entertainment writer, and it'll probably wind you up in disappointment and mad at the world. As if someone out there owes you something. most art schools exist only to fund the teachers, and hence, they have to create a hypothetical magical world, especially now a days, when all people think about is ego, status, and how 'good they look,' to others. all the while, the young people refuse to do real work. if you're a genuine artist, stick to novels, or plays, unless you're a director, these things we call "screenplays," will eventually knock on your door. or- you're a director, but then again, it's even worse for directors, considering how many people think they are directors, for once again, the wrong reasons. probably watched too many movies growing up. There isn't really such thing as being a full time film director either, unless you're an exception, or you're a producer as well. or everything: that's the best, a graduate of usc who can act, direct, write, cinematography, edit, the whole works. there's a few secrets real directors will take to the grave that go beyond "film industry," life, and hence, have something to say, but most people unfortunately once again, think they have something to say. i predicted a load of wanna-be "tree of life," films a year or so back, and look what's coming about. Now every director is soo "poetic."

harold