Finding an agent

[verygoodshow]

Please could you tell me how I go about getting my script read by an agent. I have completed a script and sent it to two agents. Both of them said that they 'weren't sure enough about it to take it on'. Then I sent it to a production company who kept hold of it for two months before sending it back and telling me that they were just about to go into pre-production on a film and were sorry that they could not help. I have phoned several agents only to be told 'we are not taking on new clients'.

I just want someone to read it, but am having trouble getting through the front door.

Any advice would be greatly appreciated.

[DOMINIC RIGGIO]

stop sending it out

if you have already sent it out to several people and it is your first script, stop.

First question how many pages is it. Second, has anyone of your friends read it that you trust? Third did you follow the correct format? Is it 100% tight, spelling, format, etc. . .

You don't want to burn bridges, agents need clients - they take on clients if they feel they can sell your stuff - what was your query?

Don't torch the market before you get started. is your scripted copyrighten?

Answer me back and we'll walk through this. A good agent is your ticket to Hollywood - and burning them is your ticket to working the rest of your life.

D.R.

[verygoodshow]

Re: stop sending it out

Hi
Thanks for answering. Yes, it is my first script. I've sent it to three people(two agents and a production company who said they were looking at new work). The script is 117 pages. I have shown it to two people and they were critical of it..i made changes to it, showed it to them and then sent it out.
I guess it isn't as tight as it should be..one sub plot is a bit weak...
I've shelved it and started work on another script, but I do like my last story alot and thinks it deserves to be read.
I hope I've answered the questions.

[DOMINIC RIGGIO]

shelf it for a month

work on your other script.

You need to step back for a while. Never send out a script you feel has even one soft spot. The time away from your baby will give you PERSPECTIVE. Jot down any notes or dialogue you feel might benefit the script but only in notes. The month will help you.

what i find is getting too attached can hurt the product. step back and formulate ideas work on your other script and most of all READ SCRIPTS. In the next month read five scripts that are somehow related to your work. Draw ideas from that and then rewrite.

While a 117 pages is not a ton try to chop it down to 105 pages. Streamline - two to one it will make the script better. Remember they industry people want to zip through the script. Trim the fat.

D.R.

[verygoodshow]

Re: shelf it for a month

D.R
Thanks very much for your comments, I will take it onboard. I am a brit and find it very difficult to get feedback from like-minded people. The agents I sent my script to are brits,too.
I find this message board extremely useful.
Thanks again for your help.

[GirlinGray]

Well, I have never done the finding an agent outside the U.S. thing. I can tell you what works in the States. You query your tail off and attend every event you are likely to meet and talk to agents at. Also, you get yourself read by people who know agents and can recommend you to agents. Agents are friendlier to you, with a referral. Of agencies I've been with or that offered to rep me, one came from a query, one was the result of an interview I did (I interviewed the agent for a publication and the agent said send me a script), one I was refered in by another writer client , two came from producer referals, and one I met the agent at a conference and got referred in after by an executive at a studio who I met at the same conference.

So. Um. Socialize your tail off and write a lot of queries to agents and/or people who know agents.

[Greta123]

I know how tough it can be to get repped. I've had an agent and two managers in my young career. i've been at the business for five years and recently got optioned. My advice to you is concentrate on your writing. Second - look into getting a manager before you get an agent. If you're a new, unproven writer, managers will be more likely to give you a break.

Good luck.

[verygoodshow]

Thank you Girlingray and Greta.

[DOMINIC RIGGIO]

gig - you really do know you're sh t.

never got to read what everyone was talking about but - what ever it was i'm still a little confused on the ADAMS girl thing. Are you goth? That kinda stuff. Like tuesday or is it something else.

hope this isn't to personal? But if you could clear this up - I'd be able to concentrate.

Or someone else could do it - and that would be fine - HOWEVER, I edited SO steve can't because his post confused me MORE.

Side bar - at this resting stop on my world wind trip, this particular computer gives me EDIT. I'm totally stoked know i can do FLASHBACK sequences. . . now i'm having fun.

D.R.

[Steve]

It was an article in the Seattle Times about working screenwriters who live in Seattle. Even before the artile I could tell she as the real deal because her posts show she knows what she's talking about. The article verifies that.

BTW, GIG, just curious -- have you found that having a "gender neutral" name has helped you? I would assume that if people don't know you they assume you're a man. Given all the sexim in the industry do you think that's had any effect?

[DOMINIC RIGGIO]

what i meant was - she's a tactical writer

didn't real jump to my attention that she was a PROVEN screen writer, because someone gave her money for a script?.

DOMINIC RIGGIO POV. IN (VO): this gig chick, she's knowledgeable in the PUBLISHING frame of mind. YOU listen to most of what she says. . .

So, steve - every post, even her tactical posts drip of a women - a little confused on the gender thing. I knew right off the bat that she's never been kicked in the . .

Never for a moment - now you'RE even cooler than i thought.

but still that whole thing with budget, you're still wrong.

all smiles. . .

D.R.
D.R.

[GirlinGray]

Well, um, I don't have a gender neutral name. I have a guy name. I think that got in my way some, early. People would think I was a guy and wonder what business I had writing girly stuff. (Take heed, guys writing "feminist issue" scripts, people will look at you cross eyed.) Now people mostly just know I am a girl. There was sort of an outcry one time from fans of an adaptation project I was attached to, who thought a girl should be writing it and were outraged a guy was attached. There is a funny fan page somewhere that says, "What people may not have clued in to is so and so is a woman." That cracked me up.

[ksk2]

Re: what i meant was - she's a tactical writer

At the outset of my entry into this board, I knew that GIG knew her stuff. I even argued the point privately and forthrightly with someone who's opinion I greatly value.

But I have to admit that I was greatly pleased to have been proven so correct in my high estimation of the Grey One.

It was clear from the first three posts I read of hers that not only had she been an instructor/lecturer, but one so effective that irrefutably beneficial results had been obtained and achieved. Rhythm and cadence speak volumes, even when employed in a minimalist manner.

Not speaking for/bantering with/"using"/*whatever* GIG's name (just respecting), kosk

[Nemesis Unbound]

Re: gig - you really do know you're sh t.

"i'm still a little confused on the ADAMS girl thing. Are you goth?" :evil

Hehehe I can hear the theme music in the background right now:

"She's creepy and she's kookey, mysterious and spookey, she's altogether ookey..."

I knew I was right! :b

P.S. Dammit! I thought this was a clever post and no one responded at all So I edited to add this postscript and send it back to the top of the message board (hehe)