The State Of The Query 2021

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  • #16
    Watch this. It's good.

    "Linda Takes Coffee with Cream."

    https://www.youtube.com/watch?v=vBn-FGd6W-4

    Great format for query letters.
    "Arguing that you don't care about the right to privacy b/c you have nothing to hide is no different than saying you don't care about free speech because you have nothing to say." -- Edward Snowden

    Comment


    • #17
      Yeah, that video is a helpful reminder, and yeah, I know all the commonly taught best practices. I can work on mine more, but I used to be able to get reads much more readily in years past. I just don't think as many of the latest crop of reps are willing to (nor have to, I imagine) rely on queries to find writers and material.

      Comment


      • #18
        FWIW, when I broke in (in the 90s!) the response rate to my query letters was around 2-3%. It's never been easy.

        Comment


        • #19
          Originally posted by JeffLowell View Post
          FWIW, when I broke in (in the 90s!) the response rate to my query letters was around 2-3%. It's never been easy.
          Exactly.

          Also imagine if it was 50% and then we would all complain our own managers never get back to us as they are too busy looking/reading new writers specs...

          Comment


          • #20
            Originally posted by JeffLowell View Post
            FWIW, when I broke in (in the 90s!) the response rate to my query letters was around 2-3%. It's never been easy.
            I think it's pretty much the same.
            "Arguing that you don't care about the right to privacy b/c you have nothing to hide is no different than saying you don't care about free speech because you have nothing to say." -- Edward Snowden

            Comment


            • #21
              I got a read last year from a real guy at a big company. He passed, but getting a chance is all you can really hope for. I also got a read from one of the big guys at 3 Arts many years ago when I was hot off a contest placement. I think it's going to help your case dramatically if you already have some type of heat.

              It feels very strange and borderline ridiculous sometimes to send things out of the blue to these people, so I really try to target the audience and have a specific reason why I'm sending it to that person in particular. I'm an opinionated guy and I target reps who have sent out stuff that I liked. That way it's more than just picking names out of a hat.

              I'm working on a new thing and I may jump back into the fray if I get good feedback on that.

              Generally not a fan of querying, but I do think it can work if you have the right material and approach.

              Comment


              • #22
                Love Craig but he is long established in the business with a top end agent and no manager as he broke in before they were commonplace. He doesn't know about breaking in these days, he's guessing.

                Originally posted by sc111 View Post
                "And then just say, here, read the first ten pages now. If I can get you to read ten pages that’s so much better than you reading a logline I can’t even explain.

                ... And don’t be afraid to be brash, to be ambitious, to be meta, to be sneaky about it."
                It takes one minute to read a query with a logline. It takes ten times that to read ten pages. No one reads any number of pages without a clear reason to do so. And never, ever, send unsolicited pages.

                Once again, no attachments, no links. You are a complete stranger sending an email; how often to you open attachments and click links from complete strangers even if it looks legit?

                You need permission to send pages, do not send ten pages as a query. Also, how does ten pages help, why not just send the whole script? (other than it hasn't been requested!) if they are liking it they won't want to stop reading. If they hate it, no amount of pages will make them keep reading beyond the point they decided to pass.

                Originally posted by sc111 View Post
                "Because your logline if you are writing a traditional longline, well, it is competing against every other molecule of logline water in the ocean. And I don’t know how it could possibly stand up. I legitimately don’t understand how any of these loglines rise above any other since they are essentially empty advertisements for some reductive version of a story."
                A logline lives or dies on its own merits, it's not a competition. Queries don't have to have a winner. If a rep gets five bad queries in a day, they request zero scripts. If a rep gets five incredible queries in a day, they request five scripts. Competitions must have a winner, queries do not. Other queries are not the competition but they are the clutter you have to break through given how bad most queries are. If you are a great racing car driver then people who can't drive aren't your competition, but you do have to get around them as they spin out and crash all over the place.

                Originally posted by sc111 View Post
                Mazin has mentioned querying with the first 10 pages before. Because the first 10 make or break a script, anyway, the rep may as well take 10 minutes to read them.
                This is truly terrible advice. The rep "may as well"? lol.

                It is harder now for queries to reps. There is still some fallout from the ATA/WGA battle. Many agents are relatively recently back at work for their writers and are very focused on proving their worth to clients who returned and who may have worked (through their manager's efforts) during the break and now need another job and the agent needs to provide it. There's also the clients they picked up from other agencies like CAA and WME who were out of action for the longest. Right now, it's hard for managers with clients who are working to get them an agent - it used to be that heat and/or having that first job (assignment or staff) was enough for agents but in many cases it isn't enough any more. As for managers, the fallout for them was that they have more clients now without agents than they used to either because agents aren't interested for the reasons above or because clients who worked through the agency battle decided they liked saving 10% and not to go back to agents at all. Either way, that's more work per client for a manager than it used to be.

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                • #23
                  Originally posted by Bono View Post
                  " I've tried the trick of putting re: in it so it seems we talked before... I've done it all... try things...
                  I'm reminded of how, a few years back, I heard about an epidemic of "hey buddy, i've got a new script, I'll just send it over, cool?" queries. Basically people trying to trick reps and producers in to reading. I guess it worked for someone.

                  Comment


                  • #24
                    Originally posted by Northbank View Post

                    I'm reminded of how, a few years back, I heard about an epidemic of "hey buddy, i've got a new script, I'll just send it over, cool?" queries. Basically people trying to trick reps and producers in to reading. I guess it worked for someone.
                    I never did that... but I "think" I did what I said in subject line. I have not done something like that since 2007... I realize now it's a small town and it's stupid. I was just saying sometimes you have to try some things to see what works and get yelled at.

                    I got yelled at by one agent because he showed interest in a spec, so I said "this agent likes my idea" in queries to managers and got yelled at by that agent (in a nice way) via email...

                    It's obvious now, but when I was 26 or whatever and hungry, it was not....

                    So do not do what I said with "re: " I was just over sharing...

                    Comment


                    • #25
                      A lot of advice about querying comes from pros who haven't queried in 20 plus years or people who have no queried in a long time or ever.... so it makes sense why the advice is all over the place.

                      And what works for some does not work for others.

                      But I think a logline is going to be 99% the advice. And then we can all fight about what is a logline. To me if the person requests your spec -- then whatever you wrote -- worked. So who cares?

                      Comment


                      • #26
                        I can just share my own opinion, probably don't have the knowledge as most others.

                        I think that people today are way too hungry to get an agent or a manager, or find anyone to read their script. It is my personal opinion that you should really put your head down and master the art of what you're doing before you go out and show the world. And I think in today's society, where everyone gets a trophy or a pat on the back, there is a bit of a lack of understanding of what separates something good from something great. I find that in most professions, it is incredibly difficult to dedicate time to greatness. I wish I was at that level, but I am not. But I think everyone needs to be driven to get there. Because if the expectations from managers or agents or producers are sky high when they're selecting a client or reading a script, your expectations should be even higher of yourself.

                        When I think I am inching closer to that level, I'll go back and read one of the best screenplays of all time, and it reminds you of where you stand.

                        I believe that with this type of mentality, you're not going to need to spend so much time and effort chasing people, or waiting for a door to open.

                        When I got out of college, the first thing I did was get an agent after I wrote one script. Then my writing stalled. Things happened. It wasn't until 7 or 8 years later that I started seriously looking for a manager (not an agent). I found a specific manager I liked. I loved his background, I loved how hungry he seemed in his bio, and I pitched him a 7 or 8 line email. Introduced myself, introduced my background, where I'm from. And then talked about the script for a few lines. He requested it, read it, loved it, and it turned out, he was from the same place as me. I never knew. I met him in person when he came home for the holidays from LA, and I just knew, this guy is really a master of what he does.

                        I joined this forum, and I sent my email pitch to Will, who is the DoneDeal administrator, and without his insight, maybe I wouldn't have gotten it right.

                        After that, I didn't need an agent. Because I knew that I was still on the very ground level, which I'm still at now. it wasn't until I won the Nicholl that I got some agent offers. And my process for choosing one was in that same vein, finding someone who is a go-getter and is hungry. The right teammates will open all the right doors for you.

                        When you are at a point where you are satisfied with your work, then I think it's time to target a few managers, and I'd only target managers to start. Do about 3-5 emails, and find a way to personlize them a bit while also making them short and to the point. Have the vibe of someone who is friendly and can also be good in the room. Lean into your diversity if possible. I personally wouldn't say "I have 17 other scripts I've written too, that I'd be happy to send." Just talk about one, your masterpiece.

                        You can also go directly to producers for something smaller scale if you want to bypass the representatives. Targeted producers, there are tens of thousands of them, across the world. Send a similar query, personalized.

                        The main goal is to get your movie made, not to sell your script. Getting your film made will give you a career if it's a great movie. If you think a certain producer can do that, approach. But you also don't want to blast your script around town even if they request it, because then once you get a manager, or agent, and they have ties to that producer or that company, they could be like "yeah, we already read this, and passed." And other people will start hearing they passed on it. That's why a great manager or agent has a very targeted plan when they send out your script.

                        Anyway that's just one man's experience. May not be helpful, probably don't have the same high level of experience as most on here, so take it for what it's worth.

                        Comment


                        • #27
                          I ditto all of the following. Especially lines I boldfaced.

                          Originally posted by Vango View Post
                          I can just share my own opinion, probably don't have the knowledge as most others.

                          I think that people today are way too hungry to get an agent or a manager, or find anyone to read their script. It is my personal opinion that you should really put your head down and master the art of what you're doing before you go out and show the world. And I think in today's society, where everyone gets a trophy or a pat on the back, there is a bit of a lack of understanding of what separates something good from something great. I find that in most professions, it is incredibly difficult to dedicate time to greatness. I wish I was at that level, but I am not. But I think everyone needs to be driven to get there. Because if the expectations from managers or agents or producers are sky high when they're selecting a client or reading a script, your expectations should be even higher of yourself.

                          When I think I am inching closer to that level, I'll go back and read one of the best screenplays of all time, and it reminds you of where you stand.

                          I believe that with this type of mentality, you're not going to need to spend so much time and effort chasing people, or waiting for a door to open.

                          When I got out of college, the first thing I did was get an agent after I wrote one script. Then my writing stalled. Things happened. It wasn't until 7 or 8 years later that I started seriously looking for a manager (not an agent). I found a specific manager I liked. I loved his background, I loved how hungry he seemed in his bio, and I pitched him a 7 or 8 line email. Introduced myself, introduced my background, where I'm from. And then talked about the script for a few lines. He requested it, read it, loved it, and it turned out, he was from the same place as me. I never knew. I met him in person when he came home for the holidays from LA, and I just knew, this guy is really a master of what he does.

                          I joined this forum, and I sent my email pitch to Will, who is the DoneDeal administrator, and without his insight, maybe I wouldn't have gotten it right.

                          After that, I didn't need an agent. Because I knew that I was still on the very ground level, which I'm still at now. it wasn't until I won the Nicholl that I got some agent offers. And my process for choosing one was in that same vein, finding someone who is a go-getter and is hungry. The right teammates will open all the right doors for you.

                          When you are at a point where you are satisfied with your work, then I think it's time to target a few managers, and I'd only target managers to start. Do about 3-5 emails, and find a way to personlize them a bit while also making them short and to the point. Have the vibe of someone who is friendly and can also be good in the room. Lean into your diversity if possible. I personally wouldn't say "I have 17 other scripts I've written too, that I'd be happy to send." Just talk about one, your masterpiece.

                          You can also go directly to producers for something smaller scale if you want to bypass the representatives. Targeted producers, there are tens of thousands of them, across the world. Send a similar query, personalized.

                          The main goal is to get your movie made, not to sell your script. Getting your film made will give you a career if it's a great movie. If you think a certain producer can do that, approach. But you also don't want to blast your script around town even if they request it, because then once you get a manager, or agent, and they have ties to that producer or that company, they could be like "yeah, we already read this, and passed." And other people will start hearing they passed on it. That's why a great manager or agent has a very targeted plan when they send out your script.

                          Anyway that's just one man's experience. May not be helpful, probably don't have the same high level of experience as most on here, so take it for what it's worth.
                          I mentioned in another thread that I received three offers of representation with the very first script I ever queried. I have no doubt the reason why I got read requests: it was a high concept comedy. I also got a read request from Brooklyn Weaver who later passed. Likely because, since he's higher on the food chain, his standards were higher than the others.

                          BTW: I've yet to develop a concept as "high" since.

                          IMO, a cold query from a newbie has to offer something as close to high concept as possible. That's the only way to compete against the flood of other loglines in the rep's in-box.

                          However, as Vango said above, once you get read requests, that script had better deliver in terms of superior craft and execution of the idea. And I think one of the hardest things for writers to learn is how to self-assess the quality of what they've written.

                          Vango's advice to compare your work to the best of the best produced screenplays is solid. I do the same. It's humbling and inspiring at the same time. It motivates you to lift your writing up to the next level. Because you're competing with these pro writers.

                          As for the comments: "Oh, Craig Mazin does't know ,..terrible advice...." First, his umbrella advice was to think out of the box. Do something different to stand out. He tossed out a few ideas as a jumping off point but I agree with the umbrella advice: do something different, stand out from the herd.

                          A couple of weeks ago, I helped a friend with a cover email for his resume. He was using the standard cover and getting no response. He talked to me about the big issue he feels he's up against: his years of experience make him over-qualified and likely too expensive salary wise.

                          So I crafted a cover that addressed those two issues up front in a very conversational tone like having a beer with someone. I pointed out how his experience serves them when he works in a room with their clients (telling it like a story). And I convinced my friend to offer to freelance/sub-contract to address the salary issue.

                          He got two offers for sub-contracted projects. The interesting thing was that one of the two emailed back and said: I've never read a cover note like yours. It really stood out.

                          That's all Craig Mazin is advising: stand out. Be creative. Go out of the box. Because isn't that what reps want in a writer?
                          Advice from writer, Kelly Sue DeConnick. "Try this: if you can replace your female character with a sexy lamp and the story still basically works, maybe you need another draft.-

                          Comment


                          • #28
                            Originally posted by sc111 View Post

                            A couple of weeks ago, I helped a friend with a cover email for his resume. He was using the standard cover and getting no response. He talked to me about the big issue he feels he's up against: his years of experience make him over-qualified and likely too expensive salary wise.

                            So I crafted a cover that addressed those two issues up front in a very conversational tone like having a beer with someone. I pointed out how his experience serves them when he works in a room with their clients (telling it like a story). And I convinced my friend to offer to freelance/sub-contract to address the salary issue.

                            He got two offers for sub-contracted projects. The interesting thing was that one of the two emailed back and said: I've never read a cover note like yours. It really stood out.

                            That's all Craig Mazin is advising: stand out. Be creative. Go out of the box. Because isn't that what reps want in a writer?
                            I agree with this all. I also write out of the box cover letters and my resume isn't a list of achievements, but I wrote it like I would an email, so it sounds like I would speak to a friend in person, but also trying to sell myself. I hide the information, around funny to show my personality.

                            That's great you were able to help your friend! I'm still proud of being offered a scholarship -- it was 1000 bucks -- to University of Pitts just because they liked my cover letter so much. I didn't go, but that felt great!

                            So yes to "out of the box".

                            There are just a few differences in this thread, but we are all mostly agreeing I think.

                            In fact what is funny is we are creative writers. And then all of a sudden we send "business" emails and lose all the talent we used to write the dumb screenplay in the first place. Don't hide your humor, use it. Don't hide your writing ability with a boring query, use it!

                            Comment


                            • #29
                              Catcon, a poster from Canada I believe, was active in the querying process and had some good insights. If he/she is still around, maybe he/she can share some thoughts here.

                              Comment


                              • #30
                                Originally posted by Northbank View Post
                                Love Craig but he is long established in the business with a top end agent and no manager as he broke in before they were commonplace. He doesn't know about breaking in these days, he's guessing.



                                It takes one minute to read a query with a logline. It takes ten times that to read ten pages. No one reads any number of pages without a clear reason to do so. And never, ever, send unsolicited pages.

                                Once again, no attachments, no links. You are a complete stranger sending an email; how often to you open attachments and click links from complete strangers even if it looks legit?

                                You need permission to send pages, do not send ten pages as a query. Also, how does ten pages help, why not just send the whole script? (other than it hasn't been requested!) if they are liking it they won't want to stop reading. If they hate it, no amount of pages will make them keep reading beyond the point they decided to pass.

                                A logline lives or dies on its own merits, it's not a competition. Queries don't have to have a winner. If a rep gets five bad queries in a day, they request zero scripts. If a rep gets five incredible queries in a day, they request five scripts. Competitions must have a winner, queries do not. Other queries are not the competition but they are the clutter you have to break through given how bad most queries are. If you are a great racing car driver then people who can't drive aren't your competition, but you do have to get around them as they spin out and crash all over the place.

                                This is truly terrible advice. The rep "may as well"? lol.

                                It is harder now for queries to reps. There is still some fallout from the ATA/WGA battle. Many agents are relatively recently back at work for their writers and are very focused on proving their worth to clients who returned and who may have worked (through their manager's efforts) during the break and now need another job and the agent needs to provide it. There's also the clients they picked up from other agencies like CAA and WME who were out of action for the longest. Right now, it's hard for managers with clients who are working to get them an agent - it used to be that heat and/or having that first job (assignment or staff) was enough for agents but in many cases it isn't enough any more. As for managers, the fallout for them was that they have more clients now without agents than they used to either because agents aren't interested for the reasons above or because clients who worked through the agency battle decided they liked saving 10% and not to go back to agents at all. Either way, that's more work per client for a manager than it used to be.
                                Great advice, Northbank.
                                "Arguing that you don't care about the right to privacy b/c you have nothing to hide is no different than saying you don't care about free speech because you have nothing to say." -- Edward Snowden

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