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Writer's Access File Drawer #1

(Questions with responses from previous host Carlos de Abreu.)

Ref 2. I have written one screenplay and I wish to find an agent. How can someone outside of the "Hollywood loop" get their foot in the door? Most of the advice I have gotten so far, has including a lot of letter writing and blanket mailings to agencies. I have heard most agencies are not in the business of giving new writers a break. Is this true?

Ref 3. Do you have time to read material sent to you or do you send it to readers?

Ref 4. What does appeal to you in a query letter?

Ref 5. I would like to send my work out to more people, but how do you stop them from stealing your ideas ? Do agents often do deals on your material and cut you out by hiring a professional writer to re-write it before it is produced ?

Ref 6. How many pages are accepted as a minimum number for novels?

Ref 7. I sent a script to an agent recently who said that they didn't think it had much commercial value and besides it was already in pre-production in Hollywood with a leading actor ! What is your response to that ? Have they done a deal I don't know about and/or would this new project be interested in looking at my script.

Ref 8. I sent a script to an agent who told me that my script didn't have much commercial value and besides, the idea was already in pre-production in Hollywood. How would you react to this response, and should I consider contacting the production company to see if THEY are interested in my script.

Ref 9. Ref 10. I have two spec scripts which (after a total of eight practice scripts) I truly feel are great representations of my work. My problem seems to be getting someone to read them. Will your agency accept query letters from unknowns? I am a published writer of fiction, non-fiction, etc...

Ref 12. Response to Ref 1. Commerciality and good writing.

Response to Ref 2. You are right. It isn't easy. But you have to remember that it wouldn't be easy to become an astronaut, an architect or even a gardner at the Getty Museum. It's all in who you know, how you got in the door and whether you were able to sell yourself to the person able to give you the chance. It's not that they aren't in the business - it's just that we are papered to death with bad scripts, novels and ideas. It's not easy to find a way to remove the dreck to find the gems.

Response to Ref 3. I or my assistant read the material ourselves. A large agency like CAA or ICM might give it to readers first to narrow down the field.

Response to Ref 4. I do not like query letters. They are all the same. Besides, you can't usually tell if someone can write a novel or script from a query letter. You have to send the material. In a novel, I can tell in 50 pages if I want to see more. In a script, 20 pages will tell if it's worth asking for more material.

Response to Ref 5. If an agent has time to steal material, then he isn't very busy or very good in the first place. Copyright your material or mail it to yourself and don't open the envelope when you receive it. If you ever need to prove your case in court, the judge can open the envelope.

Reponse to Ref. 6. There is no minimum - only good storytelling. Some children's stories only have 10 to 20 pages. Bridges of Madison County was less than 200 pages.

Response to Ref 7. There are no new ideas. Yor script was probably similar to a movie in production currently. This happens all the time.

Response to Ref. 10. See Responses 2 and 4 above.

Ref 14. Ideally, are two spec scripts enough for a writer to begin approaching agents? Of course, I plan to start a third anyway, but at what point should a writer begin to focus on marketing their work? (I am a published writer, have written many
scripts for practice, and have taken many courses, so I do feel at least
CLOSE to being ready!!!)

Response: I think that you answered your question. Writers, as you know, just keep writing and rewriting. Can't stop them!!!

Good luck and send your best script out!

Ref 17. Should a first-time screenwriter sign with a large agency or a smaller one? What are the advantages/disadvantages of both?

Response: As long as they get you jobs or sell your books or screenplays, doesn't matter.

Good luck.

Ref 18. Can you help with a way around what is apparently a "Catch 22?"
Apparently most large agencies will not accept unsolicited material,
stating that they require submittal by agents or entertainment
attorneys. So how does one go about getting that first agent?

Response: Contact the Writers Guild of America in New York City or Los Angeles and get their list of agents. Some of them accept unsolicited material. Their addresses are in our Hollywood Access Directory area.

Good luck

Ref 19. I'm currently working on my second novel. I'd like to touch base w/an agency to get feedback on if they feel my work-in-progress is marketable and good writing. How would I accomplish this?

Good luck

Ref 20.
Please, can you tell me which agencies accept unsolicited materials? Sorry, I don't have E-mail address.
Yours,

Kari Riihimaki My address is: Korpraalintie 36/19
FIN-28600 Pori
FINLAND
EUROPE

Ref 21. Had trouble registering; system wouldn't accept my info. Please give me the names of one or two legitimate readers who can do coverage on my script. I'd like to see where the problems are. Respond to DLubetkin@aol.com. Thanks.

Ref 22. I'm looking for an agent. Have four completed screenplays. I've been to several local agencies (here in Toronto) but all they want are novels (I have one of those too but it's only in it's first draft). I would appreciate some advice on how to snag decent representation.

Response to Ref 22. Go to our Hollywood Access Directory and select the agents that take unsolicited material. Good luck.

Ref 24. I'm a journalist, not a screenwriter, but I have an idea that would make a very good film. I've heard lots of horror stories about people writing query letters about things like this. How can I get my idea to the right person in the right way? I'd like to query the
Turner folks, (Turner Broadcasting), specifically.

Response to Ref 24.: Get their address from the Hollywood Creative Directory (go to our shopping area under bookstore or to our Hollywood Access Directory and you will find their address and phone number. Order the directory, select a TNT creative Director. Call him or her and tell him/her what your story is about and that you would like to send them your treatment. Another way is to find a producer in the Hollywood Creative Directory that makes films similar to your story. Once again call the Director of Creative Affairs and ask him/her to send your treatment.The odds are against you, but if you don't try nothing will happen. To find n established producer that agrees to work with you will be the best solution. By the way, if they say NO keep trying other producers until one says YES. Good luck.

Ref 26. Thanks to a fortunate happenstance, a published novelist, Steve McCauley, has offered to put a foot in the door and tell his agent at ICM that I exist and have written what he considers to be good stuff. When (if?) his agency calls, what should I be prepared to tell them? The idea I WANT them to see is only on page 22 and the older scripts I don't think are ready to be seen. Mr. McCauley thinks that 22 pages would be enough for his agent to tell if this is going to go anywhere... is he right? I don't want to blow this.
Response:I would have to read your 22 pages to know *how good they are.* However, I must tell you that you ONLY send out your BEST work. Agents are too busy to read so so or bad writing. Also if the agent likes what you wrote (22 pages) what else do you have to sell to him/her?
CDA

Ref 27. I have three completed scripts, but, yes, I'm paranoid about sending them to an agent. I want to get them "on the air," but how can you guarantee that the agents won't take the idea from you? Also, is there any easy way to find a "good," reputable agent. The books list so many, but don't really tell about their histories. Please respond at erunyon@vt.edu. Thanks.

Response: Call the Writers Guild. Go to our Hollywood Access Directory area, we have a list of signatory (guild) agents.
CDA

Ref 28. I have a 40 page treatment which I would like to send to you. Do you accept treatments at al?
Thank you

Response: I am sorry but we do not accept treatments. Keep on writing.
CDA

Ref 29. Why do so many unpublished authors worry about agents, etc. stealing their work?

Response: I can not help you regarding this question. According to my experience I never had any problems with my agents. Make sure that your agent is a reputable agent. Call the Writers Guild. Go to our Hollywood Access Directory area, we have a list of signatory (guild) agents.
CDA

September 21, 1995 - Ref 31. What can be done with a concept for a new game show for TV? I and my business partners have all the details and the concept is solid and saleable. Do we draw up a business plan? A treatment? A sample script? I'm used to writing feature film scripts and ordinarily would not touch a game show, but this truly is a great idea, well thought out...any advise?

Response: I am not a game show expert. However I suggest that you put down on paper your concept and try to contact the few production companies that produce gameshows - i.e. King World, Mark Goodson Productions, etc. It is very difficult to sell game show ideas to established producers and even harder to the networks. Good luck.

Ref 33. I have written two short subjects but I don't know how well short subjects might do in a predominantly feature length market. Could you give me some advice on this?
Also, I'm wondering how I should go about getting an agent, should I just submit my work to agents until someone gets interested in me? I've heard a lot about the Writer's Guild of America but I would like to know exactly what I should do for them and what they can do for me.
thanks in advance,
Anton A. Hill
ahill@bernard.pitzer.edu

Response: Short subjects can be great writing samples. In the feature market it doesn't mean much. However they are good to open doors, if its writing quality is excellent. Regarding your second question, the answer is yes. Submit to agents that accept unsolicited material. We have their list in our Holywood Access Directory. Regarding the Writers Guild, call them and ask as many questions as you desire.

Ref 36. This is my 3rd try at asking this question. Hopefully, I can submit before I click accidently to the Hollywood Shopping Network!! Well, I guess this proves I'm persistant. I've completed 3 out of 5 chapters of a novel. Before I can write the 4th chapter, I need to aquire an E-Mail pen-pal who will answer some life-style questions for me. This person must be a female actors agent who dealt in the TV industry in the 60s and lived in CA. My E-Mail address is ZWNN95B@Prodigy.Com HELP! and Thanks.

Response: If you want "same day" responses to your questions, feel free to hire one of our consultants ($75.00 per session). By doing so you don't have to wait or be affraid of accidently clicking the Hollywood Shopping Network. Keep on writing and good luck.

Ref 38. - My collaborative partner and I have recently finished what we believe is highly commercial (without being typical) action comedy feature. What types of people (i.e. producer, casting director, etc.) are the most important to attach to the project to get it finished with a wide release?

First, the person(s) that can write a check to make it happen regardless of who or what they are. Second, the person that guarantees distribution rights.
All the best
CDA

Ref 39. How can a couple of screenwriters with a saleable project convince Hollywood executives and investors that they can also direct and line produce the thing?

Response: First, the Hollywood executives are the ones to decide if your project is saleable. Second, if you don't have any experience or samples of work(s) (short film, video, etc) that you directed or line produced how can you convince them to give you a few million dollars for you to learn? Well...would you allow a person that is not a dentist to fix one of your bad teeth?
Anyhow...good luck...and one never knows...ask and you may get it.
CDA

Ref 40. I live in Santa fe de Bogota, Colombia. I study Films, Broadcasting and TV, in the National University of Colombia, I'm interested in getting an agent from here, I like to Know how easy is to get one from here.

Response If you have a body of work (scripts, etc.) that you can mail to agents that are willing to accept unsolicited material and if your work is excellent they will sign you. If your work is so, so...forget about it...it is very difficult. Sorry and good luck.
CDA

Ref 41. how to register a work with the Writer's Guild of America?

Response: Send them the fee ($20 Us dollars) plus their registration form and a copy of your script. Go to our Hollydex-Hollywood Access Directory area and get their address and phone number (New York or Los Angeles)
CDA

Ref 42. I'm looking for a free scriptwriting macro or stylesheet for MS WOrd for Mac. Please help

Ref 43. What if I have a story/no script for a major picture. who to sell to?

Response: If you are not an established writer or producer it will be very difficult or even impossible to arrange for a meeting with a potential buyer.
CDA

Ref 44. I got my feature script to a small production company, they actually sent me the coverage. The reader raved about the script, said it was "very, very funny", daring, inventive, marked GOOD in every category (i.e.dialogue, characters, etc). but then passed because she felt the comedic treatment of a sacred subject (the Second Coming) was too controversial. The coverage was truly glowing. What weight would such coverage have with other production companies? Could I use the coverage as a marketing tool? Or would the opinion of one little (freelance) reader not matter. Also, another reader for another small company (TAE) also raved -- and actually recommend the script to her boss. Would the story of these two readers make a good intro for a query letter -- or would it be dismissed or discounted by other companies? Thanks!

Response My opinion is that if a reader from a studio or a major production company gives you a *glowing* read use it. Otherwise it has no major value. Good luck keep on writing.
CDA

Ref 45. In your response to Ref 4 you stated that you (and I assume most)
producers make up their minds within 20 pages of a screenplay. Is it wiser, then, to send them the whole thing or just a portion (perhaps the opening act?)
Response The whole thing. If they like it and want to continue reading it they like to have the complete screenplay

Ref 46. I am in the process if writing a novel. It is my dream to be published. If I ever manage to finish it, what is the best way to go about getting it published?
Response Contact as many agents as possible. Go to your library and get the agents and publishing houses addresses and phone numbers from the Literary Market Place book. Good luck!
CDA

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