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Compilation © Robin Kelly 2001 - 2003
Edited and compiled by Robin Kelly exclusively for Writing for Performance
SHOOTING PEOPLE - UK SCREENWRITERS NETWORK
Supported by The Script Factory
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From: Writer
Subject: Should I ditch my agent?
I've got a difficult decision to make and I'm paranoid enough about the consequences of making a bad choice to be mailing in from an alternative address.
The situation is: I'm a scriptwriter, I have a good agent, one of the biggest writers agents in fact. I am currently commissioned to write two scripts for my own drama series for the BBC, they are keen but slow, as ever. I have also written two plays for major out of London theatres, one produced, one not yet. A couple of production companies are interested in my ideas. The problem is that I've been with this agent for over five years and I've felt for a while that he isn't really working for me, that I am a tiny fish in a big agency pond and overlooked in favour of clients who are further down the line. I've written many TV, theatre, film scripts which he has praised on arrival but then they haven't moved from his office for months. I am put in the position where it seems to be me who should suggest where the work goes and what he does, but surely I'm not best placed for this knowledge, and when I do the legwork and make requests it takes a long time for him to act.
So I'm trying to decide if I can jump ship. I had other agent interest five years ago and I have a couple of names but it's a risk. I've talked to a couple of friendly industry professionals and they've said I should stay, because the agency name will do me no end of favours, but unless it's on the front of scripts that are actually out there, then what's the point? If the BBC series takes off then I have no doubt that he will make a good deal but until this what-if comes good I'm in limbo.
I like him, I get on with him well. He was very straight with me before I first joined up, but when he reads a film script which he says is my best yet and then six months later he can't recall it at all, what do I do?
It's taken a long time for me to reach this point and I don't see myself as a whinger. Obviously the agent is the grail and I don't want to screw it up. Any thoughts?
Yours very paranoid and stressed
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From: Jeremy Drysdale
Subject: Should I ditch my agent?
In response to the question about whether he should switch agents.
I think it boils down as follows:
* If you're unknown - take any agent you can get. If you can't get an agent, write direct and say 'John Smith' from 'well known agency' recommended that you get in contact.
* If you're becoming known, then go with the biggest agency you can find. The chances are you'll have to do the majority of the leg work anyway, but at least if you're with William Morris, your script will get read faster.
* If you're well-known, stay with the biggest agency (especially if they've got a US affiliate, and even more so if they represent big-name actors). They'll set up deals within their agency, and you might well get work off the back of their own 'packaged' projects.
I have an American (director) friend who is with a major agent that has never got him any work. He stays with them because their name is worth the percentage he pays them. He does the selling, they do the ratification ('if he's with them, he must be fine') and everybody seems happy.
I know it's a little depressing, but the truth is that you'll do most of your own hustling, whoever you're with. I'd stay with the current guy, especially as he's probably got a good relationship with many of the people that you're currently working with and don't want to piss off.
For what it's worth, I've just written my first feature commission for an American studio, and I no longer have an agent. But if you want to talk about managers and lawyers, well.....
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From: Terry D Jones
Subject: Obviously the agent is the grail
In reply to the posting. I imagine it will get a fair number of responses - but for what it's worth here's my take.
I don't employ an agent. Though I used to believe that I needed to.
That was until I found my way to the Beeb.
Who asked if I had an agent.
I said no - Do I need one? They said - no.
Now when I would like a producer to read a script I write a polite letter and ask them to. Adding a little about myself. Perhaps I'm lucky, but most times they will.
And what you'll find is - if people like what you write - they'll begin to contact you. Sometimes you'll get a great contact - out of the blue. Chalk that down as a great day. And the best thing is - the more scripts you write and the more people you get to read them - the more great days you have.
So to sum up.
Script - someone likes + no agent = got a chance
Script - no one likes + an agent = seek lottery funding
P.S. Some people will be thinking - easier said than done.
Very true - it does take a bit of leg work and a lot of luck.
If it's any help - eight months ago all I had was a script - the first one I'd written.
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From: Julian Friedmann, Blake Friedmann Literary Agency
Subject: Problems getting an agent
Agents need writers. That is obvious. However, if I (and other agents) were not honest about how full our lists were, would writers thank us for sitting on their material for longer than we already do? I doubt it.
It is a fact that there are many more writers out there than the existing agents can represent. We receive about 7000 applications from writers a year (that's 35,000 in 5 years) and our list is about 160. The amount of time taken up dealing with the applications is already considerable and detracts from doing the business for existing clients.
Yet we get criticised for not taking on more clients. I consistently attempt to provide information to writers about the market when I give lectures and do not ask for big Hollywood scripts. There is only one part of the audio-visual industry in the UK that can promise regular work to writers and that is television. To get into the soap and series writing business does not require an agent. Yet having got into it will make a writer much more attractive to an agent.
Spec feature film scripts have created a script mountain in Britain of awesome proportions, yet most writers seem determined to go on piling them up. Judging from the inappropriateness of many we see in the Agency, I can only assume that blind passion for writing rather than market research and careful thought has gone into the choice of story and the decisions as to the best way to tell it.
This is a competitive business and writers who can't get the attention of agents should not assume that it is only the fault of the agent (though it is undoubtedly true that all agents - at least some of the time - could learn better social skills).
There is money out there looking for really good scripts (which are exceedingly rare) and there are broadcasters looking for skilled writers capable of working in the demanding series and serial arena. This usually means not writing only what you want to write.
I have been involved in setting up a new MA in Television Scriptwriting at De Montfort University. This two-year part-time MA starts in September and has been specifically designed to enable people with jobs or who are scriptwriters and need time to write, to get into the world of television earnings and credits. The idea is that virtually everything the 'students' write on the course should be offered to the industry and - hopefully - some of it will be sold while the MA is still in progress. The MA is also for script editors or those learning to be script editors. Further information can be obtained from Liz Woods at De Montfort (lwoods@dmu.ac.uk)
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From: M J Simpson
Subject: Re: agents
"Could someone please advise me as to what EXACTLY a literary agent does"
I'm tempted to ask my agent the same question, since over the past 18 months he's done damn all (and consequently earned himself 15 per cent of nowt). But personal gripes aside:
A literary agent, like an agent for an actor or any other sort of artist, is supposed to find their clients work. The agent has all the right contacts, with producers or publishers, and can therefore be on the ball and spot an opportunity for work for one of their clients, or can persuade those with the money to spend it on the clients' ideas. It is of course possible for a writer to represent themselves, but then you're effectively doing two jobs, and all the time you do chasing around after producers/publishers is time when you're not writing. When your career starts to get busy, it's often easier to say sod it and let somebody else do this work (who probably has a better contacts book anyway) in return for 10 or 15 per cent of whatever you make.
From the producers/publishers' POV, the agent acts as a quality threshold, a filter - anything submitted by a reputable agent must be of a reasonable standard, or the agent wouldn't bother submitting it.
For more successful writers, who may have more potential work than they can cope with, the agent acts as a filter the other way, helping to prioritise the better paid work. Oh how we would all love to be in that situation.
An agent can be useful, and even when they're totally ineffectual it's still a mark of quality in most people's eyes if you have an agent. It's a sign that somebody has confidence in your work and considers it marketable. However, remember that an agent works for you, not the other way round. Never pay an agent anything up front - the reputable ones just take a percentage of the money they make for you (and their fee should be tax deductible too - woohoo!)
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From: Susan Everett
Subject: Literary Agents
From a writer's point of view what an agent does is:
1. Stop you getting screwed. Even if you have just one project in development, you're still going to need a contract, sort out your rights and payments, length of the option etc. Your agent sorts it. If you haven't got an agent, you could be very vulnerable, and not get the best deal.
2. Keeps you informed of work that's happening, puts you up for projects, gets your work read. It's a bit different to sending stuff out by yourself on spec, as if you're with a reputable agent, the readers will expect your work to be of a certain quality - so it won't go on the slush pile.
3. Gives you career advice and supports your writing, giving you creative feedback when you need it.
4. If you're lucky - they are your friend.
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From: Susan Mundy, Script Development Services
Subject: Re: Agents
Getting an agent is tough. I recently asked a top agent why there weren't enough/more agents, and she replied that there isn't enough work for the writers already on her books.
A well known agent said at a writing conference that he was not interested in working with new film writers, because, even if the film was made, it took 2 - 3 years for any money to come in. He did have some time for television writers because a series writer could bring in good money in the first year (however, this is not easy, as increasingly, soaps give priority to scripts submitted by agents!)
The lack of the "agent credential" makes it increasingly difficult for new writers to get exposure, as some production companies do not accept unsolicited scripts. However, most established writers say that agents are not so important in finding work (the writers do that themselves from contacts they make), as they are in help with getting a good contract. The latter can be done with a media lawyer on an as needed basis.
An agent is much more likely to listen to a writer who has already had some success. New writers sometime get an agent by asking help with a contract obtained on their own. This does not always work, but is a route worth trying, if possible.
A recent writing conference panel suggested that one way around the agent problem is for new writers to approach one of the 'entry' organisations that are in the business of helping new writers. If, for example, a script was accepted by The Script Factory, it would get a reading in front of an industry audience. This would raise the writer's profile and might even help the writer find a producer and/or agent. At the very least, the writer earns the 'credential' of having been chosen by the organisation, as proof of their writing ability.
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From: Louis Mesiha, Fabulist Productions
Subject: How To Get An Agent...
In response to Jonty, and the countless other aspiring screenwriters out there looking for an Agent, here's my two-pence worth...
The First And Only Place You Need Look Is A&C Black's 'Writers' And Artists' Yearbook'
This reference book is a Bible for any creative person out there. I got my first agent through it. It lists every Literary Agent in the UK and USA, as well as submission details and a selective list of who they represent. From the off, there's little point going to the powerhouses like William Morris (check out their web-site http://www.wma.com and see how many of the recent Oscar Nominees they represent) and ICM. It's wise to try smaller ones at first, as having an Agent exponentially increases your chances of sliding up the gilded Hollywood pole.
The yearbook is invaluable; and no, I don't have anything to do with them. The £12/13 price is cheap for the sheer wealth and breadth of information it contains.
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From: Adrian Rawsthorne
Subject: Agents on the internet
Have a list of agents but you need to be a subscriber. There are a couple of agents with an on-line presence. Best source of info is probably the cheery yellow "Writers Handbook" it can be a little out of date but it succinct and covers the majority of agents.
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From: Paul Abramson
Subject: Re: Agents
I was born in, raised in, and reside in Hollywood, California U.S.A. For five years, I was employed at the world's oldest established talent agency - The William Morris Agency. (Tell me you've heard of them.) Understand this -- the myth of the stereotypical Hollywood talent agent is absolutely true. Mix a lawyer with an accountant, and you got yourself a talent agent. The history of The William Morris Agency is the history of Hollywood itself. I am neither lawyer nor accountant. I am a writer-filmmaker in your position, and I was at the lowest rung of the corporate ladder. However, everything they did made sense. You are about to embark on an incredibly frustrating journey, my friend. So please develop a thick skin.
The first thing I want you to do is to realise that your feature screenplay is not, repeat NOT, ready to go. No matter how many times you have polished it, as soon as you hand it to a reader (not agent or producer) it is a first draft. This reader will also be a frustrated writer whose IQ will drop to zero (or so you will think) as soon as he or she picks up your script. There is a good reason for this. They represent the audience that will eventually pay to see the finished film. So keep it simple and remember, they have been yelled at and cussed at several hundred times on any particular day, and they still have a dozen more scripts to read before noon.
The second thing I want you to do is to go to the web site of the Writers Guild of America. That address is http://www.wga.org. Their telephone number is (323)782-4502. Click on the link that lists agencies that are registered with them. Print the list. It is updated often. It is big. I don't care. Print it. Follow the instructions. Telephone or write to the ones that claim to represent new writers like yourself. Do not send unsolicited material. It will not be read or even glanced at. (They are scared to death of lawsuits.) Many will reject you. Many will tell you something contrary to what it states in the WGA list. It is your job to find out what is what. Do not do business with anyone who requests an up front readers' fee or any other payments. Beware. It is a scam.
Next, I advise you to contact Independent Feature Project. Their west coast office is at 1964 Westwood Boulevard, Suite 205 Los Angeles, California, 90025-4651. Their telephone number is (310) 475-4379. Their fax number is (310) 441-5676. They are a valuable source of information AND contacts.
Also, try to get your hands on the current edition of Writers Digest. (Amazon.com should carry it.) Highlight it. Cut it up. Make a database from it. Sleep with it.
And...
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From: Joe Boyle
Subject: Agents or lack thereof
The comments a while back 'Where have all the agents gone?' was echoed by the more recent posting on where to find an agent. This dilemma, I'm sad to say, doesn't apply just to new writers.
You'd think that someone who has written successfully for three of the nation's top soaps; co-written a successful stage musical [two national tours]; created and written two series of an acclaimed BBC sitcom; worked fairly extensively on a variety of children's TV programmes; written animation for no less than twelve British and European companies; had seven children's books published and sold in every English-speaking country in the world, whose first, co-written feature film goes into production this year, and who is currently on the writing team for the fourth consecutive series of a 52-episode, globally successful teen soap - oh, and who hasn't stopped working for the past fifteen years [thank God] would be a fair proposition.
Afraid not, and it's not for want of trying. Agents seem to want more than talent, more than experience. Only fair, I suppose. None of us can force an agency to take us on, and it is their game. Just can't help wondering what it is that I've got that they don't want. Rabies perhaps?
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From: John Wildgoose
Subject: Re: Agents or lack of
Reminds me of a pub conversation I overheard once between two agents.
One agent to the other: "trouble is with these writers, they take 75% of my income"
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From: Martin Day
Subject: Paying agents
"Has anyone heard of these guys? They replied to my query letter with great interest, even requesting a script for a second project I had written which they quite liked the look of. I mailed two scripts to them. A month or so later I got a standard reply offering me the "unique opportunity" to PAY THEM UKP250.00 so that they could represent me! A very long letter pitching their scam at me, but of course they have no examples of their successes, no specifics about how or where they intend to 'market' my work... Plus they had the nerve to ask for a cheque made payable to a private individual!"
It goes without saying, *this* sounds like a scam - no reputable agent would ever ask for *money*! The Writers' Handbook should be told about this, and they should be dropped from future editions.
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From: Mike
Subject: Paying agents
Arrange these words into a well-known phrase or saying: 'Ten don't bargepole them a touch foot with'. Members of the Association of Authors' Agents don't even charge a reading fee, let alone a huge upfront payment. Legit agents make their living from commissions. Avoid, avoid, avoid.
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