How to .. Get an Agent (Writers)
There's lots of advice and useful websites out there, but below are a couple of useful pieces:
Scriptwriter Magazine (USA):
Getting an agent requires patience, persistence and above all talent. It's not enough to win a few obscure contests or to send a singing telegram. What most agents want from a writer is a great script, not a good script, a great one.
Research is key in finding a good agent and writers seeking representation should figure out what kinds of scripts interest the agent. The writer may have many scripts, but it is a good idea to pitch one per query letter. Pick one that you think would appeal to the agent. A query letter has to be short and listing ten scripts would probably make it a two page letter which will likely end up in the circular file. Choose one script and if the agency rejects that idea, wait a month and submit the next idea. With ten scripts, you have about ten shots at getting the agency to say, "Yes, send it over" to at least one of them.
Agents reject the vast majority of query letters with most hitting the circular file on the way in. There are thoughtful agents who make it a point to answer every query, but most ignore the letters. Keep in mind that agents get hundreds of letters each week and very few of those letters pitch a script that is remotely interesting. Give agencies at least two to four weeks to reply to your query letter. Calling the agency and bothering them about a query is a waste of time. Save your phone calls for when they request the script and take months to respond.
There are a number of agencies on the Writers Guild List of Agents that try to make a living charging writers fees. DO NOT PAY A DIME FOR REPRESENTATION. WGA signatory agents are not permitted to charge fees for anything. If an agent requests a reading fee, a referral fee, a photocopying fee, a signing fee, etc. do not pay it and report them immediately to the Writers Guild of America (800) 548-4532.
Query letters are effective in drawing attention to a spec screenplay, however, the best way to get an agent is by a referral. Someone you know knows someone who knows someone who knows the agent and can get your script directly into the agent's hands. Attend seminars and screenwriting workshops to meet writers and agents. The next best thing is to win one of the top screenwriting contests and have the agents come to you.
Another way to get attention is to have your script independently produced and make the rounds on the festival circuit. There is a high degree of risk involved in this venture and only do it if you can afford to take the gamble. Too many frustrated writers take their credit cards to the max making films each year only to find out that the reason no one was interested in buying the script in the first place is because it would have made a lousy movie. Try to find an independent producer who may be interested in optioning your screenplay or producing it and paying you on deferment. Again, be aware of the risk in this type of venture because if the movie fails you'll be reminded of the old adage "you are only as good as your last picture."
<a href="http://www.nyscreenwriter.com/", target="_blank">www.nyscreenwriter.com
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 <a href="mailto:lwoods@dmu.ac.uk", target="_blank">lwoods@dmu.ac.uk
