Guide to Literary Agents - Screenwriting and Script Agents

5 Things Television Teaches Writers
Posted by Chuck

We’ve all watched television—dramas, police procedurals, reality shows, newscasts. Although television is a different medium than writing, it provides an abundance of advice wrapped inside the programming that’s relevant to today’s writers.

Guest column by Janice Gable Bashman, co-author
of Wanted Undead or Alive: Vampire Hunters
and Other Kick-Ass Enemies of Evil (Citadel
Press, 2010) and contributing editor of the
Big Thrill (the newsletter of the International
Thriller Writers). She is a regular contributor
to leading publications. See her website here.

1. Jump Right In—Television shows start smack in the middle of the action to grab and hold our attention from the get-go. This method discourages the viewer from flipping the channel to find something more interesting. Once we’re hooked, backstory is revealed. Tune in to any drama or even the news and you’ll see this method in action. Today’s readers expect the same from their books. They want to be hooked after reading that first paragraph, the first page, the first chapter. They want a book so exciting that they can’t put it down, a story that captivates their hearts and souls and fires up their imaginations. They want a story that pulls them into a new world and threatens to hold them there until the very last word. It’s up to writers to hook the readers, to keep them interested enough to keep reading. And it all begins with the first scene. Make it exciting.

2. Use Hooks and Cliffhangers—What keeps us hooked to television shows when the distractions of home, family, friends, work, the Internet, etc. threaten to pull them away? It’s simple really. Good storytelling. But it goes beyond that. Just because it’s good doesn’t mean viewers will stay tuned, especially once a commercial comes on. Television shows tease us when going into a commercial or ending the show. They leave us hooked with an unfinished question or scene that makes the viewer want to know more and makes us wonder what will happen to the characters in the future. This process is a deliberate effort to keep us watching the shows. And it works. For writers, it’s important to begin and end a scene with a hook. It can be an unfinished question, a line of dialogue, or a bit of action—anything that grabs the reader’s attention and make the reader wonder what comes next. The hook compels the reader to turn the page and read more. As readers, we’ve all experienced that book that keeps us up well into the night when we have to get up early the next day. What keeps us reading each page, each chapter, when we know we should really go sleep? It’s simply a good story combined with great hooks.

3. A Break From Writing Is Not a Waste Of Time—We’ve all seen the television character who can’t solve a problem but who is then hit with a great idea while fiddling with the remote, hanging out with friends, playing basketball, or cooking. Some of the best ideas come to us when they’re least expected. Some writers believe that writing is the only way to find new ideas or resolve problems, but sometimes taking a step back from the process yields wonderful results.

4. It’s Not Always Best To Brainstorm Alone—Ideas don’t occur in a vacuum. Television cops don’t work alone, the women on "Army Wives" solve problems together, and the creative group on "Mad Men" is just that—a group of individuals who work together to brainstorm ideas. Many of the ideas are terrible and are rejected, but then a unexpected gem emerges from the give and take among the group members. When stuck for ideas or for solutions to plot problems, writers often stew in their chairs, surf the internet, knock out chores, or play games on the computer with the hopes that the solutions will magically appear. Sometimes it does; sometimes it doesn’t. Shooting an idea past a colleague or brainstorming with a friend can be just the thing to bring freshness and excitement to your work.

5. Diversification Is Key To Success—How many good television shows have gone stale? They show the same twist on an old story line over and over again. As a result, we become bored, abandon the shows, and find new ones to watch. Also, have you noticed how advertisers don’t focus on only one market? They diversify among television, print, radio, and the internet and adjust their advertising to each market to achieve the highest success rate and to reach the widest audience. As writers we must diversify in order to succeed in this ever-changing industry and to ensure our work is constantly in demand. If we focus on only one market and that market becomes stale or fails, we’re out of work. But if we diversify and continually look for new opportunities in untapped markets, the opportunities are endless.

What forms of media have inspired your writing, and how?

Interested in scriptwriting? Check out The 101
Habits of Highly Successful Screenwriters, and
read interviews with the writers of Rain Man,
Forrest Gump, Die Hard and more.

Want more on this subject?

See a profile of script agent Garrett Hicks of Will Entertainment.

Is there a difference between literary agents and script managers?

Want a great database of script agents/managers, script contests, conferences and theaters? Buy the 2010 Screenwriter's & Playwright's Market today! An interview with Blake Snyder is in the 2010 guide.

Check out an interview with script manager Marc Manus.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Guest Columns | Screenwriting and Script Agents

Tuesday, August 31, 2010 12:40:14 AM (Eastern Daylight Time, UTC-04:00)

Comments [6]

Monday, July 19, 2010

5 Screenwriting Tips All Writers Can Learn From
Posted by Chuck

No. 2: Start late. In individual scenes, don't waste valuable time on unnecessary entrances and hellos. See if a scene can be started in the middle. A writer who is willing to self-edit will often find that a scene is strengthened by cutting the first two, and often last two, lines of dialogue.

These tips excerpted from Neil Landau and Matt
Frederick's 101 Things I Learned in Film School,
(May 2010) one of five books in the
"101 Things" series.

No. 12: A flawed protagonist is more compelling than a perfect protagonist. Inexperienced writers may fail to imbue a protagonist with undesirable traits because they want him or her to appear likable and their cause noble. But a completely capable hero leads an audience to relax its attention: If he can handle anything, why worry? Audiences are usually fascinated by contradictions and shortcomings in a film's characters. The idiosyncrasies and failings we all have are even more compelling in a character that is otherwise heroic.

No. 25: Create memorable entrances. Your protagonist's character, style and behavior must be distinctive from the moment we first lay eyes on him or her. Does she trip on a carpet shag? Did she forget to remove a hair curler? Is he carrying a note-quite-concealed weapon? Is he a debonair smoothie amid a hubbub of confusion and crudity? Is she a lone, effervescent figure in a gray London gloom?

No. 29: Props reveal character. In Se7en, Morgan Freeman's character has a metronome besides his bed. Its ticking rhythm comforted him and helped him drift to sleep. But more significantly, the prop conveyed his desire, as an overworked city police detective, to control one noise in a cacophonous city.

No. 75: Make visual motifs specific. Motifs are visually evocative elements placed strategically throughout a film to amplify theme. They can also act as a structural or pacing device. Themes are broad and universal to human experience, but motifs should be specific to the story and directly relevant to the experiences of the characters.

Want more on this subject?

See a profile of script agent Garrett Hicks of Will Entertainment.

Is there a difference between literary agents and script managers?

Want a great database of script agents/managers, script contests, conferences and theaters? Buy the 2010 Screenwriter's & Playwright's Market today!

Check out an interview with script manager Marc Manus.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Excerpts | Guest Columns | Screenwriting and Script Agents

Monday, July 19, 2010 10:04:28 PM (Eastern Daylight Time, UTC-04:00)

Comments [2]

Saturday, March 27, 2010

100 Pages in 30 Days: This April, Participate in Script Frenzy With Me!
Posted by Chuck

You know National Novel Writing Month (NaNoWriMo)? It's where you just sit down for one month and crank out a novel. It doesn't have to be awesome. It just forces you to sit down and work through that painful first draft. Well now imagine the same thing, but for movie scripts. It's coming in April, and it's called Script Frenzy. I, for one, will be participating and trying to write a script. Come join the fun!

Script Frenzy is an international writing event in which participants take on the challenge of writing 100 pages of scripted material in the month of April. As part of a donation-funded nonprofit, Script Frenzy charges no fee to participate.

Who: You and everyone you know. No experience required.

What: 100 pages of original scripted material in 30 days. (Screenplays, stage plays, TV shows, short films, and graphic novels are all welcome.)

When: April 1-30.

Where: Online and in person (if you want!). Hang out in the forums, join your fellow participants at write-ins, and make friends by adding writing buddies online.

Why: Because you have a story to tell. Because you want a creative challenge. Because you’ll be disappointed if you missed out on the adventure. Because you need to make time for you.

How: Sign up. Tell everyone that you are in the Frenzy. Clear your calendar. (US participants: Get your taxes done now!) Start some wrist exercises. Have fun! The official Script Frenzy site has more rules and FAQ. Check it out.

Want more on this subject?

See a profile of script agent Garrett Hicks of Will Entertainment.

Is there a difference between literary agents and script managers?

Check out an interview with script manager Marc Manus.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Screenwriting and Script Agents

Saturday, March 27, 2010 2:12:21 PM (Eastern Standard Time, UTC-05:00)

Comments [3]

Saturday, November 07, 2009

Sign a Release Form with an Agent or Manager?
Posted by Chuck

Q: I received a letter from an agent saying yes, he wanted to read my whole manuscript. At the same time, he sent me a 2-page mini-contract that focused on my not suing him if he rejects it and down the road, there's a similar book written. Is this normal?

A: It wouldn't say it's typical but it's definitely OK. These are called "release forms" or perhaps "a submission release," and they are very, very common in the screenwriting biz. You can't submit anything anywhere without signing one of these. There are a lot of ideas going around and people are afraid of getting sued. If you're interested in seeing what a release form looks like, you can see one here. It was provided as part of the Willamette Writers' Conference, which draws a lot of script managers/agents and producers.
It’s rare to see these in the literary world but they are not something to be afraid of. As always, look online and do some searching to make sure the agent is reputable and connected. Protect yourself always.

Want more on this subject?

See a profile of script agent Garrett Hicks of Will Entertainment.

Is there a difference between literary agents and script managers?

Check out an interview with script manager Marc Manus.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Contracts and Copyrights and Money | Questions Submitted by Readers | Screenwriting and Script Agents

Saturday, November 07, 2009 12:43:21 PM (Eastern Standard Time, UTC-05:00)

Comments [0]

Thursday, August 06, 2009

Blake Snyder Was the Master of Structure
Posted by Chuck

I got word yesterday that screenwriter Blake Snyder passed away this week at the much-too-young age of 52. To quickly explain who he is: Blake had a few of his screenplays produced, but he was more well known for selling a lot of scripts. He had an amazing track record of selling original, uncommissioned (spec) scripts, even if few of them ever got produced.

Blake Snyder

That's Blake addressing the crowd
at our conference in LA, 2008.

At my suggestion, Writer's Digest Books invited him to be the big lunchtime speaker at our conference in LA in 2008. His speech was great, and afterward, we got a chance to sit down and chat at dinner. All this brings me to a book called Save the Cat! - something you should seriously consider buying.

Blake took all that he had learned about analyzing storytelling and structure and wrote a book called Save the Cat!, which is widely considered to one of the best books on screenwriting in the past 15 years. Furthermore, the book broke out and was a modest hit because his advice on the 15 beats of any story transcended screenwriting. His advice on the three-act structure and the highs and lows of each story could be used for anything - novels, narrative nonfiction, plays, screenplays, whatever. He wrote a second book on screenwriting and that was doing well, too, and I know he had two more books in the works before he passed.

I am in the process of finishing my first middle grade novel and I can tell you that before I wrote one paragraph of prose, I sat down with Blake's structure notes and mapped out my three acts. The man knew what he was talking about. Save the Cat! is probably the book I praise the most that 1) teaches about writing, and 2) wasn't published by Writer's Digest Books. I highly suggest you buy it.

Want more on this subject?

See a profile of script agent Garrett Hicks of Will Entertainment.

Is there a difference between literary agents and script managers?

Check out an interview with script manager Marc Manus.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Screenwriting and Script Agents

Thursday, August 06, 2009 10:22:17 AM (Eastern Daylight Time, UTC-04:00)

Comments [1]

Friday, May 29, 2009

Page 2 News: A Smattering of Info
Posted by Chuck

Here are some news bits
that are cool but didn't
necessitate their own post:

Come to the Wyoming Writers' Conference!
I'll be teaching and meeting with writers this weekend (June 5-7) at this conference, held in the scenic Mountain West. Check this website to learn all the details. Literary agent Meredith Kaffel will be there taking pitches and the location seems like an amazing place to relax and recharge your writing batteries.

I'm Teaching a Webinar on Writing for Magazines
Actually, I'm co-instructing it with Writer's Digest Editor Jessica Strawser. And together, we shall tackle the ins and outs of how to start your writing career in the freelance world. We're so far ahead of schedule telling you about this that there isn't even a link yet. But what you can do is check back periodically on the WD Webinars page here and see if it's listed yet. It will be on Thursday, July 9, and you can access our presentation from anywhere. You will be invited to submit a query letter and we will critique 15 of these at random during the live event. We will also take questions!

Pitch Fest
On June 13-14, the Great American Pitch Fest will be going down in Los Angeles. If you've got a TV or screenplay idea, this will be the Mecca of people who want to hear what you've got. Best of all, WD contributing blogger Chad Gervich will be there teaching. See his blog post here about the whole thing.

Screenwriting and Script Agents | Webinars | Writers' Conferences

Friday, May 29, 2009 3:56:18 PM (Eastern Daylight Time, UTC-04:00)

Comments [0]

Monday, February 09, 2009

Is There a Difference Between Literary Agents and Script Agents?
Posted by Chuck

Q. I’m completing my first two scripts currently, and I was wondering if there was a difference between a literary agent vs. a script or screenplay agent, and if so what? Also, in the new Screenwriter’s and Playwright’s Market book, does it list script managers or just script and literary agents?
       - Dimitri

A. Yes, literary agents are different from script agents. They tend to specialize in one or the other. Some reps do cross over, but that is rare.
       First off, know that there is a difference between a script agent and a script manager. Managers are more likely to take on a newbie who doesn't have LA connections. Managers cannot sell your work, but they can nurture your career, and they have the contacts to help sell your work.
       The new WD market book, Screenwriter's & Playwright's Market, indeed lists script agents and managers. It does not list literary agents.

Want more on this subject?

See a profile of script agent Garrett Hicks of Will Entertainment.

Is there a difference between literary agents and script managers?

Want a great database of script agents/managers, script contests, conferences and theaters? Buy the 2010 Screenwriter's & Playwright's Market today!

Check out an interview with script manager Marc Manus.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Q&A from Blog Readers | Questions Submitted by Readers | Screenwriting and Script Agents

Monday, February 09, 2009 4:06:49 PM (Eastern Standard Time, UTC-05:00)

Comments [1]

Wednesday, July 23, 2008

Talking Script/Screenplay Managers
Posted by Chuck

Q. I was wondering on how you can help me get the right agent. I've written a screenplay, which is copyedited and registered. My query letter and my synopsis seem to be very good.
       - Natalie

GLA: A-ha. You're looking for a script agent, not a literary agent. More specifically, you want a script manager. Agents in California are wheeler-dealers who generally do not take on or consider new clients. If you're trying to break in cold, query a manager. Managers work like literary agents out there. When the time comes, your manager will connect with an agent to make a deal. It stinks a bit, because you have to pay 15% to one and 10% to the other. A lot of reps out west who are open to queries from new screenwriters are managers, but may not call themselves that (they may use the word "agent").
       The new 2009 Guide to Literary Agents book doesn't list any script managers. Why, you ask? Because in less than six months, the first ever edition of Screenwriter's & Playwright's Market will be in bookstores. If you don't want to wait that long, just get a subscription to WritersMarket.com, which has the entire database.

Fortunately enough, I just interviewed script and literary manager Marc Manus, of Manus Entertainment Literary Management, who was a panelist at our writers' conference in Los Angeles in May. I interviewed him for the new SPM book, but I want to post some of his answers here because I think they'll help.

GLA: Besides a concise pitch, what are you looking for when a writer talks to you in person or contacts you via a query?

MM: Personally, I look for some sense of concept and marketing in a writer's queries - is the person hitting the commercial side of my brain? Or is the person boring me with unnecessary details about how the main character changes because of a tragedy? If the person's loglines seem to encapsulate a really good movie idea, I will usually ask to read a sample. A person's background can help, as well. I will lend weight to someone who claims to have a background in writing (journalism, advertising, etc.) or someone who has gone to film school.
        Assuming the writer makes it past the query stage and I've read a good sample from the person, it's time to meet. When I sit down (or chat via phone) with a writer, I am essentially looking for someone that I am not afraid to put in a room with executives and producers. That person should be articulate and energetic. I've actually passed on representing people who come across as lethargic or argumentative. Life is too short.

GLA: We know the textbook definition between a manager and an agent in Hollywood. That said, do you feel like contacting a manager is the best route for newer writers? Are agents just too busy?

MM: For newer writers, yes. Agents rarely have time to deal with some of their existing clients.

GLA: When a writer contacts you, how many scripts should they have up their sleeve?

MM: I recommend at least two, if not more. And a plethora of good ideas!

GLA: What are the most common problems you see in the first 5-10 pages of the specs you read?

MM: Beginnings that are uninteresting and fail to set the tone of the script. And lackluster introductions of main characters. I can't tell you how many scripts fall short on those two levels...

GLA: Any other advice or tips for newer writers on a topic we haven't covered?

MM: Yes, it's not enough to simply generate a feature or TV idea, write the script and be done with it. You have to think about the business - how it grows, where it's moving. Think about your idea as intellectual property and not just a movie or television show; platforming is important.
        And legacy. Will your idea stand the test of time? It's important to understand what moves human beings and how to effectively communicate that in your story.

Want more on this subject?

See a profile of script agent Garrett Hicks of Will Entertainment.

Is there a difference between literary agents and script managers?

Want a great database of script agents/managers, script contests, conferences and theaters? Buy the 2010 Screenwriter's & Playwright's Market today!

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Agent Advice (Agent Interviews) | Screenwriting and Script Agents

Wednesday, July 23, 2008 10:32:15 AM (Eastern Daylight Time, UTC-04:00)

Comments [4]

Monday, March 24, 2008

Agent Advice: Margery Walshaw of Evatopia
Posted by Chuck

"Agent Advice" is a series of quick interviews with literary and script agents who talk with Guide to Literary Agents about their thoughts on writing, publishing, and just about anything else.

This installment features literary agent Margery Walshaw, founder of Evatopia in Southern California. Margery is literary agent and script manager, focusing on both feature film scripts as well as juvenile fiction writing.

Margery Walshaw

GLA: What's the most recent thing you've sold?

MW: “Sahara Cassidy and the Extinction Caverns” by Kevin Emerson has been sold to Indalo Productions, who recently produced “Day Zero” starring Elijah Wood. Kevin also has a five book deal with Scholastic coming out.

GLA: You're a script manager - not an agent. Please explain the difference. If one is a newbie to the Hollywood scene, what is the advantage of having a manager?

MW: In the state of California, only agents are licensed to sell scripts. However, sales arise following an introduction made by a manager. Agents typically spend the majority of their time involved in the selling and negotiation process whereas managers will help writers perfect and edit their projects, as well as offer long-term career advice. For this reason, there is a tremendous advantage for a newcomer to work with a manager and have that person help them through the writing process to make their script more marketable.

GLA: Evatopia has multiple people working in the company. Are they all managers like you? How should people direct queries and pitches?

MW: Everyone in our organization has a strong literary background, although not all are managers. The best way to submit a query to Evatopia is via our online submission form found at www.evatopia.com under the link “For Our Consideration.”

GLA: When writers want to query you with a script, you ask them to do so through an online form, including a one-line "logline" and a synopsis. How long should the synopsis be?

MW: Although writers may submit as long of a synopsis as they desire, ideally it should get to the point fairly quickly. In a sense, this is the writer’s first test to see if they can get their point across in a concise manner that is also engaging.

GLA: What genres and categories are you looking for right now concerning film?

MW: Comedy is particularly hard to write and as a result, we find very little that stands out above the crowd. We would love to see more well written and smart comedies. We also enjoy strong character dramas that offer actors roles that are new and challenging.

GLA: Do you also represent TV writers? If so, are you looking to receive new stuff - such as original pilots, or are you looking for spec scripts of existing shows?

MW: At this time, we are only looking for features. We do introduce feature projects to television as well as film production companies.

GLA: Recently, you've branched out in the literary world more with juvenile fiction? Can you tell us why you made this transition?

MW: There are many reasons. First, the novel form has always been my first love in the literary world. At USC, I received my masters in professional writing, which focuses on novels as well as scripts. Because of my interest in novels, I have always maintained contacts and stayed abreast of developments in the publishing world. Finally, my client, Kevin Emerson, who we just optioned “Sahara Cassidy and the Extinction Caverns” on behalf of, has a five book deal with Scholastic coming out this summer for his middle grade vampire series, “Oliver Nocturne.”

GLA: Regarding this new interest in children's writing, what exactly are you looking for? Children's picture books? YA only? Tween, middle grade?

MW: YA, tween or middle grade is where my interest lies.

GLA: When you're reading a partial for a YA novel, let's say ... What things turn you off when reading a manuscript? What kills a writer's chances of getting signed with you?

MW: There’s no need to tell an agent or manager that your project is like no other they’ve ever seen. If it’s good, the writing will stand on its own. If it’s not solid writing, then there’s probably a reason why we’ve never seen something like it published. Another thing that turns me away from a sample is sloppy proofreading.

GLA: Will you be at any writers' conferences in the future where writers can meet and pitch you?

MW: I'll be at your conference [The Writer's Digest Books Writers' Conference] here in LA on May 28.

GLA: Best advice concerning a topic we haven't covered?

MW: I work with three writers who live in Europe. (I spend a lot of time in the UK working with publishers and broadcasters abroad.) What I like about their writing is that it takes me to another place and is told in a voice unique to what we typically hear in the States every day. I encourage writers to be true to their life’s experiences and tell stories that may be off the beaten track. There’s no point in copying what’s already out there.

To query Margery regarding your juvenile work, use the online form on Evatopia's Web site. For the "genre" tab online, put YA or middle grade. A synopsis is still required.

Want more on this subject?

See a profile of script agent Garrett Hicks of Will Entertainment.

See an interview with script manager Ken Sherman of Ken Sherman Associates.

Is there a difference between literary agents and script managers?

Want a great database of script agents/managers, script contests, conferences and theaters? Buy the 2010 Screenwriter's & Playwright's Market today!

Check out an interview with script manager Marc Manus.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Agent Advice (Agent Interviews) | Children's Writing | Screenwriting and Script Agents

Monday, March 24, 2008 12:05:16 AM (Eastern Standard Time, UTC-05:00)

Comments [3]

Monday, February 04, 2008

Literary Agents vs. Managers
Posted by Chuck

Last week, I posted submission info on Will Entertainment. Before I knew it, Verla Kay's Web site, among others, picked up the news and spread it like wildfire. Garrett Hicks (of WE) must have gotten plenty of queries, because the next day he wrote and asked that I clarify how he is a "manager," not an "agent."

So this brings up the question: What is the difference? First of all, you should know that both are legimitate. I'm tempted to explain the details here, but an upcoming interview on the blog with literary/script manager Margery Walshaw of Evatopia will do the question more justice. It's on the way...

In the meantime, check out an explanation of the difference between agents and managers on the Writers Store Web site.

Want more on this subject?

See a profile of script agent Garrett Hicks of Will Entertainment.

See an interview with script manager Ken Sherman of Ken Sherman Associates.

Is there a difference between literary agents and script managers?

Want a great database of script agents/managers, script contests, conferences and theaters? Buy the 2011 Guide to Literary Agents today!

Check out an interview with script manager Marc Manus.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Definitions | Screenwriting and Script Agents

Monday, February 04, 2008 1:25:19 PM (Eastern Standard Time, UTC-05:00)

Comments [0]

Monday, January 28, 2008

New Agency Alert: Will Entertainment
Posted by Chuck

Cool new alert to see. Will Entertainment is looking for children's book writers whose writing is good enough to brave both the literary and film worlds. Awesome opportunity, but your work better be up to snuff to challenge both worlds!

Important note: Garrett Hicks is a literary and script manager, meaning he is similar to an agent but not exactly an agent, per say.

Reminder: Newer agencies are golden opportunities for new writers because they're likely building their client list; however, always make sure your work is as perfect as it can be before submitting, and only query agencies that are a great fit for your work. Otherwise, you're just wasting time and postage.

Will Entertainment

1228 Romulus Drive, Glendale CA 91205. Phone: (818)389-6895. Fax: (818)246-4520. E-mail: garrett@willentertainment.com. Web site: www.willentertainment.com. Contact: Garrett Hicks. Seeking new and established writers. Prior to becoming an agent, Mr. Hicks was a development executive for Disney Animation. Established: 2003. Represents 20 clients. 30% of clients are new/unpublished writers. Specializes in: children's book authors and illustrators, especially those crossing over from film, TV and animation. Currently Handles: 30% Juvenile Books, 30% Movie Scripts, 40% TV Scripts

Script categories/genres of interest: Action/Adventure, Cartoon/Animation, Comedy, Fantasy, Juvenile, Mainstream, Romantic Comedy, Teen. How to Contact: Query with SASE and synopsis. Accepts e-mail queries. No fax queries. Accepts simultaneous submissions. Responds in 2 weeks to queries. Responds in 2 weeks to manuscripts. Does not return submissions. Actively seeking: Juvenile, picture books and young adult.

Recent Sales: Sold 2 titles in the last year. Sold 5 scripts in the last year. Hot Sour Salty Sweet, by Sherri Smith (Delacorte); Flygirl, by Sherri Smith (Putnam); Patty Dolan is Dead, by Patrick O'Connor (FP Prods/Disney); Hopeville, TV pilot by Howard Nemetz (Fox). Terms: Agent receives 15% commission on domestic sales; 15% commission on foreign sales. Offers written contract. Termination notice: 60-day.

Want more on this subject?

See an interview with script manager Ken Sherman of Ken Sherman Associates.

Is there a difference between literary agents and script managers?

Want a great database of script agents/managers, script contests, conferences and theaters? Buy the 2010 Screenwriter's & Playwright's Market today!

Check out an interview with script manager Marc Manus.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Children's Writing | New Agency Alerts | Screenwriting and Script Agents

Monday, January 28, 2008 7:31:59 PM (Eastern Standard Time, UTC-05:00)

Comments [5]

Tuesday, December 18, 2007

New Agency Alert: Arthouse Literary
Posted by Chuck

Just heard about a new literary/talent agency: Arthouse Literary. I'm waiting for them to reply to a full listing questionnaire. In the meantime, here's what I found out:

(No address provided.) E-mail: query@arthousetalentandliterary.com; angie@arthousetalentandliterary.com. Web site: www.arthousetalentandliterary.com/. Member Agents: Moreen Littrell, others. Specializes in: "We are most interested in fiction and nonfiction that lends itself to film and TV, and screenplays, which means high concept or character-driven. Voice is key. Genres we like: commercial fiction, women's fiction, narrative nonfiction (memoirs, historical fiction), and young adult."

Represents: Nonfiction Books, Novels, Movie Scripts. How to Contact: Query with SASE. Submit first 15 pages of screenplay/manuscript. Put "Query / (Title)" in the e-mail subject line. Accepts e-mail queries. No fax queries. Responds in 3 months to queries. Does not want: Does not want Western's, action/adventure, science fiction, apocalyptic epics. Tips "We will contact you if we're interested."

New Agency Alerts | Screenwriting and Script Agents

Tuesday, December 18, 2007 9:41:12 AM (Eastern Standard Time, UTC-05:00)

Comments [4]

Monday, November 19, 2007

Absolute Write Talks With Agent Ken Atchity
Posted by Chuck

I stumbled across a great interview today. Absolute Write sat down with Dr. Ken Atchity, principal of AEI: Atchity Editorial/Entertainment International, Inc. His agency handles both screenplays and literary works.

Interview excerpt:

AW: At AEI, are you more likely to sign an author whose work can be easily adapted to the screen? Also, what are some ways of recognizing whether a book has film potential?

KA: Yes, our favorite client is someone whose writing works for both publishing and the screen. A book has film potential if it's written following the laws of drama - which will also make it a better, more readable book.

AW: You've mentioned that AEI receives roughly 15,000 submissions a year and accepts about 50 of them. What specifically about your selections stand out to you?

KA: What stands out is a clearly marketable concept - "high concept," if possible - that is as well executed as it is well conceived.

See the entire interview here!

Want more on this subject?

See a profile of script agent Garrett Hicks of Will Entertainment.

See an interview with script manager Ken Sherman of Ken Sherman Associates.

Is there a difference between literary agents and script managers?

Want a great database of script agents/managers, script contests, conferences and theaters? Buy the 2010 Screenwriter's & Playwright's Market today!

Check out an interview with script manager Marc Manus.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Agent Advice (Agent Interviews) | Screenwriting and Script Agents

Monday, November 19, 2007 9:52:00 AM (Eastern Standard Time, UTC-05:00)

Comments [13]

Monday, November 05, 2007

My Adventures in San Diego
Posted by Chuck

Just got back from the La Jolla Writers Conference outside San Diego and I'm trying to stay awake long enough to write this post...

The conference was a lot of fun, and the Southern California coast, as expected, was beautiful. It was my first visit to San Diego. The conference attracted a lot of screenwriter attendees and instructors, which was a nice change. There was much talk about how the WGA strike was affecting things and potentially opening the way for new writers. The conference was jam-packed and a lot of work for writers, but I heard nothing but good things from attendees.

Me (Chuck Sambuchino) teaching a workshop in La Jolla

This was the first of two keynote addresses
on Saturday. The man at the microphone in
the distance is none other than David Morrell, the
novelist who wrote First Blood (Rambo).

Screenwriting and Script Agents | Writers' Conferences

Monday, November 05, 2007 10:53:20 PM (Eastern Standard Time, UTC-05:00)

Comments [3]

Tuesday, October 30, 2007

The Unknown Screenwriter Site
Posted by Chuck

Maybe I was the only person who hadn't stumbled onto this site by now, but if you haven't checked out The Unknown Screenwriter, you should definitely do so.
This anonymous scriptmaster is kinda like a movie-oriented Miss Snark - someone (seemingly) deep within their field and very knowledgeable who can give great advice.

On that note: WD sure has a good set of blogs for those interested in writing, and the blogroll is soon to be even one bigger.
Chad Gervich, an LA-based television producer and playwright, will soon be running a WD blog for screenwriters. It goes live on Nov. 1 and the Web address is:

www.writersdigest.com/scriptnotes

Screenwriting and Script Agents

Tuesday, October 30, 2007 3:06:46 PM (Eastern Standard Time, UTC-05:00)

Comments [6]

Monday, October 22, 2007

Querying Hollywood (2008 GLA Article Excerpt)
Posted by Chuck

2008 Article Excerpt:

Screenwriter Candy Davis talks about the
differences between an agent
and a manager in Hollywood.

"...The first thing you need to know is that an "agent," per se, is not necessarily the best target for a newbie writer unless you happen to be in his immediate family. An "agent" is a wheeler-dealer who tends to his own hive of already famous (writers). He creates placements for the proven moneymakers he knows he can count on. As a general rule, he's not interested in new writers, and the words pro bono are not in his dictionary."
"If you're indeed a newbie, try targeting people who bill themselves as managers. A manager is someone who makes herself available to new talent and helps develop and polish a script. She's just as picky as any agent, and yes, she gets a bigger percentage of your take - somewhere around 15 percent. To the writer living outside Tinseltown, she's worth it. Managers nurture new talent with deft coaching, high expectations and a kick in the pants when needed."

- "Querying Hollywood: Know Your Target and Pitch That Script" (page 22)

While Guide to Literary Agents is best known for its large and detailed list of literary agencies, every edition has plenty of informational articles and interviews designed to help writers perfect their craft and contact agents wisely. The 2008 edition is no different, with more than 80 pages of articles addressing numerous writing and publishing topics.

Excerpts | Screenwriting and Script Agents

Monday, October 22, 2007 11:18:53 AM (Eastern Daylight Time, UTC-04:00)

Comments [1]

Monday, October 15, 2007

Screenwriting News
Posted by Chuck

Some screenwriting news this Monday afternoon...

1. First of all, the big news in Hollywood is the pending strike by the Writer's Guild of America. As the strike looms, script agents are having to get into the fray. The Los Angeles Times did a great piece on how all this affects agents. See the full article here.

2. I just received an e-mail from the Screenwriting Expo in Los Angeles, updating their already impressive list of attending screenwriters who will be presenting. Recently added presenters include William Goldman (All the President's Men), Scott Frank (Minority Report) and more. This would be an awesome conference to attend if you're into screenwriting, though I admit I do not know how the looming strike will affect the conference going-on's, if it affects the conference at all.

William Goldman.

Screenwriting and Script Agents | Writers' Conferences

Monday, October 15, 2007 4:21:44 PM (Eastern Daylight Time, UTC-04:00)

Comments [7]

Wednesday, September 26, 2007

The Management Co. Changes Submission Guidelines
Posted by Chuck

The Management Company, a California-based agency focusing on film and TV scripts, recently changed their submission guidelines. Here are their new guidelines:

How to contact: Submit by e-mail only (tmco@mail.com), with the e-mail subject line reading "Writer Query Letter." Have a clear, one-sentence log line in bold type and include 2-4 short paragraphs summarizing the story (i.e., what would be on the back of a DVD).

This agency will contact writers by phone for more information, but only if interested. Queries that do not follow these guidelines may not be read. This agency is actively seeking "studio-quality, high-end action scripts with great characters, as well as really good comedies." No horror please.

Address queries to Tom Klassan, The Management Co.

Random Updates | Screenwriting and Script Agents

Wednesday, September 26, 2007 1:53:04 PM (Eastern Daylight Time, UTC-04:00)

Comments [0]

Wednesday, August 08, 2007

Agent Advice: Ken Sherman of Ken Sherman & Associates
Posted by Chuck

"Agent Advice" is a series of quick interviews with literary and script agents who talk with Guide to Literary Agents about their thoughts on writing, publishing, and just about anything else.

This installment features agent Ken Sherman, founder of Ken Sherman & Associates in Beverly Hills. Sherman handles screenplays, books and life rights. GLA had the opportunity to talk with Ken for the 2008 Guide to Literary Agents. The interview will be reprinted in the 2010 Screenwriter's & Playwright's Market. Part of the book's lengthy interview with Ken is posted here:

Ken, a Los Angeles native and University of California-Berkeley psychology graduate, started his career in film and television as a reader for Columbia Pictures. Sherman’s agency opened in 1989, and currently handles approximately 35 clients; he makes contact with most of his new writers through referrals, and he handles just about every topic you can think of in nonfiction, fiction and scripts.

Ken Sherman

GLA: When a writer is composing his first screenplay, should he aim to write something perceived as trendy, marketable or salable? Or should he just write the best he can, even if the script will likely be unproducable?

KS: What I’m looking for, and what every producer, studio, network and agent I know is looking for, is a killer writing sample—meaning something that we can send out in one day to 30 producers and have them say, “This may not be exactly the story I’m looking for, but I need to know this writer.” And hopefully, each one of them will call me back and say, “We want the story. We want to option the material or purchase it outright.” But most important is that they want to know the writer and meet with the writer and talk about other projects because the writer has a unique voice.

GLA: In addition to working with television writers, screenwriters and book writers, you also deal with buying and selling life rights. How does that work?

KS: Here’s an example: I was sitting in my office one day and a TV/movie producer I know called me. He said, “I’ve spoken to a lady and the fireman who saved her life during the Oklahoma City bombing. Would you mind handling the life rights—the option and purchase price and contract for them?” I then negotiated for both (individuals). Their life rights were optioned and then the purchase price for the exclusive use of their stories for the TV movie Oklahoma City: A Survivor’s Story was exercised.

GLA: If a writer wishes to see his idea on the big screen, is it more practical to write a good book and get it optioned into a film, rather than try to sell an original screenplay?

KS: It depends in which form the author writes best. If the writer is a great screenwriter, I would hope they’d attack the story and characters as a screenplay, because, traditionally, screenplays take less time to write. I want to preface this by saying that there are no rules or answers to any of these questions. What I’m suggesting today are just a few ideas of a few ways things can happen for individuals—but everybody needs to find their own way in their own time. One prominent client wrote eight screenplays before things finally clicked.

GLA: Do you pay any attention to what studios are buying?

KS: I don’t worry too much about that. I prefer to try and find really first-rate material that stands on it own. And even though it may be a genre that’s a bit out of favor at the moment—maybe something that was hot three or five years ago for some reason—we can reignite interest with a solid screenplay or book. One thing I’ve noticed is that many executives in this business are very happy not to take a risk on anything. They’re very happy to go along with what other people say, which is why sometimes you can get an auction going with multiple bids on the same project. You say, “Well so-and-so just made an offer on it,” or “Such-and-such studio wants it.” And they think that if another studio wants it, it must be something good. Of course it is…

GLA: Kind of like the business phrase “Don’t sell the steak. Sell the sizzle”?

KS: Sometimes you can sell the sizzle, but more importantly, the material really has to stand on its own. Because don’t forget that even with a TV movie, a producer or writer is with the project for a good six months to a year, if not more. A producer needs the passion to stay with the project and to be able to sell it, because they’re constantly selling and reselling the material to new people who join the project.

GLA: Let’s say someone writes a great script. You read it and love it. Before you sign a contract, is it important that the writer has other screenplays waiting in the wings?

KS: That’s ideal. Again, as I’ve said before, I’m looking for that killer writing sample: a screenplay I can send to anybody anywhere anytime and have them sit up and say, “Wow, this is a serious and professional writer.” And more often than not, I won’t take on clients without knowing that there are three or four or five good pitches behind them if they’re to go into a meeting, and ideally another one or two screenplays that are polished and ready to be sent out.

Want more on this subject?

See a profile of script agent Garrett Hicks of Will Entertainment.

Is there a difference between literary agents and script managers?

Want a great database of script agents/managers, script contests, conferences and theaters? Buy the 2010 Screenwriter's & Playwright's Market today!

Check out an interview with script manager Marc Manus.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Agent Advice (Agent Interviews) | Screenwriting and Script Agents

Wednesday, August 08, 2007 1:14:11 PM (Eastern Daylight Time, UTC-04:00)

Comments [5]

Sunday, July 15, 2007

Advice on Selling Screenplays
Posted by Chuck

Most of the scripts that Hollywood buys are commissioned—meaning executives and producers contact proven screenwriters (who already have agents) and pay them for requested scripts, drafts and revisions. Screenplays that are written by aspiring screenwriters and not commissioned by Hollywood are called "spec scripts," because they're written "on speculation." If you've written a screenplay or want to write on, it's "on spec."

Selling a spec screenplay is extremely difficult. Hollywood pays boatloads of money each year for writers to work on projects in development. Spending even more money to buy brand new scripts from unknown screenwriters is usually not their priority. With that in mind, it's important that your spec script be fantastic so it rises above the others and gets the attention of producers and executives.

Absolute Write, a great Web site for writers, recently interviewed Sheila Hanahan Taylor, a Hollywood insider who works at Practical Pictures. As Sheila is someone who reviews spec scripts often and has worked with plenty of writers, her advice for wannabe screenwriters is invaluable. Check out this snippet of her interview with Absolute Write and click on the links below to see the two full parts of her lengthy and great interview.

"...These are my top six rookie errors:

1. Thinking your script is ready to show people, when it isn't. Remember, most Hollywood execs, agents, and producers read a person's script exactly once.

2. Not reading enough professional screenplays. Ideally, an aspiring writer reads an early draft and a later draft, or compares it to the finished film. There's a ton to be learned from the rewriting process, and usually rookies underestimate what constitutes a rewrite.

3. Treating screenwriting like a hobby instead of a career. The art of screenwriting is a craft that takes years to master.

4. Writing the script as if you were going to direct the material. If a script can't convey the mood on the page without naming specific music cues or describing camera angles to enhance the story, then the writing isn't strong enough to begin with.

5. Rookies often think they're special, or their script idea is special... when they aren't. If you weigh the volume of material we receive against the number of half-decent scripts out there, we've seen it all.

6. Not knowing enough about how Hollywood really works. Get to know who matters and who doesn't. Learn how contracts and guilds work. Understand who makes decisions and who can make your life easier."

Sheila Hanahan Taylor Screenwriting Interview Part 1
Sheila Hanahan Taylor Screenwriting Interview Part 2

Want more on this subject?

See a profile of script agent Garrett Hicks of Will Entertainment.

See an interview with script manager Ken Sherman of Ken Sherman Associates.

Is there a difference between literary agents and script managers?

Want a great database of script agents/managers, script contests, conferences and theaters? Buy the 2011 Guide to Literary Agents today!

Check out an interview with script manager Marc Manus.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Screenwriting and Script Agents

Sunday, July 15, 2007 4:02:21 PM (Eastern Daylight Time, UTC-04:00)

Comments [1]

Friday, July 06, 2007

Screenwriting Expo Dates Announced
Posted by Chuck

If you want to try your hand at screenplays and take Hollywood by storm, attending a writers' conference on the west coast is probably worth the money. Agents, script managers and producers are the power players out west, and they attend conferences to keep an eye out for new talent.

There's two types of conferences for your consideration: traditional writers' conferences that have a number of good scriptwriting professionals (such as the Maui Writers' Conference and Willamette Writers' Conference). And then there are gatherings specifically devoted to screenwriting. Concerning the latter, no conference is more well known than the Creative Screenwriting Expo in Los Angeles. It's the biggest such conference, and widely hailed as a great event.

I got word today that the 2007 dates are locked down: Oct. 25-28, 2007.

Some Expo basics:

"Golden Pitch Sessions" allow writers to pitch executives
Sessions and panels are everywhere, with plenty of writers and producers discussing trends, craft, business and more
I haven't checked out the prices, and I'm guessing it's not cheap—but it promises to be a Mecca of scriptwriting talent, and could be worth your while. Check out the Web site to learn more.

Screenwriting and Script Agents | Writers' Conferences

Friday, July 06, 2007 1:02:43 PM (Eastern Daylight Time, UTC-04:00)

Comments [1]

Friday, June 29, 2007

Is Your Story a Novel or a Screenplay?
Posted by Chuck

This is a question I've asked myself a few times over the years and a lot of you probably have, too. What's the best medium for this particular tale? Most of the time - for me - I'm deliberating between writing a novel or a screenplay. Otherwise, I'm pondering if a story would best be told a play or a screenplay.

Screenwriter John August addresses the novel vs. screenplay question on his blog. John's blog, by the way, has tons of great information for screenwriters. Check it out.

Some of his film writing credits include Charlie and the Chocolate Factory, Big Fish and Go.

Katie Holmes and Sarah Polley
in Go (1999), an awesome movie.

Want more on this subject?

See a profile of script agent Garrett Hicks of Will Entertainment.

See an interview with script manager Ken Sherman of Ken Sherman Associates.

Is there a difference between literary agents and script managers?

Want a great database of script agents/managers, script contests, conferences and theaters? Buy the 2011 Guide to Literary Agents today!

Check out an interview with script manager Marc Manus.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Screenwriting and Script Agents

Friday, June 29, 2007 2:26:47 PM (Eastern Daylight Time, UTC-04:00)

Comments [10]

Tuesday, June 19, 2007

Film Adaptations of Books
Posted by Chuck

While you're sitting at home, writing your soon-to-be-bestselling novel, you may find yourself daydreaming - envisioning your story on the big screen. But the unfortunate truth is that extremely few books ever make it through the Hollywood labyrinth to production.

At BookExpo America, I saw a panel of agents and film producers discuss why some books get made into movies but most don't. Participating panelists included Joel Gotler of IPG Literary Management, Brendan Deneen of FinePrint Literary Management (formerly of the Weinstein Co.), Luke Janklow of Janklow & Nesbit, and Legendary Pictures producer Alysia Cotter. Here are some tidbits from the session:

"Packaging" is key. When a film studio options a book project and temporarily owns the book's film rights, they try to get a screenwriter attached to pen a script. With that script, they try to entice a big-name director and stars. When everyone is attached, they present the package to production companies and try to get it made.
Having big names attached to a project can be a blessing and a curse. Stars make demands and want input, endangering a project.
Everyone in Hollywood is a master of deferring responsibility.
According to Janklow, a book must sell for studios to be interested. Deneen disagreed, saying studios often gobble up brand new work that hasn't had a chance to succeed or fail at the bookstores.
It's a frontlist world, and there is a "prejudice" against older work that never got made.
The odds of a book getting made into a film are very, very low - "200 to 1 on a good day," says Gotler.
According to Janklow, only 5% of movies that get produced are based off good books in the marketplace.
Hollywood does not look favorably upon authors adapting their own work for the screen - mostly because the author can't properly step away from the material and cut content (or "take a machete to it," as Janklow says).
The key to a good package is a terrific screenplay based off the book. Everything starts with that.
If a book is more about characters than the plot, it has a better chance of coming alive on TV rather than film.
Many authors make great money but never see their books come to life on screen. Hollywood companies will continue to buy temporary rights to the book ("options"), paying $10,000-100,000 each time, but a production never occurs.

Luke Janklow of Janklow & Nesbit, and
Legendary Pictures producer Alysia Cotter.

Want more on this subject?

See a profile of script agent Garrett Hicks of Will Entertainment.

See an interview with script manager Ken Sherman of Ken Sherman Associates.

Is there a difference between literary agents and script managers?

Want a great database of script agents/managers, script contests, conferences and theaters? Buy the 2010 Screenwriter's & Playwright's Market today!

Check out an interview with script manager Marc Manus.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Screenwriting and Script Agents | Writers' Conferences

Tuesday, June 19, 2007 1:25:22 PM (Eastern Daylight Time, UTC-04:00)

Comments [3]

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