An Advocate for Your Screenplay

I think a lot of struggling screenwriters believe if they could just get an agent they would sell a script, get a bunch of writing assignments, and life would be beautiful, but I'm not sure that's the case.

What follows is information taken from my conversations with agents, talking to other screenwriters who have agents, panel discussions I've watched with agents, interviews with agents I've read or witnessed, or other bits of information I've stumbled over through the years.

First of all, most agents don't read query letters. I get the feeling that even those who say they do - don't. Agents much prefer to get their clients by referral from producers, other known screenwriters, managers, or some other person they trust. Of course, there are agents who read every query letter, but I'm not sure those are people you would actually want as an agent.

This is a complicated problem for screenwriters trying to break in, because often the advice I hear from top agents is that we should look for a hot agent just starting out, someone who is hungry for clients. That would be those agents reading all the query letters, but how do you know which one is "hot"?

The "Fade In" directory is probably the best source to look for agents, since it gives a little information along with the phone number and address. And there is the old standard WGA list of guild signatory agents, which is an important consideration, because it means they abide by the WGA guidelines that protect writers.

But you still have that problem of knowing which one is honest and capable of actually helping you get where you want to go. Personally, I want to be with one of the major players:

Creative Artists Agency William Morris Agency International Creative Management United Talent Agency Endeavor Agency The Gersh Agency Innovative Artists Paradigm Agency for the Performing Arts Broder-Webb-Chervin-Silbermann Agency

Now, agents leave these companies and form their own agencies, and those agents probably have some good contacts. And it may be better to be with a smaller company, since you are less likely to get lost and forgotten about, but you will miss out on those inside agency connections. In a big agency, agents communicate with each other about who is looking for what, and packaging deals are made that could make it easier for your agent to find you work. The most important reason to have an agent is to gain access to all the assignment work available. When studios are developing projects, they often put out a call for screenwriters to adapt a book, or rewrite someone else's screenplay. Often, that spec script that you think is going to be your first big sale, actually becomes your writing sample, which your agent will use to get you writing assignments.

Remember, when you go looking for an agent, that agents are generally not looking for screenplays as much as they are looking for clients. In other words, they generally don't want someone with just one script. They usually look for someone with several solid scripts, who has the ability to be marketed in several different directions at once. They play the odds, and if you only have one good script the odds aren't that good.

Also, agents don't like scripts that have already been shopped around. A good agent wants a fresh script that has never been seen anywhere, so he/she can build some buzz, before sending it out to a large group of production companies all at once, in an effort to start a bidding war.

Finally, keep in mind an agent works for you, not the other way around. Don't just grab the first agent that shows interest. Get face-to-face with anyone you are considering and look in their eyes for sincerity. Ask probing questions. Don't sign a contract without legal advice, and don't expect your agent to do all the work - they won't.