Agents for TV Writers

[C.bronco]

1. How necessary are they?
2. How does the process of querying an agent who represents TV and film writers vary from querying literary agents who represent fiction and non-fiction authors?
3. My Writer's Digest Guide to Literary Agents has a few pages of script agents. Are there any other (preferably free) sources?

[wordmonkey]

1. How necessary are they?

You can sub to show producers. Query and see if they'll accept a sample.

Samples should be the same format as the show you want but not that show. Conventional wisdom holds that the producers/show-runners know their own show so intimately, that if you make a flub in your script, or even write something that isn't a flub but strays from the the way they see their characters you will be rejected out of hand. So you sub something like a "LOST" sample script to "CSI" or "Law & Order" to "Shark." However, you must make sure that your sample is a current show. An sample script for "The Fugitive" (even if it is the remake) ain't gonna fly with "The Unit."

Once you sell/get hired, you should be able to get an agent.

2. How does the process of querying an agent who represents TV and film writers vary from querying literary agents who represent fiction and non-fiction authors?

You are gonna have a real job landing an agent to rep you for TV work without any TV work. A movie is different and you can sub your spec scripts there (following a query obviously).

Query is straight forward and not that different from a literary one. Business like, give them the log-line to your script, give them a paragraph hook (the big idea in less than 50 words) and then tell them what you have that makes you attractive. Qualifications if you have them and they are specific, will help, ifthey aren't specific, don't bother. Gigs that you have done are really the prime thing here. Again, conventional wisdom suggests that if you don't have anything the is of direct importance, leave it out. Nothing is better than something that looks like you were stretching to impress. As with so many things, the more you have that shows you don't need an agent, the more likely you will be to land one.

3. My Writer's Digest Guide to Literary Agents has a few pages of script agents. Are there any other (preferably free) sources?

Check out the WGA listings. They hold a list of approved agents for TV and film writers. There are more, but WGA approved carries some degree of quality guarantee. And NEVER pay. If an agent says they charge reading fees, walk away. If they refer you to an editing service, do some fishing (usually a con and shouldn't happen with a WGA approved agent). If they want to charge you for making copies and mailing out your work, walk away. A good agent makes their money on the percent they get for finding you your gigs. If they wanna charge you, either they are a straight rip-off merchant, or they simply aren't very good at their job. Either way, you can do better.

Hope that helps.

[C.bronco]

Thanks.
I've been looking up production companies in the meantime & it's like pulling teeth to get contact info and submission guidelines from their websites.
Are there any reliable & free sites for production company contact info.?

[wordmonkey]

Depends on the prod co.

I would look at the closing titles of the shows you wanna hit up then go with the LA and NY business directories.

A call to the office will tell you who to address to, assuming they accept queries and spec/sample scripts.

I've hit film rather than TV, so I'm not totally sure, but I would again try the WGA. If they don't have any listings, they can probably point you in the write direction.

[clockwork]

Thanks.
I've been looking up production companies in the meantime & it's like pulling teeth to get contact info and submission guidelines from their websites.
Are there any reliable & free sites for production company contact info.?

In the UK, we have the Writers' and Artists' Yearbook which lists production companies and a brief idea of how to submit or not. Is there not a similiar kind of directory in the US?

In any event, hitting up the websites for thier addresses is a good idea followed by a polite query letter outlining your background and your project very briefly. Don't be surprised to be flatly rejected - many companies simply do not accept unsolicited submissions to weed out the whackos. But, you know, if you have a great logline or premise then you never know what might happen. Give it a shot.

[odocoileus]

You should ask your question over at the www.tvwriter.com (http://www.tvwriter.com) board. The site owner, Larry Brody is an experienced tv writer who specializes in instructing and advising aspiring tv writers.

Another good source of info is Alex Epstein's www.craftyscreenwriting.com (http://www.craftyscreenwriting.com) tv q & a.

edit
http://www.samandjimgotohollywood.com/

Sam and Jim go to Hollywood is a blog with a series of podcasts from two Minnesota based writers who moved to LA and broke into the business. Their podcasts are funny, informative, and detailed as to what the process of breaking into TV writing is really like. Most of us who hope to break in will have to do something like they have done, (and are still in the process of doing).

You don't say what kind of work you're looking for. Most of the jobs available in TV writing are for staff writers on pre existing shows. The formula for getting a staff writer job is basically Really Good Specs + Really Good Connections + L.A. Address.

Most of the TV staff writers I've dealt with directly got started as writers assistants, and the competition for writers assistant jobs is fierce in and of itself. One common path among the people I know has been office PA > writer's assistant > script coordinator > staff writer.

Now, I've also dealt with showrunners who didn't come up through the ranks as staff writers. They wrote a hit feature film or two, wrote a pilot that caught on and the rest was history. That begs the question of how you go about selling a feature spec and get it made into a hit film.

People who've had great success in some other popular entertainment medium can cross over to tv and start on staff, or even create shows, but w/o that proven mass appeal, you have to fight your way up the ladder.

As a practical matter, it's unlikely that TV agents for the LA based industry will even talk to you if you're not in LA. What they're really looking for is someone who has excellent writing samples, original pilots and specs from hot shows, along with a well developed network of people in the industry. They want the network b/c the networks is what gets you work and keeps you in work.

[C.bronco]

:)
Thanks! I think I've got a pretty good treatment and am hoping to hook 'em with the concept. (It's a reality show, though I think that's really an oxymoron). I hope my logline will be enough to grab their attention, but then I'm delusional and optimistic.

[wordmonkey]

I make no recommendations or comments about this, but it might be worth looking at for TV writing.

http://www.scriptapalooza.com

I have considered entering this in the past, buthave never gotten around to it.