Has anyone here actually gotten an agent off of a query letter?

[cynicallad]

And if so who was it/what did they do for you?

I've never sent a letter, and I've always thought of them as some sort of bizarre idol that people pin their hopes on in the unrealistic hope of a generous bounty.

[icerose]

I don't see agents as an idol at all. I see them as having to access to every studio I don't. The vast majority of studios and publishers are closed to submissions, about the only way to submit to them is through an agent which makes them desirable to have.

[zagoraz]

Got mine through Inktip's preferred newsletter service. First query I ever sent through them. Total fluke. Hey, whatever works.

[cynicallad]

Got mine through Inktip's preferred newsletter service. First query I ever sent through them. Total fluke. Hey, whatever works.

That's cool - who'd you get?

[clockwork]

I got my agent from querying. A long, hard process but ultimately worthwhile. Through the agency I was able to get into places I would have ordinarily had zero or very limited access to. Ironically now, I'm in a position where the people I've met prefer to receive emails and calls from me rather than the agent (they want to hear me say how much I like my script, not hear how much the agent likes it) and the agent is sort of becoming redundant.

[similan]

So InkTip works then? Gonna give them a try since they're the only one I can afford.

[giftedrhonda]

I got my agent through querying, too.

[clockwork]

So InkTip works then? Gonna give them a try since they're the only one I can afford.

Inktip can work but you've got to be realistic. You have to put scripts up that small independent production companies can make with low budgets. I'm sure the big boys patrol from time to time but based on my experience of the place, I'd stick to smaller projects. YMMV

[zagoraz]

That's cool - who'd you get?

My agent is boutique and based in New York.

I actually didn't have any luck with Inktip's main service. My script got a few requests but nothing ever materialized. It was the preferred newsletter, which gives you 6-8 leads a week, that got me the agent. It's just like anything else, there's no guarantees, but what have you got to lose? It cost me $25 to get my agent. Who wouldn't pay that?

[Rainy Night]

My agent is boutique and based in New York.

I actually didn't have any luck with Inktip's main service. My script got a few requests but nothing ever materialized. It was the preferred newsletter, which gives you 6-8 leads a week, that got me the agent. It's just like anything else, there's no guarantees, but what have you got to lose? It cost me $25 to get my agent. Who wouldn't pay that?

How does the Prefered Newsletter work? Do you list your loglines in it?

[zagoraz]

How does the Prefered Newsletter work? Do you list your loglines in it?

Rainy,

No. That's the magazine. I never have done that. The newsletter is just an e-mail with leads in it. If you have a script that matches one of the leads, you can query the producer/agent/whatever through Inktip with a special code that Inktip gives you. If the producer likes the query, they can request the script. If they like the script, they can take it further. That's what happened to me.

[Joe Calabrese]

I got a manager once through a letter.

[zahra]

Got my agent from a query - well, in UK a cover letter with ten pages. Don't know if that counts. He got me into a 'new TV writers' scheme, and a couple of good meetings with TV companies.

[NikeeGoddess]

How does the Prefered Newsletter work? Do you list your loglines in it?
this newsletter provides you with a small list of producers telling you exactly what they're looking for. it's the information most needed to find someone who's looking for what you have.

they're very specific. ie - we're looking for a horror script starring a 12 year old girl and her father from a writer with Canadian citizenship OR we're looking for a spiritual and uplifting story set in the South. They're not all so tough as this but if you have a rare gem this is the place to find your match.

[Hillgate]

And if so who was it/what did they do for you?

I've never sent a letter, and I've always thought of them as some sort of bizarre idol that people pin their hopes on in the unrealistic hope of a generous bounty.

Get something bought/made and then get your agent! Difficult I know, but I think it's nearly as difficult to get a good screenplay agent (like CAA or WMA) as it is getting a film made: possibly more difficult. It's all on results. Go for it!!! Query prodcos and don't be shy!!:)

[David Wisehart]

When I was in film school I got an agent from a query letter. He sent my first script around, optioned it for a pittance, the option expired, and he lost interest.

We parted amicably.

Later, with a different script, I got another agent because a friend loved my script and gave it to an independent producer, who loved my script and gave it to an entertainment attorney, who loved my script and gave it to an agent at CAA, who loved my script and sent it out to a dozen production companies that all loved my script and didn't buy it.

My agent lost interest and we parted amicably.

[similan]

Inktip can work but you've got to be realistic. You have to put scripts up that small independent production companies can make with low budgets. I'm sure the big boys patrol from time to time but based on my experience of the place, I'd stick to smaller projects. YMMV

Thanks, clock_work9.

Umm...one more stupid question. How does someone get a prodcos address and names of people in charge of reading scripts?

[zahra]

I got my agent from querying. A long, hard process but ultimately worthwhile. Through the agency I was able to get into places I would have ordinarily had zero or very limited access to. Ironically now, I'm in a position where the people I've met prefer to receive emails and calls from me rather than the agent (they want to hear me say how much I like my script, not hear how much the agent likes it) and the agent is sort of becoming redundant.
The thing I wish I'd known when I did have an agent is how much you should still be pushing for yourself.

[clockwork]

The thing I wish I'd known when I did have an agent is how much you should still be pushing for yourself.

Tell me about it. A good agent does a fantastic job but you really have to work twice as hard to promote yourself once you have one because there are so many new opportunities to do so. As I say, I'm in the fortunate position of being able to email people without the agent but it's a full time gig. Especially when you consider how quickly and frequently people move around in the industry. I just found out today a great producer I've met a couple of times that I really hit it off with is leaving his job for a new gig in Wales.

[clockwork]

Thanks, clock_work9.

Umm...one more stupid question. How does someone get a prodcos address and names of people in charge of reading scripts?

Find the company's website, you can get the address from there. Then call them up or fire off an email asking who you may submit an unsolicited query to. I'm sorry to say that nine times out of ten (in the UK at least) you will be told that they only read material submitted through an agency. The BBC is a noteable exception.

[similan]

Find the company's website, you can get the address from there. Then call them up or fire off an email asking who you may submit an unsolicited query to. I'm sorry to say that nine times out of ten (in the UK at least) you will be told that they only read material submitted through an agency. The BBC is a noteable exception.

Ahh...I thought there is a listing.

Thank you. I'll do just that.

peace...

[cynicallad]

Okay, follow up question - did the agent you got get you any deals?

[cynicallad]

So yeah, my point with this is query letters are basically a waste of time. People like talking about Harmony Korinne and whoever else, but there's not a great track record of people getting both representation and a deal through queries, especially not in the last couple years.

[clockwork]

I have absolutely no idea what the stats are for people securing agents and subsequent deals from query letters, nor do I care. This business is entirely atypical - what happens over the fence or down the road does not guarantee standardised results at your house in any way so there’s little value in making generalised statements.

I can only tell you what worked for me based on where I am now. In three weeks I'm going to London to pitch ideas and deliver scripts to Intermedia, Working Title, Material Entertainment (UK arm of New Line Cinema), World Productions (UK TV company) and, as yet to be confirmed, DNA Films, Sky TV and Dan Films - though my contact there is leaving so we'll have to see.

From what I can figure, my work is well-received, I get to pitch to the best of the best, my calls and emails get answered and it only seems to be getting better and better. I established all of these contacts through my agent who I secured with a query letter. So yeah, you can see what an utter waste of time that was.

Agent ≠ instant deal. Agents don’t get deals, they negotiate them. It’s up to the writer to charm the money out of producers via the script and the pitch. All having an agent really means is that you get to go into places you wouldn't have before and that you have to work twice as hard - a; to keep the product flowing and b; to maintain whatever contacts you establish.

Deals are insanely difficult to get for new writers but I’m far closer to making one since getting an agent than I was without. That won’t be true for everyone but, again, I refer you to what I said at the beginning – the business is atypical.

I promise that nobody will ever force you to query against your will and I don't think I or anybody else will be able to convince you about this one way or the other. But as far as I'm concerned, it worked and was worth it.

Get a hold of The First Time I Got Paid For It if you haven’t already. It’s the story of fifty writers and their first paying gigs – all of them as different from each other as chalk and cheese.

Bottom line: do what you think will work for you.

[zahra]

Chris, Working Title and World TV are the two TV companies who I had meetings with. They were great, and I can still send them stuff even though I no longer have an agent. Good luck.

[clockwork]

Ah, neat. I love going in to Working Title but the first two times I went in, both of the people I saw left shortly afterwards. If it happens again this time, I'm going to start taking it personally.

And World is lovely. I was invited to go in there "for a cup of tea" off a cold query before I even had an agent so I've got a bit of a soft spot for them.

[cynicallad]

I have absolutely no idea what the stats are for people securing agents and subsequent deals from query letters, nor do I care. This business is entirely atypical - what happens over the fence or down the road does not guarantee standardised results at your house in any way so there’s little value in making generalised statements.

I can only tell you what worked for me based on where I am now. In three weeks I'm going to London to pitch ideas and deliver scripts to Intermedia, Working Title, Material Entertainment (UK arm of New Line Cinema), World Productions (UK TV company) and, as yet to be confirmed, DNA Films, Sky TV and Dan Films - though my contact there is leaving so we'll have to see.

From what I can figure, my work is well-received, I get to pitch to the best of the best, my calls and emails get answered and it only seems to be getting better and better. I established all of these contacts through my agent who I secured with a query letter. So yeah, you can see what an utter waste of time that was.

Agent ≠ instant deal. Agents don’t get deals, they negotiate them. It’s up to the writer to charm the money out of producers via the script and the pitch. All having an agent really means is that you get to go into places you wouldn't have before and that you have to work twice as hard - a; to keep the product flowing and b; to maintain whatever contacts you establish.

Deals are insanely difficult to get for new writers but I’m far closer to making one since getting an agent than I was without. That won’t be true for everyone but, again, I refer you to what I said at the beginning – the business is atypical.

I promise that nobody will ever force you to query against your will and I don't think I or anybody else will be able to convince you about this one way or the other. But as far as I'm concerned, it worked and was worth it.

Get a hold of The First Time I Got Paid For It if you haven’t already. It’s the story of fifty writers and their first paying gigs – all of them as different from each other as chalk and cheese.

Bottom line: do what you think will work for you.

First off, let me commend you on your progress, which is admirable and exceptional. That's not remotely in dispute.

The problem with THE FIRST TIME... is that it's the product of an editorial decision to find different stories. I'm sure there were a number of stories that went: I was an assistant in the writers room until they made me a story editor. Two short years later I wrote an episode. So yes, there are a number of ways in, but a large number of them are idiosyncratic.

As for generalized statements, there are a number of rules of thumb in the industry, whether they're generalized statements or helpful guidelines is more a matter of spin control.

I guess my largest problem is with this statement: I have absolutely no idea what the stats are for people securing agents and subsequent deals from query letters, nor do I care. This business is entirely atypical - what happens over the fence or down the road does not guarantee standardised results at your house in any way so there’s little value in making generalised statements.

Of course there are no guarantees, but professionals play the odds so that they'll have the best chance of success - for instance, I have a number of personal guidelines that I follow before submitting a script, I wouldn't be surprised if you did to.

Even if there is no right way, there are a number of wrong ways, for example, this: http://www.defamer.com.au/2007/08/nutritionistscreenwriter_helps.html

[similan]

I have a number of personal guidelines that I follow before submitting a script, I wouldn't be surprised if you did to.



Would you mind sharing them? If not, it's ok.

thanks

[NikeeGoddess]

Would you mind sharing them?
no, please don't. it's obvious that cyn is extremely jaded by the querying process. it's quite possible that he's not doing it to the best of his advantage. why take advice from someone like that?!

know that every production co., mgmt. co., or agent has their own specific guideline for submitting. ie - email, snailmail, via their website, etc... find out who they are and do it their way. there are many available resources* to find this information. many people just go out blind fishing and send out 100 identical queries to the masses. treat it like you would when looking for a job... not just any job - that great dream job! be selective and personal with each query.

*call them directly and ask
screenwriting magazines
moviebytes
inktip
scriptpimp
their website

[clockwork]

The problem with THE FIRST TIME... is that it's the product of an editorial decision to find different stories. I'm sure there were a number of stories that went: I was an assistant in the writers room until they made me a story editor. Two short years later I wrote an episode. So yes, there are a number of ways in, but a large number of them are idiosyncratic.

Well, yes. The book exists purely for novelty purposes and certainly isn't a how-to guide but it is a useful illustrator of how varied and diffident the opportunities are for screenwriters.

As for generalized statements, there are a number of rules of thumb in the industry, whether they're generalized statements or helpful guidelines is more a matter of spin control. I really meant statements like...

query letters are basically a waste of timeTo me, that's a generalised statement and although I'm sure it's your true opinion (as you are perfectly entitled to have) I don't think it's fully representative. Getting an agent from a query is very difficult, no argument there. But I did it and about three other replies to this thread claim to have done it. I know two further people in London. I don't think any of them consider it a waste of time and I guess that particular wording just bugged me.

I guess my largest problem is with this statement: I have absolutely no idea what the stats are for people securing agents and subsequent deals from query letters, nor do I care. This business is entirely atypical - what happens over the fence or down the road does not guarantee standardised results at your house in any way so there’s little value in making generalised statements.

Of course there are no guarantees, but professionals play the odds so that they'll have the best chance of success - for instance, I have a number of personal guidelines that I follow before submitting a script, I wouldn't be surprised if you did to. Again, I was specifically referring to query letters here. Just because Bill and Fred got agents from querying doesn't mean I will. But conversely, just because Bill, Fred, Jon, Dave, Tom, Jim and fifty others didn't get agents from querying doesn't mean I won't.

It goes back to what you were saying here--

there's not a great track record of people getting both representation and a deal through queries, especially not in the last couple years.You see, I simply wouldn't concern myself with things like that. The only person I'm worried about is me and although I have no idea what those numbers are, I have a feeling they'd be higher than you'd expect.

Querying is the absolute bottom rung of trying to start your screenwriting career. It's cold, it's impersonal, it's ridiculously fragile but it can and does work. I heard all kinds of horror stories when querying but it didn't put me off enough to stop because I was determined that this was what I really wanted. The old adage that it's about 'who you know' is true but I didn't know anyone. My opinion now is that it's more like, 1% who you know, 1% what you know and 98% how badly you want it.

[J. Holmes]

I think it's important also not to get hung up on just getting an agent, but also ensure that the agents you're approaching with your material are actually going to work and be a good fit for you. When I secured my first agent I was so impressed with myself for getting at all I didn't stop to think if she was any good and she wasn't...at all. In fact, it seems everytime I talked with her she was drinking wine and not sure of how to approach certain places on my behalf. Finally, after about a year of not knowing better I cut her loose. That was a scary moment, because on one side you're thinking here you have an agent, but on the other hand you know she's not really doing anything anyway...nervous time for a young guy trying to get paid. Of course that was about 15 years ago. I just kow that so many writers are happy to get feedback at all from any agents. It's tough and very frustrating, but agents that are a good fit for you can and ususally do get you through doors that you otherwise wouldn't be able to. I just think it's good to grab an agent that you can get along with easily, talk with easily, and who is interested in your work. It takes a lot of homework and a lot of sends (queries) but getting the right agent is everything.