Frequently Asked Questions:

The Most Commonly Asked Marketing Questions

How are agents paid?
All franchised agents receive 10% of what the writer earns. These are agents who have subscribed to the Writers Guild of American Artists Managers Basic Agreement. They deal with studios and producers who are signatories of the guild. Only look for a franchised agent.

Do agents have reader fees?
Franchised agents cannot charge for reading scripts. They are looking at your material as a possible source of income for themselves and, therefore, have a personal interest at stake.

How do I find a list of franchised agents?
A list can be easily acquired by contacting the Writers Guild of America: http://www.wga.org

Do agents critique your work?
Rarely. Their interest is whether or not they can market your material—not where the material went wrong. Don't look for a detailed analysis from an agent.

Which is better: to sign with a small agency or a large agency?
Don't worry about whether the agency is small or large. What matters is the agent’s belief in you as a writer. It is most likely in the beginning that you will end up at a smaller agency. This can be an advantage, since, with the larger agencies, it is easier to get lost in the shuffle.

Does an agent keep me informed?
Yes. The writer should be made aware of each and every submission. If the agent does not offer this information, it is up to you to stay on top of the situation. Don’t be a nuisance, but do check in periodically and find out what’s going on. E-mail is useful this way.

What if I already have a literary agent?
If this agent does not handle film, then ask for a referral. Many literary agents have agreements with film agents, and they receive a finder's fee. A reference from a professional works wonders in getting your material read.

Can I use more than one film agent?
Once you make an agreement with an agent, you can only use that particular agent to represent your material.

Are there agents who handle both film and publishing?
Yes. If you are interested in working in both mediums, it might be advantageous for you to find an agent who deals with both. You can find these agents by looking them up in the Writers Market and other resource books.

What is an option?
An option is a fee that is paid by the studio or producer for movie or television rights to your script. In return, the writer promises not to shop the script anywhere else until the option period has expired.
Today, free options are becoming more and more common.  Some indie producers and smaller companies don’t have the money, but believe in the project and are willing to put in the time.  Last year I signed three free option agreements.  The average option runs six months to a year. If, during this time, the studio or production company decides to make the film, they package, develop, bring the finances together, and do everything needed to get the movie into production.

Can I submit my scripts to production companies without the help of an agent?
Yes. But first you must identify these production companies, where they are, and how to reach them. A book I find very helpful in is the Hollywood Creative Directory. This handy publication comes out quarterly and lists hundreds of independent producers, their addresses, and phone numbers. Many independent production companies will read unsolicited material.

Once my script is submitted, who will most likely read it?
Many production companies, as well as the larger agencies, have a screening process. That process begins in almost every instance with a reader. The reader is the first stop along the road to a studio or agent's recommendation, positive or negative.

What is the reader's job?
The reader, or story analyst, is the first screening process along the way. The reader's job is to read for executives who are too busy to do it themselves. A reader averages ten or more scripts per week.

How does the reader or story analyst go about evaluating my script?
Nearly all readers follow the same procedure. Their job is to supply coverage. That is, the front page of the reader's report lists the title of the property, who wrote it, the type of material, the length, and certain elements, if any, that stand out. In addition, a TV guideline, or a two-sentence logline is included and whether or not the reader recommends the material. The reader attaches a two-page synopsis to the script.

Can I begin the marketing process before my script is complete?
Yes, gain knowledge about the industry, but don’t attempt to start marketing a script before you are finished writing it. If someone wants to see your material and it's not ready, you could lose the contact and their interest by the time it is. What you can do is start preparing a marketing strategy. Read the industry trades and journals, go to conferences, and start accumulating names of possible contacts.

Exactly what are the trades?
The trades, as they are referred to by the industry, are the Daily Variety and the Hollywood Reporter. Both journals are delivered five working days a week. Literally everything a writer needs to know is listed here—from Hollywood gossip and finances, to what is in production, who is doing it, and where. Even productions scheduled for the future are listed. Since both journals cover the same information, it is only necessary to order one.

What I read in trades, I hear the word “turnaround” a lot. What exactly does that mean?
Turnaround is when a company owns a script or a piece of property, and in the contract it says after a certain amount of time the material reverts back to writer.   At that point the writer can take it out again to another company. Many movies get purchased in turnaround.

Is it true you need contacts to break into the industry?
There is no denying that contacts are a crucial part of breaking in. The good news is, contacts can be made at writer’s conferences, contests, and workshops. Your uncle does not have to own a studio.

Can I sell an idea?
It's very tough these days. Producers and companies want spec scripts; they don't want treatments and synopses.  There are exceptions to this, but they're rare. Robert Kosberg, who is considered the king of pitch, looks at ideas and, if they are hot, will pitch them for you. Go to his site at: http://www.moviepitch.com

When I submit the script, should I include a synopsis of the story?
No. This encourages readers not to read. You only need to submit a synopsis when one is requested. In the event that it is asked for, the writing must be tight (no more than one page), and should entice the reader to dive into the script.

Before submitting material to agents or production companies, should I send a query letter?
I tell writers not to send in scripts, but query letters instead.  The query letter needs to grab the reader so they say, "Yes, I want to take a look at this." Briefly introduce yourself, then go to work selling confidence in your material. Always try to come from a place of strength. If you've made previous contact with the individual, mention it. Nobody cares about how many degrees or children you have. But, if you are an authority on the topic you choose to write about, mention that (i.e., a police officer who has written a crime story, or a physician who has scripted a medical mystery).
If your script is high concept, give the logline. If it isn’t, point out the strengths in the material. Is it a star vehicle (does it have powerful roles for a male or female lead)? Is it a fresh idea? Is it timely? Will it reach a mass audience? Find words that will pique interest in your material.  Mention you will be contacting them with a follow-up phone call or e-mail. This leaves the ball in your hands. Wait three weeks and call or e-mail them. They probably won't have read it by then, but continue to contact them every few weeks until they do. Get to know the secretary's name, and ask for them. Secretaries are some of the most powerful people in the business. They can provide you with valuable information.

Do I need to send a self-addressed stamped envelope with my material?
I highly recommend you don’t send the script unless it is asked for. People get mad when they have to send back material on their dime, or even on your dime and have to take the time.

Do I submit my script to the production company, or to an individual who works for that company?
Never submit your script to a company. It will surely get lost in the mailroom. You need to get names out of the Hollywood Creative Directory or use the phone and get a name. This way, your script lands on someone’s desk. At that point, it may be referred to a reader. The trades will also mention individuals who work for production companies.

If an independent producer or company is interested in making a deal and I don't have an agent, what should I do?
   This is the ideal time to for you to find an agent. Ask the producer you are working with if they can recommend someone. This is a great way to get into a good agency. If that doesn’t work, you can use the serious interest to open doors and find somebody to rep you. Don't be greedy, and say, "Why should I give up ten percent of my fee when I'm the one who got the job?" Never try to negotiate your own deal.
A good agent is well worth 10% when it comes to finding loopholes. Remember, the agent wants what's best for you because it means more for them as well. The only viable alternative is an entertainment attorney. Be wary of their fees. You may not be saving money in the long run.

Do episodic television shows have readers?
No, this job belongs to the story editor. Many agents have readers, and baby agents sometimes read, eager to find new clients.  It is much more difficult to get a spec television script read than a two-hour movie script read. Most television shows will not read unsolicited material. It is crucial, therefore, to write a few spec scripts for various existing shows, and on their merit, find an agent who will go to bat for you.

How can I get my spec script to a company?
The best way is through an agent or a personal connection. Companies won't read unsolicited scripts. If you can't do this, then make a personal connection. Go to seminars and places where you can meet showrunners and talk to people in television.  Follow up those meetings with a note or a telephone call. Connections can be made.

How does a writer submit a pilot?
Write the spec pilot as a sample to show your originality, not with the intention of selling it. You should back this up with a couple of other specs to prove you can write for existing shows.  Agents will like this. It will show your voice and your versatility. Networks buy names, not ideas. They want writers with track records. They’re called showrunners.

How much money does a spec screenplay sell for?
It can go for as low as 30,000 dollars for movies under two million, and as high as six figures, but that is exceptionally rare. It happens when there is a bidding war. If you're interested in making big money, there are much easier ways to do it—take out a loan, go to Las Vegas and put your money on red. You have much better odds on roulette.

Can I mail in only a portion of my script to interest the reader?
Only do this when you are asked to. There are some agents who request only the first ten pages of your script, but this is rare. Never attempt to submit the first ten pages unless your script is complete. In the event that a reader or agent requests the rest of the material, be very certain you have it.

Should I get a professional critique, and how do I choose a script consultant?
This is a very good question. Yes. It is very important that you receive an in-depth critique before submission. Writers become too close to their material, and they need an outside opinion. Also, a good consultant can help take your material to a professional level. In an industry as competitive as this one, you definitely need an edge.
Consultants can be found on many sites and script writing magazines. Be sure when you contract these people, you understand what you are getting for your money. You don’t want coverage. You don’t need a synopsis of the story, a grade for your writing and somebody telling you what doesn’t work. You need a writer who has been there and done it, who knows how to get inside the material to fix it. That’s what I do, and so do many of my mentors, who I highly respect. Coverage is a different matter, and you're going to get that anyway, so you certainly shouldn't be paying for it.  Get your material right first.
There are some script consultants who are excellent, and some who should try another line of work.  Some are pricey; some you need to take out a second on your home for! Beware of anyone who promises you anything other than good work.

Is it a disadvantage to try to work and sell while living away from the Los Angeles area?
For those in episodic television, living in the area is almost a must because there are so many meetings. In features and TV movies, it can be done, but commuting gets expensive. The good news is, you can write specs anywhere. I know some very successful writers who feel the sacrifices are worth it. For now, don't worry about where you live. Worry about the quality of your material. After you get a sale, then make a choice.

If I sell my script, can I be guaranteed the movie or television show will get made?
No. Just because a sale takes place and money changes hands, there is no guarantee the television show or film will get made. Many reasons have nothing to do with the quality of the material. Don't fret—you have a legitimate credit anyway. You'll get paid, and it will pave the way to another job. It's disappointing, but at least you'll have made a hefty deposit.

If I made a low-budget film or demo short, would my chances be better at getting an agent than in writing a spec script?
If what you have is good, it can open doors, especially if you're interested in becoming a writer/director. There are many people in the industry who would rather watch a movie or short then read a script. The relevant word here is “good.” How good? And beware of the cost incurred. 

How can I become a member of the Writers Guild?
The guild works on a point system based on writing employment with a "signatory" company (a company that has signed the Guild's collective bargaining agreement). You must earn twenty-four credits for full membership, and there is an associate membership for writers with less credit, who meet other specifications. For details you can go to: http://www.wga.org

What if I disagree with the notes my agent and producers give me?
This could be a problem.  The agent has to believe in your material in order to sell it. You better be very sure it's not your ego and stubbornness getting in the way.  Many times I've been given notes I didn't like, and I was able to adjust the material and tweak it in ways that made us both happy.  Often agents and producers know something’s not working, but are not able to communicate what it is, or how to fix it. So  writers have to interpret.  My advice is, find the best way you can to deal with their notes.  Discuss, negotiate, suggest, ask “what if?”  Do whatever you can if you plan on getting invited back.

Once my script is complete, should I spend the majority of my time marketing, or should I begin another project?
Begin another project. Under all circumstances, you must continue to write. A well-written script is an excellent calling card, but it's often not enough. Write! Write! Write! It's inevitable that production companies will want to see more.