Archive for Agents
The key to selling your screenplay is getting the right people to read it. They key to getting the right people to read it is to be creative in your approach (the traditional ones are used by everybody and they clog up the system and tend not to get through). The key to being more creative is to steal, uh, I mean adapt, ideas from other fields.
For example, take the Underground Book Club. They are distributing hard copies of the first three chapters of various books at major London train stations during the busiest commuting hours. The hope is that instead of reading their newspapers or work reports, commuters will sample these books and then want to buy some of them in order to read the rest. The samples are also available online.
Does that give you any ideas? First let’s look at the principles behind the effort:
- Find out where your target market is and go there.
- Give them something new, different, interesting
- Create a desire to take the next step—the one that earns you some money
- Make it easy to take that step
So….your target market is agents and producers. Where could you find them? Perhaps at conferences and film festivals, for instance. Could you give them something on their way in or out? If so, do it on public property, because the organizers of the event are unlikely to let you do it on their patch.
What could you give them? They won’t take a script, but maybe a pitch in the form of a graphic novel page.
The next step you want them to take is to ask to read your script and if your ‘taster’ is intriguing enough they will. You could include a simple to remember email address for them to use. If it’s a producer who says they’ll read it only via an agent, now you have a nice hook with which to approach an agent: “Producer X has expressed interest in reading my script but only if it’s submitted via an agent. Would you be willing to submit it?” They’re much more liable to do that when a producer has already asked to read it.
If this idea doesn’t appeal to you…come up with one of your own! The idea is to apply your creativity to marketing what you write, as well as to writing.
(You’ll find plenty of additional ideas about marketing your work, in my book “Your Writing Coach.” You can get it from Amazon or your other favorite bookseller. You may also want to check out “Do Something Different,” published by Virgin Books with an introduction by Richard Branson. It includes 100 case studies of how people marketed their products inexpensively and creatively.)
Recently Adam Singolda, CEO of Taboola, shared some tips for video marketers and it struck me that they are valuable for writers as well. His overall theme was “It’s all about ‘do,’ run a small pilot, get some data, fail multiple times, and get better.”
Singolda mentions “the beauty of failing.” His point is that typically we learn more from failing than from succeeding. This is a view that sounds great, but feels terrible. I think we have to get over the feeling (I’m working on it…) before we can embrace this perspective.
On a practical level, one thing it means is to leave behind the old school idea that we approach one publisher or one producer, or one potential buyer or service provider of any kind at a time. That was the “ladies and gentlemen” school of getting published. It’s over. When your project is ready, get it out there to a batch of potential buyers (or agents). You won’t hear back from most of them. Rude? Yes, by my standards, but standards have changed.
But what if more than one agent wants to represent you? Or what if more than one publisher wants to publish your book or more than one producer wants to buy your screenplay? You should be so lucky. Then you go with the one who offers you the best deal. Will the ‘loser’ be mad at you? Is it rude? Maybe. They’ll get over it.
In my recent interview with Jason Brubaker (of www.FilmMakingStuff.com), he asked the best way to take advantage of the situation when you get a chance to talk to somebody in the business and how that led to my first break when I was starting out as a scriptwriter in Hollywood. Here’s what I said:
The key was never to ask the people for direct help. In other words, if you are talking to an agent, I wouldn’t say, “Will you be my agent?`’ The way it actually worked was I was doing an interview for my newsletter with a young director named Charlie Matthau, Walter Matthau’s son. He was just starting out and I had a second-hand introduction to him. At the end of that interview I said, “I assume you work with agents because you look for scripts”, and he said, “Oh yeah.” I said, ”‘Have you encountered any newer agents who might be open to new clients? You know, guys who are just starting out themselves?” And he said, “Yes, there are a couple of them. I’ll give you their names and phone numbers. You can tell them I sent you.” It was very generous of him.
The first one I contacted asked me to send him a sample of my work, but he didn’t care for it. The second one did. He said, “I’ll represent you on this project.” He didn’t want to sign me up right away. But he said, “If we get somewhere I’ll sign you as a full-time client.” And that was eventually what he did. Getting an agent to represent you is one of the big breaks, and it was the thing that got me started.
***These days there are opportunities to connect with people online as well as in person, which is great for people who don’t live in Los Angeles. The principle remains the same, though–try not to ask them for direct favors, but rather indirect ones.