The problem facing new screenwriters is that most successful agents don't solicit clients without track records. My main recommendation to new screenwriters is that you don't necessarily need an agent or manager to get started, which is why my book is titled Selling Yourself as a Scriptwriter in Hollywood. Each local office of the BBB keeps complaint files for three years and will share complaint information. Also, it's prudent to check with the Better Business Bureau in the agent's city. If complaints come in regarding a particular agent, the WGA Agency Department will report those to you if you ask. While the Writers Guild won't advise as to which agents are good, they do maintain files on agents. There are also several comprehensive agent directories commercially available from the Writers Store. These opportunities principally serve as foundation builders, but if new screenwriters feel the need for an agent to guide them into their new career, they can start by contacting the Agency Department of the Writers Guild of America, the screenwriter's union, for a list of signatory agents. I advise screenwriters everywhere to check with their state's film office every state has one. Since so many films shoot as runaway productions, there are opportunities throughout the country to work as either a production assistant or as an extra. Read the weekly pre-production and production reports in Daily Variety and Hollywood Reporter. It also helps you to absorb the industry jargon.Įven if a writer doesn't live near Hollywood, but is flexible in regard to work schedule and wants to build a foundation of knowledge of the industry, there are occasions to work on location. Extra work puts you in the middle of absolutely everything, and this gives you a terrific opportunity to talk to people about what they do and who they know in the movie industry. I think it may be informative to sign with Central Casting for occasional employment as a non-union waiver extra on motion pictures and network television shoots. And production assistants buy the producer's paperclips and lunch - every day. Mailroom people get to know everybody at an agency - they're in their offices every day. Nothing ventured, nothing gained.Ī new writer seeking contacts and insider knowledge might find it advantageous to work an entry-level industry job - it helps pay the bills while waiting for that big break. If you don't have a specific project you are marketing and are unsure what to say, ask for a job. If you don't know anybody, call production companies and talent agencies. Talk one-on-one with people already working in some aspect of the Hollywood motion picture industry - that's called networking. Which is why a new screenwriter, by necessity, needs to become an entrepreneurial screenwriter. You may very well find it is more difficult to contract with a reputable agent or manager than it is to option your screenplay with a producer or director. I advise new writers to freely ask questions because, by asking questions, they start to acquire their own contacts and become open to the reality of the Hollywood literary marketplace. And keep in mind that most producers' assistants are producer wannabes, so position your self to ride their coattails. Make nice with the producer's assistant, and the producer's assistant will make nice with you. They are mostly called producer's assistants, and they can be your best buddy in the whole, wide, celluloid world. Nobody in Hollywood has a secretary anymore. Agents talk to producers - writers can talk to the producer's assistant. Agents telephone people - writers can telephone people. Agents, for instance, submit log lines - writers can submit log lines. Although agents are sales representatives with contacts that new screenwriters don't have, they also do many things writers can do for themselves. Agents aren't really necessary as you begin your screenwriting career.
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