Reader Question: How do I get my screenplay into the marketplace?
From Nick West:
I’m a starving artist/writer. I’ve had steady work for about a year now but the pay isn’t exactly of the rock star caliber. I think I’ve built a decent resume and I’m wrapping up the first draft of my first screenplay. I’ve already paid my dues in writing comics, so I think I got most of my shitty novice stuff out of the ol’ system. The screenplay is a story I really believe in.
So the question is: How do I get my script out into the world without spending money I don’t have on say, the Sundance Director’s Workshop or a screenwriter pro class; like Lew Hunter’s or your course Scott? Don’t get me wrong, I’d love to take one of those classes — I have so much yet to learn but damn, I’m still a blue-collar guy.
How do I promote my script without being a) seen as an amateur to be ignored, and b) seen as that annoying asshole with a script?
Funny you should ask, Nick. I just got an email the other day from a GITS reader who quoted advice I had posted on GITS back in July re this very subject. Here’s what I said:
Another approach is more of a direct strategy. Create a list of mid-level agencies and managers. Draft a letter of inquiry about your script. Then blanket these outfits with your letter. Most of your letters will likely go unanswered. But some of them will generate a response. “We don’t accept unsolicited material.” To be expected.
However if at the bottom of that letter, there is an actual name of an actual person who works at the agency or management firm, typically an assistant, then you’ve created a crack in the Hwood Fortress.
You call the agency or management company and ask for the assistant by name. This may take several messages to get them to return your call. But if you’re persistent enough… and important note — very nice — eventually they will call you back.
When they do, you explain — very nicely — how you wrote them a letter of inquiry and you thank them for being kind enough to respond. This is where your skills as a human being come in handy. You try to warm up this person. Engage them in any way you can. Just keep them talking. Keep the chat brief. Don’t be pushy. But make sure you get across three points:
1. You think you have written a great script.
2. You’re willing to sign a waiver-release form.
3. Is there anybody there — a new agent, a young manager, an assistant — who would be wiling to read your script?
They’ll probably say no. You say thanks, then hang up. And call them back — very nicely — in another week. Then another week… and another week.
Each time you ask — very nicely — if there’s any one who would be willing to read your script.
Eventually you’ll get one person to agree. And if you can get just one person to say yes… one person who responds positively to your persistence and ‘very nice-itude’… then you’ve cracked the wall.
From this point on, any other agent, manager, or lawyer you call, you can honestly say, “Hey, Such-And-Such Management Company is reading my script. Could I send it to you?”
By using that advice, this writer just got an in with a major Hollywood management company.
It just requires patience and persistence. If you want some names of agents and managers who traffic in spec scripts, you can go here to see my end of year analysis of the spec script market for the last three years:
Agents & Managers [2008]
Agents & Managers [2009]
Agents & Managers [2010]
Then use Google to find out contact information, then start writing letters and making calls.
Note: The only cost of this approach is stamps and long distance charges for phone calls.
You may feel nervous reaching out to Hollywood types. But here’s the deal: Managers want to find great scripts, want to find new talent, fresh voices. So if you’ve written a great script, you are actually doing them a favor by reaching out.
Besides people in L.A. are used to writers promoting their script, so you’ll only come off as annoying if you are… you know… actually annoying.
Re “being seen as an amateur”: Every professional writer was an amateur at some point. Agents and managers know this. In fact, most reps I know actually like working with new talent as it gives them a chance to groom a writer’s career.
Finally in terms of Screenwriting Master Class: Tom and I are well aware of economic considerations for aspiring writers. So beginning in April, we are launching 1-week Craft courses which cost $95 and 2-week Prep: Character Development courses which cost $195. For more information, go here.