Reader Question: How should I query Hollywood agents if I live outside the U.S.?

Question from Marc:

One of these tiny little questions that nag at me is if one can register a script with the WGA from outside the US (i.e. Europe). And is it even worth a try to send a query out to agents etc. or does it end up in the circular file immediately when they see a foreign address on the envelope.

If so, is there a trick to “fake” a US address, like using a P.O. box or the likes.

Thanks for offering a new round of reader questions. It is always valuable information.

First off, go here to read an entertainment lawyer’s take on why WGA script registration is essentially meaningless.

Re how to approach reps in the U.S. if you’re an internationally based writer: Marc, as much as I understand your thinking, I would definitely not recommend attempting to fake out a potential agent or manager as deceit is not the best way to start that type of relationship. Save the lying for later when your professional relationship starts to go south!

[FYI, the last remark was a joke].

Before we go any further, are you aware that two spec scripts sold just this month by European-based writers?

“The Last Witness” — a writer living in Denmark

“The Slackfi Project” — a writer living in England

So while there may be a few more hurdles for a non-U.S. based writer to overcome, it’s not an insurmountable situation. A great script is a great script wherever its point of origin. Besides how could someone in Hollywood tell the difference between a script emailed from Beverly Hills and one emailed from Botswana? It’s just another entry in an e-mailbox.

It all comes down to what’s on the page. That’s pretty much all that counts.

Now if you sell your spec script, you would certainly have to be willing to travel to L.A. for meetings. And depending upon how much work you get, relocating is likely the smart thing to do.

But there are plenty of professional screenwriters who live in other parts of the U.S. and as far as anybody in Hollywood is concerned, if you live in Texas, Maine or Florida, you may as well live in Botswana. Hell, Angelinos think Santa Barbara is far away.

My advice: Don’t worry about where you live. Just write the best damn script possible. Besides in my experience, people who work in Hollywood are intrigued by actual writers who live outside the 101–405–10–110 bubble. In the end, the specific cultural environment in which you live may be to your advantage, especially if it contributes to you having a unique, fresh voice in your pages.

I know GITS has many readers who live outside the United States. If you feel like weighing in on the subject, please do.

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