representation

Finish line crossed. On to the next one

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It might not be too far-fetched to say there were more than a few times I thought this day would never come, but it did.

It took a while, but yours truly can now honestly and proudly proclaim to be

A WRITER WITH REPRESENTATION

(insert triumphant fanfare here)

I recently signed with a manager who really likes my writing and is incredibly eager to help me establish a career as a working screenwriter.

I’d connected with him on LinkedIn after responding to a listing asking for scripts to review and potentially promote. I sent the fantasy-comedy. He and his team really liked it. Their notes and comments are buried somewhere in my laptop’s digital folder for the script.

This led to several back and forth emails and lengthy Zoom calls. He wanted to know more about me, my writing, my goals, career plans, etc. I also got to know more about him and his background (started as a producer, sold the company and switched to managing).

He liked my work and what I had to say, both in my writing and as a writer. A little more back and forth, a revised contract, and voila.

I am officially a repped writer.

Fantastic as it is to say that, I’ve no plans to kick back and take it easy. On the contrary. Bigger and more challenging goals of getting my scripts out there await, along with continuing work on new projects.

And I am ready like you wouldn’t believe to take on all of it.

I would also like to add that I am truly overwhelmed and incredibly humbled by all the positive and supportive comments and notes of congratulations I received from across social media. That kind of support and encouragement means a lot, and I am very grateful for it.

There’s a lot more to this than writing

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As screenwriters, we’re always trying to hone and develop our writing skills. But how prepared are you for what comes after your script’s written and ready to go?

How familiar are you with the business aspect of “show business”? Maybe you’re thinking “I’ll get an entertainment attorney and let them handle it.” But how do you find the attorney that’s right for you?

Or “All I need to do is write and have my rep deal with all that other stuff.” What if you don’t have a rep and somebody comes along with an offer?

A screenwriter (or TV writer) needs to know these things.

I had the good fortune earlier this year to interview Kaia Alexander as part of the San Francisco Writers Conference. We covered multiple topics about being a screenwriter, including finding your “wolfpack”, to making and maintaining professional connections, how to determine your brand as a writer, and the do’s and don’ts of pitching.

If you’re serious about a career in screenwriting or TV, and these sound like the sort of things you’d like to learn more about, you should look into enrolling Kaia’s upcoming summer session of the Entertainment Business School.

The program begins on August 5th and runs for 9 weeks. Among the other topics covered:

-How studios and streamers make buying decisions
-How attachments work and how to get them
-How to pitch to buyers and reps
-How to network and build your community
-How to get producers for your projects
-The way the industry is changing
-How to negotiate like a pro and not leave money on the table
-Film financing and where to find investors, and how to vet them
-The roles of managers, agents, entertainment attorneys, publicists, producers, and development execs
-Entertainment business etiquette do’s and don’ts
-How to think about budgets

Enrollment opens next week – June 28, through July 28. There are two tiers: Balcony and Orchestra. Both include all access to what EBS has to offer, but Orchestra includes some personalized coaching from Kaia and is limited to 24 students.

One caveat: students who move forward from the application will go to a 1-1 Interview with Kaia. Not all students who apply will be accepted.

Kaia is also offering a special discount for readers of this blog: use the code PZ50S24 to get $50 off the enrollment fee. This code is only valid until July 28, which will be here before you know it, so don’t wait to sign up.

I know several writers who’ve taken the EBS courses and have been quite thrilled with the results. This is a great opportunity for any writer, and I hope you take advantage of it.

And feel free to tell Kaia I sent you.

Outlook: turbulent

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Back in January, I’d connected with a repped TV writer who offered to read one of my scripts. I sent it, and promptly forgot about it.

Jump ahead two months. I ask if they’d had a chance to read the script. Turns out they did and not only did they love it, asked if I’d be open to them passing it along to their reps.

Like I’m gonna say no to that?

This writer also mentioned they’d submitted scripts from other friends and acquaintances before, only to be turned down (it’s a BIG firm), so I should be aware my chances of getting through were quite, quite small.

My response – “Totally fine. I appreciate you giving it a try, and will check back in a few months if I don’t hear from you.”

I set a calendar reminder and again promptly forgot about it.

Earlier this week, the reminder pops up. Since I hadn’t heard anything, I assumed it was a pass. No big deal. Still happy to have even gotten that far. There was also the possibility they just hadn’t got to it yet. I get that. I’m not a priority. Just to be sure, I emailed the writer.

The response:

“Sorry for the delayed follow-up. The truth is, it’s not that they aren’t interested; they just haven’t read it. The industry is struggling right now, and agents are swamped trying to find work for their current clients. They simply don’t have the time to consider potential new clients at the moment. Some reps are even being let go or leaving on their own.”

Naturally, a bit disappointing, but also not surprising.

These are uncertain times, chums.

Not only are reps being let go, others are trimming their rosters – although I have seen a few writers getting repped, so there is that silver lining.

Summer movies that seem like slam-dunks are underperforming at the box office.

Studios are drastically cutting back on their output.

More than a few times I’ve heard or read somebody using the phrase “stay alive until ’25!”. In other words, do what you can to hang in there until next year – when things might start to pick up. Emphasis on ‘might’.

Last year’s strikes may have contributed to all of this, but they weren’t the only factors. Things are just different now, and from my perspective seems like everybody is struggling to adapt and nobody has any solid idea how to do that. The harsh reality that some people don’t mind waiting a few months, or even weeks now, for something currently in theaters to switch to streaming is causing a lot of headaches.

Also not helping – studios looking at AI to help cut production costs. That certainly doesn’t bode well, for writers or for anybody behind the scenes.

From somebody in my position – just trying to break in seems even tougher now. The industry is being much more selective. It’s getting tougher to get your script noticed – my experience, anyway. Seeing lots of mentions of them wanting pre-existing IP, so not as much attention being paid to original stuff. Another challenge.

Sometimes it’s like the universe is determined to make any progress for somebody like me as difficult and as insurmountable as possible.

But like a lot of you, I’m stubborn as all get out, and not easily deterred. All I can do is keep trying, keep writing, make connections and establish relationships, and hope for the best.

I like to think things will eventually start to improve in some capacity. No idea when, but it’ll happen. Probably a safe bet to say it’ll be bumpy on the way there.

Just another storm for us to endure.

From the archives: A support staff of one

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At least you’re a shoo-in for Employee of the Month

Been busier than expected the past few weeks with a lot of things related to my scripts: learning how to put a pitch deck together, commissioning concept art, and getting the ball rolling on the crowdfunding campaign for the short film.

Although exhausting (and admittedly eating into my time to actually write), it’s all necessary to help move things along. It also reminded me of the sentiment expressed in this post from May 2016.

Enjoy.

When it all comes down to it, you know who’s going to do the most to help you and your career?

That’s right. You. Nobody else.

Sure, there will be others who might be able to give you a helping hand now and then, but the responsibility of getting stuff done falls squarely on your shoulders.

This goes beyond just writing and honing your craft. You need to build up your network. Establish connections. Get to know people. Chances are a majority of these will be online and via social media.

Seeking representation or someone who might be receptive to your script? Do your research. Find out who’s looking for what. (And for crying out loud, DO NOT take the “Does somebody have a list I could use?” route.)

“But I’ve got no time to do all that!” you might protest.

Of course you do.

The key element here is time management. You already set aside time to write, don’t you? Well, you have to do the same for everything else. If you can devote part of your day to work on your script, then there’s no reason you can’t dedicate a few minutes to focus on your career.

A surefire way to give yourself more time – stay away from casual websurfing, or at least ration it. So much online material is nothing but a big time-sucking rabbit hole. “Just five more minutes” can easily turn into “Where’d that hour go?” Funny videos are all well and good, but probably won’t do much to help you get your career going.

On Twitter? Connect with 5 people a day. Interact with them. Ask about their projects. Make it about them, not you. If they ask about you and yours, keep it simple. Don’t overwhelm them with details.

Part of some online community forums? Take part. Ask questions. Start discussions. Get to know the other members. A lot of these folks will probably have more experience than you, so learn as much as you can. Very important – don’t be a troll.

Is there a professional writer out there whose work you admire? Send them a note saying just that. DO NOT ask for any favors right out of the gate. Establish a relationship. You’ll eventually know if they’re open to helping you. Sometimes they might even offer it without you asking. It happens.

All of these are going to take time to not only accomplish, but also to develop. Be patient. It will take time. You wouldn’t rush through getting your script done, so apply that same logic to developing and advancing your career.

It’s all on you, so make the most of it.

Looking back, looking forward

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Since this is the last post of 2023, it’s only fitting – and probably expected – to review the events of the past 12 months, as well as lay out the plans and hopes for the next 12.

This was a pretty good year for me on a few fronts.

After a significant amount of rewrites, my animated fantasy-comedy did okay with contests. It placed 3rd in Family/Teen/Animation for StoryPros, made quarterfinals in PAGE (first time breaking that barrier) and was a 2-time Second Rounder at Austin (first time for that one as well, and 2 times because I entered 2 drafts and each made it).

Because of the strike, and then being hit with consecutive bouts of Covid, I wasn’t able to do much with putting the script out there – something I’m hoping to fix come January.

I also finally made it to Austin and had a phenomenal time. I got to meet a lot of the amazing people I’m connected with on various social media platforms, as well as a few established pros.

As for 2024…

Currently working on the rewrite of the sci-fi adventure, and have been laying the groundwork for a new one – an action-comedy. Hoping to have both done by this time next year.

Since there’ll be more focus on the writing, I’m taking the year off from contests. Just seems like the right thing to do – and will save a decent chunk of change. No plans to go to Austin either. Maybe in ’25.

Also hoping to get things moving on the representation front. Since I’ll be skipping contests, I’m looking into some of the programs offered by Roadmap Writers. Heard lots of good things.

And I know I’ve mentioned this before, but I’m really hoping to get the ball rolling on filming the short script I wrote a few years ago. I’ve been really fortunate to have lots of offers of help and guidance to assist me in reaching that finish line.

There were a good deal of moments this past year involving self-doubt, uncertainty and just feeling not good enough. It’s been a long arduous journey just to get to this point, and there’s still a long distance to go. It can be frustrating, but I know I can keep finding the strength and determination to keep going. It helps to have so many people in my corner, metaphorically cheering me on.

At the end of each year, I usually say something like “Here’s hoping the new year brings bigger and better things on the screenwriting career front.” This is year is no different. There will no doubt be more heartbreak and feelings of inadequacy, but I like doing this too much to even consider the idea of giving up. Yes, I hope things work out or at least advance to some next levels, but if they don’t, I’ll still be plugging away and enjoying the journey.

Can’t close things out without saying thanks for coming along with me on this ongoing rollercoaster ride, and I wish you nothing but the best for all your projects in the coming year, and hope it’s truly phenomenal for you.

-Also wanted to thank everybody who sent in for last week’s Script Showcase. Hope you got some read requests!