Screenwriting : Agents??? Producers??? by Jaymes Carnathan

I'm in the same boat lol. I'm searching as well but a bit hesitant about testing the waters. Why did I read the horror stories about agents?! Jaymes Carnathan

I suggest making use of the Pitch Session service this site. It's the only way I know of to get in front of agents and producers.

Make certain it really is mind-bendingly ready to pitch. The old saying goes, "You think the script is great. Who else thinks so?"

Ha, ha, ha, we are all paddling that boat very hard to snag that Agent or Producer.

I'd say forget getting an agent - have you read anything that's going between the WGA and the big agencies? Unfortunately, most producers won't look at un-repped scripts (even award-winners, although there is a little movement if you've won a big one).

That leaves managers and attorneys. Attorneys will want generally want money to take your script around. Managers are good, but very few take on new clients without strong referrals from people they know - they're in the relationship business, after all (unlike agents, who are in the money business).

Of course, there are exceptions to these circumstances, but I personally wouldn't hinge my whole career on finding that literal one-in-a-million exception.

The best way to get repped (being a great writer goes without saying) is to build relationships. Find local productions and offer to work - for free if necessary. Do anything and everything on set. Do it with professionalism, courtesy and patience.

There are no shortcuts. You have to put in the time to learn screenwriting; you have to put in the time to build relationships. You're either going to pay in time or in money, but either way, you gotta pay your dues. THERE ARE NO SHORTCUTS (sorry for the SHOUTING - the topic of fishing for the quick and easy is becoming a pet peeve with me).

Forget the agent. if youve only got ONE script, just go for producers. An agent is not going to care yet.

Danny Manus question for you. Do you think it’s better to seek out a manager or an agent? I have 9 feature scripts (2 under option) and working on a 10th, a short and a tv pilot, so I have plenty of material to show. I’ve had decent luck with producers, but the managers and agents I’ve met with seem to expect me to find my own connections - they don’t want to take on new clients unless there is a deal on the table. Is that really how it works these days? What’s your take on all of it?

Congratulations Jaymes! Have you pitched the project to any potential representation? I always tend to look for managers as a first step at getting repped. Managers tend to take on smaller client rosters and work with clients to guide an overall career path.

If you are looking to pitch to producers, have you received any pitch feedback from producers on the project yet? There are weekly pitch sessions on Stage 32 where you can get feedback on your pitch and project from producers and managers. That would be a good first step in getting your project "out there."

Hey @Jody, Yea i would definitely go for Managers over Agents unless you have deals on the table. And yes, it is true, many of the bigger managers are only looking for writers who have deals going and have buzz. But there are plenty of boutique managers just looking for great writers... well, great female and diverse writers at least.

Danny Manus maybe that’s been my problem- I’ve gotten a few general meetings with managers who were part of bigger agencies. They were nice and all, one even sent one of my scripts over to a production company. But no brass ring as of yet. Maybe I need to be seeking out smaller boutique agencies who are more open to unproduced writers. I feel like I’ve been sooooo close for a long time now, and I really want to take that next step.

Jody. Personally I was lucky and got an agent but I agree with Danny that it is a easier to get a boutique manager. Also if you can attach a bankable actor or director to your screenplay that might help.

You are now a member of Stage 32 and good use of the Pitch Session services this site provides is a must. It's also possible to collaborate and have your script read in part or in full. Check out our screenwriters room and much more. You are in the right spot for success with your writing. Happy networking!

@Derek - Yes, it's worth the percentage. @Pat - Do u work for S32 or what?

Pamela Bolinder Danny is a script consultant, which is right there in his bio If you look. He runs a successful business and knows his shit. He might come across as no-nonsense (probably because, like me, he tires of the constant flow of BS questions here) but I’ve met him and he’s actually a super nice person and very knowledgeable.

There’s nothing wrong with supporting S32 services, although my personal experience is the cost outweighs the value.

Dan Guardino thank you, I’ve been on the hunt for a manager for awhile. My husband is actually working on a script with a fairly big actor attached so now I’m just hoping to ride his coattails into Hollywood and maybe get my own manager out of it, lol!!!! Or at least get an actor or director attached to one of my own scripts!

I had a recent discussion about this (selling and/or getting representation) with an exec/producer that may be helpful. Consider it from the other side of the table, from the agent or manager or producer's point of view. She said (summarizing): "You have to not only like the material, but you also need to have a strategic path. You have to “see it.” If you take a shot without a clear strategic path, a year later, everyone will be unhappy. A producer needs to like the material AND know what they can DO FOR IT. I might love something, but I just don’t know how to do your particular genre or whatever the case may be. A manager needs to like YOU and the material, and they have to know how to build YOUR particular career, consider how YOU FIT in with their current clients, etc. You can be inexperienced or experienced. An agent or manager still has to know that she/he is the right one to guide your path." Hope that helps!

Pamela Bolinder Sayng I haven’t personally found their services to be worth the cost isn’t “dissing” S32, it’s simply my opinion and one I’m free to share. Other people have had great luck with the services offered, just depends on what a person is seeking. Im not quite sure why you felt the need to respond with so much snark, but whatever.

I’ve been a member here for quite awhile and yes, lots of new screenwriters asking questions, which is great. But there is also a plethora of people who ask the same questions over and over, post things that are simply a bid for attention, or refute and argue with reputable people when given advice that THEY asked for. Hence my comment about sometimes tiring of the BS.

Back to the OP, you definitely need more than one script in your aresenal. Because If you do get an agent or manager interested, the first thing they ask is “what else have you got?”

Pam I agree.

Members can and will share their opinions and experience. Healthy debate is always welcome.

Here's Wenonah Wilm's experience winning Nicholls & Austin last year. Pay attention to what she said about her contest spec. "calling card/writing sample..."

".... Hey guys! First of all, I'm beyond happy to be a spectator on this one. I hope one (or more) of you becomes a fellow this year - I'm rooting for you! My script that won last year (and also won Austin) was indeed what I would consider more niche or independent due to the setting, characters and subject matter. However, I've heard from so many people that it's a thriller at heart and a "page turner" and has served as an incredible calling card/writing sample for me. Winning the Nicholl has changed my life. I am currently repped by UTA who read my Nicholl script and asked what else I had. Because I've been writing for so long and have a big body of work in multiple genres I was able to send them a high concept comedy (which won PAGE gold in 2011) and those two scripts landed me my feature agents. I also had a tv pilot that was a finalist in the sundance episodic labs and that added a tv agent in the same company.

During the Nicholl week (and the week following) last November I went on 30 general meetings with all the major studios and many amazing production companies with these three writing samples. I subsequently went on another 15 generals in Juanuary. Needless to say I went from never meeting a producer to having 45 meetings under my belt. It's been an incredibly surreal, exciting, exhausting and sometimes nerve-wracking experience. (I'm a full blown introvert)

In the last 3 months, I've pitched on an open assignment to a major studio (my first pitch.) I've read half a dozen books sent to me to consider for adaptation. I've had multiple producers reach out to me to work on their tv projects and (knock on wood) I think I'm optioning one of my specs next week. I love my agents, they work extremely hard for me and I feel they have my back. I don't have a manager. I am not yet in the union. .."

Thank you all for your comments! It’s good to know I’m not alone in this. Every little bit helps.

Do you or anyone you know have a movie trailer ready to pitch? Were looking for new talent.

I got a book trailer lol

Derek.

A manager or agent is well worth the percentage that you will pay them because they will usually end up negotiating for more money than you would be able to get on your own. Also most script that do get made did so because their agent or manager knew someone so the odds of you selling your screenplay with a manger or agent goes way up.

@Pamela, theres nothing wrong with people supporting S32 services... except there seems to be at least 2 or 3 people in every thread doing so, but no one else who has services is allowed to directly promote in the boards. And paid pitch services are not always the answer to everyones question. Pat's comment seemed to come out of nowhere in this case and im wondering what success Pat has found here that made him say that.

Pamela Bolinder I don’t think anyone is showing a lack of respect for new writers. I will say this though, if you are offended by someone putting “professional smart ass” on their OWN page, you are going to find yourself endlessly offended by this industry. It’s a hard-edged business and a thick skin is a necessity.

And what is with the constant policing, to the point of telling people what is and isn’t acceptable for them to post on their personal page? Danny has helped a lot of writers, and while his style may not mesh with what you think is appropriate, I don’t think that translates into a lack of respect for writers.

Beth - Healthy debate and a willingness to share is always a 'good thing'; but I've witnessed so much personal attacking, posturing and rude/crude behaviour recently that I think that participation is hardly a worthwhile endeavor any more. I'm saddened to see it drift down the sewie hole.

Well @Pamela, if YOU are allowed to continue to spout your opinions, no matter how inexperienced or insulting they may be, then I guess I'm allowed to express MY opinion. If you dont like it that someone is a smart ass, then youre in the wrong industry hunny! Try doing something else, like Professional Victim. Im f-ing tired of you putting me and my services and personality down just because you dont have the balls to hear truth. I've spent my whole damn career helping NEW writers! THOUSANDS of them. And I'm good at it! Getting them writing, making them better, guiding their careers, getting them signed, optioned, produced... So dont you dare sit there and say I need to RESPECT new writers. How about YOU show some damn respect to the professionals who have been doing this longer than 6 months. And if you cant take the heat, GTFO. Because i am done listening to your insults and YOUR holier than thou opinion.

Pamela. And Danny. Let’s please move on.

Just fyi, I'm not a professional script reader. Readers are paid $50 a script, write 2 pages of general thoughts, and have NO connection or interaction with writers. I'm a story or script Consultant, working hand in hand with my writers and writing dozens of pages of notes for a good deal more than $50. But hey, dig in, girl!

Danny Manus, Your posts are anything but professional. Time to put on your adult pants instead of childish banter.

I'm all out of popcorn...

I think there are some useful comments in this thread if I comb through it.

Danny can I ask what a person hopes to achieve by engaging your service.

Is it to get a script good enough to sell?

If so. How many of the customers have sold scripts?

Just out of curiosity. What qualifications do you have to act as a consultant? Produces films perhaps? A development deal at a studio?

Surely the rone you have taken here is based on your vast professional standing.

PS you may not want to attack the community you hope to fleece.

@Craig, i answered your questions on success rates in the OTHER thread, so im not going to respond here. But just fyi, i was a development exec at 3 diff production companies that had a combined four #1 movies at the box office, 2 of which I helped develop. I sold a film to United Artists. I was hired for 2 paid writing assignments, one in 2016 and 1 in 2017. Neither will ever get made, but the checks cleared. I have consulted on projects starring Nicole Kidman, Aaron Eckhart, Melissa McCarthy, and the faith based romcom In-Lawfully Yours with Marilu Henner, which sold to Netflix in 2017. Among dozens of other produced projects. I was a coproducer on the TV Pilot Millennial Rules starring Olivia D'Abo, written by one of my clients. My clients have WON the ABC/Disney Fellowship, PAGE Awards, Austin Film Festival, Scriptapalooza, and been finalists in almost every single other major contest. I have taken over 3500 pitches and have taught seminars at almost every major screenwriting event in the country. That enough or ya want me to go on? Whats hilarious, is that you love to question me and my bio and success rates when I give advice (for free) on here. But you give a whole buncha advice....whats YOUR success rate? how many scripts have you sold? how many assignments you get every year? who's your agent? how many movies you have produced? What makes YOU someone who should be giving advice? If you dont like paying for consultants, that is fine. No problem. I respect that (assuming youre having some level of success). But stop shitting on my profession. I'm not gonna take it from A-List writers, so im sure as hell not going to take it from you. Now, I have actual clients to help. Good luck to you all. I wish you nothing but the best.

Danny Manus Your assertion readers have no connection with writers is patently incorrect.

Enough of the personal attacks, people. This IS blown way out of proportion — and started over a phrase and personal perceptions and misperceptions.

FYI I did a google search of Danny Manus and got...nothing other than things Danny Manus says. on Danny Manus pages. Just looking for some facts.

Bill Albert... Danny is well known around here. Google is not going to give an answer to everything. Not every interaction or involvement on every project is made public—for various reasons, including legal ones I would imagine. If you are seeking references on a person then perhaps send a direct request to that person.

"You don't have to turn this into something. It doesn't have to upset you." -Marcus Aurelius

He's been more than willing to give references here on an open forum. If someone says "I've worked with all these A-Listers and done this hot projects and had all this wouldn't you want to see it from someone other than that person? If I told you I'd flown 4 missions on the shuttle Discovery and spent three tours on the international space station wouldn't it be wise for you to check with NASA records for my name?

Again, let's please move on. Healthy debate is welcome. Personal attacks and insults are not. Thanks.

Bill Albert, perhaps send your question into management if you are looking for some sort of "official" third-party validation or personal reference for Mr. Manus—our CEO perhaps or our managing director.

There are lots of people out there that are trying to sell you something. Do your investigation, let the buyer be ware.

Bill Albert Just because he’s not readily visible on google doesn’t mean he’s not legit. You can check out his IMDB page if you are looking for validation. There are a LOT of industry people who aren’t going to show much info on google, often for legal reasons as Beth pointed out.

While I haven’t used Danny’s services myself, I have met him and I can say he seems to be a genuinely good person who is passionate about his business. He has only tried to defend himself on here, which is to be expected considering the number of personal attacks that have been made in the last few days. Unwarranted attacks made in an attempt to discredit a persons livelihood are, IMO, a pretty low thing to do. Especially when those attacks are coming from people who don’t know the person and haven’t even used their services.

All that being said, this thread has only been yet another good reminder of why I stopped coming here.

Hi Jaymes,

Your story is a bit deeper with regards to consciousness and reality than the average story, and probably has a more specialized niche with regards to potential production companies for your story. Do your research on production companies that are specifically looking for that type of story. Obviously, people looking for rom-com's, horror stories, or action-adventure stories won't be in your wheelhouse.

Your story might even play out as a limited series on Netflix or the Syfy channel - maybe even HBO. All American cable and new media companies are looking for different and edgy series' ideas - limited and non-limited. You should give that a thought - if your pretty complex story could run for, say, 10 or more episodes.

Best fortunes to you in your creative endeavors, Jaymes!

Jody,

Please continue coming here, and posting. You have added a lot of good comments and insights based on your own real-life writing and business experience, and I always appreciated that. So I hope you'll reconsider, all things considered.

Best continuing fortunes to you and your husband in your creative endeavors, Jody!

Stay, Jody. You are one of the few members who write for a living :)

I appreciate Danny's, Dan's, Beth's and Jody's frank and open professional observations. I see screenwriting/filmmaking as a business rather than a hobby and I certainly respect their (and a couple of other's) views, comments and opinions/observations.

As to legitimacy issues espoused by a few - I can only say do your research. I've been in & out (mostly out) of various aspects of film/tv since the mid 60's. There was no IMDB in those days and I do not have (or need) my own IMDB page - but if you do the research, you'll find my little footy prints scattered around in there over the years.

I like and respect Danny and if & when I finish my script - I'll hire him to read it and provide professional notes. I intend to sell it for low $6 figure over mid $6 figures. The price I have to pay him is well worth it to me.

Just want to chime in here, there's a lot of healthy debate in this thread and let's please keep it professional. I stand behind Danny Manus and the support I have personally seen him give writers for the last 6 years that I have know him. At events where I see him executives know him, managers know him and producers know him. He is very well respected in this industry and his writers continue to place in contests (including some Stage 32 accolades) and gain traction.

And, I also want to add to something that Jody Ellis pointed out about checking out people's IMDB credits. I totally agree with her and I love her positive spirit and understanding that a lot of work is done behind the scenes in this industry. Google and IMDB never show the full story for a person. We work with hundreds of people that work on films where the credits will never see the light of day on IMDB because a lot of development roles are not on the credits.

And as for the original question at hand regarding agents and producers, Beth Fox Heisinger 's 1st post on this thread could not be more spot on, I suggest everyone to go back and read that post. I was literally having that exact conversation last night with an executive from Millennium who used to work in management. Also, John Ellis is 100% right. The town right now is in serious concern with this WGA Agent debate and several agents I've met with over the last few weeks are definitely concerned. It affects a lot of people. Based on what I'm seeing right now, I'd really lean towards either having a great script and attach a producer to help piece it together, or to what Danny pointed out, find a boutique manager that will help develop you. It's taking longer than ever to put anything together these days, and you have to be in it for the long haul. All of that takes networking, relationships and preparing your material for the marketplace. It doesn't happen overnight.

Holy Moly....I had skipped over everything when I posted my reply to this topic this morning, and had just looked at the last comment (Jody's) before I replied. I can't believe anyone would question Danny Manus' long-standing credibility in the industry known as "script consulting." I've never worked with him, but have interacted with him in the forums here and have corresponded with him, and he has been nothing but professional, cordial, insightful, and obliging to me.

One thing I always tell people when choosing a script consultant is to make sure their testimonials have first and last names. Not just "Bob H", or "Linda Z". Danny's testimonials have both, as does Stage32's testimonial page.

Bill Albert: I googled "Danny Manus" and saw links to interviews with reputable people and organizations, and not just stuff that Danny wrote. Your search engine must suck.

Pamela Bowlinder: "Digging your heels in" - rightly or wrongly, altruistically or absurdly - is always a good theme for writers to explore, as long as the story doesn't suck, and even if the characters' motives do suck.

Tony S: I don't know how you interpret the term "readers", but in my experience, "readers" have always been the people who work for producers, studios, and contests, and who are the people whose identities I don't know. They never interact with writers. I've seen original notes from readers that were given to me from execs, but never their names, and always considered it to be that way by design.

Doug Nelson: low six to mid-six? Good luck with that!

Jaymes Carnathan: see what you started! And you thought the protag in your award-winning story Purgatorium had it rough! Heh-heh. Please don't let this discourage you from posting in the future, though, Jaymes.

Best fortunes to all in your creative endeavors!

Bill Costantini "Connection" has a lot of meanings. Any reader worth a damn connects to a writer through their work. It's easy to have notes saying this 'i' isn't dotted or this 't' ins't crossed, but it's far more difficult to dig for the writers intent. What are they trying to say and how can it be said with more clarity.

I also believe the best readers, analysts, so we don't get into Semantic War II, are writers. They ride with the hounds but their heart is with the fox.

If you're talking about anonymity, there are reasons for this, like death threats.

There's a general glance down the nose here at those who provide coverage. It's disheartening. To swipe a whole strata of people with a dismissive brush of the arm is just not right.

I'm certain Danny does wonderful work. He's been at it for a time. He has connections and a lot of value adds. Fine. But where the rubber meets the road, my analysis is just as good as his, are is the analysis of a few others here. My money is where my mouth is.

Bill - I've done it before, I'm pretty sure I can do it again.

Tony S: I'm just referring to how I've had first-hand experience with "readers," and define that term - through prodco's, studio execs, and contests. I don't know about "death threats", but nothing surprises me in this world. If I used that term incorrectly in the context of this forum topic, then you have my apologies.

I do agree with you to a certain degree about how some people look down on "coverage". Some of those types of replies are/were well-documented in the forums here (and elsewhere), and by sour-grapes/ignorant posters who'd make blanket-statement comments like "films today suck!", or "script consultants suck!", or "paying to pitch sucks!", etc. etc. One good thing, though: a couple of those people have deleted all of their "everything sucks!" comments here (yay!), and a couple others rarely post "everything sucks!" comments anymore. Yay again!

Best fortunes in your creative endeavors, Tony S!

Bill Costantini Studio readers are a different animal. They filter for an entity or person, and are not necessarily interested in improving a script. The only agenda of those outside the studio system is to assist the writer in improving.

Re: threats, here's an excerpt from a coverage firm's guidelines for analysts "...only use your initials on the coverage reports, not your name. That’s for your own protection from the crazies out there." It's real, anecdotal and personal experience.

People will say what they say. Hegel's philosophy states both sides of an argument lead to a higher truth. That could not be truer than in this thread. There were solid arguments on both sides, and it got heated. What else is new? Passion. Though respecting someone's accomplishments goes without saying, venerating a person disempowers the individual and leads to confusion.

Tony, doesn't the coverage firm have any security personnel?:)

Sure. Haven't you heard of the Coverage Cops? 24/7/365 protection.

Here's boilerplate from a coverage firm's website: We guard the anonymity of our readers for very good reason. Sadly, they’ve been harassed. We have assured our readers their safety is our greatest concern. If you try to contact our readers, you will be permanently banned from using our service.

As Ron Burgundy would say 'Well that escalated quickly'.

Any Stage 32 members watched yesterday's webinar w/ manager Spencer Robinson? What was his advice about writers seeking representation?

Wow! I've been following this thread since the question was asked and I must say it's been heated but what's a little fire huh. As the saying goes, "If you can't take the heat stay out the kitchen." I'm glad I read through to the end though. My script is with my editor and he suggested I get a consultant. I'd like to know more about your services. Danny Manus

Wow, I take a break from writing and come back to see what's new, see if I can answer questions etc and find this thread and it's arguments/attacks. I'm with Jody. The universe has ways of making me realize I should get back to work and stop procrastinating I guess. Hi and bye and maybe next time I stop by you'll all behave LOL!

Lisa. Don't let one or two bad apples keep you away.

I'll spend more time when I have less to write ;-)

If you’re going to be cold querying, my recommendation is to focus on producers. I’m about to receive a good-sized check for deferred pay work, and I have a hard time getting agents to look at my work even when I explicitly start the query on the subject of that “signing bonus.”

I’ve written 9 episodes screenplays . Ready for production. Open for revision can any one introduce my to a agent.

Jaymes:

This is a good forum and you've already received some excellent advice from Danny Manus and several others. I agree with Danny, I'd go after producers. Let me add that I'd look for producers that want specific genres or subject matter. I've had some success with doing this, even after a short relationship with an agent that was plagued from the start. He read one of my scripts that won a screenplay contest and wanted to get it made into an MOW.

I began a relationship with an LA Producer in early 2014 that has been immensely beneficial to me and that person has put my work in front of William Morris Endeavor, Tyler Perry, Paramount Studios and many others. Selling scripts is a long, arduous process that requires the patience of a saint.

After reading MaxXxy's post about Winona Wilms, I decided to see what she's got going after her 45 Hollywood meetings. I also noticed she's been at this a long time, which supports my earlier statement.

https://www.imdb.com/name/nm2445508/

Ivory. Most people here are looking for an agent. Even people that have them won't introduce you to theirs or they wouldn't have one very long.

The top 4 agencies will be looking for new writers Monday morning when WGA clients fire them tomorrow, April 7th.

If I was looking for an agent I would start calling them.

Jaymes, did you get a “recommend” from a top coverage company? Better yet from all of them?

I wouldn't even start looking for representation until you have a few screenplays under your belt because they know finding a first script that is marketable would be like finding a needle in a haystack. So the more you have under your belt the better your chances of landing one.

Thanks nephew DAN I’m on it.