Hi again, fellow writers.
Jason has asked me to follow up my Skype call with a literary agent and my search for representation, with writing something to the wider Stage 32 community. Here goes.
The script for 'Seeing Rachel' had been looked at by a couple of Producers on Stage 32, through Script Services. I decided that was enough and that the next time a Producer looked at the script it would be during the Production of the film and not for someone else to give their opinion. I feel confident that the script is good. It has a well-seeded story, a distinctive style and a psychological edge that you don't usually see in a script about this subject matter, (sex trafficking).
I asked Jason where I could take this and how I could get my career in film and TV started. He suggested a Career Development Call and suggested a couple of literary agents.
(Note to my fellow writers; it's always good to talk to Jason about just what you are looking for, rather than just going through the list of available Execs. It makes for a more personal service and at this stage it was important to me to feel that I had someone on my side. Otherwise, the loneliness of the long-distance writer continues unabated).
I felt pretty chilled and confident about the call. My usual introspective self had it seemed, taken a break and given me a little bit of good head space to work with.
Within 20 minutes I thought, shit, this is going to be the shortest Career Call in Stage 32 history. Why? Because my contact had stated clearly that they didn't work with 'green' talent. Oh and they wanted me to know that this assessment of me wasn't disparaging, but simply a matter of fact as to where I was in my 'career' right now. Which was fine.
We then went on to talk about shopping agreements as opposed to option agreements. And then how I needed to get my foot on the career ladder with a few credits; then and only then, a Rep may consider taking me onboard.
My contact then asked about the projects I'd written. Three feature films and two TV Spec scripts were mentioned. Not the only ones I have, but the projects I was really gagging-at-the-bit to make.
They asked me if I had written all of these to direct myself. I said 'yes'.
Would I consider selling any of them?
Now, I had heard what they had said about the ladder and credits and so, I changed strategy. Why? Because when being on such a call, it seemed stupid not to take the advice given. And no, this wasn't an easy decision, but I had to come to it quickly. This was after all, a sixty minute call. Before I knew it, it would be over!
(Another note to my fellow writers, who also want to direct their scripts - always go into these calls with an open mind and at least a plan B and maybe even C and D for good measure too).
The one project that resonated for them was...you guessed it, was...Seeing Rachel. This was to be my breakthrough project. I had spent a lot of blood, sweat and tears (yes, lots of tears) into this script and trying to get it made. This took me through the trauma of sacking an Exec Producer and having to dissolve my production company.
And so I was amazed at me for saying, "Would you like me to send this to you...along with the Projects file." I had just said that I would sell my baby.
The next morning, I sent the script, the project file and a distribution prospectus (to show them how we had considered developing the film) to them.
As of this moment of writing, I'm still waiting to hear from them.
And of course, my introspective self returned with lots of questions. What if they get the wrong director, someone who doesn't 'get it'? What if it's a flop? Yes, you'll have a credit, but you'll also have turkey for dinner! What if...
Oh, shut up. Stop sowing seeds of doubt and enjoy the fact that they said they didn't work with 'green' talent, but then they asked to see a script. Shoot! That's great. I love it.
I also learned what I think happens with Execs on Stage 32. You may be 'green', but if you've put in the mileage, if other Producers have looked over a script and given their advice, I think people like my literary agent have a little more confidence in what you are doing and what you have created.
I took this call as a sign that I had grown over the years that I'd been on Stage 32 - September 2015 is where it all started, I think. Back then, my career call would definitely have broken that 'shortest ever' record. I'd have thanked them for their twenty minutes of time, ended the call and then crawled into a hole and covered it with a very large rock, called despair.
So, thank you to all the staff and my 'network' for being positive and encouraging and not disparaging of my talents. The proverbial hiding hole has been filled in and the rock is something I use to stand on and gain a better view.
I'll keep you posted on how this all goes.
Keep the faith. We can do this together.
Geoff
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Great story Geoff Hall. Definitely keep us posted.
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Wow, that's amazing, thanks for letting us know about your experience.
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Thanks for sharing your journey and the tips, Geoff Hall. I'm sure this will be encouraging to people (myself included) who are grinding away at getting a script made. Great to hear you've grown while on Stage 32. Congrats on the great development call.
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Martin Reese Rosalind Winton Maurice Vaughan thank you all, for your kind comments. And yes, I’ll keep you posted.
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Geoff:
I commend you on sharing your heartfelt post about your recent experiences. I started writing a novel in the 90s without knowing what I was doing. However, I believed I was a good storyteller. In 2012, I had a karaoke buddy ask me to write a novel about his deceased friend Edward “Biff” Halloran, a hotel owner and former associate of the Gambino crime family. He presented me with Halloran’s Jailhouse manuscript, which I reviewed and told my friend there wasn’t enough story there. However, a few days later, I told him I would take a crack at writing a T.V. Pilot. I bought a few instructional books, took an online “how-to” course, purchased Final Draft software, and taught myself the fundamentals of screenwriting. Though I had some initial interest in this pilot, nothing happened, and I moved on to writing many other feature scripts and several pilots. I signed a right-to-shop agreement with DePass Jones Entertainment https://www.depassejones.com for this pilot nearly six years later.
Since 2013, I’ve secured 10 right-to-shop and option deals (I prefer the former), and my latest option agreement will soon be announced by Inktip. Additionally, I just did a minor rewrite on the optioned script horror/thriller called Purgatory Station and the director is hoping to begin filming it this summer. I’m also working on another possible rewrite of a well-known author’s screenplay. In between rewriting, I’m continually pitching work when opportunities arise.
As far as industry feedback, I’ve accomplished most of what I’ve done empirically and only recently paid for one consult. Based on the feedback I’ve had on some paid pitches, I’m very confident in what I’m doing and have made a few minor adjustments and will continue to fine-tune my processes. Though I’ve had several script requests after paid pitches, I’ve never secured a deal doing one of them. Therefore, I’m leaning against doing any more of these pay-to-play pitches.
IMHO if a person wants to be a screenwriter that makes films, they better be ready for a long journey full of rejections and disappointment. And be in it for the long haul.
Best of luck with your journey.
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Congrats on your success, Phillip E. Hardy, "The Real Deal". Great tips in your comment ("IMHO if a person wants to be a screenwriter that makes films, they better be ready for a long journey full of rejections and disappointment. And be in it for the long haul.").
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Maurice Thanks for your continuing support.
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Geoff, all the VERY BEST to you...and thanks so much for posting this!
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Very inspiring I hope you get nothing but good news; coincidentally, your story is exactly what I was looking for today!
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You're welcome, Phillip E. Hardy, "The Real Deal".
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Best wishes to you Geoff! Keep us posted.
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Phillip E. Hardy, "The Real Deal" Thanks Philip. Yes, it’s been a long run so far and yes, full of disappointments, but with some pluses along the way.
We’ll see what comes of this. All the best. Geoff
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Jim Boston thanks Jim, will keep you posted. What are you working on at the moment? Any successes?
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And Antonio and Cara. Sorry I can’t tag you, for some reason. Anyway, thank you for your kind wishes. I’ll keep sharing whether good or bad news! Take care.
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Phillip E. Hardy, "The Real Deal" Hi again, Phillip, I was wondering if you could tell me more about your experience with De Passe Jones. Did you cold-call them? Do you show them all your completed screenplays? Is that how the right-to-shop works?
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is having credits important for most execs?
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Geoff, you're very welcome!
Right now, I'm working on the outline/scene list for a comedy-drama called "Intervention!" In this one, four neighboring families in present-day San Diego answer their anger over years of racist slights by enticing the perpetrators into a sensitivity-training weekend...and hope to teach the perps the value of unity.
Haven't had any successes yet as far as finding an agent, a producer, or a manager...still working up to the point where I can do a written pitch.
But as long as what I've written resonates with people here on Stage 32 and on Script Revolution, I'm very happy to look at that as success.
All the VERY BEST to you, Geoff! Thanks for posting!
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Jim Boston thanks Jim. I wish you well with your project. I can’t write comedy, so more power to you. You may get the odd funny scene from me, but I’m happy to get back to the horror or tension scenes! Keep us posted on your progress. Best, Geoff
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Hi, Aikaterini. Yes, it seems that’s what they need to invest their time in you, or of course you could come up with the next Terminator, Bourne or Everything Everywhere! That might get their attention. What genre do you write in? G
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Geoff Hall thank you for this...very inspiring, and great advice. I wish you all the best.
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Hi and thanks for the response!
I'm working on a dramedy, I guess. I'm completely new as a screenwriter, but I'm really really confident in the premise and the script (of course I'd probably need a cowriter considering my inexperience, and as much as I polish it it'll probably still be lsss polished than most script they receive) and I'd be really sad if it didn't make it, seeing as the main reason I started in the first place is that I was annoyed no one else has done that, haha. Would it be impossible for it to be picked up?
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Well, never say never, but if your aim is to sell it, it seems to me to be better than my aim to write/direct! I just like making things difficult for myself. Y’know, the suffering artist vibe thing…
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Hi Abdur, how are you doing? Good to hear from you and thanks for the encouragement.
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Hi Geoff Hall ... Am well thank you. Am writing the first part of "AGE OF PROPHECY" - in novel form. You can see the entire Novella (plot points) in an animated concept video adapted from the series bible - videos in my profile. Shameless plug lol, but I've found that I like to entertain with my stuff...dark scifi/fantasy. Other than that, I'm looking at you Sir, wishing you all the success possible with your venture. Sacrifice brings reward. Cheers. Oh, check out some 360 and VR pics from my world...it's on www.theanukchronicles.com - no VR headset required, preferred, but not required. Best to you.
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Abdur, that’s quite a dark and mysterious world you have created. How long have you been working on these stories. I hope you find the finance for these projects.
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So what happened, you may be asking? Or then again you may have forgotten about this. Fair enough, but I did say I’d keep you posted on developments.
And so, it came to pass that after three weeks I hadn’t heard anything, so I sent a cursory email off to the agent to see if they could give me any feedback on how I may improve my craft. What he thought of the screenplay?
A few days later I received a reply to say he’d been busy and hadn’t had time to read it, but that it would be put in the ASAP file.
Months later I still hadn’t heard anything, so I sent an email to Script Services as I’d seen a post saying that if the agent hadn’t been in touch then they’d do a little follow up cal on your behalf.
I heard back this week to say that he still hadn’t had time to read it, because of working with clients and so it had to be a pass from him.
As disappointing as it is, I don’t see this as a rejection, but as a matter of the wrong strategy, of having a call with an agency that had lots of clients and really didn’t have the time to look at/for new talent.
This means in future looking for a boutique agency, that has the time and resources to sign new talent. But it wasn’t unsurprising after all that time. It certainly doesn’t knock my confidence as a writer. I know what I’m doing and also what I want to achieve with the stories I’m creating. Onwards….is my only encouragement to you and to myself.
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You have the best mindset on this! There's a common saying among managers (and a million other professions), that 20% of your clients will make up the bulk of their commissions. Which means a significant amount of time goes to developing the other 80% and finding them opportunities. Doesn't leave a ton of time for other stuff, but that doesn't mean your other stuff isn't good enough, it's all about timing
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Sorry that happened, Geoff Hall. Glad the situation didn't knock your confidence as a writer. It definitely wasn't a rejection.
Some writers go after smaller agencies or management firms because they have more time to focus on their clients. I felt this way when I had a manager.
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Emily thank you for your kind comments. Timing is so difficult to manage, because it’s ‘their’ time that we need to try and sync with and you never know the rub with any agent or Exec and the pressures they are under. Is there a way of doing this better (from a writer’s perspective), or a sixth sense you can develop (ha!) when talking to someone about your script, that gives you a better idea of whether this is a runner or not?
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Maurice thank you kindly, sir. With all this panoply of talented Execs on Stage 32 willing to take your call, it’s difficult to narrow it down to possible connection vs those you are going to waste your money on. Dilemma time!
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You're welcome, Geoff Hall. GiGi Raines can help you find the right exec (https://www.stage32.com/profile/651606/about). You can also see an exec's credits and company on their page in Script Services (https://www.stage32.com/scriptservices).
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Maurice Vaughan thanks again, Maurice. I shall check GiGi out and send her a line.
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You're welcome, Geoff Hall.
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Geoff Hall oh man, I wish I knew. When I worked for a lit manager it seemed like every day he was looking for something different. But I think as writers that believe in our own unique voice and if it doesn’t align with a specific rep at that moment, just trust that you don’t want them (at least right now) cuz your work deserves someone who is willing to go to the mat for you and be as passionate about your stories as you are
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Emily thank you. That is really helpful.