Screenwriting : Writing for film and tv. Ask Me Anything (AMA) 3/1 to 3/2 by Literary Manager Andrew Kersey by Andrew Kersey

Hello Andrew. Congratulations on your successes - they are impressive.

I never considered myself a writer, rather I'd go with someone with a story to tell. Nevertheless, I am always learning new things in the craft, and have reached the point of attempting to produce my own IP.

As such, how feasible is it for a newbie such as myself, to approach agents or experienced writers to work on an indie project? You know, without having the deathly silence treatment because I'm as per someone "a Nobody"...

My project is long term spanning a massive universe with potential - theanukchronicles.com and badrabbitpictures.com

Hope to hear from you.

Thanks.

I enjoyed your blog post, Andrew. Are you considering new clients?

Thanks for doing this AMA, Andrew Kersey! Congratulations on all your success, and congratulations to your clients!!! What's the biggest issue you see with scripts?

Congratulations on your success, Andrew!

Andrew, I loved your blog the other day, thank you for contributing your feedback on spec scripts! Can you talk a little bit about how the pitching process works for you - once you get a client's material where it needs to be, how does the pitching process work for your writers? Who do they pitch to? How do they pitch? What do they need to have prepared?

hi Abdur, my advice is that you'll never know unless you reach out. or better yet... what have you got to lose., right? and so if you have IP, do some research on PRODUCERS who you think would make a good fit for your project. start there and see what the response is. your goal is to get the IP "out there" and read and then see if someone loves it and wants to work with you. if that happens, then they can help package with a writer or actress or filmmaker. good luck!

hi M, when I have time I love teaching screenwriting and I do phone call consultations. unfortunately I do not do coverage or written notes. thanks for asking.

hi Jean-Luc, as the chance of a possible wga strike nears this summer, I have decided to focus on my current client roster and so at the moment I am not taking on new clients. but things can certainly change once the strike scenario plays out.

Hi Andrew, thanks so much for the blog post and hosting this AMA! Congratulations on the recent successes! My question is how do you find the clients you work with? Is there one major funnel or is every client find a unique process?

hi Maurice, the biggest issue I see in terms of breaking in is too often writers reach out to producers and reps before they have found their voice. That their work is not at the level it should be to win over jaded readers. Breaking in is difficult and can be frustrating due to lack of responses and/or number of passes. But when you do get reads, you don't want to give producers etc any reason to pass on your script in the first few pages and -- trust me -- we are very jaded readers and can tell very quickly if the writer's voice is underdeveloped. "Hollywood" will always be here so don't rush to knock on the front door if you're not 100% ready to enter. Hope that makes sense.

thanks Debra!

Hi Andrew - thank you so much for the encouraging blog post and for this AMA. Question: how much do you looks at a writer’s versatility when considering them as a client? Do you simply look at one script or their ability to branch into different genres? Thanks in advance!

Great questions Amanda! When my clients are ready to pitch to producers, we strategize with the agent/s in terms of which producers would be the best fit for the project. In the simplest of terms, we will target comedy producers for a comedy pitch. Obviously many producers do more than one genre and this is when strategy comes into play. And then when the pitch meetings are set, the writer will meet or zoom with the exec or producer. And this is when preparation is key. This is when the client (or any writer for that matter) can strut her stuff in the pitch meeting. Basically, the writer and producer engage in brief friendly banter for a minute or three and then the pitch begins. Logline, genre, 1-2 comps and then a 10-15 minute discussion of the story is a good template for pitching. Balancing the story's plot with character and emotion. If it's a comedy, then the writer will offer some laughs from the story. If it's a horror, then the pitch will have tension, creeps and maybe a few jump scares. A good rule of thumb with pitching is leave the producer knowing enough but absolutely wanting to know more. Too many plot details can put a producer to sleep whereas too little doesn't engage the producer. It's about finding that balance; pitching is an art form. Practice practice practice.

Great questions Sam! I've found clients in so many different ways. From contests, from pitch events, from producer referrals, from client referrals. Every client has had a different path. And this is a good takeaway for any writer trying to break in. Put yourself out there (but only when you're ready -- see my previous comment). You might send a script to a producer who might pass on your script BUT might pass it along to another producer. Again, you have to be brave when the time is right.

hi Leonardo, if I read a great comedy from a potential client, I will ask for at least another sample. I need to know the writer has found their voice. While a writer can have multiple genres in their "portfolio", my advice is to stay in a genre lane when you begin your outreach so possible reps can definitively see that you know your strengths. In the simplest of terms, in my experience, if I read a great comedy sample but the writer only has a horror sample as a followup, I'm usually disappointed. Hope that makes sense. But I encouage writers to try as many genres/lanes as they want when they are learning the craft. That is a good way to find your voice. Hope that makes sense too.

Hi Andrew - Thanks for being so generous with your time. I remember hearing Todd Garner talk about VACATION FRIENDS and how excited he was for it. Congrats.

My question is about features vs. series (and limited series). Given that series tend to need a lot more to get a "Yes" (ie: showrunner etc.,), do you find that it is easier to guide and sell emerging writers for features and just use pilots as samples for staffing? And does the need for the showrunner attachment become less crucial for a limited series where it's essentially a long feature and mapped out?

Andrew Kersey It does, thank you!

Thanks for answering, Andrew Kersey. Excellent insight and advice!

Hi Andrew, thanks for being so generous with your AMA. With Hollywood's new original serious sci fi material scarcity, do you see a market for a full-length book trilogy with a transmedia focus?

hi Laurie, these are great questions re how to navigate the film vs tv worlds. In my experience, I have some clients who've sold an original pilot after being staffed and I have some clients who had some success (buzz/heat) in the feature side and we used that momentum to sell a pilot. You're right in that a tv series certainly needs a showrunner but I don't think that is needed every time to sell an original pilot. A well thought and compelling series sometime can be enough to excite tv execs and producers. And it goes without saying, it's never easy to sell anything.

hi Jairo, there is always an appetite for sci fi material because audiences around the globe love genre. My advice is to research the producers who are making sci fi and reach out to them. Producers are always looking for new material and timing is everything too. Give it a shot. And if your project is in the zeitgeist, that could add appeal as well. Good luck!

How many clients have you signed who won or placed in a contest?

Hi Andrew Kersey! Thanks for doing this AMA - We get a lot of questions about "voice." How would you define a writer's unique voice and any tips about how they can develop it and know when they've found it?

Thanks for being here to share your insight, Andrew. How would you describe the difference between a manager and an agent?

Thanks Andrew Kersey. I have had a session with you - a developmental call in the past, and you are always on point with your advice. Maybe one day I can come to you seeking writing talent lol - I[m in the "spend development money" phase of my project. Take care all.

Thank you so much Andrew, for the quick reply and advice. As the sci-fi trilogy is a work-in-progress, will be in tune with today's zeitgeist. Cheers.

Hello Andrew, I understand you focus on screenwriting. I saw your Kersey Management site congratulations on your success. I would like to ask a few questions about novelist representation if that is possible.

Hello all as well, I have written a book. I am interested in getting a literary agent. I have Google searched possible query letters. The websites suggest a synopsis of the book. For a script I understand a log line is required. A synopsis would be much longer. I also don't know what to do about the lack of literary publications. The suggested steps are below.

1. Greet the agent

2. Write a strong hook for the book

3. Write a synopsis

4. Pitch your author credentials (I haven't authored anything published before)

5. Personalize to stand out from other queries

6. Close the letter with a thank you

7. Proofread

I would like to ask not just Andrew Kersey but anyone to offer any information they have learned about this process. I am not just asking Andrew Kersey exclusively.

Thank you for doing this Andrew! If you and your client do not agree on something, let's say something the writer is very passionate about writing, but you might not think is viable for the marketplace, how do you handle that?

hi Sam, the big obvious common denominator between agents and managers is that both work on behalf of the client. They are the team. Along with an entertainment attorney to help negotiate deals. Now, the big difference is that agents are licensed to negotiate deals and procure (seek) work for the client whereas the manager tends to be more in the creative trenches with the client. Why? Well, agents tend to have many more clients than managers so they typically don't have as much time to spend on reading multiple drafts of scripts, pitches etc. That's a super simplified description of an agent's role. As a manager I love that clients' agents are always talking to producers etc about a client and sending material around and setting meetings. This gives me the time to work with the client to create the best possible version of the script or pitch aka rewrites, polishes etc. I'll now add that there are some agents who are much more creatively involved than other agents and there are some managers who are much involved in the business side than others. But we all work for the client.

hi James, I never tell a client never to write something. A writer's passion must be nurtured. What I do is manage the client's expectations with the script or pilot. For example, a quirky dark historical comedy will probably not have as many eager producers wanting to read as a higher concept piece.

Hello Andrew - should a new writer trying to break in and get a manager write "big" or "small"? What I mean is should they aim big and write the next big 80 million dollar budget blockbuster or the small indie film? I ask because I have written a big action/horror blockbuster based on novel that I bought rights (not acquired) too. It was semi finalist in comp, got very good feedback, Producer Marty Katz showed some early interest but many people told me to put it in the drawer for later when I'm established as I would have trouble getting it in front of a big producer/studios/director no matter how good it is because I am a no-one.

But I have also written a medium budget family comedy (currently have non-exclusive producers agreement on it) and I have also written an indie-low budget style romance drama.

So my question really is - if I can only give one script to a manager and only have one shot, what level do I aim at? What do I send? The big action horror type film or a small indie character driven low budget film or something in the middle? What does a manager want to see from a newbie if you can only send 1 script to start with?

Andrew Kersey "A writer's passion must be nurtured. What I do is manage the client's expectations with the script or pilot." I LOVE that and the collaborative spirit. Thank you for the clarification in the difference!

hi Gina, over the years I've signed a number of contest winners. More often than not though the contest scripts have been introductions for me to the writer rather than being a script to spec out. In other words, we developed a new original spec but I was turned on to the writer by the contest script.

Hi Andrew. Just wanted to say "thanks" for doing this.

Great questions re voice, Emily. I like to say a screenwriter's voice is the writer's "writer personality" that comes to life on the page. Voice is evident in the how the writer uniquely word crafts, scene builds, creates characters and banter etc etc. A writer's voice results from personality and life experiences and attitude, blended with choice of characters and themes and the stories the writer chooses to bring to life. There is no right or wrong voice. Voice is unique to the talent. My advice is read Tarantino, Charlie Kaufman and Shane Black. All are obviously amazing storytellers but each's writing personality -- voice -- comes through via their unique word crafting. Each's work delivers a different reading experience. Maybe an extreme analogy of voice is to look at two iconic artists -- Jackson Pollock and David Hockney. Both use paint but have vastly different styles. Or watch two different professional tennis players swing a racket. Both use a racket and both swing but each has their own style. Whatever the profession or sport etc, style/voice is the result of countless hours of toil and practice and devotion to the activity. It develops organically.

Andrew, as per your recent LinkedIn post on spec scripts, current times are exciting for creatives everywhere. Enjoying your AMA's interaction today. Lots of added value from your comments. Thanks again.

Hi Andrew! Thanks so much for doing this! I wanted to ask you about your process with a writer when they are creating a new piece. My previous manager liked for me to bring a list of ideas, then we would choose one and she would read outlines and then drafts and give notes. I've only had the one manager, so I was curious if that is normal practice? And if so, can you speak to how you choose which project to work on? And if not, can you talk a little about your process of working with a client on a new project? Thank you!!!!

Hi Andrew, I'm a Brooklyn-based screenwriter and actor. My first written feature film will be having its world premiere at a festival soon, and I got hired by another filmmaker to co-write his screenplay. When is the right time to start querying, and how best do I go about that?

Hi Andrew! Thanks for doing this AMA. When a project starts to move forward how involved are you in the process? Do you work alongside an agent to help champion the writer or fall back more after deals start being made?

How do you balance commercial considerations with artistic integrity when selecting projects to take on?

Appreciate you for doing this AMA, Andrew.

hi Ariadne, when clients are writing a new original spec, my process is very similar to what you experienced. First step is I like to hear a number of possible ideas (ie loglines) because it helps me know what my client is thinking. Themes, conflicts, etc. And then we will narrow down the list to 1-2 and then bounce off the agent. If the team is onboard with a basic idea, then the outlining begins. I am a soundboard in this process. Once the outline/treatment is done (after many many many drafts), my client goes to script. And then many drafts later we will show the agent for a fresh set of eyes. Total team effort. Total collaboration.

hi Pete, I can't speak for all managers but my advice is lead with the script you feel is the strongest sample of your voice. You can't fake enthusiasm on the page whereas a writer who writes something they are not passionate about -- for whatever reason - is obvious to jaded readers like me. A high concept popcorn script that is executed without passion is never as exciting a compelling voice that delivers a seductive reading experience.

hi Amanda, congratulations on your momentum! If your project is premiering soon, go ahead and reach out to producers and reps you think might respond to your writing. Mention this. As we've touched upon, make sure you do research re WHO you contact. Targeted approach. Also, maybe some of these producers have projects at the festival so you can mention this when contacting them? That you have this in common. Good luck!

"writer personality." I think that's the perfect way to sum up writer's voice, Andrew Kersey!

Hi Andrew,

1) What is your sweet spot for the length of a feature script?

2) Is there a percentage of drama to action that you lean toward, or does it just depend on the story?

I appreciate that you work side by side with your clients "in the creative trenches," that's fabulous! Thank you for sharing your time and experience with us. :)

Great questions Niki. When a producer/executive oversees a client's project whether it is an option or sale etc, I prefer to stay in the background. Let the producer do her job. But I make myself as available as the producer wants me to be which can oftentimes mean reading various drafts of the script because there are always rewrites and polishes during the lifespan of a project. If issues arise for whatever reason, my clients know I'm there. But in general once a project gains traction, I try to stay out of the way as much as possible and let everyone do their job.

Undeniably eye-opening how Storytelling has gained preponderance in this empty age of quantum computers, AI, IoT, technology, etc., which give us no solace. Deep inside, we remain cave people, gathered around fires, listening in wonder to the Storytellers of our Tribe. Keep dreaming, keep writing, keep creating stories!

hi Mista, great question. Art vs commerce. As a manager, I encourage my clients to write what they are passionate about. What excites them. If they are writing a new original spec, I want the client fired up to write because it is a lonely endeavor. At the same time, before ever typing FADE IN, we discuss the goal with the spec. As I mentioned earlier, I try to manage expectations. In other words -- and to emphasize a point -- an indie period drama might not have as many eager producer fans waiting to read as a high concept genre piece.

hi Sandra, typically comedies and rom coms are more dialogue heavy than genre and so should have a higher page count. Genre (ie action, horror, thriller and sci fi) tend to have denser prose aka more scene description than comedies and in turn a smaller page count. This is not a rule written in stone of course and we're talking about original spec scripts. My tastes lean towards amazingly written scripts. Ha. Find your voice and be faithful to your voice.

Amazing! --> Makes a mental note --> Check! :)

Hi Andrew, congrats on all your success! My question is are 6-8 part miniseries a hard sell in today's marketplace? I've gotten a couple of requests from feature film producers on Stage 32 for the feature I've written The Accidental Arms Broker, but the story could also be re-structured as a 6 part miniseries with a hard ending. Do you think it's worth my time to restructure as a miniseries? It's a strong role for a female lead. Thank you for this AMA. Really appreciate it.

This thread is such a gift. Thank you Andrew! A million times!

Hi Andrew I thought this was today - the us must be ahead of the UK sorry I have been editing Angevin, entering another screenplay into the Nicholls and adapting, my memoir into a screenplay and copywriting it and getting a few screenwriting credits for IMDB qualifying stuff onto IMDB. My questions are several.

1) I have already been libelled and slandered internationally and including in the US ( what are the likely repercussions of a memoir as a film?) The film is less revealing than the book but I am inadvertently finding myself straying back in time earlier than expected.

2) Is it wise to do it under a pseudonym? (I think it is difficult at this point and people have already been trying to write my life story badly and am not happy about it and would rather write it myself).

3)Because of some of the subject matter I want to approach Scorsese to produce is this realistic if I am not a mega watt celebrity myself and should I keep any topics to myself for the sake of things like visas to the US / my career etc but my memoir will be very different to some movies I have written. Is this likely to impact on anything? I don't really see myself in the children's film market and write adult and YA material though sometimes PG but I have written a couple of children's books. Would it be wise to do these under a pseudonym? Or is the market not sophisticated enough to understand that I can have led a different life at different ages or have a personal life that is nobody's business if I write about fucking in something, care homes in something else and history / history and horror elsewhere? Or conflict

4) I read what you said about not writing i different genres but I truly do ( as a former international and conflict journalist who also did arts, fashion, poetry, short stories moving into theatre, film and tv is not that much of a jump though I mainly write epics and historic biopics they usually cross genres,

Hi Andrew, thanks for your time. I have a few different projects I'm ready to pitch but I don't have an agent or a manager. I understand without one potential producers, development execs at studios or at streamers don't accept material. How do I get my ideas in front of potential buyers when they don't want unsolicited material? Thanks John

Thank you for your time Andrew. We appreciate it. Have a great weekend.

Andrew, thank you for doing this. My apologies for just responding. I was participating in a conference (Fedele.org) virtually and another Christian Film and Arts Festival https://christianworldartsfestival.com/about-us/ this week. I mention both on my Stage 32 Wall (Budget Challenge for Studios and Luxury Films). Is it too late to ask you questions?

First of all, thank you for doing this and offering insights. My projects cover several genres

https://www.stage32.com/profile/753105/about

My goal

Obtain agent and manager

Additional funding sources (in addition to my ebook Funding for Internship and Scholarship Programs, budget challenges)

Also potential (package deals on projects that I may or mayn’t produce but act as lead consultant)

Obtain proper counsel via career development calls

Thank you in advance for your feedback and recommendations!

Hi Andrew, how many scripts do you want a client to have? I am marketing four now. I have written ten; five need more rewrites. What do you think about a writer querying producers?

One producer I queried requested my script but wanted it sent through a lawyer, manager, or agent. I said I was willing to sign a release and have no rep at this time, but unfortunately, I never heard back.

A management/production company read one script and said, "While we really enjoyed it—great work!-- for now it’s not something we’ll pursue producing."

Another production company read it and said, "We read the script and although we think it’s a wonderful project, we think it is somewhat too close to other projects we are developing at the moment. Sorry to let you know that we cannot jump on board at this point. I hope you will find someone who can help you with the project."

I have entered contests and placed in Page and in ScreenCraft. I also had a trusted consultant, a writer/producer/director, read two of my scripts, and he said they were ready to submit to agents, managers, and producers. And I had another consultant, who used to work for the top production shingles and studios as a senior reader, review one of those scripts, an earlier draft, and he had more polish notes, which I implemented. Readers have said my scripts are commercial, fresh, unique, and timely. Thanks.

Hi Andrew, I'm currently marketing one script. It's a kids & family script and it's been my brainchild since day one. I entered it in contests and stuff, and I have great reviews.

And I do have one question, Can autistic people become better screenwriters?

Andrew Kersey Hi Andrew, may I ask you what your view of the market is for series v limited series? Is there much of a demand for them? Are limited series viewed as less of a risk, particularly if they are by an unrepresented, new(ish) writer?

Hi Andrew, is now a good time to request representation?

Dear Andrew and fellow creatives, greetings from dynamic Medellin, Colombia. A close friend asked me to get the word out and around about his small production and filming studio here. The facilities, Black Magic equipment, and crews are well suited for documentaries, docuseries, reality shows, tv series, and low budget films, at very competitive rates. Open to receive your inquiries. Cheers to All.

Andrew answered questions throughout this thread Jed Power

James, ok and sorry my bad!

If the film studio needs promotion, have them join Stage 32 and promote accordingly. Also, try partnering with larger studios for referrals and news stations.

Andrew, how important is the writer's social media presence?

Congrats on your success Andrew!! I enjoyed my pitch with you and thanks for finding time to read my work. Surely appreciated. Best.

Andrew, Thank you.

Andrew, are you ready to read new stories?

Thank you for all your great insight Andrew Kersey!