I have written a feature screenplay and I have a producer interested in it. I'm pretty new to this part of the industry- how do I get an agent? Should I use just an entertainment lawyer if things go towards a sale? Right now I could probably make the sale on my own but it seems like a way, way better idea to get an agent in the long run. What do you guys think?
Screenwriting : Getting an agent by Stanley Pomianowski
Getting an agent
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If you can make the sale yourself, do so, and get a lawyer to look over the paperwork. I have 3 options out now that I did without an Agent. Conversely, an Agent is generally how one gets more work, or presented to "bigger" Production Houses. At the moment, you have a good opening line for an agent you have interest in: "I have a script which XX is interested in buying, would you be interested in negotiating that deal, etc." Handing them "found" money is the beginning of a beautiful relationship, lol.
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If you only have one script available for sale, then an entertainment attorney is probably your best best. If you more than one, let's say three screenplays, written in a specific genre for a specific medium (for example, romantic comedy genre, feature film medium) then you will be more appealing to an agent. Remember, you are competing with professional specialists, so you want to make your self as marketable as possible to an agent.
what Scot said.
How Do You Do That ?
Can it harm you to speak to the agent a producer recommends, Alle? An agent a producer recommends may be an agent producers trust; an agent who has talented, professional clients. Seems to me being a writer with an agent that producers go to is a good thing. What would be your concerns?
Alle's concern is mine as well. That the agent works for the producer more than the new client and will under sell the client for the producer's gain.
Sorry, if a Producer says he works with Agent X, and I do not have an agent, I go to Agent X and simply have someone else look over the contract. As Dan says, a WGA-signatory agent is not going to take the chance of violating their status. You have to start somewhere, and annoying the Producer ain't the place to start. Just do your due diligence, but don't be so afraid that you end up getting in your own way. IMO.
And, to be clear, not trying to be contrary; everyone's outlook is created from their experiences. But, since a contract can be read by others for your protection, there are many more things to be concerned with, at the beginning of your career, than if a suggested agent is going to screw you over: what relationships might this build for the future, are you now on this agent's radar as a commodity, are you actually making the dern sale. -- I often find people are so focused on their current project that they don't see the ephemeral quality of it. It's a stepping stone, no matter how valuable you think it is. You're a writer. Protect your back by having the contract read by an Entertainment Lawyer who knows what your concerns for this project are. But then make the deal and move on to something new while you can use the impetus of that deal to ensure your "moving forward."