Here is a list of new literary agents. They represent book writers not script writers. If you have writer a book or are writing a book try a querying them. First see if they represent your genre.
Andrée Abecassis (Ann Elmo Agency, Inc.)
Jason Allen Ashlock (Movable Type Literary Group)
Bernadette Baker-Baughman (Victoria Sanders & Associates)
George Bick (Doug Grad Literary Agency)
Brandi Bowles (Foundry Literary + Media)
Jamie Brenner (Artists and Artisans)
Regina Brooks (Serendipity Literary Agency)
Ann Collette's (Rees Literary Agency)
Marisa Corvisiero, Esq. (L. Perkins Agency)
Jennifer DeChiara (Jennifer DeChiara Literary Agency)
April Eberhardt (Kimberley Cameron & Associates)
Diana Fox (Fox Literary Agency)
Diane Freed (FinePrint Literary Management)
Adam Friedstein (Anderson Literary)
Mollie Glick (Foundry Literary + Media)
Doug Grad (Doug Grad Literary Agency)
Katie Grimm (Don Congdon Associates)
Naomi Hackenberg (The Elaine English Literary Agency)
Molly Jaffa (Folio Literary Management)
Meredith Kaffel (Charlotte Sheedy Literary)
Mary Kole (Andrea Brown Literary Agency)
Katie Kotchman (Don Congdon Associates)
Jud Laghi (The Jud Laghi Agency)
Sarah LaPolla (Curtis Brown, Ltd.)
Sandy Lu (L. Perkins Agency)
Donald Maass (Donald Maass Literary Agency)
Alexandra Machinist (Linda Chester Literary Agency)
Victoria Marini (Gelfman Schneider Literary Agents)
Jim McCarthy (Dystel & Goderich Literary Management)
Kate McKean (Howard Morhaim Literary)
Peter Miller (PMA Literary and Film Management, Inc.)
Robin Mizell (Robin Mizell Ltd.)
Shawna Morey (Folio Literary Management)
Emmanuelle Morgen (Judith Ehrlich Literary Management)
Dana Newman (Dana Newman Literary)
Kathleen Ortiz (Lowenstein Associates)
Lori Perkins (L. Perkins Agency)
Adriann Ranta (Wolf Literary Services)
Janet Reid (FinePrint Literary Management)
Chris Richman (Upstart Crow Literary)
Rita Rosenkranz (Rita Rosenkranz Literary)
Elizabeth Winick Rubinstein (McIntosh & Otis)
Katharine Sands (Sarah Jane Freymann Literary)
Katie Shea (Caren Johnson Literary)
Jessica Sinsheimer (Sarah Jane Freymann Literary)
Michael Strong (Regal Literary)
Becca Stumpf (Prospect Agency)
Emily Sylvan Kim (Prospect Agency)
Suzie Townsend (FinePrint Literary Management)
Joanna Volpe (Nancy Coffey Literary & Media Representation)
Marissa Walsh (FinePrint Literary Management)
Elisabeth Weed (Weed Literary)
Roseanne Wells (Marianne Strong Literary Agency)
Natanya Wheeler (Nancy Yost Literary Agency)
John Willig (Literary Services, Inc.)
Christine Witthohn (Book Cents Literary Agency)
Michelle Wolfson (Wolfson Literary Agency)
Thursday, December 2, 2010
Wednesday, October 27, 2010
Lists Of Agent & Porducers
If anyone is interested, I have several lists of film agents and producers a long with phone numbers and addresses. If anyone is interested in them just contact me at ahicks4298@msn.com. In the subject box type film agents and producers.
I also have a long list of literary agents. If anyone is interested in it ask for it too.
Before sending material to agents and producers always call them first to varify the correct address. Also before sending a query to producers be sure they produce movies that are in the same genre as your film script. Here are some tips to finding the right producer:
1. Check the credits of released movies that are in the same genre as your script. Get the name of the producer.
2. Then do research on the producer to find out what production company he or she works for. Go to the website http://www.imdb.com/. For a little over $15.00 per month you'll get access to the names of producers, their production company address, and phone number. I plan to subscribe to this site in the near future (after paying off my bill to Dell computers).
When you find the right producer to query, send a query letter, and send the first 10 pages of your script. A hollywood secret I recently learned is that producers will read the first 10 pages of a script. The first 10 pages of a script is like the first chapter of a novel that a literary agent asks a writer to send during a first time query. The 10 pages have a better chance of selling the script than the query letter or synopsis. So in the first 10 pages be sure the reader meets the main characters and gets a good idea what the plot will be about. When writing jump right in the story. Make the beginning as interesting as possible.
I also have a long list of literary agents. If anyone is interested in it ask for it too.
Before sending material to agents and producers always call them first to varify the correct address. Also before sending a query to producers be sure they produce movies that are in the same genre as your film script. Here are some tips to finding the right producer:
1. Check the credits of released movies that are in the same genre as your script. Get the name of the producer.
2. Then do research on the producer to find out what production company he or she works for. Go to the website http://www.imdb.com/. For a little over $15.00 per month you'll get access to the names of producers, their production company address, and phone number. I plan to subscribe to this site in the near future (after paying off my bill to Dell computers).
When you find the right producer to query, send a query letter, and send the first 10 pages of your script. A hollywood secret I recently learned is that producers will read the first 10 pages of a script. The first 10 pages of a script is like the first chapter of a novel that a literary agent asks a writer to send during a first time query. The 10 pages have a better chance of selling the script than the query letter or synopsis. So in the first 10 pages be sure the reader meets the main characters and gets a good idea what the plot will be about. When writing jump right in the story. Make the beginning as interesting as possible.
Sunday, September 12, 2010
More Script Writing Tips
DON'T TELL US WHAT WE SEE AND HEAR--SHOW US
Writers will sometimes use the first person in their narrative, and I find this truly unnecessary. After all, what do you really gain by writing 'We see a rat rustling in the alley' instead of 'A rat rustles in the alley?' Either way, 'we' see it, right?
Beginning sentences with needless instructions like we see, we hear, we follow, we notice, we move, etc will eventually wear on the reader's nerves. Just let it all unfold.
DON'T MARK EVERY PAGE WITH 'CONTINUED'
If there is a more profound monument to redundancy, I don't want to know what it is. If you think whoever's reading your script doesn't have the intelligence, savvy and the general kindergarten smarts to keep turning the pages, then by all means, put CONTINUED prompts at the top and bottom of your pages.
But most of us manage to read an entire script without the instructions, thanks. It's like labeling your coffee mug with an arrow and THIS END UP.
This also goes for CUT TO: after every scene. When we see the next scene slug, then we know the next scene begins. Remember, what you're after is a clean look, so why clutter up the pages with needless directions like this?
Writers will sometimes use the first person in their narrative, and I find this truly unnecessary. After all, what do you really gain by writing 'We see a rat rustling in the alley' instead of 'A rat rustles in the alley?' Either way, 'we' see it, right?
Beginning sentences with needless instructions like we see, we hear, we follow, we notice, we move, etc will eventually wear on the reader's nerves. Just let it all unfold.
DON'T MARK EVERY PAGE WITH 'CONTINUED'
If there is a more profound monument to redundancy, I don't want to know what it is. If you think whoever's reading your script doesn't have the intelligence, savvy and the general kindergarten smarts to keep turning the pages, then by all means, put CONTINUED prompts at the top and bottom of your pages.
But most of us manage to read an entire script without the instructions, thanks. It's like labeling your coffee mug with an arrow and THIS END UP.
This also goes for CUT TO: after every scene. When we see the next scene slug, then we know the next scene begins. Remember, what you're after is a clean look, so why clutter up the pages with needless directions like this?
Tuesday, September 7, 2010
Script Writing Tips: Actions & Descriptions
DON'T SERVE UP BIG CHUNKS OF NARRATIVE
If your paragraphs are over three sentences, consider breaking them up into smaller, more digestible chunks. White spaces do not only keep the pages looking clean, they just make the whole thing easier on the eyes.
Huge slabs of words look unappetizing and ultimately turn us off. You want to establish a free and loose rhythm with short paragraphs so the reader's eyes will move quickly down the page, devouring words. There's a psychology at work here. Screenplays are works of action; they must move nimbly.
If your script resembles a 19th century Russian novel, then the reader will feel like he has to slog his way through it, no matter what the content. Making your script appealing to read is not merely cosmetic, it is crucial.
IF THE CAMERA CAN'T SHOW IT, THEN WE CAN'T SEE IT
Consider this:
EXT - BUSY CITY STREET - DAY
JADE, a conservative, no-nonsense gal who graduated Yale third in her class, stands on the street corner and hails a cab.
Did we witness her being conservative and no-nonsense in any way? Did anyone mention where she went to school and how well she did? If not, then how can we possibly know this?
These attributes can easily be revealed by some illuminating actions or dialogue. But unless we can actually see it on screen, we can't know it. Remember the limitations of the camera lens.
KEEP THE CAMERA INVISIBLE
There is nothing more distracting and frustrating than trying to become absorbed in the flow of narration and having it constantly interrupted by speed bumps like CLOSE ON, PULL BACK, DOLLY UP, PAN DOWN and a truckload of other needless directions. Reading camera shot after camera shot in the narration is not just supremely annoying, it wrecks the rhythm.
Remember, your script is a reading script, not a shooting script. It should flow like a story with dialogue and narration. Never mind the technical angles and calling every single shot, as those will be determined by the director anyway. Just captivate us with a good story and let us visualize it in our heads.
If your paragraphs are over three sentences, consider breaking them up into smaller, more digestible chunks. White spaces do not only keep the pages looking clean, they just make the whole thing easier on the eyes.
Huge slabs of words look unappetizing and ultimately turn us off. You want to establish a free and loose rhythm with short paragraphs so the reader's eyes will move quickly down the page, devouring words. There's a psychology at work here. Screenplays are works of action; they must move nimbly.
If your script resembles a 19th century Russian novel, then the reader will feel like he has to slog his way through it, no matter what the content. Making your script appealing to read is not merely cosmetic, it is crucial.
IF THE CAMERA CAN'T SHOW IT, THEN WE CAN'T SEE IT
Consider this:
EXT - BUSY CITY STREET - DAY
JADE, a conservative, no-nonsense gal who graduated Yale third in her class, stands on the street corner and hails a cab.
Did we witness her being conservative and no-nonsense in any way? Did anyone mention where she went to school and how well she did? If not, then how can we possibly know this?
These attributes can easily be revealed by some illuminating actions or dialogue. But unless we can actually see it on screen, we can't know it. Remember the limitations of the camera lens.
KEEP THE CAMERA INVISIBLE
There is nothing more distracting and frustrating than trying to become absorbed in the flow of narration and having it constantly interrupted by speed bumps like CLOSE ON, PULL BACK, DOLLY UP, PAN DOWN and a truckload of other needless directions. Reading camera shot after camera shot in the narration is not just supremely annoying, it wrecks the rhythm.
Remember, your script is a reading script, not a shooting script. It should flow like a story with dialogue and narration. Never mind the technical angles and calling every single shot, as those will be determined by the director anyway. Just captivate us with a good story and let us visualize it in our heads.
Monday, August 30, 2010
Purpose Of An Agent
Please read this carefully. This is information that I found that gives the best explanation on the purpose of a script agent:
Put simply a good agent will save you time and actually make you money. They know the ins and outs of the industry and they know how to get you the best deal possible. Remember that an agent doesn’t take any money from you until they’ve sold a script, so it’s pretty much win/win.
Finding an Agent
The first thing you want to do is to get a list of approved agencies from the Writers Guild at (www.wga.org Click on WRITER RESOURCE then click on AGENT LIST). They have a coded list so you know which agencies are currently accepting scripts. Keep in mind these are agencies rather than individual agencies. To find an individual agent you will need to purchase the latest Hollywood Representation Directory from Amazon.
You need to get the name of a specific agent. This might require you phoning an agency and asking them which of their agents are currently accepting new clients. You shouldn’t tell them that you’re a new scriptwriter, just that you’re a scriptwriter with a new script.
Once you have pinpointed a particular group of agencies or agents that you would like to represent (and are accepting queries) you then you should send a query letter to around 5 to 10 of them. Make sure though that you’re only contacting one agent per agency.
Working With an Agent
With the right amount of skill and luck at least one agent will get back to you and request a copy of your script. Then you should mail a copy of your script, complete with a cover letter to the agent. Hopefully your script will have enough impact for the agent to request a meeting. This is a chance to get you know each other personally and ask any questions you might have about them.
A reputable agent will take only 10% of your scriptwriting income with no extra charges (travel, reading, sending out scripts, etc.). If you meet an agent who differs from this then you should politely back out of any further dealings with them. The only cost you many have to pay for is photocopying scripts.
You want to present yourself to the agent as a passionate writer and a great pitcher. The more scripts you can produce then the more money the agent stands to make which makes you a great acquisition for them. The agent will want to know where you see your career heading. For example, what genres interest you, would you also write for television, can you travel to Hollywood regularly for meetings, etc?
Once you have signed a Writers Guild-signatory contract your agent has a 90 period to sell your script before you can terminate the deal. Do remember though that selling a script takes time, so don’t rush to end the contract unless you strongly feel nothing is being done. An agent is primarily concerned with making money though so it would make no sense for them not to be trying their hardest to sell your script.
There are four different deals your agent can strike for you, they are:
Outright Sale: If your script has created enough interest and buzz around Hollywood then it may be sold in an auction like style. As you can imagine the bidding can get high, at least six figures and can go as high as seven figures. You will also receive a bonus when then script has actually been produced as well as residual fees for things such as DVDs and TV showings.
An Option: This is a lot more common than an outright sale. The buyer will purchase the option to rights of the script for a period of time (6 to 16 months). During this time the production company tries to attract talent and/or money towards the script. An option fee can be anything from $0 to $20,000. You will be paid this fee at the end of the optioning contract, at which time the option may be renewed or pass on the script. If they pass on the script you receive the option fee and retain rights to the script.
Development Deal: Your agent will use your spec script to arrange a meeting with a producer. In the meeting you will pitch ideas which can result in a development deal or sale (if you have already scripted the idea).
Audition: This deal secures an audition with a producer to develop their idea into a script. This could film or TV. In the case of a TV series you will receive money to write a couple of episodes and will get residuals if the show goes into syndication. If you impress you may be asked to work full time on the staff of the TV show.
Once you have an agent you should do all you can to stay in touch with them. Arrange a time to call or meet with them once a month or so and keep to it.
Put simply a good agent will save you time and actually make you money. They know the ins and outs of the industry and they know how to get you the best deal possible. Remember that an agent doesn’t take any money from you until they’ve sold a script, so it’s pretty much win/win.
Finding an Agent
The first thing you want to do is to get a list of approved agencies from the Writers Guild at (www.wga.org Click on WRITER RESOURCE then click on AGENT LIST). They have a coded list so you know which agencies are currently accepting scripts. Keep in mind these are agencies rather than individual agencies. To find an individual agent you will need to purchase the latest Hollywood Representation Directory from Amazon.
You need to get the name of a specific agent. This might require you phoning an agency and asking them which of their agents are currently accepting new clients. You shouldn’t tell them that you’re a new scriptwriter, just that you’re a scriptwriter with a new script.
Once you have pinpointed a particular group of agencies or agents that you would like to represent (and are accepting queries) you then you should send a query letter to around 5 to 10 of them. Make sure though that you’re only contacting one agent per agency.
Working With an Agent
With the right amount of skill and luck at least one agent will get back to you and request a copy of your script. Then you should mail a copy of your script, complete with a cover letter to the agent. Hopefully your script will have enough impact for the agent to request a meeting. This is a chance to get you know each other personally and ask any questions you might have about them.
A reputable agent will take only 10% of your scriptwriting income with no extra charges (travel, reading, sending out scripts, etc.). If you meet an agent who differs from this then you should politely back out of any further dealings with them. The only cost you many have to pay for is photocopying scripts.
You want to present yourself to the agent as a passionate writer and a great pitcher. The more scripts you can produce then the more money the agent stands to make which makes you a great acquisition for them. The agent will want to know where you see your career heading. For example, what genres interest you, would you also write for television, can you travel to Hollywood regularly for meetings, etc?
Once you have signed a Writers Guild-signatory contract your agent has a 90 period to sell your script before you can terminate the deal. Do remember though that selling a script takes time, so don’t rush to end the contract unless you strongly feel nothing is being done. An agent is primarily concerned with making money though so it would make no sense for them not to be trying their hardest to sell your script.
There are four different deals your agent can strike for you, they are:
Outright Sale: If your script has created enough interest and buzz around Hollywood then it may be sold in an auction like style. As you can imagine the bidding can get high, at least six figures and can go as high as seven figures. You will also receive a bonus when then script has actually been produced as well as residual fees for things such as DVDs and TV showings.
An Option: This is a lot more common than an outright sale. The buyer will purchase the option to rights of the script for a period of time (6 to 16 months). During this time the production company tries to attract talent and/or money towards the script. An option fee can be anything from $0 to $20,000. You will be paid this fee at the end of the optioning contract, at which time the option may be renewed or pass on the script. If they pass on the script you receive the option fee and retain rights to the script.
Development Deal: Your agent will use your spec script to arrange a meeting with a producer. In the meeting you will pitch ideas which can result in a development deal or sale (if you have already scripted the idea).
Audition: This deal secures an audition with a producer to develop their idea into a script. This could film or TV. In the case of a TV series you will receive money to write a couple of episodes and will get residuals if the show goes into syndication. If you impress you may be asked to work full time on the staff of the TV show.
Once you have an agent you should do all you can to stay in touch with them. Arrange a time to call or meet with them once a month or so and keep to it.
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