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Query Letters & Loglines FAQ
Archive #1

Ref 30. I am a new "net" user, and have sought out the wisdom of anyone who knows about selling screenplays. You seem quite knowledgeable. Could you help me?
I wrote a feature film length screenplay in a screenwriting class. I realized that screenwriting is the medium I have searched desperately for since I had learned how to write (I was five - now twenty-seven).

I submitted my script into a contest, to no avail. I have been submitting the script to various production companies, using the Hollywood Directory as my guide, also to no avail. How do I know if anyone has really read my script?

I am thrilled that I have been able to find an outlet for my storytelling mentality -- I seem to create stories every minute of every day! I am currently writing script #2, hopefully to be completed by the end of September.

I really want to know -- How can I sell a screenplay? I would love to be able to write full-time, move some place warm, and finally reap the benefits from an "overactive imagination" (that's what I was told when I was a kid)!

Any response would be devoured in thanx and gratitude.

Melissa in Chicago

Ref 32. Ref #30: Melissa in Chicago, first of all, I think your city has an active s'rwiting/film
organization. Join it and take advantage of getting other aspiring writers and film people to
critique your script. Second, finish your second script! You're still in a sharp learning curve
and you might find there are things you want to change in your first script as you finish the
second. When you say that you've subbed the script to prodcos to no avail, do you mean
you sent a query and they weren't interested or did you send a script upon their request? If
you merely sent a script w/o their permission, it is likely that it wasn't read. But if you
subbed it correctly, and they have asked to see it, then it *has* been read and given
coverage by a reader--even if you can't tell from the pages! Also, I have questions about
"to no avail"-- if you could post back and tell me what they said, I'll try to interpret the
H'woodese for you. The pat answer to how to sell a script is the old "write the best damn
one in history." But, of course, you think you have! :) . Without reading your script (which I can't do) or knowing what kind
of responses, I can't tell you why you're not getting anywhere. But I can tell you that in the
vast majority of cases, it takes a long long time to get anywhere fast in this business --think
of it as the equivalent of the L.A. freeway system.

Ref 33. Wendy:

Tons of thanx for answering; I think this chat-thing is really cool!

O.k., so I sent a query letter with the scripts, unrequested by them. Some of the responses have stated that they do not accept any unsolicited materials, but I have received other notes (one was hand-written, which impressed me!) often with encouraging words.

One example is from Viviano Entertainment. "Thanks for the look at The Program (my script). Sorry it wasn't for us. Best of luck with the project!!!" and was signed by the owner. The way the script was bent and the vellum was worn led me to believe it was at least read! I was thrilled to receive this rejection letter (if that makes any sense at all).

When I write a query, generally I give small information about the storyline (hopefully with a hook), and I (humbly) ask that they read it and respond to it. I would love to have a *reader* go at it, but now I understand through you that I have to have the prodco request the script. I may be sceptical, but that seems kind of tough to get accomplished. Wouldn't it just be easier to keep on sending the queries with the scripts blindly? I have hopes that it'll slip through and grab someone's attention long enough for the person to say, "Hey, this is great!"
Then again, maybe I can save on postage by just sending the query, and getting the same effect (insight!).

How much does a script consultant cost? (I'm kinda broke - who isn't?) I submitted the script into a s'writing contest, and did not win. I just received the letter asking me to try again next time. I realized after I sent it in that I submitted for a contest that asked for the topics of entrepreneurship and virtue, and my script was a version of "The Net" and "Seventh Sign". I knew that was a lost cause to start with.

Is it o.k. to make multiple submissions?

Much thanx!

Melissa in Chicago

Ref 34. Wendy,

When e-mail was installed at our art museum a number of employees
began writing irreverent messages commenting on the unusual
inner-workings of an art museum. Nothing was sacred, and we had a
feast examining (and distorting) the varied characters and events.
Our exchanges were very entertaining, and soon attracted a cult-like
following. It has occured to us that our e-mail diversion would be
great material for a televsion series (much like ER, St. Elsewhere,
LA Law, Hill Street Blues, etc. Those shows all provided a great
forum for entertaining and dissecting social issues, and attracted a
loyal audience, but I think the networks would have a hard time
getting viewers interested in another hospital or cop/private
detective show; been there, done that!) An art museum would be a fresh
venue, and there is a wealth of material (Wealthy donors, feeble
curators, impoverished drug-laces security guards, desperate interns,
etc.

The bottom line is that we have a lot of existing material and a lot
of ideas, and we'd like to take steps to see if we could interest
anyone in our concept. The problem is that we might be art museum
experts and capable writers, but we don't know anything about
televsion networks, scripts, or producing shows. Could you please
give us some advice on how to jump-start this project and take the
correct steps to see if our concept and material would interest
anyone?

Thanks,

John Gee
Dawn Anderson
Erika Petras
KKWJ57A@PRODIGY.COM

Ref 35. Hi.

I've written a s'play, but my day job is high paying, relative to what
I've heard screenwritters get. So I'm not sure I want to be a "serious
professional writer", but I would like to pitch my s'play and see if
it will pay off.

I've gotten in touch with the local Writters League, so I'll get some
critique.

From your column, I've gotten the impression that agents will only
be interested in long-term professionals. So is there anything
different I should do from the advice you're giving to career writers?

Thanks,
Jeff in Austin

Ref 36. Wendy:
I've read your information on how to write a great query letter and would like your comments on this one.
Thank you.

Anthony Davis
______________________________________________________________________________

'Hidden Agenda' is a thriller with two female leads.

Maxine Galloway, an undercover cop and Mona Leighton, a witness in the murder trial of a mob
hit man, subsequently enter the Witness Protection Program. With altered features and
identities, they are both relocated to Tucson, Arizona, unbeknown to each other. The mob
continues to search for them.

In a chance meeting, Maxine believes she recognizes Mona, who, shocked that she can be
identified, denies it.

Frank Smythe, a professional thief, meets Mona at the hotel where she works. By coincidence
Maxine, in her new persona, is hired as Head of Security. Each February this hotel hosts an
International Jewelry Show with hundreds of millions of dollars in fine jewels on display.

Smythe becomes intimately involved with Mona while he plans the robbery of the Jewelry Show.

Mona reluctantly admits to Maxine her true identity. She overcomes her fear of discovery by the
desire to renew a close relationship, formed during their time spent together before the trial.

Smythe tunnels into the night vault, robs the show and using a stolen Federal Express truck and
plane, flies the gems into Mexico. Maxine, helped by Mona, tracks him down at his Villa in
Guaymas.

Smythe is double crossed by his Chinese 'fence.' enabling Maxine to pull off her greatest coup,
walking away with millions in cash which she shares with Mona.

I have participated in the UCLA Writers' Program and I am a member of the Alameda Writers
Group in Burbank, California. I am a full-time writer and have two other spec. screenplays in this
genre. My non-fiction work, articles on antique collecting and early photography, have been
published in antique collector magazines and newsletters.

There is an annual Jewelry Show in Tucson, Arizona every February, but nobody has ever
attempted anything like this. Arizona is a favorite relocation area for federal witnesses. The plot
is drawn from my twenty-six years experience as an international gemstone dealer.

I invite you to read "Hidden Agenda" (122 pages).

Thank you for your consideration.

Anthony Davis
P.O.Box 8935
Universal City, CA 91618-8935
phone: (818) 762 3540 fax: (818) 762 2503 e-mail: antiqphoto@earthlink.net

Ref 37. Ref to #33: Melissa, thanks for writing back! I know exactly what you mean about an
encouraging rejection have gotten more than one of them in my career! I treasure the note
from Bill Block at ICM that said I have "passion" for my writing. Keep that attitude as it
will really serve you well as you try to succeed. As far as getting it read, it's easier, in my
experience, to get a prodco rather than an agency to request a script. And the best way to
do that is to follow their procedures. If they ask for it they will read it -- unless it gets lost
which one of mine did at a prodco (and two publishing houses lost a novel of mine after
my agent sent it in). That's why a follow-up call after a month or so is in order! Write a
fascinating query and they *will* ask for the script! Almost all prodcos and agencies
require the writer to sign a "release form" that gives them permission to look at the script
and that you understand that other material may be submitted or be in development that
resembles yours. That's the real reason that most places won't accept scripts --and they
want you to sign theirs, not your version. So, I think you'll get farther if you play be the
rules. I knew a guy who (at the ripe age of 14) sent in a script tied with yarn and with
drawings and it got read, but he was young enough for it to be charming. So, I'd go with
just the query and then send the script only if they ask for it. Besides, you'll save money.

As for contests, yes, you should research what the contest is looking for and enter the ones
where you have the best chance to place. Script consultants can run anywhere from $150 to
much much more (The UCLA s'writing dept has a mentorship program for $750!). As far
as not affording it, you've brought up not only a key problem that most s'writers have, but
a pet peeve of mine. Think of yourself as a business: you have to have capital to start a
business, and you have invest steadily in it until it's profitable. In other words, you have to
budget money to make your dreams come true and yes, sometimes that means sacrifices but
the end goal could be well worth it! Add up all the postage you've spent sending that script
to places alone -- and you're well on the way to paying for a script consultant! But there
are on-line script critiquing groups as well as script groups in many cities--you can try to
find one of them. Listers on the scrnwrit listserv trade scripts all the time and critique each
others and it's low to no cost if you send the script electronically. Finally, it is not only ok
to send multiple submissions, they expect it.

Ref 38. Ref to # 34: First of all-- for *ALL* readers: PLEASE DON'T POST IDEAS THAT
HAVE NOT BEEN PUT IN AT LEAST TREATMENT FORM AND REGISTERED
WITH THE WGA or copyrighted with the Library of Congress. Ideas CANNOT be
protected. Matter-of-fact, don't post registered ideas either. Anyone seeing the post could
rip off your idea if they were quick enough and knew enough about the art world and sell it
before you could--and you would have little chance of any recompense.

Your idea has some merit, certainly. The art world isn't "high concept" (something that
would immediately make a tv producer sit up and beg for more) but there's potential
depending on the execution of the idea. But to answer your question: It is virtually
impossible for anyone outside of the business to be able to sell a series idea--even to get a
chance to present it to decision-makers. Especially, if you wish to be involved in the
execution of the series. The normal way for series to be bought would require the three of
you to learn to write scripts and write several spec (speculation) scripts for existing tv
shows in the genre you want your series to be. Then you'd have to get an agent based on
the scripts you have written, get jobs writing for tv shows, and then and only then you
might get a chance to pitch your idea (having written several prospective shows and
developed the overall cast and where the show could go) to a tv production company. In
other words, it's a long haul that has several difficult hurdles to clear first--hardly a jump-
start! But people DO win the lottery despite the 1 in 10 mill chances, so, it is possible to
sell an series w/o showbiz credentials. You can figure out who you know in H'wood or
who you know that knows someone in H'wood that has some clout in the tv production
business (or a script agent that works with the tv field). Then you can attempt to contact
them with a written and registered synopsis of the series idea. But you'll still have to read
books on s'writing and the business to know how to write the synopsis (or preferably a
treatment) to do it. OR surely someone you know is an apiring s'writer, if they are
interested in working with your idea, draw up a written contract and go from there. I'm
sorry there's no easier way.

Ref 39. Wendy:

It's me again. Thanx a mil for answering. Now that I've read your advice, I will work on writing the perfect query: one that'll have them begging for more (I hope)!

I will keep you posted on my progress. Is it o.k. for me to write out my query via this chatline? Or should I just give a brief overview? Also, I have the Hollywood Directory, that's how I look up the different companies. Is there any other way to figure out a prodco from an agency, or should I go by the name of the place? An example would be Amblin Entertainment - prodco or agency? Now I don't want to be wasting any more time writing to places who generally won't answer.

Also, what do I do if two prodco's want to read my script? (Hey, it could happen! -- and it will!)

Again, thank you for writing back. Not only are you extremely helpful, but funny, too!

Smile!

Melissa in Chicago.

Ref 40. Hi there Wendy, When submitting a query letter, fax, or e-mail to a
production company, concerning a script you want them to see, which department (person) is correct? The story editor? or Development Director? or ????? Thanks, TJ

Ref 41. Wendy: Would it be possible for you to post what you would consider an excellent query letter as a sample. Thanks, GH

Ref 42. Ref to #35: Jeff, It's not the individual sale--it's building a reputation as a writer and that
takes time and further scripts or books. It's getting to the place where editors or producers
think of you when they need a project. That's what everyone wants--editors, producers,
studio execs as well as agents: a known commodity. Just like we do when we go to buy a
car or even toothpaste: we want to know the reputation behind the new product.
But it's not an either/or choice: you can keep your job and write--just as you're doing--as
many writers do--it just makes your free time very limited. There's a difference between
long-term and full-time. If you have a passion for s'writing, then write another script and
see how it goes. So, no, nothing different, keep writing, get feedback and when the script is
as good as can be, start querying.

Ref 43. Ref to # 36: Anthony, another man with courage!

"'Hidden Agenda' is a thriller with two female leads." Typically, they like to see titles of
scripts capped. I'd suggest: "HIDDEN AGENDA, thriller." then plunge in. Once you start
the "logline" you know it's two female leads. What you have hear isn't a logline--it's a
more like a synopses. Loglines are two to three sentences long max. Plus, it's rather abrupt
to plunge right in to the story you're pitching.

"Maxine Galloway, an undercover cop and Mona Leighton, a witness in the murder trial of
a mob hit man, subsequently enter the Witness Protection Program." There has to be a good
reason why you'd use names in the logline. I, myself, don't mind them, but a great many
people do. I myself was puzzled why a cop would go into the Witness Protection Program--
others might, or I might just be dumb.

I'm snipping the rest of the "synopses" for one reason--you're telling us way too much.
Plus, never ever tell the end of the story--you want to tease them into reading the script. If
you give away too much, they won't bother--plus, you haven't given them anything to look
forward to discovering as they read. Try it again: Main characters (not more than three--
pref. two), main plot line suggesting a larger question to be resolved. Simplify!!

"I have participated in the UCLA Writers' Program" --good info to include as it is
impressive. Any prof that's given you permission to use his name?
"and I am a member of the Alameda Writers Group in Burbank, California".--not
impressive, drop.
"I am a full-time writer and have two other spec. screenplays in this genre."--drop full-time
as they could care less, give the titles of the other two s'plays.

"My non-fiction work, articles on antique collecting and early photography, have been
published in antique collector magazines and newsletters." --unless it directly supports your
expertise in writing this s'play--drop this last line.

"There is an annual Jewelry Show in Tucson, Arizona every February, but nobody has ever
attempted anything like this. Arizona is a favorite relocation area for federal witnesses. The
plot is drawn from my twenty-six years experience as an international gemstone dealer." --
classic case of burying the lead. You're a gemstone dealer which is interesting in and of
itself--put it at the top! "My twenty-six years as an international gemstone dealer, combined
with my UCLA Writer's Program experience led me to write about a little-known facet of
the annual Jewelry Show in Tucson, Arizona--a favorite relocation area for federal
witnesses." Something along those lines. btw, intended the pun in the line.

"I invite you to read "Hidden Agenda" (122 pages). Thank you for your consideration." It's
fine, drop the page count--and try to cut out a couple pages. They like to see scripts at 120
max. Try again and repost.

Ref 45. Ref to #39: You can post a query letter for a WGA registered and/or LOC copyrighted
script. The HCD is excellent, but you should do your research before subbing anywhere--
what kinds of movies have the prodco done in the past, what do they currently have in
development? You find out this info by a) spending time in the video store looking at the
backs of movies "like" yours b)reading the trades. Variety and the Hollywood Reporter
have brief on-line and free versions. The Int. Screenwriters Network also have a script sales part
which helps a lot to see what is being sold and where. You can call the WGA and ask for
the agents of s'writers who write "like" you -- up to three names a day and query their
agencies. Amblin is a prodco--one of THE prodcos (Spielberg's). Hollywood Agents
Directory lists only agencies. HCD is for prodcos and studios, etc. You can expect that
more than one prodco will want to read your script--happens all the time. You send it to
both. No need to mention it's other places as well as they assume it. And thanks, try to
make the answers entertaining as well as helpful...

Ref 47. Ref To #41: Look for it in the near future on the column site.

Ref 48. Ref#40: Generally, the development dept. is in charge of finding new material. But if you
havea connection to someone else at the prodco--if you know the producer herself, or have an
intro to someone there from a third party, you can send your query to that person. But
whatever you do--send it to a NAME not a title. Find out the name through the HCD if you
want, but call and verify!!! People change jobs on the average of every 18 mos. Call the
receptionist and ask if so-and-so is still there and is still _______. Ask if that's who you
should direct your query too. Things change too rapidly not to call first.

Ref 50. Wendy,
As a quarter-finalist in the Nicholls, I am curious as to whether you received any querys from agents or prodcos as a result of being on that list?

A '96 semi-finalist

Ref 51. Congratulations! And yes I did--both agents and prodcos. Some producers and agents I did get
queries from didn't have good track records--so don't jump just because they call. But the
Nicholl's and Chesterfield placements got me read at top-drawer agencies--don't wait for them
to call--query them and let them know your accomplishment. But it's not a sinecure to get an
agent or get the script sold--and the placement is worth exactly what you do with it--you have
to make it work for you. The "List" they send out can help, but it doesn't *do* it for you. Get
querying and good luck in the semis.

Ref 52. Wendy. Thank you for your excellent column. I'm a 35yr old just discovered s'writing and you are most inspiring. May I ask what the titles of your two books on Religion are - keen to read them.Dawn - Gold Coast, Australia

Ref 53. I'm a second year grad. student in UCLA Screenwriting program. I've
written five screenplays. I've sent a short query letter with one
logline to production cos. and agencies. About 14 companies have asked
to read my script, but now it's been two to three months and it's just
quiet. I'm trying to decide if I should just stop sending that script
out and focus on more rewriting of scripts and writing new ones; sending
query letters to agents only until I get one; keep sending queries to
prod. cos about one script until someone likes it; or?? The letters I
have gotten back are so mixed that I don't know what to believe about
my screenplays. Some producers, directors of development etc. have sent
me lovely detailed letters and then I also got coverage on one that
totally ripped my script to shreds. How many months should go by without
hearing back that I should just write that company off? Thank you
for your time.

Ref 54. My name is Jay and I've sent out a few queries. One agency has requested to read a copy of one of my two scripts. If I send it to them

Ref 55. I have just one question for you. I have had an agency request to read one of my two scripts upon receiving my query. What are the chances that they could steal my ideas and not respond to me? I know that is the worst case scenario, but I'm wanting to cover all the corners before I send out my work. Should I send them a form ahead of time and make them sign it (a guy told me I'd better send them a release form before sending them my script), or does the fact that my scripts are registered with WGA west protect my scripts from any plagairization? I'm really anxious to find out because I want to get my script in the mail as soon as I possibly can. What would you recommend?

Ref 56. Ref#52: Thank-you. Yes, you may: both books I wrote while I was a graduate student:
YOUR CATHOLIC FAITH--co-written with one of the University professors, Dr. Alan
Schreck, and MOTHERS OF THE SAINTS. I have a third (yet untitled) book coming out
this spring.

Ref 57. Ref #53: Congratulations on such a high response to your query letter! As difficult as it is
to accept, two to three months is pretty common to wait for a response. Sometimes, no
news IS good news. But sometimes it means the script has been lost. It's not unreasonable
for you to call and inquire about the script at the three-month mark. Ask to speak to the
assistant to the person who requested the script and they can look up it's progress through
the maze. As far as mixed reaction--I hear you! I myself follow the three-man rule: if one
man calls you an ass, ignore him. If two men call you an ass, check for hoofprints. If three
men call you an ass, go out and buy a saddle. Look at all the responses you've received
and determine if there are criticisms in common--then, if you agree, rewrite the script. As
far as the one that ripped your script to shreds: ignore it. When something is sooo out of
line with other comments, I'd bet it's something totally different going on with the reader.
Lastly, you always should be working on a new script--it helps make the wait fly by, for
one thing. I'm not clear, I thought you were only sending out the same script to these
companies? If so, switch to a different one to query agents and prodcos about while you
consider the consensus opinion on the first. Also, did any of the companies ask to see a
different script or your next one? If so, send them a query about a new one. If they didn't,
but the net comments were encouraging and positive, write and ask them if you can send
them another script. Keep on marketing whatever you do--scripts don't get sold sitting on
your hard drive. Also, are you networking enough? Get out there, meet people, develop
relationships, get a job in some aspect of the entertainment industry in your-- ha-ha-- spare
time. Personal reccomendations go very far in this biz. And lastly, ask your great profs
about your situation--they know your writing and can help you sort through the comments
you've received.

Ref 58. Ref#55: Virutally nil. You have to understand that as unique as you believe your idea to be,
any agency or prodco could probably pull up three to five screenplays out of their database
that has the same basic premise. Send a release form with your script and keep a copy of it
yourself--DON'T demand they sign it and send it back before you send the script--very
amatureish. WGA registration only helps you prove your case IF it is stolen in that very
rare case but you can't sell it unless you show it. There's risk involved in any creative
business, but in this case, it truly is minimal. Besides, you're sending it to an agency--they
want CLIENTS not scripts! They want to sell your script and make money in the future off
of you. Sign a release and send the script--you HAVE checked and made sure the agency is
reputable, haven't you?

Ref 59. Hello there. I have a question. In a recent "mass sendout" of query letters to agents, I forgot to sign my name at the bottom. In fact, I haven't been signing my queries for quite a while. Does this hurt my chances or does it even matter? -- Sam

Ref 60. Ref to #59: I've done similar and the exact smae silly mistakes--I misspelled my agent's
letter on some stuff I was sending him--and he sent me back a fax correcting it! Not
signing a letter is not a huge mistake, but it *is* a mistake because it shows a lack of
attention to detail--lack of professionalism. It appears as if you don't care --that you're not
really thinking about whom you're sending the letter to enough to sign it-- and thus rude.
It's probably not going to make or break whether someone sends for your script, but it
would count as a couple "annoyance points" and add to the impression that as you write
your letters so you write your scripts. If you've got a fantastic logline and letter, it won't
hurt you, but if the balance was a tad toward a no, it *could* count towards making it a no.
I would definately correct the habit in the future--my policy is, don't give them ANY
reason to say no.

Ref 61. A question. In a number of Agent Listings, the agents were asked what kind of query letter/synopsis they wanted from the writer, and a number of them replied: "Don't get cute. Just tell the story. A good story sells itself." What I get from this is they don't want you to be too enthusiastic about describing the story. They don't want you to hype it. Which means they just want a "cold" Act-by-Act outline, from beginning to end. Is this true? Do most agents prefer this type of synopsis? Thanks.

Ref 62. Wendy:

I happened to come across your page while browsing in the web.

Here's my problem: After 12 years at a studio (as an assistant) I got
my first professional writing gig, the story & teleplay for the 1/2
hr. sit com. All went well, I was invited to the writers room for the
re-write, etc. That was five years ago. Since then zip. Nada. Nothing.
The show was filmed out of town, so I wasn't much interested in being
on staff there. Because it was a cable show, for The Family Chan., it's
not recognized with much enthusiasm by other shows.

The studio job ended (cut backs, downsizing, and the contract ended).
Since then my agent and I parted, amicably (she still reads my stiff) and
I have moved on to writing features. I have one low-budget (about a
million) that gathers some interest ("we'll distribute" or "maybe a
joint venture" that type of thing), but I can't get anyone to stand
behind me to actually push this through. When I started talking about
prod. it myself, my lawyer left me.

I'm still writing, though with so little encouragement it is hard to
keep my spirits up. I don't know if I should give up and go back to
being an assistant. I enter contests, I've applied for grants and
awards... I do the route.

I have a lot of material. Of course, the one I'm working on now is
always the 'really' good one. But, in all honesty, I know that I am
so much better than many working writers today.

I'd work in tv (drama seems to be more suited to me) but I don't
know where to pick up the pieces again. I really hit the pavement
hard about three years ago and the results were so depressing.

Any advice?

I like your feed back and think that you're doing a great job here.

Thanks in advance.

M.A.C.
email: mmmcherry@aol.com

Ref 63. Ref to 61: Detesting hype isn't the same as wanting a "cold" act-by-act outline. Far from it!

"Cute" means stuff like: "I know you're so swamped you won't read this personally," or
"Move over Ron Bass, slide to the side Woody Allen--Horace is Snodgrass is coming
through with the best script ever written--and you're the first agent that gets to see it!"
Sending illustrations to accompany the query, using fancy fonts, colored paper--all those
things are guaranteed to draw attention--but the wrong kind. Be professional--get to the
point quickly, don't promote yourself, just state what you have to sell and get out.

You have to relate the story in vivid, exciting and action-packed words and that means
telling your story with passion. Cold is hardly what's going to heat them up. Tell the story
in the strongest possible way--but just tell it, don't gussy it up or go on and on. A good
strong plot with a high concept will attract their attention or unique, interesting characters
doing a twist on a familiar plot. Keep the logline clear, cleanly written and concise--that's
what they mean. btw, a logline is different than a synopsis--and most agencies want
loglines only --not synopsis (that run from 2 to 8 pages). Be sure you know which they are
asking for.

Ref 64. Ref to #62: M.A.C., sounds like you've been really working hard at making it, and that's
good. I have a several questions I'd like to ask: have you tried changing genres--trying
something totally different--and what's the feedback you've gotten on that? Because
sometimes, we don't really know what we are really good at until we try something
different. Secondly, are you having your scripts critiqued by a script group or getting
feedback and incorporating that feedback in the rewrites? Thirdly, are you continuing to
write any tv drama scripts (I'm wondering why, if you did sell a sitcom script you're not
working hard at getting to be a better comedy writer n sitcoms or features?) What do you
mean about hitting the pavement--in terms of getting work as an assistant or something like
that? or in terms of getting a new agent/prodcos reading your work? If you can write a
small indie type thing that can be produced very cheaply, do so and collaborate with film
students and get the thing filmed--it did wonders for oodles of careers as you know. It's not
a sinecure, to be sure, but it's an avenue that is still untried for you. What do you mean
about so little encouragement? That your ex-agent is still reading your stuff seems to be
very encouraging. But if you're getting consistent feedback on what's wrong with your
scripts, I'd say you might want to consider what they're saying and work on those areas.

Obviously, it's in your blood and you don't want to quit--that's a strong quality: the snail
reached the ark through perseverance and all... and as Henry Youngman said, "Sometimes it
takes ten years to become an overnight success." But if you're absolutely miserable, I'd get
a job outside the industry and take some time to clear your head and figure out where you
want the rest of your life to go. If you still have the courage to keep trying, I'd say, get a
job in the industry doing anything you can. It's not a question of giving up! It's always
easier to break in from the inside than from the outside--that's what happened with your
first sale. Any contacts from that Fam Chan show you can follow up? See if you can get
some kind of job through them. Are you networking? Are you getting together with other
writers? Have you thought about a writing partner?

I know you're depressed--at least you sound depressed--and you've got to do something
that makes you feel positive--because that odor of despair frightens the hell of out H'wood-
-because it reminds them of the rotting stench they share with you--everyone is afraid of
failing or falling down. I'm very hesitant to give you advice when I haven't read your
scripts or know you, but I'm going to suggest that you shake up your parameters, change
the picture so you get some positive vibes, get a job that you feel competent and receive
encouragement in and keep writing and marketing on the side.

Ref 65. Dear Wendy:
Thanks for the insightful feed back.

Yes, I have written three one-act plays (I've always like writing for
the stage, and probably always will do so) as a series.

And, yes, I do get down about the circumstances because, as much as I
don't want to cop to it, there are so many factors in getting a job
other than talent.

I mainly get notes from fellow script writers (and friends who are/were
professional readers). I always listen carefully and use the notes in
re-writing. I have not tried a group setting yet.

I am presently working with a film student in putting together a budget
for the indie feature. Any suggestions as to where I can start with
putting together the financing?

You are right, sometimes I think I just need a pat on the back, for
any darn thing (like buttoning my coat right) to feed my inner sanctum.
I do work (part time) outside of the industry. It helps me to not
get so involved with the job and risk getting side tracked. I worked
for too long within the gates to believe that I could seriously be
perceived as a writer by working as anything else.

I do not understand your questions regarding tv drama. Are you
suggesting that I write tv drama, or try to get an assignment (by
showing the stage plays or screenplays) or that I should stay with
sit com? I don't feel right writing spec tv scripts, they really
should come with an expiration date. Since I'm working totally on
spec these days, I want to devote my time to what I know will sustain
my interest for the long run.

Again, thanks for your insights. This has been a big help.

I'll be coming back to see if you have any other thoughts for me.

MAC

Ref 66. I am new to the writing business, what would you suggest I do first when looking for an angent.
R.

Ref 67. Ref 67.

I've read numerous screenplay books and I still don't understand what is the right script format. Can you help?

B.D.E

Ref 68.
I've read numerous screenplay books and I still don't understand what is the right script format. Can you help?

B.D.E

Ref 69. Ref to #65: I'm sorry, I don't have any suggestions about financing except to talk to your
local AFI, local film schools and network with other indie directors who are going through
the same thing. As to which genre you should focus in, I'm a great believer in walking
through doors that are open at least a crack. Whatever is getting the most positive feedback,
whichever is attracting the most attention whether it is drama or comedy, tv or features, I'd
focus on that. As far as expiration dates on spec tv scripts, that's a given, which means you
have to be producing a new spec every couple months--that's just par for the course. But
since you have sold one, it may be something that has more potential. Nowadays, there
isn't a stigma about being a tv writer and more and more, including friends of mine are
switching from tv to features or writing both simultaneously. The main goal, imho, is to
become a working s'writer getting money for your scripts--if tv can do that for you, rather
than seeing it as a end, see it as a means to your goal. Once established, once you have
more produced credits and with an agent, you can concentrate on features--but that's me.
I'm eminently practical and I'll take the open door over bashing down a locked and barred
door any day. Others would disagree so you have to follow your heart.

Ref 70. Ref to #66: First off: Have two strong scripts for features, or about four for tv work,
showing at least two genres. Then you have to do your research--no on elikes this,
everyone tries to cheat here, but don't. It will be faster if you invest in this area. Read the
trades (H'wood Reporter, Variety --even Premiere, Ent. Wkly) and pay attention to the
agents/agencies that are mentioned. Find out who is selling what --there's a recent script
sales site on the Ind. S'writer's Net.. This way, you'll find out who has an interest and
ability in selling the kind of script you have. Then, make a short list of 10-20 agencies you
have identified. Don't just focus on the big guys like CAA, ICM, etc. --there are many
many fine smaller agencies that might be more open to your work--also newer agents are
generally more open to reading scripts than well-established ones. Write a killer query
letter.

There's several ways to find agent's addresses: You can get a list of agencies from the
WGA west for, I think, $2 and a S.A.S.E. --you can get the address and number from the
wga website. There's lists on the web in various sites, there's an excellent book, _The
Script is Finished..._ by Kay Callan. There's the expensive but invalable Hollywood
Agent's Directory or the Hollywood Blue Book--the HAD is also on-line for a reasonable
fee (search for Hollywood Creative Directory On-Line). Find the agents for the writers who
are "like" you and find out their agencies through the WGAw agency dept. You can ask up
to three per phone call. Call the agencies, ask the receptionist who the agent is specifically
for that client--VERIFY the address as some agencies do move locations. Address the query
to the agent.

But truthfully, few people find agents this way and I would be remiss if I didn't tell you
the best way is to network with people in the biz--particularly other writers. A
reccomendation from someone to their agent is the best way to get a good read. Join the
IFP in your area, local s'writing workshop organ., subscribe to the scrnwrit listserv and/or
misc. writing screenplays--there are plenty of ways to build relationships even if you don't
live in NY or L.A.

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