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Query Letters & Loglines FAQ
Archive #2

Ref 71. Hello Wendy
Still enjoying your column immensely.
Thank you
Dawn. Gold Coast - Australia.

Ref 72. Hi Wendy:

Dropped in to see what you're up to. You are kind
and generous in your advice and opinions. Keep up
the good work. I hope everyone else who stops by
understands the valuable service you are providing.

Keep up the good work!

MAC

Ref 73. Dear Wendy: First of all, my compliments on a truly outstanding column! What
a 'find' and treasure for aspiring screenwriters like myself!
The reason I'm writing to you (outside of the above), is that I have
been working at the 'craft' of screenwriting for several years now and
have completed ten scripts. Unfortunately however, for various reasons,
I haven't really 'dedicated' myself to the 'marketing' aspect, until now.
I have, at times, sent out batches of queries to agents pitching my work,
but have yet to have a single script read. I know that my work is of
professional quality, but how do I get anyone 'in the industry' to SEE
that, when I can't get them to read the scripts?
I think my main problem, is that I'm not very good at 'pitching'
my material. So, to make a long letter at least somewhat shorter, I'd
like to post for you here a 'sample' of mine (of
registered work) for your comments. And I'll leave out the 'framework'
of the letter (as you've already covered that well in previous responses
to other people) and concentrate on the 'pitch' part.

Barry Kennedy is in love with Traci Webber.

But she doesn't even know he exists.

Gina Carlucci is in love with Barry.

But he only sees her as a friend.

Throw in a black, blind midget, two nymphomaniacs, a 300 pound
Spanish Drag Queen and a frantic search for Martin Scorsese,
and what you end up with is....

'BIG TIME'

A quirky romantic-comedy by (me)

Well, Wendy -- what do you think? You'd never guess I had ANY talent
as a writer from that, huh? But the SCRIPT is truly wonderful.

Scott

Ref 74. I was wondering where I would start looking for information about
writing for a television drama. I am clueless when it comes to how
to go about this.

Daydreamer

Ref 76. I am in the process of writting a script, but I don't know how they
are done. Can I do it my own way or does it have to be written a
certian way before anyone will look at it. I would apreciate your
advice. Thank You!
Nicole Emerson

Ref 77. Ref to #68: You can't go wrong if you use a book that's been published in the past two or
three years (or revised as a new edition). THE SCREENWRITER"S BIBLE by David
Trottier is an excellent guide, imo.

Ref 78. Ref to #73: Scott, Imo, fwiw, the beginning few lines sound like a lot of other films, the
end sounds disconnected from the first part. You've got to find a way to tie in the midget,
et. al into the relationships. Then, I have no idea who the prot/main characters are-- all four
are listed equally and yet, to work, a script has to have a pov of one character. And, imo,
the names don't do anything to sell the idea. I have no idea what happens to the couples
but something like, "A black, blind midget, two nymphomaniacs, a 300 pound Spanish
Drag Queen conspire to bring a ____ guy and a ____ girl together through a frantic search
for Martin Scorsese." That might be way off base, but at least it makes you wonder what
happens and why it happens and why that motely crew is involved and what the hell does
Scorsese have to do with it. Try something along those lines and see what happens.

Ref 79. Ref to #74: What kind of information are you looking for? How to write a tv drama script?
There are many books out there--most of them have a section on tv writing. There are some
books that concentrate on tv writing. Check out the Library of Congress search facility,
amazon.com or Samuel French Theatre Bookshop on the web for titles--look under
screenwriting television. Then take your pick. Read more than one. You can also order
scripts for the style of show you want to write for.

Ref 80. Ref to # 76: Short answer: no, it probably won't be looked at if you don't follow standard
script format. Thre are plenty of books out there that tell you how to do it--but also the
"how-to" books include a lot of information you need to know on structure, plot, characters,
and dialogue, for example. Even though we've seen thousandsof film and tv shows in our
live, there are things we don't realize that they do to make the story work and go fast
enough--reading, taking a class, or learning from another s'writer will teach you these
things so you can write your great idea in the best most effective way.

Ref 82. Two questions: first, I live in Chicago - I found a list of local screenwriting agents, but I don't recognize any of the names (as there is no CAA or ICM in Chicago) - would it be a bad idea to send queries to these agents?; lastly, how do I obatin a list of production companies or producers who I feel might be interested in my work? Do you recommend this? (I guess that makes three questions. Thanks.)

Ref 83. Dear Wendy, the dir. of dev. at a major studio (who I met at a workshop) called me after having read one of my scripts. He praised my writing style and stated that he considered me "a find as a writer." He asked if I would like to have him work with me on the rewrite, so that his studio couldn't possibly say no to it. Naturally, I was elated. He said he'd re-read it, make suggestions and get back it back to me in a week or so. Sounds great so far, doesn't it? Two and a half (!)months and several phone calls later, I got him on the phone. He expressed regret that he was unable re-read the script, citing that he was simply overwhelmed with other projects. We discussed my plans for the rewrite and he told me to send it to him upon completion. I sent the script out in late August. I have been unable to get him on the phone -- again his secratary cites his workload. My questions: How long should I wait to hear from this exec -- who I would love to work with -- before I seek other options, viz., other buyers? And(2) when approaching other buyers is it appropriate to cite this execs praise for my work? I don't have an agent, nor have I sought one -- I had, after all, circumvented the normal route by having a studio exec read my script. I intended to have my attorney act as my agent if and when his studio offered to buy the script. Thanks, Mike.

Ref 84. ref to #81: Why would you go with a local agent? You don't need to live near your agent. I haven't met either my first or second lit. agent in hperson and have only dealt with them over the phone or by mail and fax. The essential qualification of an agent is that they have good contacts with the entertainment industry or publishing industry depending on what you're aiming for. It is possible to have those from outside NY or LA but it's much harder. The big and important agencies for screenwriters are in LA, some of them have an office in NY as well like ICM and Wm Morris. Personally, I would be trying LA agents myself. A lot of the business is meeting and greeting, finding out through a thousancd myriad sources what's going on and who's looking for what. It's virtually impossible for that to happen unless someone is around people that are talking about that kind of thing, are working in the industry and so forth. Try the HOllywood Creative Directory and the Hollywood Blue Book for all the prodcos, the names of those working there and their credits. YOu have to determine based from this (and some time examining the backs of videos in the store) which places are doing stuff similar to yours--but it doesn't mean they are going to do it again.

Ref 85. ref to #83: sounds like you waited about four months too long to be getting it out to other peole to read! You don't have a contract verbal or written between the two of you. I would be shopping it as much as I could if I were you. Besides, just because the exec participated in the rewrite doesn't mean the studio will buy it or a prodco unless he runs it. DON"T mention what he said to any other place you query. Everyone wants to think they are the first place to see it and it will backfire on you. Plus, for al you know, they may not like the guy at another place--so his praise could mean death to your chances. While it's exemplary of you to pursue this on your own,and I used to query prodcos too, it's very difficult, if not impossible to get read at certain places that may be the best home for your script if they don't accept unsolicited queries or unagented submissions. If you know the best places for your script are in that category, I'd look for an agent or attorney that could submit the script for you.

Ref 86. Why is everyone so paranoid about having there ideas "stolen" since ideas can't be copyrighted anyway? I made a list of about 30,000 different ideas. Some I've used to complete scripts, novels, short stories (I've sold about 50 short stories). So what if someone else writes something that has the same idea as mine? If mine's the better idea and the other idea hasn't already been purchased/produced isn't mine going to be the one that is found interesting? And one more question. I can't understand why the minimum pay is so high for scripts. Are there any markets for fictional scripts that are in the reasonable $1000 or so price range? It isn't that I feel my writing is worth little, I just don't feel comfortable with such high prices. Thanks - Vanessa

Ref 87. First time browsing here. You provide some informative feedback, Wendy. It's heartwarming to see Screenwriters taking time out from attending their own careers to assist others. I have one other small comment, which I hope won't offend. In one of your columns, I read your mention of the Oscar winning screenwriter, Brian McQuarrie. Christopher McQuarrie wrote "The Usual Suspects," and Bryan Singer directed the movie. They are very good buddies, (their previous film together was a Sundance winner, "Public Access"), but remain, in fact, two seperate, immensely likable guys! Thought this info could help any of your readers who might be trying to track down Chris' script to peruse. Keep up the good work. Didi

Ref 88. Ref To #86: There's an a saying, "Ideas are cheap, execution is expensive." As you've
proven, ideas are a dime a dozen. However, some ideas are so original and fresh that
studios or prodcos can and do pay huge amounts of money to buy them and then another
huge sum to have an experienced s'writer rewrite them from page one. Your script has to
get into the right hands at the right time--and that other less expertly executed script with
the fresh original idea may beat yours out simply because it was there before yours. If your
better script comes in afterwards it won't matter. They'll like the writing, and with luck,
they'll ask for a meeting to talk to you, but no, they won't stop the sale on the other and
buy yours. In this business, it's not the best script that wins but often the first script with
that idea--so ideas are extremely valuable. Also many have the ability to go in and sell on
the idea alone--which you don't until you've optioned at least one script and usually only
when your script is in production.

As to the money, I take it you're not very familiar with the business. In any given year,
only a small portion of WGA members report an income. The minimum pay is actually low
considering that a) 10% goes to the agent, 1.5% to the WGA, about a third or more to the
IRS, and you only are guaranteed a portion of the money. Usually up to half is held back
until the first day of principal shooting (when they begin to film the script with the stars)
and that can and is split with other writers they bring in to rewrite you if they rewrite a
certain amount. And the trend today is that they will kick you off and bring in other writers
that they are more familiar with. So, you may sell your script for 100,000 (very low) and
only see 30,000 or less. It's hard to live on that for two or three years until you sell another
script--if you ever sell another one. So the money isn't that great until you're very well
established. That's the reality. No one cares if you feel comfortable--that sounds harsh but
it's true. Take the money--because it means that others will want to read your scripts and
you'll have a chance to keep doing what you love which is writing. Little money=little
respect. That's the reality. You can always give it away--I'm sure there's plenty of people
who would volunteer to take it from you.

Ref 89. Ref To #87: Thanks for reminding me--I realized that after it went in and I don't know
how to change it! I've met Chris McQuarrie and he's a delightful guy, very approachable
and interested in people, funny and has a lot of good things to say. So, apologies to Chris
and Mr. Singer where ever you are--you are two great separate guys!

Ref 90. whats a query, how should i write one and to whom should i sent it
-- itai wegier

Ref 91. Hi, brand new at this online stuff. I'm a working screenwriter, I've been doing this for last seven-eight years and would love to have a forum to talk to other writers. Is this it? And on an entirely unrelated tact, I'm trying to find historical information about the Brothers Grimm. Does anyone out there know how, or where to look? My e-mail address is davidmw@juno.com.

Ref 92. Ref to #90: A query letter is what you send to an agent or production company to see if
they would be interested in reading your script. Queries are also sent to
magazine/newspaper editors, book agents, publishing houses for print media. The columns
teach you how to write one. You send them to specific people at agencies and production
companies after you've researched various places and have an idea who would be interested
in your material.

Ref 93. Ref to #91: No, this isn't it to chat back and forth. Try the scrnwrit mail list--accessible
through Charles Deemer's Screenwriters and Playwright's Homepage-- enter Charles
Deemer in a search engine and you'll find the URL. Or misc. writing screenplays
newsgroup. From either of those two sites, you'll find other ways of meeting swriters on-
line. Sorry, I'd just suggest the typical resources--search engines, your local libarary, etc.
about your Bros. Grimm question.

Ref 94. Where can movie screenplays be submitted?

Ref 95. Dear Wendy:
I saw that someone posted a query online and you were able to critique it. Is there anywhere
that I can go to do it, a little less publicily? Is there some chance that i could send it
directly to yoiu via e-mail for a critique? It would help me so much,
for now the process seems so confusing. I have my script registered with the WGA,
would you be able to help? I'd sincerely appreciate it.
Sincerely,
EmmaLee Reis
er150@columbia.edu

Ref 96. Ref to #94: producton companies that accept unagented submissions and agencies.

Ref 97. ref to #95: I'm sorry,but at this time I have so many assignments that I can't keep up. It's impossible for me to take on any more committments.

Ref 98. Hi --
I've written what I think is a damn good script, and I've sent out nearly a hundred inquiry letters for it -- to both agencies and production companies. I did this knowing that I probably wouldn't get much back in response. To my surprise, I received quite a few responses. However, it was actually dissapointing to find that most of them were from p. companies, saying that they were interested, but could not accept unsolicited material. I hardly got any responses from agents. So, I have a script that many studios (even the big ones) would like to read, but I'm not getting anywhere in the search for an agent. What do you suggest I do about this? I know that if these studios and p.c.'s got their hands on the script, they would love it (I hope!), but I can't get it to them! What should my next move be? How do I actually get to an agent, and get them to read the script? Thanks, Clint.

Ref 99. Ref to #98: I wasn't clear if you got any "send the script" responses from agencies or if they were all "no thanks." I presume it's the latter. If there's an agent you haven't tried yet,you could tell them the names of the prodcos that have expressed interest in seeing your script--that might be enough to get them to read your script. The other alternative is to ask an entertainment attorney to submit your script to the prodcos--it will cost you money this way, though. Actually, any lawyer can submit the script for you --and if you have a friend that's a lawyer and is willing,you could work something out as to a percentage of the future (if it happens) sale price for acting on your behalf. An entertainment attorney, though, is familiar with the ins and outs and the protocols, etc.Good luck.

Ref 101. Wendy, thanks for responding -- I appreciate it. I actually did get two agents who wanted to see the script. Nicholas Staff at Acme, and another (smaller agency) one that I had never heard of. I sent the script to them both, and its been more than four weeks (what each of them said was the "turnaround time," but I haven't heard anything. So, I guess they passed on it. But I wonder, should I call just to follow up on it? I'm sure there are a lot more agencies out there that I haven't tried, so I guess I just get a directory and make another mass mailing. Would you reccomend doing just that? I mean, after all, I guess the only way to get it read is to keep trying. I do have to admit that I will be glad to send out another volley of mail, because I have been doing a lot of work on coming up with loglines and high concept pitch synopses for my work. The synopsis in the query letter I mailed out, as one ent. lawyer told me on the phone, didn't really explain what it was really about. I wasn't sure about that comment at first, but now I believe it. Now I have I much better grasp of what the script was really about, and I think that change in the letter may make my results even better. Anyway, to anyone who might be reading this, wondering about the logline business, I have personally found it very helpful to get it all into one or two lines. Perhaps I sound like a moron, and everyone already knew that. Well, I'm just happy that I figured it out for myself. Anyway, Wendy, do you have any explanation for why I got so many responses from studios/companies -- I mean, even plenty of phone calls for it -- but only two responses from agencies? Is this a sign that agents are already working with writers, and that new talent is just not appealing for a successful agent? I was really surprised to get the script to Nick Staff, but now I figure that I met a dead end with him as well. Should I just send out tons more letters? Thanks for your time.
Clint (CBrown8@aol.com)

Ref 102. Dear Wendy...

This is REAL COOL...Thanks for providing [aspiring] screenwriter with such
great advice, encouragement, and words of wisdom.

I just finished my second feature film spec script, which all of my close friends
and relatives think is a sure-fire WINNER(!) [If only they worked for
Paramount, Universal, New Line, and Warner Bros.]

Questions, questions, questions:

1) Is it really worth it to enter many of the screenwriting contests
in addition to and/or instead of contacting as many agents as possible
with query letters? (I had a friend in Chicago who entered about
12 contests...never heard a thing)

2) My screenplay is 135 pages (AFTER editing and trimming it down); one
source said that a screenplay from a first time/unestablished scribe
should be no more than 120-125 pages; will I lose 'brownie points'
with potential agents?

3) Should you incorporate 'movie cross' data into your query letters?
(e.g. my story is one part 'Die Hard' and one part 'The Firm';
or this script incorporates many elements from 'When Harry met
Sally' and 'Pretty Woman'...)

4) Which is more important to do FIRST: Copyright your script
with the Library of Congress OR register your script with
the Writers Guild?

Help!

Alan Currie
(818) 840-7788
cbost@ucla.edu

Ref 103. Zowie Wendy! You've authored two books, written s'plays and now this wonderful advice column. Get much time to sleep? Anyway, I'm impressed... and very grateful. My 1st script , IN THEIR HANDS, is a story of the women whose lives were forever changed by the Lindbergh kidnapping tragedy. Incredibly, the script landed me an agent, got lots of exposure and just recently, made the "semis" in the Nicholl Fellowships. Really great news? Well, sort of. My agent (in Colorado , but I really like her) pitched pitched hard for a few months. But because HBO was working on a project about the same subject , no one would even take a look. It's funny. For all the rumors I hear about Hollywood's fear of duplication, I see or read about similar films competing for the big screen. Personally, I feel my script offers a totally different perspective on the crime along with some brand new theories. At this point, with zero calls coming in from my placement in Nicholl , I'm wondering if I've exhausted every possibility. I'd love to have your thoughts and comments. Oh, and one more thing. Since I write s'plays with strong women leads, I have been compiling a list of actors whom I envision as my various characters. Would you recommend writing these woman a letter of introduction along with a synopsis? How much influence does an actor have over these kinds of decisions? In the meantime, things are rollin right along with a prodco waiting to see a first draft of my 3rd script in progress. Nothins stoppin me now. But I must admit that 1st script continues nip away at my heels like some irritating little pet. Would love to shut the darn thing up once and for all. Thanks so much Wendy. Best regards, Melinda Rose

Ref 104. Oops, sorry. Forgot to leave my particulars. Melinda Rose/6994 Donats Peak/ New Tripoli, PA 18066 EMAIL gupta@ kutztown.edu

Ref 105. Dear Wendy,

Neat column! Over 100 queries, questions and requests for info about getting s'plays read by agents and prodcos. All from writers who have written 'surefire winners that H'wood will love!'

Does it make more sense to the writer of a medium to low budget script to try and raise the $ and shoot it him/herself?

Thanks, Brent

Ref 107. Hi there Wendy,
It's me again, Melinda Rose. With regards to my agent, I paid a well respected screenwriting instructor (in New York/philly area) to read my script. He was impressed enough to give me several "contacts", including an agent in Colorado. She also liked the script and decided to work with me. I was thrilled because I was under the impression that agents in general won't even look at someone's work unless they they have a body... of work that is. Actually Wendy, you've got me to thinking... that with the Nicholl status tucked neatly under my belt, I might start sniffing around for an agent in the greater L.A. area. You planted the seed, Wendy. Many many thanks.

Melinda
EMAIL: gupta@kutztown.edu

Ref 108. Ref to # 101: Clint--four weeks isn't much time to wait at all. Don't assume that they have
passed simply because you haven't heard in 4 weeks as it takes smaller agencies like Acme
and this other that you said, longer to get to coverage as they either can't hire many script
readers or they do it themselves and are also, duh, trying to get deals for their other clients,
handle the daily stuff, etc. I'd call after two months and ask about the progress on the
script. As far as mass mailings--I'm not a believer in "mass" mailings myself though I have
had friends that have had good luck with those. I myself reccomend sending out batches of
six to ten and seeing the results you get. As you've found out--you wanted to change your
query letter after this first batch, right? You may find you want to change your strategy,
etc. as you get back responses, or no responses. If you've shot your wad, you won't be able
to. As to prodcos responding more--I found that to be true as well. There are many reasons
and no, agencies DO want to work with new talent--but it's a trifle more complicated than
that. Watch for two new columns that will appear shortly on agents in the column portion
of my area. But if you can get your script to producers--DO IT!!! Many many writers get
agents that way. And read my cols on loglines--it might help you refine yours even more.

Ref 109. Ref to #102: Thanks for your kind words--I hope it's been helpful. To answer your
questions: 1) Some contests are very helpful in getting agent/prodco interest--particulalry
the Nicholl, Chesterfield and Austin if you can place in those contests as they say to
industry profs that at least two people have read your script and thought it was good.
Disney is highly respected, though it only has finalists category--which is so small a pool
it's quite rare--though it would certainly be impressive in a query letter. UCLA and USC
have great reps, too. The other contests may or may not mean anything to an agent. Plus,
getting a quarterfinalist or better status in a contest is a great confidence builder for you--
but great scripts can fail to place and still be sold, so it's not a reason for discouragement
necessarily if you don't place. I do reccomend entering reputable contests.
2) Yes--not only lose brownie points, but accumulate demerits with the reader for anything
over 120 pages. And personally, as a writer, I can tell you that you can easily get those
extra 15 pages out of there. Example: Lew Hunter asked to read one of my scripts and was
very impressed--but he suggested that I cut 10-15 pages for "even better pacing." Of course,
I had thought that it was tight when I sent it to him, but with his words, I went back and
cut and cut and found he was absolutely right--it's just over 100 pages, but since it's a
comedy--that's a very good length. Go back and cut--it will be a better script, I guarantee
it--and it won't piss off the reader.
3) No, many agents don't like the movie cross or they like to come up with it themselves.
Many of them say that it doesn't really say anything about the story that means anything.
4) WGA Guild registration is the standard. Many writers don't do the LOC but if you want
to, go ahead. Don't worry about which to do first, just do one and/or the other.

Ref 110. Ref to # 103: Yeah--I just heard of a script going around that has a certain similarity to one
of mine going around! It's tough--but that's the biz. The thing is: once a script is sold and
in development or production then a similar story line ends up killing off interest in the
unsold script--when two or more projects are headed to the big screen is when they both
end up being purchased and pushed at the same time (the Robin Hoods, the Columbus
movies, and now volcano movies, etc) Though I have heard of a story that was bought, but
another script was going around, the same producers asked to see it--liked it better, bought
it and dumped the first script! What you may have is a great "calling card" script--a writing
sample. I wouldn't give up on the first script because lots can happen to the HBO project
and it may never hit the small screen. But I would focus on getting other scripts out there. I
have one script that had a woman dying from cancer--even though that wasn't what the
story was about it was going around at the same time SHADOWLANDS was hitting the
theaters--no interest. Now, suddenly producers are asking to see it! So, don't give up but
keep on moving! As to writing to female actors--your agent should be trying to get it to
them, not you unless you have connections to them as an agent has more clout than you do-
-even an agent in Colorado. And never send a synopsis--send a compelling letter that
describes the character you envisage (would have to be a lead character) them playing and
why it's perfect for them. Only a very very few women have enough clout to get a movie
going--but sometimes their passion for a script can work miracles even if they don't have
the b.o. clout to ramrod it through. Talk to your agent and see what s/he can do. Finish the
third script and write a fourth and fifth--that's your job. btw, Patrick Shane Duncan told me
he has written almost 100 scripts--sold few of them. Now, of course, he's very hot and
surprise, surprise, many actors, etc. are interested in his earlier scripts! So, you might end
up selling your first script eventually, but you can't try to force it through--keep writing
and it may end up selling down the road. And, as you write strong female characters--the
marketplace is showing a lot more interest in that after First WIves Club--so I find it hard
to believe that no one wants to see it even if HBO is doing a project--they are very
interested in strong female characters now--and writers that can do them.

Ref 111. Ref to #105: Yes, it is humorous that we all think that our scripts are surefire winners! A
statement which, in a query letter, is sure to tag the writer as a beginner. As to making
more sense--it depends on the capabilities and interests of the writer. If you have career
plans (you want to be a hypenate rather than just a writer) and the training to do your own
film, want to devote all your money and time to getting that one film done--and it's your
passion--then do it. But it's not a "better" or easier route to attracting attention to you as a
writer. The indie market is becoming saturated right now after a brief surge. A bad indie is
no better and can be worse for you than a simple script. A great indie, otoh, is a great route
in--but it will still take oodles of time, effort and probably land you in financial hell until it
attracts enough attention.

Ref 113. Ref to #107: You're welcome--I think!

Ref 115. Hi Wendy. I am moving to L.A. to break into TV comedy. My writing
partner (already there) and I have written three specs, are working on a fourth, and
are networking as much as we can. I'm trying to follow the conventional
wisdom of getting "any job" inside the industry. But do you have
any ideas which jobs position one better? When I see jobs listed
for "Assistant, International Distribution - Paramount," for example,
I think of them as being holed away with some marketing guy who has
no connection to production, possible in a different building altogether.
I have been sort of leaning towards copywriting/promo-type jobs,
as I've done that and would think they would make it easier for me
to draw attention to my writing and creativity. What do you
recommend?

Rob in D.C.

Ref 116. Wendy-- Clint again. Thanks for the help. That does sound like a pretty smart idea. Here's something odd: I got a letter back from an agent at CAA saying that they don't accept unsolicited material. I am totally confused about that, because I thought that was how agents made money. Is there something I just don't understand? Thanks again for the advice. Now I don't feel like I was completely ignored by these people.

Ref 117. Wendy - I read over your past responses and saw that you recommended THE SCREENWRITERS BIBLE. However, according to a few professional s'writers (including one of the top five in Hollywood) I've spoken with, that book is largely inaccurate.

Robyn K.

Ref 118. Dear Wendy, please tell me what do you think about this invitation
to read the script:

To see this script just say YES to the call you'll receive in two
weeks time and make sure you are a part of The Wave that's not
water, but pure adrenaline.

Thanx,
Luke

Ref 119. Dear Wendy:
I wrote to you awhile back for advice on a query letter for a
project that I couldn't seem to generate any interest in on my own.
But thanks to your advice, the script is now being read (although I
haven't heard back on it yet) for which I offer MANY thanks.
So, here I am back once again, 'hat in hand' as it were to see
if you can offer any advice on my 'latest' (and to see if I'm making
any progress on my own:)). And yes, the script is registered and
copyrighted.
Anyway, I have two idea's at this point for 'the pitch'. The
first is: '"SOMEONE'S WAITING FOR STEPHANIE", a suspense thriller
about dark secrets, shattered lives -- and revenge'.
Is that too generic?
My second would be something like:
'Stephanie Davis hasn't been 'home' for nearly five years. No
one knows where she's been, or what she's done. But someone is
waiting for Stephanie. And they're waiting to kill her. No one
knows who or why -- but soon, they will all find out.
'SOMEONE'S WAITING FOR STEPHANIE'
And she's not going to like who it is...

Well Wendy, what do you think? And AGAIN, my extreme kudo's for
column and your help.
Scott

Ref 120. Dear Wendy:
Scott again. Perhaps it might aide you in giving me advice if I
told you that the above story centers around a West Coast female
police detective investigating a series of murders surrounding
Stephanie's immenient arrival home. With a sublot of having an
East Coast friend doing some investigating of Stephanie's 'life'
back there. Thanks again!

Ref 122. Ref to # 115: Rob, people have used any and every job to good effect in H'wood. It
depends on your motivation and ability to use the opportunities that come your way in
EVERY job. I know someone who stepped outside to have a smoke, ended up talking to a
woman standing there smoking and she offered to read his script--turns out she's the sister-
in-law to an A-List producer! And that happened with just a cigarette, not a job. Consider
yourself lucky to get any job that pays enough and is in the industry. Once you have
industry experience, you can get other jobs that might offer more opportunities. As far as
drawing attention through copywriting/promo jobs--the kinds of writing are considered SO
different that they may think less, not more, of your s'writing ability. But if that's your
prof. background and you're really good at it--it's going to be the best way you can make
money. The point of going out there isn't so that your job showcases your skills. It's so
that you have a chance to meet and network with people of all different levels, so that you
can go to classes at USC and UCLA (take the advanced sitcom classs with Paula Roth--
excellent teacher!), go to other lectures, etc--in short, USE the opportunities that are
available out there. But, there is a perfect job for aspiring sitcom writers that I will tell you
about--but they are almost impossible to get: writer's assistant for a show. You sit in on the
writer's room meetings and take notes and do a lot of grunt work--very hard, long hours,
and you're the absolute bottom of the totem pole--but WHAT a learning experience.
Unfortunately, you almost always need a personal reccomendation to get one of those jobs.
DON'T mention, whatever job you're going after, that you are an aspirign writer whose
only doing this to get a writing job! Because the turnover is so high, they want to keep the
illusion that you actually aspire to a career in film marketing or whatever.

Ref 123. Ref to #116: Yes, it's confusing isn't it? You call the agency, ask the receptionist, does
____ accept unsolicited queries. Get a yes, send the query and get a letter back saying they
don't. I haven't gotten a satisfactory answer on that one yet--but I'll keep trying! But the
BEST thing is to ask to speak to the assistant of the agent and ask her/him yourself. The
agents that don't accept queries unless the person is reccomended by someone they know
and trust are usually very busy, successful agents. That's why new agents are more open to
new writers--they are building a client list. And new agents often have more committment
to working harder for you. I have a friend leaving a top top agent for just that reason--the
guy's so busy with his A-list clients that he doesn't have time to promote my friend.

Ref 124. Ref to # 117: Robyn, I've heard that about Cole-Hague,too. In fact, I've heard it about
every s'writing book out there. I've also heard prof. s'writers reccomend Trottier's book.
I've also read enough scripts that have been made into movies that tell me that beyond the
basics of formatting there's a lot of range in acceptable ways of doing thing. The point is:
you need some basic book to learn the basics if you refuse to buy a good screenwriting
program like Scriptware. Even then, there's little questions you still will have and thus, you
have to have a reference book. Trottier's book is as good and a lot clearer and newer than
many on the market.

Ref 125. Ref to # 118: Luke, it doesn't say WHAT The Wave is about--how would I know whether
I want to read it or not? You need to add a brief logline to tempt the assistant. The thing
about calling to hear a "send" or "don't send" is that some agencies only go through the
queries once a week or once a month--it's true, unfortunately. Others go through them
daily. If it's once a month, they may not have read your query. If it's once a day--they may
have forgotten the query in two weeks. If you're going to call for an answer, then fax the
letter, wait a day (because in larger agencies the fax is in the mail room and the faxes are
delivered to the agents' assistants) then call. Faxes are still looked at faster than snail mail.

Ref 126. ref to #119-120: I'm glad that my comments were of some help getting your script read.
Yes, the first one is too generic--sounds like about 100 MOWs I can think of and that's not
doing your creativity justice. The second: why does home have quotation marks around it?
And it's confusing to me: everyone at home knows that someone is waiting to kill
Stephanie when she finally shows up. Most importantly, as your second post clarifies--
Stephanie isn't the protagonist! Thus she shouldn't be the focus of the logline. The subplot
doesn't matter. Rewrite with the female detective as the focus and run it by again.

Ref 127. Wendy,
Rob again. Thanks for your advice about getting a foot inside the
industry. The thing that still concerns me is: aren't there some jobs
(ex: in the home video distribution offices of companies) where
you would get so pigeonholed away that you wouldn't be meeting good
people to network with? Or is the industry much more interwoven than
I'm imagining? Put another way: you've clarified that there are many
many jobs that could be "good" for breaking in, but are there any
that might be "bad" or "not so hot" to shoot for?Please forgive my
insistent questioning on this: since I haven't lived in LA before,
I don't have this kind of close-up feel for the industry.

Ref 128. Wendy--Alan Currie. Thanks for your timely response to my four questions...Helpful. Question: I sent out about 8 - 10 query letters to agents
a couple of weeks ago and so far have only received one response back ... and it sort of bothered me. The issue is that the "backdrop" of my screenplay is the
entertainment industry, although the FOCUS is NOT the industry itself; it deals with a young man overcoming his fears, insecurities, and various obstacles and
"human issues" to achieve his heartfelt dreams and desires. In the response from the agent though, the agent expressed that although he thought the log line
and premise was interesting, he claims that most production companies tend to frown on "INSIDE" scripts (i.e. storylines that directly or indirectly expose
and/or criticize the 'inner-workings' of the entertainment industry; the motion picture industry in particular). Why is that? Is that claim true? How can I
convince agents that my story is not about the "industry" per se, but rather the idea of holding on to your dreams no matter what?

HELP!! (Again!)

Alan Currie
cbost@ucla.edu

Ref 130. ref to #128: Alan, Well, it's half-true. H'wood has a self-absorption with itself in the
movies (i.e., THE PLAYER, SWIMING WITH SHARKS) but you do have a hard script to
sell--for one thing, these types of movies come out regularly and so unless what you have
to say is unique, it won't go over well. And there's a tremendous amount of scripts dealing
with the same thing--writers trying to break in, actors trying to break in, etc. If you could
(and I KNOW this will discourage you) switch it to a totally different arena--say the theater
(but keep it out of NY as that's overdone) or some other endeavour. The truth is: people
have dreams in all fields--and if you can really bring a fresh light on pursuing a dream--that
will be appealing. No matter how good your insights are, the first thing they will see is the
critical thing: "Oh, no, not another industry story!" If you can switch the field, you'll be
able to circumvent that. Even though you've only gotten one reply, I think that you'll find
that it will be a consistent one. Since you're at UCLA--talk to some of the fabulous profs
there about it. They may have alternate suggestions.

Ref 131. Ref to #127: Rob, Sure, there are "Bad or not so hot" jobs if you're going to stay in them
forever, but there's a bit of a Catch-22 out there. Often, to get a good industry job, you
have to have industry experience no matter how impressive the resume you have (unless
you have connections--which, if they are the right connections, would mean you don't need
a job out there).So, getting in anywhere, gives you some experience to get a better job and
then you're NOT going to stay in them forever--neither are the people you're working with.
Turn-over is really high in the industry at all levels. So, you meet people in home video
and hit it off and six months from now they are at an A-list prodco, for example. The
important thing, at this point, is to get into the system. Also, you're looking at it too
narrowly: the point of working there is to: a learn all you can about the industry, get
yourself to the classes, lectures, etc. etc. that proliferate out there. That's where you're
going to meet a lot more people. Many of these people will be moving up through the
ranks as you do--and they may very well be influential in your life in the future. You may
find some connections quickly--but others may take a long time to cultivate. So don't think
you have to get the "right" job, don't think that a job will produce immediate results, and
don't expect miracles. Look at it as a five-year battle strategy and plan accordingly. But
you're the one that's going to have to make it happen--don't sit back and wait to be
discovered. Your luck will improve to the degree that you are proactive.

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