INTERNET SCREENWRITERS NETWORK - Do's and Don'ts for Writers

The Internet Screenwriters Network Opening the Doors to Hollywood® - Hollywood Discovery Awards [ What's New || HN Cybercast Program || HN Faculty/Hosts || Inner Circle ] Your Page || HollyNews || Movie Store || Main Index || Interactive || Crimewriting
Acting || Awards || Festival || Music || Producing || Screenwriting || Shopping

Query Letters & Loglines FAQ
Archive #4

Ref 34. Dear Wendy, I have written a short book (about 48,000 words) and have been studying the Writer's Market. I have been mailing a query letter to them. I was able to get a publisher explain to me that it is very hard to sell self help books as no one knows where to place them to sell. I have been mailing to different publishers that are concerned with self help and education, to no avail. The blurbs in the Writers Market state that they accept these type of books but when I get the reject letter (most say touching book but we don't publish this type). What is the "trick" to finding out who does publish my type of book? They say they do textbooks or they publish guides. It doesn't mention that in the blurb. At this point should I just start with the A's and send it out to everyone? Yes, I am frustrated because I thought that I was "studying"the market. What are the chances of having the book published and then a screenwriter turning it into a made for tv movie? Or should I try and write it for this purpose? I want to get the book published first though. Any advice would be appreciated.
Thanks

Ref 41. Hi. I am ref 34. I guess I am getting frustrated, yet I am persistant. I've gotten rejects, form letter types. I have also received a note on my letter saying it's a touchiing book but they don't publish this type (this was handwritten). Another one wrote and said that my book has merit but they are not focused on my topic at this time. Another one wrote and said that they have too many contracts that they are obligated to fullfill but don't give up and steered me to the Writer's Market and told me to keep trying. Are these telling me that I might have a marketable book but just keep searching for the right publisher who is available? What is the "trick" to getting someone interested or finding the right publisher. this is getting frustrating. At this point I do feel like just starting with the A's in the addresses of the Writer's Market. Any information, words of wisdom, you can provide would be great. Hope you are all moved in and settled in your new job. Thanks again.

Ref 46. Ref to #34: There is much more to studying the market. The Writer's Market is the place to
get addresses and phone numbers only. Many publishers put in that they will consider
manuscripts in a lot of fields, but when you study what they actually publish, it's much
smaller. The first thing you should do is to hie thee to a bookstore and every other place that
could sell books "like" yours and discover which publisher is publishing books "like" yours.
They are your best bet. Also, you should be reading the Publisher's Weekly and finding out
what the marketplace is doing, what direction they are heading. You can find things in there
about publishing companies and what they are looking for--though you may have to do some
reading between the lines, etc. to discover that. Do NOT send out mass mailings--remember,
people move from company to company and DO remember names and if you query wildly,
you will not make a good impression. As far as a self-help book being made into a film, I'd
say the chances are little to none. Though, if it was very successful, perhaps there would be a
chance for some cable tv type thing. And why haven't you been researching lit. agents to
place your book for you? They KNOW who is looking and who isn't. The other option you
may want to pursue is self-publishing and marketing it yourself.

Ref 49. What would be the best way to get a script to a director? Considering one does not have an agent?

Ref 50. THANKS for answering me. I have gone to bookstores and done some research in different places. I don't quite understand what you mean when you say query wildly. I send out ten query ltrs to who I think I might be interested. Get their rejects and go down to the next 10. I have been getting "rave" rejections in some cases. Saying I have a touching book, or it has merit, or don't give up. I was just querying the east coast but now went on to the west coast publishers. I have been to many "speeches" by authors and I am hearing that for the first book we should just query ourselves. They said once I get the nibble, then an agent will be easy to pick me up. I do know of a writer that signed up with an agent and after a year gave them up cuz there was no communication nor were they finding an open market for them. This is why I haven't touched an agent yet. A lot of authors say it takes a long time to get published, that you just have to have presistance. I really don't have the funds to do self publishing. I think I have written a really good query letter. It is professional. It tells the length of the book. I give a brief intro and idea of what the book is about and then tell about the author. I know I must be somewhere in the ballpark because why would I get these remarks, has merit, touching book, along with the regular form letter rejects? Is it just a waiting game and hoping someone will be interested? It seems like a job resume? Is there any "trick" to getting in the door? I think I can take these rejections as keep at it, don't you? I know it's tough, but I am persistant. Thanks

Ref 51. I am currently witting a screenplay, and I was wondering how I could get this represented.
I feel this could make a very good movie, and I want to know who to show this to, to get
representation. I am currently reading a book, and it says to send it to various agents.
Who, and how. Thanks.

Ref 52. Hey Wendy! I am so excited. I've been corresponding with you. I just got two "nibbles" and what I'd call a request for a manuscript. One requested me to send my book and the other says send it and asked me to answer some marketing questions and how I differ from the competition. SO what is next? As long as they don't ask me for money I should keep going right? Do I checkwith better business? Where do I go from here? I guess I can keep sending out my query letter as they said it will take 3-6 months to hear back from them. Thanks for your time.

Ref 53. Hi Wendy, I'm Ref. 31, the guy who wants to break into the business
with a sequel. I have read that Miramax wants to do a sequel to
"Total Recall" and I ask me, how shall I approach them? I know that
they won't read my script. Shall I send them a spec script with a
similar story instead? Thanks for your answer.

Ref 58. Ref to #49: Know the director personally. Know someone who knows the director personaly
and believes in your script. Know someone who knows the director professionally and
believes in your script (and that can and has in the past included the poolman). Those are the
best ways but if you don't already know the someone, you have to meet the people to meet
that someone and that takes time. Another way is to find out if the director has a production
company by doing a search through the H'wood Creative Directory or call the Director's
Guild of America and then send a query to the production company--NOT directly to the
director. The third way is to find out the Director's Agent (through the DGA) and send the
query to the agent. The third way rarely works, btw.

Ref 59. Ref to #50: Yes, it is a waiting game in a lot of cases and yes, it often needs a lot of
persistance to find someone who believes in you. And you're getting the best possible kind of
rejections and I would certainly keep at it if I were getting those. The single best thing you
can do for yourself is to network as you're already doing with authors and become friends
with them. As they get to know you and read your material, they may recommend you to
their agent. Sometimes, the market needs a "sea change" for something to become attractive--
and in that case, all it will take is time. I strongly recommend you write another book and
then another--keep on writing because for one thing, your next book may have more market
appeal, you will become a better writer and it's good to have something creative to focus on
while you're marketing the first one. Good luck.

Ref 60. Ref to #51: Your primary concentration should be on finishing the script and rewriting it until
it is perfect. But you're smart to be trying to learn as much as you can about the marketing
process as you're doing that. You also should start reading the trades (H'wood Reporter,
Daily or Weekly Variety) and the entertainment magazines etc and making note of agents and
production companies that are involved in setting up deals or making movies "like" yours. For
example, Kevin Costner loves baseball and golf--and what movies has he been attracted to?
This kind of information can help you target your search. You can find out agents' names and
addresses in several places among them, Kay Callan's book, THE SCRIPT IS FINISHED,
NOW WHAT DO I DO?, the HCD, etc. Join local s'writer's forums, internet listservs for
s'writers and anything else you can do to network with writers and filmmakers. These things
will give you leads and provide connections as well as give you real friends. When you are
truly ready to market the script, send a brief query letter with a logline about the script to the
agents you believe would be interested and a SASE and ,hopefully, they will ask for your
script. NEVER send the script unless it is asked for.

Ref 61. Ref to #52: Congratulations! That's a heady feeling, isn't it? You better check the letters
carefully, sometimes they ask to see the manuscript on an "exclusive" basis--which means you
can't send it elsewhere while they have it. That is perfectly legitimate, btw. If they don't, I'd
keep sending out the query too. The sheet you're describing sounds like something I'vehad to
send out--it's what the editorial board uses to decide if there is a market for the book and it's
legit. You're right, as long as they don't ask for money it's great. One way to check on how
a publishing company is regarded is to talk to libraries and bookstores in your area about the
publishing company. You can also look up publishing companies in a reference book which
I've forgotten the name of--it lists who they are, what they do, how big, etc. the Librarian
will be able to guide you to it. Join one of the many newsgroups or lists for writers and ask if
anyone has experience with these publishers. My agent received a pub. offer for one of my
books from one place and I didn't like what I discovered about the company and didn't like
the advance--turns out a year later I met an author whose done three books for them and I
had been offered three times what a first time novelist should have been offered by their
standard rates. Boy did I feel stupid! So, research and talk to other writers--and if you get an
offer, I'd call an agent and talk to them before I said ANYTHING about the money with the
publishing company. Great news and good luck!

Ref 54. Wendy, I'm on my 6th screenplay now, and have optioned one without it getting a deal. Should I try and package 5 or so scripts to buyers or should I sell one first and wait for asking of more material? Also, comedy is my genera. Someone told me comedy is harder to sell because one persone may think something is funny while the other not. Any tips on getting read is helpful. Plus too, any writers wantto colaborate please E-Mail me.

Dale Schumaker, djdale@case.grnet.com

Ref 56. Hi Wendy, Oh well, the West Coast turned out to be a "come on". they don't have the funds to produce my book but will take my funds to produce my book. I guess I should have known I would have gotten one like that. I don't know. I really don't want to go to an agent. All of the "how to" books don't recommmend it for the first book. At least I can control who I'm mailing it to and see the kinds of rejections - i.e. when they say touching book good luck. Got a lot of those. Just am not sure how to go about this anymore. I know it's tough but it is tough. Thanks.

Ref 62.
Ref to #54: I'm not sure what you mean that you got an option on one without getting a deal. An option is the first stage of a deal--it's a financial committment on the part of the producer to get the rest of the financing and elements together to progress. You mean they didn't end up buying the script? That is very common. Make sure that there is a contract and money, don't let a producer have a free option. I'm also not sure what you mean by "packaging" five or so scripts...kind of like shrink-wrapped books? It is most unlikely that the same buyer would want all five scripts and putting them as a lump sum, so to speak, would lessen, imo, your chances of selling any, also it would look odd to a potential buyer to have them presented that way. In general, if a production company/agent likes one script--even if they don't want to do anything with it--they ask to see another. Or are you talking about listing the loglines of each script on a second sheet accompanying a query letter? That's a very wise move. But nothing more than that. It's true that humor is more an individualized taste, but frankly, I haven't heard nor have I found that it's harder to get read. In fact, many people ask for comedies just because they are more fun to read even if they don't plan on doing a comedy. Also, comedy is doing very well at the b.o. and so it's appealing now to buyers.

Ref 64. Ref to #56: That's too bad! Don't kick yourself about it though--you didn't fall for it! The agent route is going to be hard now that you've tried so many publishers. Personally, I'd write another book, and keep on writing and not solely concentrate on this one. I'm not saying that it's not a good book--have no idea--but this I do know--you get better the more you write --or you should if you're really a writer and the second or third manuscript may sell more easily and then the first two may. It's also more discouraging to get rejections if you're not actively pursuing more writing.

Ref 65. Wendy; as screenwriting partners marketing ourselves, we have been highly successful at eliciting interest in our scripts from established producers, actor's agents and the like. We have an attorney standing ready to write deals. The current stall in our careers involves our inability to move our treatments and scripts past the coverage stage. Much of the feedback coverage is flattering... but we just can't seem to get past the tail-chasing stage where producers won't move the material into development before an actor attaches, an actor wont attach until a producer buys the option, etc... Any suggestions for turning up the heat on an interested party at the point when they like the material but won't make a firm attachment?

Ref 66. Dear Wendy,
At a small Capitol Hill dinner party last week, a bunch of locals (mostly journalists, but including, in just six people, folks who had worked in/at the Congress, the WH, the E-ring of the Pentagon, the CIA, Justice, Treasury, the Post, the NY Times, two TV nets' news shops, a handful of other gov't agencies and a DC law firm) were commenting upon and agreeing how Hollywood gets so much wrong about D.C.

It's not just that car trips from the White House to Georgetown in the movies always seem to go past the Capitol. (That's silly, but usually unimportant to the movie. It's all kinds of factual errata, some of which make the flicks seem amateurish or tend to yank us back from the suspension of disbelief.

It's a rare flick that has a Washington setting that doesn't have all kinds of silly errors. Offhand, "Dave" came close, and the errors were forgiveable, maybe even necessary. But before that, the last ones we could think of were "All the President's Men" and "Six Days of the Condor," both from the '70's.

So we thought: Gee, we know about this stuff. We could have saved them (the movie-makers) from this or that screw-up!
Question: How might one go about providing technical consulting on scripts about the U.S. gov't?
-- Edward Roeder
eroeder@CapAccess.org

Ref 69. Wendy

A friend and I have spent the past 2 years writing and (we believe) perfecting a script for a comedy movie. We greatly respect Harold Ramis as a director and believe this script would suit him,we also trust he would do our style of comedy justice.

Is there any way we can contact him, directly or indirectly about looking at our script, or even a treatment.

Adam

Ref 70. dear wendy,

i have an idea (who doesn't) for a sitcom. how should i write a query letter to? how do new sitcoms get developed? MIKE

Ref 72. Dear Wendy, just starting to write my first screenplay and need so help on the guideline or direction or format I should use when writing.

Ref 73. Wendy,
Any ideas on how to find out thepecific interests of the various producers, studios, production companies?
In pitching a sp, I want to be sure that I'm pitching the KIND of project (genre, budget) that each co wants and has a history of sucess with.
I get THR, but it's tough reading through trying to get a sense of who makes what i such a piece-meal way. Is there an easier way? Who's into Rom=com, who's into PG adventure aimed at the teens? Who's looking for DIE HARD action?

Any pointers will be a start!

Thanks,
Robin

Ref 74. Dear Wendy, I am interested in writing comedy and have recently written a Seinfeld theme, that I feel is as funny as some of their better shows. How can I get someone at Seinfeld to read it? Any tips that you have would be greatly appreciated.
Thank you,
Steve

Ref 75. Dear Wendy:
I recently sent off my first query letter to an agent, and was lucky enough to receive a letter back from him asking to see the entire script. He'd liked the sample pages I'd sent, and said that my query letter had made him laugh out loud, apparently a rare happening! At any rate, I sent the rest of the script with a SASE of course, and proceeded to wait. I've been waiting for six months now, without a word. I sent another polite letter requesting the return of my script if they had decided to pass on it, and enclosed another SASE. Still, nothing. I figure it's pretty much a lost cause now, but I want my script back. However, if they just haven't had time to read the script yet, I don't want to come across as pushy. Any advice?
from Terri, who is typing on her mom's account since her modem went kaput.

Ref 76. Wendy:
I've been a writing professional in Florida for years, but until recently, did not consider taking any of my work to the "Hollywood Market". I am looking to understand this process and any suggestions you or others may have are welcomed. E-mail me at iamaze@juno.com

Ref 78. Wendy, has anyone written you who HAS done something? I thought this was supposed to be a screenwriter's chat room. Doesn't being a screen writer mean that's your JOB? That you get PAID? I guess I'm just saying that because I'm getting ready to graduate with my film degree in screenwriting and so many people talking about what they don't know makes me wonder if I've been taught anything useful, or if I'm in the same boat. "Ref #75" makes me the most nervous of all, because I can see that happening to me.
My question is, I'm applying to a number of internships, and entering contests right now--does that mean anything? Will pursuing those lines help my chances, or am I better off just jumping in with both feet like so many people in this "chat room" seem to be doing? Should I court agents or studios directly? That is all.

Eric Player E-mail: panther@itsnet.com

Ref 79. Wendy-
I really enjoyed your book on a nuts and bolts level and it has helped me shape up a screenplay I thought may have been too weird to live. I think I have a killer product now but it's still pretty weird. How should I write a query letter for a screenplay that doesn't really fit into any genre but is more of an amalamation of genres. I would also like to target specific filmmakers (Lynch and Cronnenberg for examples), how do I get my work in front of agents who have access to specific filmmakers?
Thanks for your help.
Oops sorry Wendy I haven't actually read your book I got you confused with The Making a Good Script Better Author, but I'd be interested in your input anyway.
Cyclops

Ref 81. Dear Wendy, I am a visual artist, unusual for this page, I know, but I am embarked on a series of quilts that deal with inspiring women. Some of Hollywood's best are among them. Could you give me any advice on how to go about finding addresses for them so I could seek their permission to use thier images in this project? I would be most grateful for any help in this area. Thanks for making this format available. Rebekka gseigel@kih.net

Ref 83. where can I get a sample ghostwriters' contract?

Ref 84. Wendy, seems like everyone else who has written you are as frustrated as I am. I have a production co that has looked at my work and claims they are interested. They are currently working on a huge production. I think my work has gotten lost. With all the research and studing that I have done, like everyone else, it seems you need a "godmother/father" to get anywhere. I am seriously considering a consultant to review my work. Are they legit?

Ref 85. Wendy, when querying an actor's agent, in attempt to get him/her interested in the script, do I use the actor's name and the name of the character for consideration...or what is the protocol?

Ref 86. I was browsing some books at a writer's workshop. I told the guy selling these books that I wanted to write a screenplay. He told me to forget it! The competition is too stiff. "I know," he said, "I was a scanner for potential scripts. So, I never did it. What do you think? How hard is it really. I have one helluva whopping life story to tell

Ref 87. Ref to # 65: The obvious way is to have someone else interested in buying your script. That's one of the reasons for getting an agent as they have the connections to get it to several places at once. What you're experiencing is just what producers experience once they option a script only with distributors and financiers and that's why they are hestitant to committ until they know they can do something with the script. If other producers aren't interested at the same time, then the next best way is to have talent--either actors or a director interested in the project providing that they have enough clout--which is not to say that it has to be A-list. Develop your networking skills--having friends on the inside at a prodco, studio or distributor can move a project along much more quickly. Lastly, keep writing--the best way to sell a script is to have sold one already. Patrick Sheane Duncan is selling scripts now that wouldn't sell before MR.HOLLAND'S OPUS and COURAGE UNDER FIRE. And don't despair--that good coverage is having a cummulative effect--if they don't bite at this one, they still are impressed with you two as writers and will be willing to look at the next one.

Ref 88. Ref to # 66: Sometimes silly errors, like showing the Capitol, are deemed necessary to establish location or something like that but they bug me too! I'm sorry, but your question falls way outside my baliwick--I have no idea. But if you find out, let me know!

Ref 89. Ref to #69: You can get the name of his agent from the WGA West by calling them and then contact his agent with a query letter. Ramis is primarily a writer--are you sure that's who you want to look at your script?

Ref 90. Ref to #70: New sitcoms are almost impossible for someone without an established sitcom writing experience to get pitched and developed. If you're really serious about it, then learn to write sitcom scripts based on hot shows now and get a job writing for a show--that's difficult enough. If you're good enough then you'll get the chance to pitch your idea sooner or later.

Ref 92. Ref to # 72: If allyou want is formatting, buy a script program like Scriptware (pc users) or Final Draft (Mac users) and you will automatically have a correctly formatted script. But you need to learn more than formatting so I'd advise you to take a course or buy some good basic books on screenwriting.

Ref 93. Ref to # 73: You're asking the right question! But it's not a simple answer because what they were looking for yesterday may not be what they are looking for today. Reading the trades as you are doing is good--but don't just read them, keep notes as to who is buying what. Read the back of videocassettes or study the H'wood Creative Directory and look for companies and individuals who have done the same genres you have. Networking is essential because you can learn what a company is looking for now even from lowly assistants in the company or from friends of friends. Read film magazines and pay attention to entertainment news because you can ferret out specific interests of actors and pet concerns and pitch them through queries to their agents or production companies. There isn't such a beast as a standard list of who is looking for what, but production companies that do MOWs usually have a list of what network or cable broadcaster is looking for what. They will be looking for scripts that match what a network is looking for. You can't ask for the list, but if you have a friend on the inside, you may get that information.

Ref 95. Do you think its true that you can only get an agent from Hollywood? Do you really have to be from hollywood to write major scripts? If you have a script in the right format and finished that will knock an agents socks off should you send it or a synopsis. In a query, how would YOU address this?

Ref 96. Wendy,
I am at the beginning stages of writing a screenplay based on a classic piece of literature. I know that, to date, no one has made a movie based on this work, but how could I determine if a screenplay has, in fact, been written or is in the development stage? This project is dear to my heart, but I don't wish to waste a large chunk of time either.
I appreciate any advice with this; thanks also for the "site".
Sincerely,
Steve

Ref 97. Dear Wendy,
One of the several scripts I'm messing around with is based on a
novel. Unfortunately, I got a little obsessed and finished it
first. I know, due to copyrights and such, that I did things
a bit backwards but it was too much fun to quit. Fortunately,
I make a very good living, and can afford to purchase an option
or what-ever. But the reason I make a "good living" is because
I don't make stupid business decisons. Every wannabe writer thinks
he has the next super mega hit and I'm no different. But...while
I have no qualms about investing time, I won't invest a dime, until
I have a professional opinion.

Any advice on what I should do next would be greatly appreciated.
Thanks.

Dan dan.chomistek@sk.sympatico.ca

Ref 98. Ref to #95: I must tell you that while it is possible to sell scripts from anywhere in the
country, your chances are immeasureably improved if you live in the L.A. area and can use it
properly--working in the industry, networking with other people in the biz or breaking into
the biz and attending classes, seminars, etc., parties and so forth. The same is true with
agents. While a smart, hard-working agent can sell your work for you wether they live in
L.A./N.Y. or anywhere else, they, too, find it easier to make deals when they are immersed in
the day to day business of the biz. The most important thing is talent, hard work and
perseverance--otherwise you could be living in Speilberg's house and not sell a script either
as a writer or an agent.However, the chances of having serendipity work on your side does
improve when you're in the area. If I had a script such as you were describing, I'd send in a
short query with a short logline instead of a synopsis. However, what I personally would do
is to get it into the hands of people in the biz through my personal relationships with them or
through friends of friends--that is the more effective way. In a query, I would not say my
script will knock their socks off because that sort of thing makes them think you don't know
your hard drive from your floppy.

Ref 99.
Ref to #96: Check through every H'wood Reporter issue that has the Films In Production
section that runs once a month, I believe, to see if something is being made currently. But as
for development--that is anyone's guess if it is a classic piece and in the public domain. You
could possibly contact the publisher if it's only published by one company and inquire if
someone has made a deal with them. However, development isn't necessarily a deterrant as
many things go into development hell and few emerge to go into development purgatory and
still less attain nirvana at the box office.

Ref 100. I find writing log lines very difficult. Currently I have a science fiction comedy that I am trying to think of a log line for. It should be funny, because the screenplay tries to be funny. But I am at a loss. Are there any guidelines that might help me? I am also fairly bad at titles. Anything that requires brevity or succinct wit just undoes me. Are there any exercises you can recommend, to help me work on this?

Reply to Ref #100: Brevity is one of the best signs that the writer is actually worth reading. If you can't write a good query and interesting logline, it's a sign that you need to work on your overall writing skills according to top agents and producers. So, work hard at it!

Ref 101. Your opinion.
If a person has a gift for fiction novel writing and screenplay writing, which do you think is easier (for your average unknown writer) to sell? What do you think about writing a novel and a screenplay based on the novel and trying to sell both?

Reply to Ref to #101: If you can do both you're in good company: William Goldman, Michael Critcheon, Larry McMurty and Jon Boorstein are the first names that pop into my head. Eric Segal couldn't sell LOVE STORY as a novel until he wrote the screenplay and sold that...do what you're good at and do it the best you can as you don't know which will succeed until you try it. As for which is easier to sell--who knows. Both are difficult and only those with courage and perseverance succeed.

Frequently Asked Questions Archives

Frequently Asked Questions
Dos's and Don't for Writers Columns

Scour Hollywood for Movie memorabilia, books and more!

[Inner Circle || HollywoodFestival || HollywoodNetwork || Hollydex.com || Shopping]