I've been writing for the screen since 1999. I moved from Seattle to Hollywood in November of 2004. Three of my five screenplays are making the rounds.
My latest comedy, FALSE SECURITY, took 2nd place in the WriteSafe.com contest for the third quarter of 2005.
I wrote, produced, and directed a short film titled, Memoir.
I gained representation as a screenwriter in 2006.

davidcdanielATgmail.coµ

I've been taking it easy since late December--just jotting notes, testing a premise or two with trusted folks, and catching up on some motion picture watching. Then I got rambunctious and replied to a posting over at ShootingPeople.

Here's the posting from the January 29 issue of the ShootingPeople.org Screenwriter's Bulletin:

From Adrian Mead:
> I have a handout available on this subject for anyone who
> would like a copy. HOW TO GET AN AGENT is the result of
> asking all the UK's largest agencies EXACTLY how they like to be
> approached.

I can speak only from my limited experience on the west side of the pond, but Adrian is probably doing the members a favor by making his UK-sourced handout available.

I've written about how I came by my representation here: So, How come I got a manager?

> These guidelines are just one small but important part of
> your strategy. It is vital that you fully understand how the
> the agent/writer relationship functions. Do you know what an
> agent looks for when considering taking on a new client? After
> all, the last thing you want to do is blow it when you finally
> get invited to a meeting. Agents can pick and choose from a
> vast army of aspiring writers. Being talented isn't enough.

I'm beginning to suspect that the UK agents are doing the same thing the Hollywood agents are doing: making public statements that don't always apply to reality. The "vast army of aspiring writers" Adrian mentions are a factor. We've become a commodity much like the aspiring actor. We don't have to attend "cattle call" auditions but our work piles up on desks and office floors like so much litter.

> Securing an agent should be a major priority when planning your
> CAREER STRATEGY.

I don't know if I agree with the assertion Adrian makes above. Gaining representation can be a big turning point in a writer's career but chasing literary agents isn't the best way for new writers to spend their time. Write if you're a writer.

Mr. Mead points out that talent isn't enough. I tend to agree, but that doesn't absolve the writer from the responsibility of writing. If your quality is low then make up for it in quantity. If your quality is good, then write a pile of good scripts.

There are too many screenwriting workshops taught by people who have become Pollyanna about the film industry. I won't endeavor to decide if the advice being given at workshops across the US and elsewhere is good, bad, or indifferent. I'm not qualified, nor interested.

Yet I firmly believe the workshop leaders have a big incentive to be exuberantly positive about the movie biz: butts in the chairs which equal dollars in the bank. The workshops make their income regardless of the student's success or lack thereof. The ancient advice still holds true: caveat emptor.

Now I realize I need to clarify my position and disclose my experience with workshops--whadda hassle!

The workshops part is easy: I haven't done any. My neglect of the workshop circuit isn't due to my having a low opinion of them, but I haven't yet heard of one I believe would benefit my writing or my nascent career. I might be wrong. In either case I'm not in a position to review or recommend on any.

My opinion about the Pollyanna mindset comes from what I've read by and about the people who conduct them. And here's the crux of the matter: I may be perceived by some to be promoting certain screenwriting workshops and seminars, to wit, Blake Snyder and his Save the Cat! series of workshops and seminars. I have endorsed his book because I like it and I believe it helped me write a better screenplay. I honestly don't know what Blake's workshop/seminar offerings are like. I've never attended one or spoken to anyone who has.

Those reading this blog since the middle of 2003 know that Blake and I are acquainted. I documented a majority of the mentoring he gave me here while I was writing SCRATCH. He was thinking about a book back then and I was a test case, an experiment if you will. Some might think that experiment failed: SCRATCH is still unsold. To blame Blake Snyder for the apparent failure of SCRATCH would be unfair, but people do unfair things and form unfair opinions regularly--welcome to planet Earth.

It's fair to ask, since I brought it up, if I think Blake Snyder is Pollyanna on the subject of screenplays and screenwriting in Hollywood. I believe he could be perceived by some as blatantly Pollyanna, and yes, that perception includes me. Does that mean I think his seminars and/or workshops are less than valuable? No.

Okay, I feel better now and I'll let Mr. Mead have the last word on the subject:

[Mr.] Daniel responded to my post by stating that new writers should be concentrating on improving their work instead of chasing agents. Of course securing an agent is only part of your career strategy along with working hard at improving your writing and MANY other elements. However I think perhaps his next comment is based on his experiences in the US.

".... I firmly believe the workshop leaders have a big incentive to be exuberantly positive about the movie biz: butts in the chairs which equal dollars in the bank. The workshops make their income regardless of the student's success or lack thereof. The ancient advice still holds true: caveat emptor."

I don't know what classes are like in the US but I spend all my time trying to make writers understand that the film industry in the UK is tiny. Most well paid, professional screenwriters in the UK do both film and TV but earn the vast majority of their income from TV. Of course the TV industry is also a highly competitive field so they are going to need a well planned strategy and A LOT of determination.

It is important to be realistic. But the truth is that most people fail to build a career as a screenwriter not because it is impossible, but because they are not willing to do what it takes.

Of course If you don't know what is required you can never achieve your goal. I don't teach writing theory. I only teach what it takes to become a professional screenwriter. It is important to INSPIRE people. At the start of your career you will constantly meet people who will tell you x, y or z isn't possible, because THEY haven't managed it. You need to constantly seek out ACHIEVERS and find out how they succeeded. All of us can cite someone who was an inspiration.

Yes it is one of the most COMPETITIVE industries in the world. Yes you have to work INCREDIBLY hard and be FOCUSED and PRO ACTIVE in order to get your break. However, if I did it so can others.

[Mr.] Daniel also states - "The "vast army of aspiring writers" Adrian mentions are a factor. We've become a commodity much like the aspiring actor. We don't have to attend "cattle call" auditions but our work piles up on desks and office floors like so much litter...."

All I can say to that is ... you need to get a better agent!

I'm going to assume Mr. Mead is joking, otherwise he's very ignorant about screenwriting in the US. Agents here don't effect the volume of screenplays being written nor how many scripts are received and read by production companies. I believe the high volume of scripts is coming in part from unrepped writers who have been "inspired" by screenwriting workshops and seminars.

And finally to the remark - " The ancient advice still holds true: caveat emptor."

Absolutely! I always encourage people to go online and seek out others who have attended courses with the tutor, get testimonials, ask to see a curriculum, contact the tutor and interview them! It's your money, spend it wisely.

I'm happy to e-mail a FREE 15 PAGE BOOKLET OF CAREER BUILDING tips to anyone who would like a copy.

Best wishes,
Adrian Mead
info@meadkerr.com

< < Back to Main