Somewhat off-topic: I hope to pick your brain or those of your readers (too ghoulish?) as regards non-traditional negotiating tactics.

That is, I’m essentially an academic (philosopher/Joycean) without any real experience in negotiating contracts (I do have experience in writing/producing web content, TV, etc).

I now find myself discussing various projects (and developing several) for a well-known LA studio (with the partner/head of development… past the slush pile).

I have no current representation, though I suppose that I could secure it.

Without representation, and WGA accreditation, how do I broach the subject of remuneration? When should I ask for $$ and – given that it won’t necessarily fall within the guidelines of the WGA fee schedule – how much $$ should I seek?

Many thanks.

Would you mind posting Here and Now? It would be fascinating to see your first effort. I’ve done some scratching around but haven’t found it, apologies if it’s right in front of my face.

Just one thing to add. When I was “taking generals” last year, one of the execs had a better name for it: THE WATER BOTTLE TOUR.

Still makes me laugh out loud.

I also got generals with some fairly big hitters (Academy Award winning producers and other successful produces — though in that case they had some interest in buying my script, though they did not).

I’d add that it’s also a good opportunity to pitch. Nothing may come of it, but you never know and it’s good practice. Also, I’d specifically ask about “open writing assignments” and if one catches your fancy, ask if you can come back and pitch your angle.

@J: Best way to get an agent is through a referral. Producers can be especially helpful as they’re often quite willing to read you. Other writers and any execs you may know are also a good idea. If you don’t know anyone, ask everyone you’ve ever known from anywhere if they do and also approach producers at panel discussions if you live in a city where there are events (e.g. in New York, at the Virginia Film Festival — anywhere where real producers might be). If someone responds to your work, ask for an agent referral. By the way, my first contact was an extras casting director who grew up with my roommate from college. She passed my first script to a producer she was working with who liked my writing a lot and introduced me to my first agent, so remember that connections can come from unexpected places. You may already be six degrees of separation from a useful connection and not even know it.

Whenever I had to put together lists for our open writing assignments I always remembered the writers I really hit it off with who were right for the material.

True some generals can be a waste of time but a good agent/manager wants you to be in a room that’s helpful. After all, the time you spend running around meeting is time spent not writing.

Great advice, and a good way to help people keep their eye on the prize. Always comforting to here from someone who’s been through it before and knows what the experience is like.

My guess? Wrote a great spec.