John August

Film Industry

Someone actually wants to read my script

Film Industry, QandA

questionmarkI am an aspiring writer/director who works for a major
studio in LA — nothing too exciting, just an entry
level position. But, the job allows me to run into
people who might be able to help me along the way.

Just tonight, I struck up a conversation with a woman
who just so happens to represent the writer of the TV
show at which I was working. I said that I was a
writer. She then handed me her card and said that
she’d like to read my scripts. I can imagine that she
probably hands out her card to many aspiring actors,
but I figure since she did tell me to send her myself,
I might as well. How should I go about that? What
should I include in the letter that I attach to the
script?

— Ryan
Los Angeles (originally from Michigan)

That sound you hear is the collective gasp of one thousand readers wishing they had your luck.

Pick your best script, the one that everyone likes. Write a short letter that says basically, “I really enjoyed meeting you yesterday at WHATEVER SHOW. I promised I’d send you my script, and I’m a man of my word. Attached is TITLE OF MY SCRIPT, a GENRE set in LOCATION that a lot of people seem to like. Here’s hoping you do, too.” And be sure to include your phone number or email, both on the letter and the script (in case she loses the letter).

Hurry, man! Run! Don’t waste a day and risk her forgetting who you are.

And let us know what happens.

Which agent should I choose?

Film Industry, QandA

questionmarkI have the opportunity to sign with one of two agents: one deals strictly with screenplays and supposively has good connections and the other seems to be more geared towards novel and book authors but has several screenwriter clients.

The first one doesn’t seem all that interested and seems to just want to have me signed on should lightning strike but the second one seems very enthusiastic about working with me. Both have offered me contracts but the kicker is, neither is in L.A. or New York. Should I sign with either and if so, if you were in my shoes, which one would you prefer?

Thanks for the site and thanks for much inspiration.

— Brad R.
Orchard Park, NY

Tell each agent you’d like to speak with two of their clients. Just a phone call. If they’re real, above-board agents, they won’t have a problem with this. I’ve spoken with potential clients on behalf of my agent several times, and it’s no great hardship.

When you talk with these writers, here’s what you want to know:

1. How quickly does the agent return phone calls?
2. What meetings has the agent set up for you?
3. Have you sold anything? Been hired on any projects?
4. On a scale of 1-10, how satisfied are you with this agent?

I suspect Agent #2 will score better on these criteria. The fact that he/she doesn’t live in Los Angeles, and isn’t exclusively a screenwriting agent, are certainly big minuses. However, enthusiasm gets you a lot. If you think Agent #2 passionately believes in your talent, go for it.

And now for the standard disclaimer: You are still responsible for your career. Signing with an agent guarantees you nothing. You will need to hunt out work, develop pitches, and generally scramble until you get your first few jobs. Your agent can help point you to the lake; you have to catch the fish yourself.

When should a writer become a corporation?

Film Industry, QandA

questionmarkMy writing partner and I have sold a few projects, with, hopefully, a few more to come. The question is, at what point should we incorporate into a film company? Before we’ve sold the next project or after? Once we’re more established as a team? When we start making greater than a certain amount of money per year? What are the perks and drawbacks to making such a move?

–Dara
Los Angeles

Most screenwriters who find themselves making a living at the craft end up incorporating at some point — as do actors, directors, and other relatively well-paid professions in the film industry. I became a corporation shortly after Go.

The idea is that the studios don’t hire you directly. Rather, the studio makes a deal to “borrow” your services from a corporation that you’ve created. These one-person corporations are called “loan-outs,” because loaning out your time and talent is all they really do.

What’s the point? Well, there are two main advantages.

The first is financial. Because the studio is paying you as a corporation, rather than as an individual, it’s easier to deduct business expenses, such as office space, assistants and computers. Your corporation can set up a pension plan for its sole employee: you. You can also avoid paying personal income tax on the money for a longer period of time. (Though you do eventually have to pay it.)

The second advantage is liability. Let me first invoke my I’m Not a Lawyer Disclaimer — so don’t bank on what I’m saying. But the corporation can help shield your personal assets (your house, your car, your toothbrush) from lawsuits that might come up relating to your screenwriting career. If I’m a bit fuzzy on the details, it’s because I never, ever want to be sued.

The only real drawbacks of incorporating is the expense and the additional paperwork — quarterly statements and such. Although some writers manage to keep up with it themselves, I couldn’t imagine doing it without a business manager and an accountant. (Which are not-insignificant expenses.)

As for what point it makes sense to incorporate, the rule of thumb I heard was when your annual income consistently exceeds $200,000 per year, it’s time to form a loan-out. But that was 1999, so who knows what the current figure is.

My suggestion would be to talk with your attorney, and get his advice. He’s the one who would actually be filing the paperwork with the state to get it all set up.

Also, if you’re living outside the U.S., all bets are off. You’ll need to find someone familiar with the specific rules of your country. For instance, Ireland has amazing tax breaks for writers. I suspect becoming a corporation there would be a terrible idea — but you’d need an expert to tell you.

Read lots of bad scripts

Film Industry, Psych 101

Screenwriter/blogger Bryan ‘Locke’ Naegele speaks the truth: it’s just as important to read bad writing as good.

The first reason to read bad scripts is to constantly expose yourself to what doesn’t work. Don’t learn from your own mistakes, learn from others. That’s my motto. That way yours are much more manageable because they’re fewer. You become hyper-aware of flat characters, shotty dialogue, predictability, clichés, etc.

I assume “shotty” is a cross between “shoddy” and “shitty.” I like it.

I worked as an intern-slash-reader at a little Paramount production company during my first semester of graduate school, and the contrast between the crappy scripts I read there and the great scripts I read for class was really illuminating. And encouraging on some level. I knew I could never write as well as Lawrence Kasdan, but I could easily write better than the schmucks I had to write coverage on.

So, take Bryan at his word.