Write, write, write

Why exactly three ways, you may wonder. Simple - that's the number of agents I've had (and I'm still with number three) and so that's the number of experiences I can share - they've certainly worked for me!

Screenwriting's a business - act accordingly.

First off - do you need an agent?  Yes - it helps in so many ways (more on that in another post).  Does the agent need you?  Absolutely not.  If they're any good, they'll have a roster of busy clients and they won't be looking around for more clients to make their own lives even more hectic.  So you're up against some odds - what can you do?

US: As a fresh writer in New York, I just wrote the heck out of every piece of paper I found. Then I got friends to read the stuff, then I started entering the scripts in script competitions all over the US. I got some quarter-, semi-, and finalist results. When I reached the semi-finals in one of the most prestigious competitions - the Nicholl Fellowships - I jumped at the opportunity. I copied the letter probably a hundred times and walked it to every lit agency in New York. Most didn't even look at it, a few showed some interest, wanting to read the script. One of those then invited me in, asked for another script and signed me exclusively. Basically, I had nothing other than some spec scripts, a fluffy letter and a lot of positive attitude. So, whether it's a Nicholl Fellowship letter or something else - use what's at your disposal, do the leg work, believe in yourself and keeping banging down those doors with a big smile on your face.

Germany: When I moved to Europe I quickly figured out that I didn't need an agent in Germany.  The system is different, production companies and networks are far more approachable.  I immersed myself in the industry, met directors, producers, networked the heck out of everything I could.  I got my first network gig without representation, then decided to get an agent with my first contract already under my belt. The agent signed me in the knowledge that I was already a produced writer.  Why did I get an agent?  Because they do know the fine print and the loop holes.  He was able to always get me the better deal - with a known agent, negotiating contract numbers automatically start higher. He was even able to re-negotiate that first contract to ensure I wasn't missing out on anything. So yes, he got his percentages - and I got more than I would have without him - simple win-win.

UK: I eventually decided to switch agents not because I was unhappy with my German agent, but because I wanted to shift my career back to the international market.  I looked around and researched.  I then signed up for a pitching seminar where the agent I wanted was running the show.  I prepared the best I possibly could.  I planned every move, every question, every possible answer.  I endlessly rehearsed my pitches for the seminar and finally went there, relaxed in the knowledge that I was prepared.  I didn't push, I simply did my best to be professional.  At the end of the seminar I did nothing but ask if he might be willing to look at the one-pagers of my spec scripts.  After reading those he requested to read a few of my scripts and then signed me because of everything he had seen from me, my preparedness, my pitches, my attitude and, of course, my writing.  All put together he had a fairly good sense that I would not be wasting his time.

So yes, in some countries you can get by without an agent.  Would I advise it?  Never in a million years.  Writing is a fantastic world to be in - and it's one heck of a tough one.  Dealing with deadlines, script notes, producers, networks, directors and actors is quite enough.  A good agent will sometimes get you work, always get you the best deal, shield you from hassles you don't need and will always be on your side.