How to Get an Agent (Screenwriting Uncut #10)

Most writers will never get an agent -- because they make enormous mistakes that kill their chances. Here is the BEST way, and a powerful strategy that WILL get you results.
EPISODE 10: "How to Get an Agent"
One of the first questions new writers ask -- "How do I get an agent?" -- is not only the LAST question they should ask, it reveals a deep misunderstanding of (and disrespect for) the industry's real needs. Agents and producers are people, and their needs must be taken into consideration, or you won't get anywhere.
In this video, Jeff explains who agents are, what they really do, and how their job works on the most fundamental level. Then, from that understanding, he outlines the very BEST way to get an agent (that both of you will love), and a second-best strategy that any writer can achieve if they treat the job like a professional.
Getting an agent is an important (if optional) step in every new writer's marketing strategy, and this video pull you away from the "screenwriting lottery" mentality that prevents most writers from ever getting noticed -- and into a practical, real-world, objective task you can actually achieve.
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Note that we can only go so far in a 10-minute video. For a comprehensive strategy for getting an agent and selling your work, see the Payoff Phase of FAST Screenplay. Getting an agent is one step in a 20-step marketing process that any writer can use to sell their work and launch their career.
To learn more about the complete screenwriting process, visit fastscreenplay.com
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THE MISSING INGREDIENT: Why 99% of All Screenplays Fail, and How to Put Yours in the Top 1%
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[@thereseember2800]

The screenwriter for “Ghost” had already sold his house in Indiana & was moving to LA the very next day when his first agent called him and said that his screenplay wasn’t any good and would never amount to anything....so he lost that agent. He was devastated but his wife said, “We’re moving to LA anyway because it’s your dream to be a screenwriter.” It was a very bad move on that first agent’s part. “Ghost” was a smash hit at the box office and won more than one Academy Award. He started with one script when he found his next agent.

[@fastscreenplay]

Never give up

[@ProfessorTime]

Solid advice. A new screenwriter has a much better chance pitching his screenplay to a producer than an agent. Once a producer wants your script, you'll have no trouble getting an agent, because you've basically done the agent's job for him, and now that the agent sees that your work "sells" the agent will go to bat for you on your future scripts. It's a lame system, but that's how Hollywood works.

[@fastscreenplay]

+Professor Polymath, Thanks for the comment! I think the only reason it's a "lame system", though, is because of the economics of it. There's a LOT of work involved (on all sides) that gets NO payment (the time spent reading and evaluating material is enormous, and no one ever gets paid for that time). So at the moment, the "Hollywood system" is really just the best solution we've come up with so far. There will be better solutions in the future... and I know this because I'm working on them. :) Thanks for joining the discussion, and good luck with your projects!

[@borisjean1826]

then why is that lots of producers are always asking me on linkedin to look for and agent or attorney first before they work with me? while they even love my scripts

[@fastscreenplay]

It could be an excuse to avoid having to say No and give you a rejection. Or it could be that they’re concerned with the legal exposure of looking at a project submitted by a writer unknown to them. Agents and attorneys vet writers. Please see the other videos on this channel for more; I have made hours of content explaining these things.

[@vicc2k3]

Looking forward to the next video, keep them coming Jeff.

[@quintineluke2008]

Though discouraging but helpful🙏

[@fastscreenplay]

Quintine luke Don’t be discouraged. Seeing the challenge clearly empowers you to take advantage of the unprecedented opportunity that exists right now. Check out the new Series 6, where I’m going into it in great detail. Happy writing!

[@johwellst-cilienfilms2203]

Very sound advice, I have 2 solid scripts which received great feedback, guess i have one more to write ;)

[@brandenbanks7586]

I don't get it. You say, "go to an agent" How do i go to one? Where do i find one?

[@fastscreenplay]

+Branden Banks, agencies are not hiding. You can find them via Google or IMDb Pro, or any number of standard industry resources. Different countries have unions, associations, guides or communities you can connect with, who can help you find them. Even cities and states around the world will usually have some. Finding them is not a problem. Getting one to represent you is the challenge, and that's what's covered in this video. I hope this helps!

[@borisjean1826]

they aren't but when ever i speak them, they always saying that they are busy

[@fastscreenplay]

Yes, of course. The reason for that is explained in this video. That’s why I recommend writers stop using an antiquated approach and actually seize the opportunities available today. Go in with leverage; without it, they will always be too busy.

[@kenrickbautista6141]

I think that was very helpful. Thank you for that.

[@WillieEasterJr]

Thank you!

[@sueswank9574]

This makes sense.

[@orikapictures7123]

Thank you :)

[@thebasementfilmgroup]

This is the problem with many (and I have fell foul to this too) who want that quick route - the fast solution to pay the bills - they dream of pitching an idea - producer buys idea for zillions and now I am rich - oh if only it was as easy as that. This works in many areas of the industry - I dabble in different areas - I have mostly worked in sound design/ ADR and composing for film and by pure luck got work with the BBC - but that was just the connection that was luck - they hired me to do a job because........ I was good at it. This led to more projects etc - that led me to know various people who know other people - I am now working on a variety of ideas and projects in writing - some have gone on to independent projects, and I AD'd on a few films too - for no money - to learn more and create more connections. It takes a long long time and I am nowhere near where I want to be.....yet! Keep working, learning and most importantly listen to others - then (if you have the talent to back it up) your time will come!

[@fastscreenplay]

thebasementfilmgroup Thanks for sharing your perspective. And you’re right, that’s exactly how it works. People worry about the “it’s who you know” part of the equation because they start out not knowing anyone (as we all do). But there are lots of ways to get to know people, as your story proves. The bottom line, though, is that you need to be ready for the moment, or else the connection won’t really get you anywhere (as your sound design experience demonstrates). Are you now focused on writing, or are you primarily working other roles? Either way, here’s to continued success for you!

[@haroonahmed277]

You can submit your screenplay to screenwriting contests, if your script wins or is a runner up, Agents attend these contests, they might sign you if what you've written is a masterpiece

[@fastscreenplay]

This is the conventional wisdom, yes, but the odds of getting an agent this way are nearly as bad as via blind submissions. The way we do it in FAST is we use screenwriting competitions (optionally) as a specific part of the marketing strategy. I would generally suggest to screenwriters that hoping to get an agent from a contest submission is more of a dream than a strategy, and there are far better (and faster) ways to get there. I do understand that that’s the hope contests often use to get writers to submit but the stats don’t bear it out, I’m afraid. Did you get an agent that way? I’d love to hear firsthand experience that contradicts mine, as I want to only offer the very best assistance.

[@marcodeluca4068]

Where do you find screenwriting contests?

[@MizzyIdiot]

Great tips :-)

[@fastscreenplay]

MizzyIdiot Thanks! :)

[@dangoudreau7366]

I get it. It makes sense. There is no next step until the writer has already perfected the craft and has at least 3 scripts at the Aaron Sorkin level so that they sell themselves and then the Agent is interested because the work and the money is already there. This puts tremendous pressure on the writer almost to the breaking point where the time needed to do this inverts reality and causes a singularity that will cause the universe to implode. But after the implosion, there on the altar will be 3 rock solid scripts with the brads glistening in the moonlight. The Seraphim will descend to take the scripts to Purgatory where Producers will assign them to in-house writers to be rewritten in angel speak and once polished there, God will put his mark on the Title page but first he must check whether it is currently in vogue for it to be justified on the left or on the right. I'm just kidding. I love your videos and you are revealing to us how it all really works. Insightful...frustrating for writers...bit insightful.

[@roza61]

A lot of people babble crap on here, you are not one of them. This is great advice, thank you so much, from Yvonne in the UK.

[@fastscreenplay]

Thanks Yvonne. I try my best to make sure that every video provides real value, and that every step in my system gives writers a bona fide breakthrough insight (and that they snap together to become a legitimately usable creative framework that will serve them for the rest of their careers). I appreciate you recognizing it and taking the time to say so. Thank you!

[@collectivedreamer4541]

The sound of a thousand balloons deflating... 😋

[@fastscreenplay]

And one lightbulb going off -- from the woman in the back for whom it all suddenly clicked. :)

[@kylewilliamson5629]

The video was helpful to a point. I am about to watch the second video. I've tried and still continue to try to pitch my screenplays. I have over twenty. Although all may not be the best I feel the vast majority are great works and I am proud of them. Varying concepts from children's, animated, thrillers, suspense and more. Still trying to find the right production company to work with. Helpful advice is always welcome

[@fastscreenplay]

It's hard to give specific advice, as I haven't read your work (and haven't seen the way you're pitching). But I will say this: Last week I assessed a script written by a screenwriter who has won multiple script competitions, who has completed over 20 scripts himself, and who has had material produced. But he wasn't able to get an agent or get his work noticed. After reading the script, I could see that problem was that he was what I refer to as a "solid intermediate" writer -- one whose work is solid (it ticks all the boxes), but doesn't quite reach into the "great" level. There were pacing issues, the flow of the writing wasn't always working, the basic concept was intriguing, but the script didn't live up to its promise. I said I didn't think it would really grab a reader or producer with some specific adjustments (things he recognized as soon as I said it, but which was hard to see objectively without that outside reader's opinion). What often happens is writers create multiple projects without realizing that they all suffer from the same problems. Screenwriting is a very nuanced and intuitive craft, and just because a script has a good concept or is well told, or gets great feedback doesn't mean it's aligned with or capable of connecting with an agent or a producer. This doesn't change the reality that all these people are looking for great content from great writers; it's just a more nuanced task than most people think. Ironically, when we finished our notes meeting, he got an email telling him that script was a quarterfinalist in another competition. :) The simple truth is that there are literally hundreds of possible things that need to be fixed or improved, and you may be very close or your may be a hefty distance from being ready for an agent. It may just be that the way you're reaching out and/or pitching them is not effective. I can't really say -- I have no idea -- and this is why I built a comprehensive system that covers all of the hundreds of skills that a writer really needs. Simplistic or one-size-fits-all advice won't really help. But there is one thing that's universally true: If you keep working at it, and keep learning, looking for the ways in which your projects or approach are ineffective, and focus on making them ever more effective, you can do this, and you can make it happen. I hope this helps in some small way, and I wish you extraordinary success!

[@kylewilliamson5629]

Much appreciated for your advice. If you want to take a look some of my work feel free to ask and I will give you my website with my screenplays. I would appreciate the feedback. You can give me your email and I can email you the website. I am aware my pitching skills need some work Also my location which at the moment cannot be helped due to finances. I use script revolution, amazon studios and virtual pitch fest to start. I try to continue learning my craft all the time. I’ve noticed from the time I began writing first books in the early days how green I was. Now, since I’ve been doing screenplays how much better I’ve become. Even since my early days doing screenplays when they were green as well. I am sure I will improve even more. Thank you again.

[@fastscreenplay]

I can't review outside work any more. (I can't even afford to offer it as a paid service, which I did for many years at a cost of between $500 and $1200 -- time is simply too limited now.) I create the KZbin videos and various free stuff, and respond to comments as time permits, to help as many writers as possible, and then I go into more detailed help and guidance in our various courses, and obviously the comprehensive FAST Screenplay system (which is equivalent to a 3-year university program condensed into a single year). There are simply too many details and nuances to advise... it's just not possible to offer that advice one-to-one and still have it be pro level quality. We are looking at creating a production module at the end of the FAST Screenplay system, to actually make films from the scripts that go through the system, so that's where the one-on-one energy is going at the moment. Why don't you do the FAST Screenplay 10-Day Free Start? It doesn't cost anything, and you get an absolute mountain of helpful content; you may find answers to your challenges right there in the first 10 days. (I always figure if people don't even do the free start, they don't really want my help.) ;) Anyway... whatever path you take, I wish you extraordinary success. Keep at it. As long as movies are made, producers will always need screenplays.

[@kylewilliamson5629]

Much Appreciated, I'll look into your free 10 day program. I also understand your busy schedule. I am highly motivated and been writing and trying to improve for a while now

[@mohammedraqeeb9774]

How to make the deal with company I mean how can I contact the company?

[@fastscreenplay]

You can cold call, but it's generally best to get a recommendation. If you're not yet in a position to get a recommendation, it's generally not advisable to contact an agency as they will typically be unable to help you. (Remember: Agents only get a commission, so they need to know that a writer or project is viable before they can take the time away from their existing clients to focus on getting a deal for a new writer.) Getting an agent should be part of a larger marketing and career strategy, and I strongly recommend waiting until you have a verified, demonstrable, proven page-turner screenplay (or 3) before making that initial contact.

[@mohammedraqeeb9774]

How can I get the production companies numbers

[@fastscreenplay]

Most can be found online. (But please note: If you are asking how to contact them, it is extremely likely that you are not yet ready to contact them. I have been in this industry for 35 years now, and in my experience, 99% of people who ask do not have a viable project, and they will only be told by the production company that they -- the company -- can't accept your submission. I strongly recommend watching the videos on this channel to learn how to go about doing this, and, if you're serious about it, learning the entire process. Hope this helps.)

[@Solsaffire]

You know, I've heard that before--that I should have at least three good screenplays ready to submit. That's good advice. What are your thoughts on the Writers Guild of America, should I join? And would joining that association put me more in a position to meet an agent? And thanks again for this segment, excellent advice!

[@fastscreenplay]

Solsaffire Regarding WGA, you have to sell to (or work for) a signatory company before you're eligible to join the WGA. So that sends you back to square one: You need to have excellent pro-quality screenplays first. Focus on writing 3 of them before ever worrying about an agent. Remember the advice: There's no point worrying about an agent until you're a viable way for the agent to make consistent money. And you can't SAY you'll make them money; you have to prove it -- by getting a deal. Focus first on your craft. Hope this helps.

[@Solsaffire]

Yep! Got it. Yet again something I didn't know. Thanks again.

[@tobyflenderson5326]

Great videos! I do have one question though, I understand that this channel is geared towards screenplays and writing alone, however, as a filmmaker and writer myself I was wondering what advice you have on gaining interest from producers, but also how I could manage to direct my own screenplay? Rather than sell it on and lose all control (Like Tarantino with Natural Born Killers).

[@fastscreenplay]

+Toby Flenderson, writing and directing are very different skill sets. The best way I heard it described was that writers need to be comfortable in solitude with just their imagination, whereas directors are more like military generals who have to deal with all the problems reality throws at them. Some people can do both, others are more suited for one or the other. To attract the interest of a producer, a screenplay must be literally extraordinary in at least 3 ways. To attract the interest of a producer, a director must have a demonstrable talent for managing conditions and still ending up with something of quality. So a screenwriter must master the craft of storytelling and the written word, and a director must have proof of their skills. If you've never directed anything before, the odds of a producer hiring you to direct your screenplay are extremely slim. Direct a handful of short films, or music videos, or TV commercials, or web series, or theatre, etc. Demonstrate a talent for that skill. If you're interested in directing simply in order to avoid "losing control", then you aren't really seeing the true value of the medium. A great film is the result of dozens of extremely skilled and talented people coming together to collaborate on a project. Even the auteur (like Tarantino or Scorsese or whomever) surrounds themselves with a great team. So to be a great writer/director, you'll need to develop BOTH of those skills to mastery level (it's hard enough to develop just one of them to that level). But if that's your goal, get to work. And have fun doing it!

[@tobyflenderson5326]

+FAST Screenplay Thankyou for taking the time to reply, your advice is very helpful :)

[@audiolover15]

What if you just have a really good idea for a tv show or movie. I’m not a writer I’m an actress but I have a lot of great ideas for movies and tv shows. Would I still need a literary agent?

[@fastscreenplay]

Ideas are not copyrightable (only the execution OF the idea is copyrightable), so if you start pitching them around, people will be able to use them freely. You'd probably want a lawyer or agent. But lawyers and agents don't represent people with ideas because, frankly, everyone has a lot of great ideas for movies and tv shows. That's what our brains do -- they come up with ideas. For an idea to actually be turned INTO a great movie or tv show requires all the complexity and nuance involved in the craft of writing. Before anyone reputable would even LISTEN to a pitch, the person with the idea would need to demonstrate some capacity for turning the idea into something usable. At a very minimum, a treatment or outline of the story (not just the idea). Always remember: The human mind is an idea factory. I, personally, have about 200 movie ideas floating around in my head, of which I (with 30+ years experience at all this) believe about 20 of them would make extraordinary films. But we can't shoot an idea. It has to be turned into a viable story and screenplay first. That can be done, it just takes time. A literary agent wants to see that you've put in the time. I hope this helps shed some light on it!

[@crybabytv5715]

How do i find contact numbers for the agents? what are some of the tops agencies ? i can't find their contact numbers =(

[@fastscreenplay]

I do urge you to watch the video. The numbers (and rankings) are readily available online.

[@wietzewedman9665]

Does having the same hairdo as you count for being a good screenwriter?

[@fastscreenplay]

+Wietze Wedman, unfortunately no. It only indicates that you're likely to have good taste. ;)

[@ITSLIKEARIVER2000]

+Wietze Wedman Good comment!

[@JorgePrietoNYC]

The agent needs to get the project that it's on demand. The producers and agent want to make $$$. The story is what matters most here. It's your story original, compelling and $$$$$$ maker. The Sly stories "Rocky" are rare now days. Everyone is producing novels or books that already have an audience base, again $$$$.

[@gratefulblessed1615]

I do not live in America or The UK.My question is is it possible for me to sell screenplays to American or British producers or anyone that would buy a script without living in those countries?If yes,any tips?If no,any tips?Thank you in advance

[@fastscreenplay]

Yes, if it's legitimately viable and aligned with a producer's immediate needs. If you're not a native English speaker, note that you will need to ensure that it reads like a native English writer -- your work will be considered against the very best writing in that world; it will have to be that strong. My tip is to do the FAST Screenplay system and learn the entire process. Most writers are looking for shortcuts or think they can just write something and sell it, when in truth you need to complete all 7 phases at a professional level, and that takes considerable time and effort to learn and do well. But if you are prepared to put in the effort, it is absolutely, 100% achievable. It has happened countless times before and will happen countless times again. It just demands as viable production-ready screenplay that's better and more aligned with anything else the producer has found. That's not easy to do, but it's certainly doable. Hope this helps!

[@gratefulblessed1615]

FAST Screenplay Thank you very much.I will definitely do the FAST screenplay system and take in every other piece of information available.I'm absolutely determined to make it.Thanks again

[@spacecatboy2962]

so who will read my script to tell me if it meets the high standards of the business?

[@fastscreenplay]

In FAST Screenplay, we have a whole phase devoted to that. You'll learn how to send your work out to get feedback from any source, you'll learn how to do a table read, and you'll learn how to escalate the professional responses and reaction to your work, so that you can incorporate increasingly refined responses into your writing. When you're first starting out, getting professional feedback is expensive and unnecessary because you're generally not ready for it. It's a process of development that takes time.

[@marcodeluca4068]

That's like finding a house than find and agent to present a deal now its easy to find a house but to find a production company a director etc that should be done by agent your trying to make it easy for agents while they still get 10% maybe if you negotiate 10% to 5% or less.

[@fastscreenplay]

Sometimes the only possible reply to a comment is a facepalm.

[@marcodeluca4068]

@@fastscreenplay Oh, so I am right, ok!

[@fastscreenplay]

@@marcodeluca4068 Uh... 100% no. ...As explained IN the video itself. ...Which is why the facepalm. :)

[@fastscreenplay]

@@marcodeluca4068 Btw, good luck finding someone eager to work on your behalf, when all you care about is making sure they get as little for their time and efforts and years of relationship-building as possible. That kind of me-first attitude is a career-killer for screenwriters. So by all means ignore my advice. At least the casual observer might better understand what the rest of us have to deal with. (Face back in palm.) EDIT: To be clear (in case you genuinely don’t understand), it is almost impossible for a new unproven writer to get an agent because there is no incentive for an agent to sign you. If you come to them with a ready-made deal that they will profit from, they will know that a) you are someone who can really sell, b) you have a professional understanding of how to make the deal happen, c) they are likely to make more money in the future by promoting you. The 10% you’re “giving” them (for “nothing”) is their commission for negotiating your deal (are you a lawyer? if not, you need them) AND a way to incentivize them to work on your behalf in the future when there IS no deal already in place. If you do not adopt this kind of collaborative mindset, you will find it impossible to make a career in screenwriting. The agent’s job is not to find you work or deals; their job is to represent you and negotiate on your behalf. Their job puts them in a position to build relationships with the people you want to sell to. Be good to them - as you should be good to everyone you encounter - and you’re likely to get further in this world.

[@marcodeluca4068]

@@fastscreenplay You know I think you have convinced me. I should bust my ass creating three really good easy to sell scripts and devote the rest of my life searching for the right fit or one who desperately wants my work and just before cutting a deal search for an agent someone that can make me feel bad about myself enough to give 10% because they need to make a living too despite my hard work and talent yeah i think your right there.

[@Christian43338]

If you do have a mastery level screenplay; why won't you need an agent ?

[@fastscreenplay]

+Christian Rohrer, I don't understand the question. Can you clarify?

[@robertmanigault625]

This video could have been condensed to 3 minutes tops. Anyone knows that an agent makes money off of the writer's work. Don't presume the budding writer doesn't understand anything. Just give the facts. The wordiness of this video is exhausting.

[@fastscreenplay]

Thank you for your opinions and feedback. However, in my experience (dealing so far with over 30,000 writers), your presumptions OF knowledge and understanding are what are mistaken. As to length, this is part of an "Uncut" video series -- please watch the earlier episodes for context. There is no "condensing" a video when speaking live and uncut on a topic. Thanks for watching.

[@robertmanigault625]

I watched the video twice. This video does not tell how to find an agent. I'm surprised at those who say it was helpful. This was a waste of time. Many words spoke, nothing (new) said. Writers know their work must be good. They know the script must meet industry standards. They know (or should know) what the presenter says here. People come to this video hoping to learn what they don't know - how to find an agent. One can watch this video and still walk away not knowing how to find an agent.

[@fastscreenplay]

We're introducing a new series called the FEEDBACK LOOP that will review actual script pages from the producer's perspective. I think you'll start to see pretty quickly that "they know their work must be good" and "they know the script must meet industry standards" is not what I'm saying here at all. I would also encourage you to send pages in for review -- you might be surprised to find that the comments here might be more applicable to one's situations than expected. And for the record, this video is not called "how to find an agent" -- it's called "how to GET an agent". The advice herein is not widely grasped or understood, and I stand by it 100%. If FOLLOWED (not just thought about and pondered; not just considered as INFORMATION but as actual action advice), I maintain that this video offers exactly what it promises.

[@SatishKumar-sg2ue]

I have a spy screen play favourite wine jack dainel old no how a rich boy became a spy

[@fastscreenplay]

Be sure to take some time and get really good at crafting stories that leap off that page. That means extraordinary writing that's clear, visual, dynamic, and compelling. That's the first step. Good luck!

[@JoshuaYoung2]

Good advice BUT this should have been called “What to do before you get an agent.” Zero advice on how to actually connect with an agent.

[@fastscreenplay]

I appreciate that perspective, but I actually disagree. Because once you've done what this video suggests, you'll know exactly how to get the agent.

[@thumbtack9314]

Start at minute 7:59 save 8 minutes of your life

[@fastscreenplay]

Those who suggest skipping the first 8 minutes are the very people who need the first 8 minutes the most. I don't say this to be rude; I say it from 20 years' experience working with thousands of writers. Everyone wants to jump ahead... and then they wonder why the doors are closed. Skip if you wish, but there's a reason those eight minutes are there. If you're actually in a hurry, watch at double speed. You won't retain much, but at least you're not skipping the important stuff.

[@smrogers6650]

Get a producer before getting an agent.

[@fastscreenplay]

Well, no. That would make no sense. Rather than attempting to distill the full CONTEXT of this video into a banal sound byte, consider focusing instead on the meat of the video. Screenwriting is ALL about the context and nuance. If you strip it out of your info-gathering, you won't be able to include it in your work. Good luck!

[@smrogers6650]

Okay some advice then. I have a producer who's approaching executives to get my movie made. I've sent my film festival shortlisted script and a synopsis. I've also followed up with a message saying that there is a sequel script which is 90% finished. I have a third script started and another producer/filmmaker interested. I still can't get an agent. At this point I don't want one either. I understand that I'm not agent fodder and have no financial attraction. So yes, get a producer interested, then when a deal comes your way, involve an agent to get the deal done properly. Then start your agent off looking for paid work for you and him/her.

[@fastscreenplay]

@@smrogers6650, that's a better distillation of the advice in the video, yes. One of the great misconceptions about agents is that they do all the work to get writers paid work. You're doing what you need to be doing - and what, in fact, you will continue to need to do after you get an agent (i.e., making your own contacts and getting your own game running). I will say this, though: When you say there's a sequel script that's 90% done, that's actually a disincentive for the producer, usually. The production process is collaborative, and it's almost always better for sequels to come out of the original production (not just the original script). Imagine that you cast an extraordinary actor as your central character, and they bring something unexpected to the story. You may want to weave that unique attribute into the sequel storyline, so being weighted down by an existing sequel project (which, presumably, the writer is in love with) ties their hands. Most active writers have plenty of imagination, so sequels - should it come that that (you're putting the cart WAY before the horse there) - are usually developed as an exploration of the original experience. (The exception is when the property existed previously, as in a series of books.) It will take a year (minimum) to make this first film (and maybe five or tens years!). It will take another year to know you've got an audience that warrants a sequel. A LOT can change in a year (consider how much the world has changed since last year), so what you will actually have is a potentially outdated sequel - which is not a selling point for the current project. One other point I would make is that having various folks interested is genuinely great, and I am 100% in your corner, hoping for great success for you. But just understand that nothing is real until the deal is signed and the money has changed hands. Producers often express interest in many projects (we're juggling resources and opportunities on our end, and need to have projects in the back pocket in case one of the irons strikes), so don't necessarily bank on those. It sounds like you're still writing and working on new things. This is the key. Agents will make sense once you get those initial deals. It's one of the reasons I recommend focusing on the indie market initially, to get your first credits and attract the agents. Hang in there, and keep up the great work. Weave the business strategy into it and you'll get to the goal... I hope some of this helps!

[@smrogers6650]

Okay, thanks for that mate. The first script is based on my sci-fi book, the second is on a not completed sequel. The third script is a complete original for an indie producer/ filmmaker.

[@fastscreenplay]

@@smrogers6650, do share your successes here when they happen. I'm always excited to hear when writers break through. Good luck with them!

[@Jimmy_Bee]

You have offended me

[@fastscreenplay]

I did apologize in advance. ;)

[@1sportsfan]

there is solid, basic info here but these insights are harpooned by an incessant "half laugh" by the orator that comes off as condescending.

[@fastscreenplay]

Can you point to the part you specifically found condescending? That is NEVER my intention, as is hopefully obvious from the other videos (and the mountain of content I have created over the decades), but I'm always on the lookout for ways to improve, so specifics are always welcome. Let me know.

[@1sportsfan]

Sure. 00:45 is an example of the "half laugh" I cite. "You don't actually need an agent , "half laugh" " etc

[@1sportsfan]

01:26 a quarter laugh during "intrinsically"

[@1sportsfan]

03:47

[@fastscreenplay]

Okay. I'm not sure 3 laughs qualify as "incessant", but in any event I'm sorry they undercut the message for you or made you feel like I was condescending to you. These videos were recorded uncut, without notes or rehearsals or anything -- to try to be more direct and personal and available to the viewer, and sometimes a nervous laugh came out, or I stammered as I had to let go of a better way of saying something that came to my mind after I talked about it, because I had to keep moving forward in the video. The point of the series was to get the insights out there. Anyway, I watched them again, and there certainly wasn't any condescension in my mind at the time. But it does go to remind me that no matter how much effort you put into something, you're always bound to annoy someone along the way and get those dislikes. All creativity requires a bit of "just do it" rather than second-guessing our actions, so I can't apologize for the laughs, but I do still regret that you felt that way. My aim is always to help and encourage, as I hope the rest of the channel makes clear. If you do have specific questions about any of this stuff, let me know. I'm here to help where I can. Good luck with your projects!