How Do I Get My Screenplay Noticed?

Screenwriting requires social media networking

Screenwriting is not a spectator sport! It requires active participation because if you don't promote yourself, who will? One of the most common questions I hear is, "how do I get my screenplay read?"

It's really a straightforward proposition- put yourself out there. There is no magic pill. Hard, old-fashioned legwork in the form of networking your primary tool, especially when you're early in your screenwriting career.

As an emerging screenwriter. self-promotion is an elusive but critical component, especially if you don't currently have industry contacts. So how do you get those connections? Well, the first step is to acknowledge that it's not easy. In fact, you'll work harder at building relationships than you will writing. But therein lies the secret because if it weren't difficult, it probably wouldn't be worth the effort.

So, how do you build those relationships, especially if you're not living in Hollywood or New York? Start with your social media. The more sites, the better- Facebook, Twitter, Instagram, LinkedIn, and so on. Of course, your workload increases exponentially the more sites your on, because you have to be active. Consistency is key. Once you commit, you'll need to set aside time daily. Treat is just like its a job, because well, it is!

Seek those working in the industry and reach out. Don't "pitch" them. They don't care that you're a screenwriter- at least not yet. If you rush the process, and try to pitch early, you'll likely be blocked- or worse. Just connect, person to person. Allow yourself time, as this is a slow but steady process. Over time, your network will grow, and eventually, once you are in regular communication, you'll be able to share your work (as in MUCH LATER DOWN THE LINE!).

LinkedIn might be a great starting place because you can focus on specific industries. LinkedIn is a PROFESSIONAL social media, so completing your profile thoroughly, including pictures, headers, resume, the works.  I can almost guarantee that people on LinkedIn will look at your profile to ensure they don't waste their time, so having a quality profile is utterly crucial. It can make, or destroy, your career! Remember that building relationships, especially online, is as much an art as writing.

  • DON'T start by saying you're a screenwriter looking to sell a screenplay
  • DON'T pitch your contacts as your first communication
  • DON'T brag about yourself
  • DO join industry groups and participate
  • DO thank everyone who accepts your connection request
  • DO make your comments personal (use their names)

Duplicate your efforts on other social platforms, but keep in mind that they become less and less targeted as you go down the list. LinkedIn is the smallest but the most highly targetable. Focus on Facebook and Instagram next, followed by Twitter, and then the others. They should all be part of your marketing strategy and each can be helpful in unique ways. The first step to succeeding as a screenwriter is to master social media.

This process will take time. Six months to a year is not unrealistic. But, once you've built a network and started interacting regularly, you can begin to focus on specific people to grow your relationships. It's there that the magic can happen. People want to help those they have an affinity toward, so make friends. It may take time and effort, but the payoff is worthwhile. There is no shortcut or easy way to build your network. But if you're consistent and persistent, your odds of making meaningful connections will increase manifold!

Filmmatic Horror Screenplay Contest

Filmmatic Horror Screenplay Contest

The entry deadline for season 7 of the Filmmatic Horror Screenplay Awards is only 5 days away. As you all know, I'm not a huge proponent of screenplay contests, but many of our members do have an interest. So, if you're so inclined, here's the link for the soon-to-close Horror screenplay contest.

Here is the information from their website:

"The Filmmatic Horror Screenplay Awards were created to locate and expose up-and-coming horror/thriller screenwriters, as well as to empower and promote those talented writers still waiting for their invitation to the mainstream industry.

Competition is open to feature-length and short works, screenplays and teleplays. All types of horror and thriller projects are eligible. All Finalists and Winners will be announced by 2/15/23. Laurels will be awarded to Quarterfinalists, Semifinalists, 10 Finalists and 1 Overall Winner. See below for prize information."

ENTER DISCOUNT CODE "25vampires" FOR 20% OFF!

Filmmatic Horror Screenplay Contest

 

Writing Bold and Unafraid

Bold and Unafraid Screenwriting

Many new screenwriters write as if they've never sold a screenplay, and readers can smell it like sharks in water. Timid writing, born of inexperience, will kill your chances as quickly as any grammatical or formatting error, and likely faster. Pro-level writing demands a commitment to craft far above the average screenwriter. It demands a gritty authenticity and boldness most new and emerging screenwriters have yet to develop. Well, it's time to knuckle down and buckle up, because if you don't write that way, you're doomed to fail.

Quality screenwriting is a blood sport. Timid story lines and weakly written characters don't inspire confidence, detracting from the overall tone and timbre of your screenplay. They drag down the overall impact, resulting in a lack of interest or worst of all, outright boredom. As immortalized by those great American poets Def Leppard, "it's better to burn out than fade away!" If you incorporate intensity and authentic boldness into your writing, you'll catapult into the rarefied air of experienced screenwriting.

As I said, screenwriting is a blood sport. The competition is fierce and the odds of success small. A screenwriter friend once told me that he believed "screenwriting is where the lottery goes to gamble."  That may be true, but I never became a screenwriter to get rich. That's what the lottery's for, LOL. I do it for the love and craft of writing, to challenge myself, and to make my voice heard. If you are serious about screenwriting, you need to dig in deeply. Treat your story as if its the antidote to a dying world. Make your writing burn with the same intensity that made you want to write in the first place. If you don't, readers will know it and you're screenplay will be doomed.

Every character, every plot twist and turn, and every page you write should be bold and unafraid. Let your passion shine through so that a reader, and if you're lucky and prepared, a moviegoer, will feel your passion. Passionate writing is interesting writing, and dull, dry writing is the kiss of death. Don't shut yourself down before you started. Write like your life depends on it. Your career just might!

Dealing With Writer’s Isolation

balance or burnout

How to Prevent Writer Isolation and Boredom
by Steven Kirwan

Screenwriters are a unique breed, because we tend to see the world in scenes. The more prolific the writing, the less contiguous everyday life can seem. Spending hours, days, or even weeks cloistered in our writing caves can isolate us from friends, family, and reality, and over time, it can silence that inner voice driving us to perfection.

We need to be aware of our own internal temperature. The drive and desire to succeed can supplant normalcy, making us work harder and longer. Failure to maintain a proper work-life balance can result in potentially detrimental outcomes stemming from feelings of isolation and separation, and many writers have succumbed to these feelings. To fill the resulting void, many seek an antidote in drugs, alcohol, overeating, and other detriments.  Experience proves that these always make life worse.

So how can we overcome our writing intensities? Included below are some simple activities you can easily undertake to defeat isolation and boredom. They're not in any particular order, so you can pick any or all to help keep you grounded. Just remember that true success is in the doing, so you need to be proactive. Pick an activity and execute, and keep this in mind: these activities intended to be independent of your writing. If you try to multitask, both activities will suffer.

Sanity-Maintenance Activities:

  • Take a walk
  • Call friends/family
  • Exercise
  • Watch TV/Movie
  • Listen to music
  • Go out for a meal
    (beware of food as a release- trust me)
  • Play a musical instrument
  • Paint
  • Take pictures
  • Clean/Organize

As you can see, the activities vary but the principles are similar. Choose the ones that most motivate to you to get out of your chair and to leave your writing space. Mix it up. Don't let the writing consume you as it will not take long to become an obsession, or worse, tedious. If writing your screenplay becomes a chore and loses its joy, it'll ensure failure. Writing is a gift, both to you as an artist and from you as something the world will appreciate. Don't let isolation and tedium silence your inner muse!

 

Mastering the Logline

Why Loglines Are A Vital Tool For The Writer

By James "Doc" Mason
Logline Master and Screenwriter

The primary goal of the logline is to excite the industry professional. But there's more to it than that, and the stakes could not be higher. At its core, a logline describes a story’s central conflict. The well-crafted logline allows the reader to visualize the entire story in a single sentence. It also gives the reader confidence that they’re in capable storytelling hands, even if the writer is unknown to Hollywood. The key to writing a kick ass logline is to first recognize the basic story elements and how they work together to describe conflict.

Understanding the elements answers two big questions: what belongs in a logline? And what doesn’t? The writer must also be able to describe the elements in a way that will stand out among a sea of similar concepts. A poorly written logline will ensure the script or novel will flounder in the muck at the bottom of the reader’s pile. If it even gets that far. And that’s not all! Identifying the elements might reveal problems in the story itself.

Whether rewriting a draft or outlining a first draft, the humble logline serves as storytelling guardrails. This is especially true when collaborating with another writer, or a director or producer.

A kick ass logline will keep everyone on the same page.

Now that’s exciting!

READ THE ORIGINAL ARTICLE HERE:

https://www.masteringthelogline.com/post/the-logline-more-than-meets-the-eye

Agents-Agencies-Managers

BACK TO ASA INSIDERS HOME

AGENT/AGENCY LISTINGS (Premier Members Only)
Agents are constantly seeking new talent, and as a result, they are bombarded with hundreds of requests for representation every day. Be respectful of their time. Send a well-crafted query letter explaining what you can offer, and why they should talk to you. They want to see that you are a results-oriented, successful screenwriter, so don't be discouraged if you are rejected. As your experience and reputation grow, you will find the right agent to represent you. Most agents charge 10%, possibly up to 15%. Be wary of "so-called agents" that are simply trying to make money from you, the writer. If they try to charge you above the market rate, an up-front reading fee, editing fees, or they want to refer you out for editing at a fee, you should probably look elsewhere. The agent-screenwriter relationship is best when it's a win-win situation. If the fit doesn't feel right, it probably isn't! Please note that this list is subject to change without notice!

CALIFORNIA

Above The Line Agency
468 N. Camden Drive
Suite 200
Beverly Hills, CA 90210
310.859.6115

Affinity Artists Agency
5724 W Third Street, Suite 511
Los Angeles, CA 90036
323.525.0577

Agency For The Performing Arts LA.
405 S. Beverly Drive
Beverly Hills, CA 90212
310.888.4200

The Alpern Group
15645 Royal Oak
Road Encino, CA 91436
818.528.1111

Annette Van Duren Agency
4303 Irvine Avenue
Studio City, CA 91604
818.752.6000

Barry Perelman Agency
415 Washington Blvd., Suite 902
Marina Del Rey, CA 90292
310.659.1122

Beth Bohn Management, Inc.
2658 Griffith Park Blvd., Suite 508
Los Angeles, CA 90039
323.664.2658

Bicoastal Talent & Literary Agency
210 N. Pass Ave, Suite 204
Burbank, CA 91505
818.845.0150

Bobby Ball Talent Agency
4116 W Magnolia Blvd., Suite 205
Burbank, CA 91505
818.506.8188

The Bohrman Agency
3141 Ellington Drive
Los Angeles, CA 90068
310.550.5444

Bonnie Black Talent Agency
4328 Whitset Avenue, #6
Studio City, CA 91604
818.636.9968

Brant Rose Agency
6671 Sunset Blvd. Suite 1584B
Los Angeles, CA 90028
323.460.6464

The Brogan Agency
1517 Park Row
Venice, CA 90291
310.450.9700

The Candace Lake Agency, Inc.
P.O. Box 364
Ross, CA 94957
415.419.5503

Cary Kozlov Literary Representation
16000 Ventura Blvd., Suite 1000
Encino, CA 91436
818.501.6622

Calveri & Associates
178 S Victory Blvd., Suite 205
Burbank, CA 91502
818.955.9300

Ceo Creative Entertainment Office
1801 S Catalina Ave., Suite 103
Redondo Beach, CA 90277
310.791.4494

Cerise Talent Agency
11715 Hortense St.
North Hollywood, CA 91607
818.995.1775

The Chasin Agency, Inc.
8899 Beverly Blvd., Suite 716
Los Angeles, CA 90048
310.278.7505

Contemporary Artists, Ltd.
610 Santa Monica Blvd., Suite 202
Santa Monica, CA 90401
310.395.1800

Coralie Jr. Theatrical Agency
907 S Victory Blvd.
Burbank, CA 91502
818.842.5513

Creative Artists Agency, Llc
2000 Ave. Of The Stars
Los Angeles, CA 90067
424.288.2000

Criterion Group, Inc.
4842 Sylmar Avenue
Sherman Oaks, CA 91423.1716
818.995.1485

David Shapira & Associates, Inc.
193 N Robertson Blvd.
Beverly Hills, CA 90211
310.967.0480

Diverse Talent Group, Inc.
9911 W Pico Blvd., Suite 350
Los Angeles, CA 90035
310.201.6565

Don Buchwald & Assoc.
6500 Wilshire Blvd., Suite 2200
Los Angeles, CA 90048
323.655.7400

Featured Artists Agency
6210 Wilshire Blvd., Suite 311
Los Angeles, CA 90048
323.939.4600

Frank Elliott Shapiro Talent Agency
818.376.1583

Fred R. Price Literary Agency
14044 Ventura Blvd., Suite 201
Sherman Oaks, CA 91423
818.763.6365

The Gage Group, Inc.
14724 Ventura Blvd., Suite 505
Sherman Oaks, CA 91403
818.905.3800

The Gersh Agency, Inc.
9465 Wilshire Blvd, 6th Floor
Beverly Hills, CA 90212
310.274.6611

Grant, Savic, Kopaloff & Assocs.
6399 Wilshire Blvd., Suite 414
Los Angeles, CA 90048
323.782.1854

Hollywood View Agency
5255 Veronica Street
Los Angeles, CA 90008
310.480.5118

IFA Talent Agency
8730 Sunset Blvd., Suite 490
Los Angeles, CA 90069
310.659.5522

Innovative Artists
1505 Tenth Street
Santa Monica, CA 90401
310.656.0400

International Creative Management.LA
10250 Constellation Blvd.
Los Angeles, CA 90067
310.550.4000

The Irv Schechter Company
9460 Wilshire Blvd. Suite 300
Beverly Hills, CA 90212
310.278.8070

J.K.A. Talent & Literary Agency
12725 Ventura Blvd.
Studio City, CA 91604
818.980.2093

Jack Lenny Associates
9454 Wilshire Blvd., Suite 600
Beverly Hills, CA 90212
310.271.2174

The Kaplan Stahler Agency
8383 Wilshire Blvd., Suite 923
Beverly Hills, CA 90211
323.653.4483

Kathleen Schultz Associates
6442 Coldwater Canyon, Suite 206
Valley Glen, CA 91606
818.760.3100

Larchmont Literary Agency
444 North Larchmont Blvd., Suite 200
Los Angeles, CA 90004
323.856.3070

Laya Gelff Agency
16133 Ventura Blvd., #700
Encino, CA 91436
818.996.3100

Lenhoff & Lenhoff
830 Palm Avenue
West Hollywood, CA 90069
310.855.2411

Lisa Callamaro Literary Agency
427 N. Canon Drive, Suite 202
Beverly Hills, CA 90210
310.274.6783

Lynne & Reilly Agency
10725 Vanowen Street,
North Hollywood, CA 91605
818.755.6434

Lyons/Sheldon/ Prosnit Agency
800 S. Robertson Blvd., #6
Los Angeles, CA 90035
310.652.8778

Maggie Roiphe Agency
1721 S. Garth Avenue
Los Angeles, CA 90035
310.876.1561

Media Artists Group
8800 Hollywood Blvd.
Los Angeles, CA 90069
310.289.1682

Metropolitan Talent Agency
7020 LA Presa Drive
Los Angeles, CA 90068
323.857.4500

Michael Lewis & Associates
2506 Fifth Street, #100
Santa Monica, CA 90405
310.399.1999

Mitchell J. Hamilburg Agency
149 S. Barrington Ave., Suite 732
Los Angeles, CA 90049
310.471.4024

Mitchell K. Stubbs & Associates
8695 W. Washington Blvd., Suite 204
Culver City, CA 90232
310.838.1200

Monteiro Rose Dravis Agency, Inc.
4370 Tujunga Avenue, Suite 145
Studio City, CA 91604
818.501.1177

Nancy Chaidez Agency
6340 Coldwater Canyon, Suite 214
North Hollywood, CA 91606
323.467.8954

Natural Talent, Inc.
3331 Ocean Park Blvd., Suite 203
Santa Monica, CA 90405
310.450.4945

Original Artists
9465 Wilshire Blvd.. Suite 324
Beverly Hills, CA 90212
310.2757.6765

Pantheon
1900 Avenue Of The Stars, Suite 2840
Los Angeles, CA 90067
310.201.0120

Paradigm
360 N. Crescent Drive, North Bldg.
Beverly Hills, CA 90210
310.288.8000

Paul Kohner, Inc.
9300 Wilshire Blvd., Suite 555
Beverly Hills, CA 90212
310.550.1060

Preferred Artists
16633 Ventura Blvd.
Suite 1421
Encino, CA 91436
818.990.0305

Qualita Dell’ Arte
6303 Owensmouth Ave., 10th Floor
Woodland Hills, CA 91367
818.936.3566

Rebel Entertainment Partners, Inc.
5700 Wilshire Blvd., Suite #456
Los Angeles, CA 90036
323.935.1700

The Rothman Brecher Agency
9250 Wilshire Blvd.
Beverly Hills, CA 90212
310.247.9898

Rpm Talent
2600 W Olive Avenue, 5th Floor
Burbank, CA 91505
818.333.5150

The Sarnoff Company, Inc.
10 Universal City Plaza, 20th Floor
Universal City, CA 91608
818.753.2377

Schiowitz Connor Ankrum Wolf, Inc.
1680 Vine Street, Suite1016
Los Angeles, CA 90028
323.463.8355

Shirley Wilson & Associates
5410 Wilshire Blvd., Suite 227
Los Angeles, CA 90036
323.857.6977

Silver Bitela Agency
6612 Pacheco Way
Citrus Heights, CA 95610
916.723.2794

Stars, The Agency
23 Grant Avenue, 4th Floor
San Francisco, CA 94108
415.421.6272

Starwill Productions
433 N. Camden Drive, 4th Floor
Beverly Hills, CA 90210
818.761.3213

The Stein Agency
5125 Oakdale Ave.
Woodland Hills, CA 91364
818.594.8990

Stone Manners Agency
9911 W Pico Blvd., Suite 1400
Los Angeles, CA 90035
323.655.1313

The Stuart M. Miller Co.
11684 Ventura Blvd., Suite 225
Studio City, CA 91604
818.506.6067

Suite A Mgmt. Talent & Literary Agency
120 El Camino Drive, Suite 202
Beverly Hills, CA 90212
310.278.0801

Summit Talent & Literary Agency
9454 Wilshire Blvd., Suite 203
Beverly Hills, CA 90212
310.205.9730

The Susan Smith Company
1344 N. Wetherly Dr.
Los Angeles, CA 90069
310.276.4224

United Talent Agency, Inc.
9560 Wilshire Blvd., 5th Floor
Beverly Hills, CA 90212
310.273.6700

Verve Talent & Literary Agency Llc
9696 Culver Blvd., Suite 301
Culver City, CA 90232
310.558.2424

Warden Group, The
8840 Wilshire Blvd., 1st Floor
Beverly Hills, CA 90211
323.852.1028

William Kerwin Agency
1605 N Cahuenga Blvd., Suite 202
Hollywood, CA 90028
323.469.5155

WME Entertainment
9601 Wilshire Blvd., 3rd Floor
Beverly Hills, CA 90210
310.248.2000

CONNECTICUT

Tall Trees Development Group
301 Old Westport Rd
Wilton, CT 06897

DISTRICT OF COLUMBIA

Leona P. Schecter Literary Agency
3748 Huntington St., Nw
Washington, DC 20015
202.362.9040

Theresa A. Gabaldon
Literary Agent
2020 Pennsylvania Ave., NW, Suite 222
Washington, DC 20006

FLORIDA

Burton & Robinson Agency
10051 Mcgregor Blvd. Suite 108
Fort Myers, FL 33919
239.645.6870

Coconut Grove Talent Agency
3525 Vista Court
Coconut Grove, FL 33133
305.858.3002

Glenda Stafford & Associates
14953 Newport Road, Suite 100
Clearwater, FL 33764
813.535.1374

Hurt Agency, Inc.
400 New York Ave. N, Suite 207
Winter Park, FL 32789
407.740.5700

Legacies
501 Woodstork Cir.
Perico Bay
Bradenton, FL 34209
941.792.9159

Marshall Cameron Agency
19667 Ne 20th Lane
Lawtey, FL 32058
904.964.7013

Starflight Agency
Po Box 742172
Boynton Beach, FL 33474
954.547.0941

Stellar Model & Talent Agency
3001 W. Hallandale Beach Blvd., #303
Pembroke Park, FL 33009
954.241.7376

GEORGIA

California Artists Agency
3053 Centerville Rosebud Road
Snellville, GA 30039
770.982.1477

Talent Source
1711 Dean Forest Road, Suite H
Savannah, GA 31408
912.963. 0941

Writerstore
645 Lambert Drive
Atlanta, GA 30324
404.874.6260

ILLINOIS

Kelvin C. Bulger & Associates
4540 W. Washington Blvd.
Chicago, IL 60624
312.218.1943

Lily’s Talent Agency
1017 W. Washington, Suite 4f
Chicago, IL 60607
312.601.2345

Marcus Bryan & Associates, Inc.
790 Frontage Road,
Suite 407
Northfield, IL 60093
847.441.4271

INDIANA

International Leonards Corp.
43612 N. Washington Blvd.
Indianapolis, IN 46205

Joint Venture Agency
2927 Westbrook Dr., #110b
Fort Wayne, IN 46805

MASSACHUSETTS

Carolyn Jenks Literary Agent
69 Aberdeen Avenue
Cambridge, MA 02138.2336
617.354.5099

Creative Career Management
84 Spruce Run Dr. Brewster, Ma 02631

MICHIGAN

White Orchid Literary & Talent
3580 Reserve Court
Highland, MI 48356
248.939.1408

NEW JERSEY

A-1 Entertainment, Inc.
611 Cedar Lane Suite C-7
Teaneck, NJ 07666
201.394.1849

Diverse Artistic Initiatives, Inc.
P.O. Box 864
Woodbridge, NJ 07095
732.442.3223

Ellen Brown Agency
211 Clubhouse Drive
Middletown, NJ 07748
732.615.0310

Strata Spheres Inc.
P.O. Box 171
Franklin Lakes, NJ 07417
201.652.1177

NEVADA

Silver Screen Placements
9801 Ridge Creek Place
Las Vegas, NV 89134
630.740.8276

NEW YORK

Abrams Artists Agency
275 Seventh Avenue
26th Floor
New York, NY 10001
646.486.4600

Agency For The Performing Arts
45 West 45th Street, 4th Floor
New York, NY 10107
212.687.0092

Allan S. Meyers Agency
1123 Broadway, Suite 301
New York, NY 10010

Amron Development, Inc.
474 Fulton Avenue
Hempstead, NY 11550
305.343.7480
Alanamron@Yahoo.Com

Barbara Hogenson Agency, Inc.
165 West End Ave.
New York, NY 10023
212.874.8084

Beacon Artists Agency
1501 Broadway, Suite 1200
New York, NY 10036
212.736.6630

Bret Adams, Ltd.
448 West 44th Street
New York, NY 10036
212.765.5630

Curtis Brown, Ltd.
Ten Astor Place, 3rd Floor
New York, NY 10003
212.473.5400

Dee Mura Enterprises, Inc.
269 West Shore Dr.
Massapequa, NY 11758
516.795.1616

Don Buchwald & Associates
10 East 44th Street
New York, NY 10017
212.867.1070

Dorothy Palmer Agency
235 W. 56th St., #24K
New York, NY 10019
212.765.4280

Earth Tracks Artists Agency
4809 Avenue N, #286
Brooklyn, NY 11234

Edythea Ginis Selman
Literary Agent
14 Washington Pl.
New York, NY 10003
212.473.1874

Fifi Oscard Agency, Inc.
110 West 40th St., Room 704
New York, NY 10018
212.764.1100

Flora Roberts, Inc.
275 Seventh Avenue, 26th Floor
New York, NY 10001
646.461.9376

Georges Borchardt, Inc.
136 East 57th Street
New York, NY 10022
212.753.5785

The Gersh Agency, Inc.
41 Madison Avenue, 33rd Floor
New York, NY 10010
212.997.1818

Harold Matson Co., Inc.
276 Fifth Avenue, Room 903
New York, NY 10001
212.679.4490

Henry Morrison, Inc.
105 S. Bedford Road, Suite 306a
Mt. Kisco, NY 10549
914.666.3500

The Hudson Agency
Three Travis Lane
Montrose, NY 10548
914.737.1475

International Creative Management
730 Fifth Avenue
New York, NY 10019
212.556.5600

Kingdom Industries Ltd.
118.11 195 Street Box 310
St. Albans, NY 11412
718.949.9804

Laurens R. Schwartz Esq.
5 East 22nd St., #15.D
New York, NY 10010

Lionize, Inc.
2020 Broadway, Suite 2a
New York, NY 10023
212.579.5414

The Literary Group International
330 W 38th Street, Room 408
New York, NY 10018
646.442.5896

The Luedtke Agency
1674 Broadway, Suite 7a
New York, NY 10019
212.765.9564

Lyle Steele, Co., Ltd.
511 East 73rd St., #6
New York, NY 10021

Marcia Amsterdam Agency
41 West 82nd Street
New York, NY 10024
212.873.4945

Maria Carvainis Agency
1270 Avenue Of The Americas
Suite 2320
New York, NY 10020
212.245.6365

Mcintosh And Otis, Inc.
353 Lexington Avenue
New York, NY 10016
212.687.7400

Milestone Literary Agency
247 West 26th St., #3a
New York, NY 10001
212.691.0560

Miriam Stern, Esq.
303 E. 83rd Street, Suite 20fF
New York, NY 10028
212.794.1289

Otto R. Kozak
Literary & Motion Picture Agency
Po Box 152 Long Beach, NY 11561
Literaryagent1@Hotmail.Com

Pace Public Relations, Inc.
1350 Avenue Of The Americas, Suite 455
New York, NY 10019
646.599.9222

Peregrine Whittlesey Agency
279 Central Park West, #23
New York, NY 10024
212.787.1802

Professional Artists Unlimited.
321 West 44th St., #605 2
New York, NY 10036
212.247.8770

Raines And Raines
103 Kenyon Road
Medusa, NY 12120
518.239.8311

The Robbins Office
405 Park Avenue
Ninth Floor
New York, NY 10022
212.223.0720

Robert A. Freedman
Dramatic Agency, Inc.
1501 Broadway, #2310
New York, NY 10036
212.840.5760

Robert L. Seigel
67.21f 193rd Lane
Fresh Meadows, NY 11365
718.454.7044

The Seymour Agency
475 Miner Street Road
Canton, NY 13617
315.386.1831

Sterling Lord Literistic, Inc.
65 Bleecker Street
New York, NY 10012
212.780.6050

Susan Gurman Agency
245 West 99th Street, 24th Floor
New York, NY 10025
212.749.4618

Susan Schulman Literary Agency
454 West 44th Street
New York, NY 10036
212.713.1633

Talent Representatives, Inc.
1040 First Aveune, Suite 307
New York, NY 10022
212.752.1835

Victoria Sanders Literary Agency
241 Ave Of The Americas, Suite 11h
New York, NY 10014
Queriesvsa@Hotmail.Com

WME Entertainment
1325 Avenue Of The Americas
New York, NY 10019
212.586.5100

OHIO

Le Modeln, Inc.
7536 Market Street, Suite 104
Boardman, OH 44512
330.758.4417

PENNSYLVANIA

Good Writers Agency, The
113 Henry Hudson Dr.
Delmont, PA 15626

Laserson Creative
114 S Robinson Avenue
Pen Argyl, PA 18072
610.881.4017
718.873.7974

Sister Mania Productions, Inc.
916 Penn Street
Brackenridge, PA 15014

RHODE ISLAND

Hanar Company
34 Fairbanks Avenue
Pascoag, RI 02859

Suzanne J. Reynolds Agency
167 Church Street
Tiverton, RI 02878

SOUTH CAROLINA

The Cape Romain Company
9771 Two Pines Road
P.O. Box 144
Mcclellanville, SC 29458
843.887.3000

TENNESSEE

CFA Productions, Inc.
119 S. Main Street, # 565
Memphis, TN 38103

Mirage Enterprises
5100 Poplar Avenue, Suite 2700
Memphis, TN 38137.2700

VIRGINIA

The Deiter Literary Agency
6207 Fushsimi Court
Burke, VA 22015
703.440.8920

WASHINGTON

Tha Cano Agency
8257 Latona Ave., N.E.
Seattle, Wa 98115

CANADA

Charlene Kay Agency
901 Beaudry Street, Suite 6
St. Jean/Richelieu
Quebec, Canada J3a 1c6

 

Do I Need an Agent or a Manager?

Emerging screenwriters often seek representation early in their writing careers, hoping to kick start their potential and sell their screenplays. This begs the question: should I get an agent or a manager. Realistically, the question should be: CAN I get an agent or manager?

To determine that answer, it's instructive to understand the differences. In general, an agent represents the DEAL, and a manager represents THE WRITER. (There are numerous technical differences, but for now, the simple description suffices).

Agents are generally deal-driven. They sell screenplays and get writers hired for projects. Because of this, agents rarely take on unsold screenwriters, unless you already have a script in negotiations and then they'll usually be happy to help. In general, agents take 10% commission for negotiating the deal for you, and if they are well connected, they can often negotiate a higher fee for you.

Managers are more geared toward marketing the writer as an entity, although they often negotiate deals and find opportunities as well. They are image constants, marketers, and networking sources. They help you focus your career and find opportunities. They can take anywhere from 10-20%, although15% is common for well-connected managers. Managers tend to be more flexible with untested writers if they believe that you have potential.

In either case, neither agents nor managers make a penny unless you do, so they are highly selective. Always treat them as you would a prospective producer. Queries first, and then see what happens. Keep in mind that real agents and managers will not charge you upfront for their services (one caveat- if they require that you have a screenplay analysis before reading your script, it MAY be legitimate). Research, research, research!

For a list of agents and managers, CLICK HERE

Writing Holiday Movies for TV Webinar

One of ASA's members, Brian Ruberry, is a represented screenwriter and has created a FREE writing webinar open to our members. This is a great opportunity to network with a panel of experienced writers from Lifetime, Netflix, ABC Family, and The Hallmark channel.

This free webinar is for writers at all levels who want to learn how to write and sell holiday-themed movies to Hallmark, Lifetime, Netflix, and other networks and streamers.

An A-list panel of writers will help you:

  • Get an overview of the TV movie landscape during the Covid-19 lockdown
  • Learn how to cater your scripts to the specific needs of individual networks
  • Hear how to become a produced writer by getting your scripts to the right producers

Why Attend?

Trying to break in as a screenwriter can be a frustrating experience. For writers who don't have agents or managers, selling that first script can seem like an impossible challenge.

Still, every year there are numerous TV movie scripts sold to networks and producers by writers who don't have representation. And even as the number of theatrical films produced by major studios continues to shrink, the demand for original TV movie scripts has never been greater.

This free webinar teaches you the do's & don'ts for writing TV movies to help jumpstart your career.

You'll Learn

  • How to build your script around the female lead, often the point of entry for holiday films
  • How to focus your story on the lead romantic relationship
  • How to consider act breaks (or not) when writing your TV movie
  • How to add twists, turns and reveals, particularly before act breaks
  • How to write memorable meet-cutes
  • How to add essential ingredients for Christmas and holiday scripts (hint: think snow)
  • How to sell your scripts without an agent or manager

Meet the Panel

  • Gary Goldstein (moderator) is a writer for film, TV and the stage. He has written 15 produced telefilms including "The Wish List," "This Magic Moment" and "My Boyfriends’ Dogs." For Christmas, he wrote the Hallmark movies "Angel of Christmas" and "Hitched for the Holidays," the streaming feature (for PassionFlix) "Mr. 365," and was a writer on ABC Family's "Hannah Clause" and Lifetime's "Rediscovering Christmas."
  • Rickie Castaneda is a film and TV writer who has written Hallmark Christmas movies for the last 10 years. She has over 15 movies produced for Hallmark, Lifetime, and UP networks. Her recent hits include “The Mistletoe Secret,” “Christmas Stars,” “The Magical Christmas Shoes,” and “The Christmas Chalet.” She and writing partner, Megan Hocking, are currently working on movies slated for Christmas 2020.
  • Zac Hug is a former digital executive turned writer for television. Credits include “Drop Dead Diva” and “Shadowhunters,” as well as several Hallmark TV movies including “Road to Christmas” and the “Christmas in Evergreen” series. Zac teaches television writing at UCLA Extension, DePaul University and University of British Columbia.
  • Rhonda F. Baraka is an NAACP-nominated writer/director. Last year she directed Lifetime’s "Pride & Prejudice: Atlanta," an all-black, updated version of the classic novel. She has written 22 produced TV movies and written and/or directed 10 Christmas movies for UP, TV One and Lifetime. She created and wrote UP's "Chandler Family Christmas" franchise and directed Lifetime’s “You Light Up My Christmas.”
  • Nina Weinman has written for many TV networks including ABC Family and UPTV. Most notably, she has 23 TV movies on air for Hallmark, including the 2019 holiday films "Christmas at Dollywood" starring Danica McKellar and Dolly Parton, and the Christmas/Hanukkah hybrid "Double Holiday." She also has 8 movies in development scheduled to air on Hallmark in 2020 and 2021.
  • Topher Payne is a playwright and screenwriter based in Atlanta. He has written five films for The Hallmark Channel- “Broadcasting Christmas,” “Rome in Love,” “My Summer Prince,” “A Gift to Remember,” and its sequel, “Cherished Memories: A Gift to Remember 2.”

Here is the link to register:

https://www.eventbrite.com/e/writing-holiday-movies-for-tv-tickets-102368079682

How Technology is Changing the Craft of Screenwriting

I found a great article that addresses how streaming technology is impacting screenwriting, written by BBC entertainment reporter Steven McIntosh. The article explores how streaming services have changed the composition of TV and film consumption, and, by extension, has also changed the nature of the writing required for such shows.  He postulates that although the volume of shows has increased due to a greater appetite for programming, the need for quality screenwriting has equally grown. In fact, he stated that there is greater opportunity for screenwriters than ever before, albeit with a different emphasis due to the ever-expanding marketplace.

I highly recommend that you give this article a read, as it may help you focus your writing to fit demand.

Here is the link to the original article:
https://www.bbc.com/news/entertainment-arts-48880126

What To Do When Your Screenwriting Muse Needs Some Help

Creativity ebbs and flows. Flows and ebbs. It is finite, yet it is infinite. Sometimes there’s a story inside us dying to get written. Sometimes, there isn’t. As screenwriters, our creative juices don’t flow at will. Their will, not ours. But it doesn’t all have to be doom and gloom. Embrace the messiness of the screenwriting process.

Here are some stages of screenplay genesis. They are not absolute. They may overlap. But they are discrete stages nonetheless.

THOUGHTS

This is when you activate your boundless imagination. Mine it for story ideas.

You may be tossing around some unformed concepts in your head. They may be a scene, an image, a line of dialogue, a dream, or a question of what if? These thoughts can be disconnected or partially formed. These thoughts are the ingredients of your screenplay. They may not all get used, but you need to consider them all. Think hard until your mind gets tired. This is the brainstorming process.

Don’t start writing yet. Your story is barely at the formulation stage. A far cry from an outline, let alone a completed screenplay. Let your thoughts ferment for a while. Put them in mental storage to settle.

AGITATION

Bring your thoughts back into the light and look at them with fresh eyes in a few days. Massage these fragmented thoughts into more fully-formed ideas. Flesh them out. Are they grounded? Can these ideas be attached to a character? Sort your ideas into those that definitely, possibly and certainly don’t belong in your screenplay. Let your thoughts have a boxing match in your mind. May the best thoughts win.

You can start making some concrete decisions about theme, tone, genre, and plot. Think about your story and what your screenplay might look like. This is the first part of the screenplay execution phase.

You can start taking some general story notes at this stage., but do not start writing. Think of this stage as beating story cake batter. Essential, but inedible.

EXCUSES

This is the period of too much thought, self-doubt, and fatigue. This is the stage where screenwriters think of dozens of reasons why they shouldn’t write their screenplay. Is the story any good, are the characters strong enough, am I good enough?

This is the sweet, but frustrating, spot in the creative process. Swim in your sea of excuses for a short time, but do not drown in it. Wait until your creative urges cannot be suppressed any longer.

This is all part of the process when you’re at creative war with yourself. Your willpower to start writing begins to overshadow your excuses for not writing. Don’t fight these feelings. But don’t fully succumb to them just yet. Meditate on your desire to write.

OUTLINE

You can’t take your excuses any longer. You spend some more time getting agitated and refining the thoughts in your head. You obsessively read your story notes.

You start forming the screenplay spine in your head. There is a definite beginning, middle and an end. it takes shape. You look at your previous story notes and edit them. You keep and expand on what story elements belong in your screenplay, and remove what those that aren’t.

You have entered into the next phase of the screenwriting process.

You are now ready to write a screenplay outline. It could be two or three pages. It could be ten or twenty. Just keep writing until you get to the end of your story. Then let it rest for a while. Return to the first stage of the process; your thoughts. But not for too long or you risk falling back into the excuse phase. It no longer serves you. Let it go.

While writing your script outline consider both the philosophical and the granular aspects of your story.

Think about what inspired you to write this screenplay. Why it demands to be written by you, and why does it deserve to be written now? Get angry and excited at the same time. Have your thoughts been expressed in the sharpest way possible? Do you have a main character and a theme? Have you decided on key plot points and scenes?

Refine. Give yourself a fixed time to write your outline. This is the most dangerous creative phase because screenwriters are at most risk of either abandoning or procrastinating their stories. Endure the pain.

Enjoy it because the next stage will finally bring you relief.

FIRST DRAFT 

This step is a pivotal step in the story creation process. It is the next part of the story execution stage. You need to switch your mind from a creative one into a mechanical one. Start writing your screenplay based on your revised outline.

Don’t stop until you reach the end of your script. At various points in the execution phase, your mind will revert to its primal creative impulses. You will discover character traits, plot holes and new ways to tighten your screenplay. Incorporate these elements into your first draft, but don’t dwell on them for too long. If your creative mind brings up unanswered story questions, jot them down for later. Don’t fall into the trap of reimagining your initial story yet.

Stick to your outline as much as possible. Your subconscious mind has invested a ton of time in the process. Don’t derail it by overthinking. If you find that your initial outline no longer serves the revised story you want to write, consider rewriting the entire outline. If your story takes a markedly different turn so that it becomes a totally new story, you may need to go back to the thought and agitation stages to gather and refine your thoughts. This is the nuclear option. Take it only if absolutely necessary.

Your rejected, partial draft is never a waste of time. It may end up in a different screenplay. It means that the story you chose to write was not the one most burning to get written. Heck, you’re a screenwriter and you probably have a dozen ideas in various stages of development. However, screenwriting is a bottleneck. You can really only focus on one quality screenplay at a time.

EUPHORIA

This is the first stage of accomplishment. You become elevated and bathe in positive serotonin-laden bliss. You are a screenwriter and you have completed a screenplay. You have something tangible. Think about that.

Put your screenplay aside for a few weeks. Not a day or two, but weeks. Your story is still too fresh to be rewritten. You didn’t really think the first draft of your screenplay was ready to be circulated to talent, did you? Not now, but in a few drafts time, it will be.

By J Gideon Sarantinos
Editor/Author
Gideons Screenwriting Tips

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The core mission of American Screenwriters Association (ASA) is to support, promote, and assist emerging screenwriters to ensure that they have all the tools needed to hone their skills and sell their screenplays.

We are dedicated to creating a dialog between screenwriters, producers, filmmakers, actors, and industry to ensure mutual success.

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