Used with permission.
What Agents Look For In Your Query Letter
by Wendy Moon
I recently talked to three agents: one from a prestigious mid-size agency with a stellar client list, one from a small L.A. agency with a solid clientele of twenty and one out-of-state agent. Even though the agencies vary so much, there were several common denominators in what they had to say about your query letters. You might as well know that preferences you cannot guess at will help or hinder you from the start. Only one agent was willing to be quoted by name because writers have a bad habit of inundating any agent whose name appears in print with query letters.
PASSION:
What every agent is looking for in your letter and what few agents find. Christine Foster, a very successful M.O.W. and dramatic television writer's agent at Shapiro-Lichtman, calls it a "fire in the belly." It's more than just being excited about your script, it's the fierce desire to have a career, a total commitment to succeeding and doing whatever is necessary to bring that about. Before you immediately write down her name and query her, I warn you to read the whole article. She's good because she has extremely high standards -- ones that you have to work hard to prepare to meet.
All agents want writers that want careers and want those careers more than anything else in the world. I've heard the same thing from producers, directors and successful writers over and over. Without passion anyone attempting show biz will fail -- it's truly as simple as that. If you're not willing to give up all to gain this goal then stop reading this column and go and do one of those other important things in your life -- show biz is not for you. Jessica (not her real name), from the smaller L.A. agency agrees. Passion is the first thing she looks for as well.
What may surprise you is that all the myriad obstacles that prevent you from attaining easy access to agents and producers are there for a purpose: to train you, to test your mettle and to force you to prove to yourself and to others just how creative you are. And, as difficult as it may be to accept, it is a severe mercy. If you can't take a written rejection, what will you do with a verbal one? What will you do when the star throws your beloved script across the room and tells you that you're a hack that couldn't write an address properly? According to Jessica, those who show that they can make it through the mine field suggest that they might make it through open warfare.
You're asking right now: so how do I show this passion? In every word, every comma, and even the paper and ink you choose.
APPEARANCES MATTER:
How the letter looks, what paper it's on, even the salutation shows your passion. "When a letter comes addressed 'To Whom It May Concern,' it says to me that they don't care," said Jessica. A writer who takes the time and effort to use good quality paper, to spell agent's name correctly, to proofread the letter so there are no mistakes shows that they really want to succeed. Even forgetting to sign a letter says to them that they don't have what it takes -- because if you really cared, then you wouldn't allow yourself to forget. You may disagree, but they have years of experience to back them up. They want to find the next great script and writer but they aren't going to cut you any slack. Mistakes mean you aren't passionate enough to be perfect.
"You've got to wow me with the letter," says Foster. She stated that one in a hundred queries work for her. If you're going to query her -- you better make sure your letter hits all the bases.
"The letters worth reading," says Jessica, "are the people who take the time to do it well and right." A good query is the very foundation. In her experience, she's found that bad queries inevitably mean bad scripts. She tends not to ask for scripts when the letter is sent on cheap-looking paper. "Nice paper impresses me."
But being too clever doesn't really pay off either: Marta was very impressed with a query that looked like a Dead Sea Scroll. It wowed her, but the script didn't live up to the potential. Jessica remembered a query that looked like a movie ad done in color and with photos. "It showed confidence, originality and seriousness, but I'm not sure the cost outweighed those benefits," she said. "I would have probably have asked for the script for other reasons anyhow."
"It's better to call and ask who you should send it to," says Jessica, "than to have the wrong name or no name at all." In fact, she recommends calling and asking for the submission policy of the agency and the agent. If you get to talk to an assistant, give your name. According to Jessica, when she was an assistant, the name would stick in her mind and helped when she read the query.
Include an SASE -- Jessica says she will respond even to say "no" if an SASE is enclosed. "It's only fair," she says, "and they will get the first response. I may or may not respond to those who don't -- and it will be when I get around to it." She recommends not sending a postcard as there are often release forms that must be included.
KNOWLEDGE OF THE INDUSTRY:
Those who are passionate to succeed know the industry. They find out what agents prefer what kind of writers and that this agent just changed agencies and is now looking for new clients. They find these things out by making friends in industry jobs, through organizations like A.F.I. or Women In Films or through screenwriter's groups. They read the trades and follow industry gossip in popular magazines and television shows. They've attended courses, placed in contests, know what's sold and what isn't selling.
Agents don't want you to spell out all your industry knowledge -- on the contrary! The net result of the knowledge is a professional query -- and that's what impresses. After reading many query letters, it's obvious to me just as it is to them. It's implicit in how you write the letter and in the credentials you have.
TO LIVE AND WRITE IN L.A.:
You really don't want to hear this one, I guarantee it. What you've heard rumored is true: both L.A. agents said that a non-L.A. address prejudiced them against you from the get-go. Both said they were embarrassed to admit it, but it did. The out-of-town agent didn't -- but since I interviewed her, she'll be living in L.A. at least part of the year! They find that the most serious writers have figured out that working in the industry, even in a grunt job, is the best way to break in and the best way to know what is going on (passion and knowledge of the industry). They also feel that L.A. writers have a more accurate idea of how extremely hard the business is and how long the wait is to get a project off the ground. Of course, this perception may not be reality, but it gives them one more clue to base their decision on.
"If I say I don't have much sympathy for those who aren't willing to move here and work hard to break in, it sounds cruel," says Foster. "But it takes "Go West, Young Man courage to make it. It's the survival of the fittest and it takes courage and perseverance. That's the reality of the business." Jessica stated that she felt that it was nearly impossible for an out-of-town writer to have the "pulse of the town."
They admit that it's not impossible to break in from other parts of the country, but they swear it is the exception rather than the rule and that it takes a killer logline and then script to get their interest. "The script has to be so good that it overcomes that," says Foster, "if you don't have the fire to come out."
GREAT LOGLINES AND PREMISES:
I read many queries that one of the agents currently had on hand and was read queries by the other agents. This, above all, is where most query letters fall short. All three want the pitch to be short, concise, specific and intriguing. Those that resemble a synopsis are very hard to read, usually boring and tend to discourage the agent from asking for the script. "I only want to know what the premise is and be hooked by it," says Marta. "I also don't like getting "reader" coverage -- especially from a "reader" mill that isn't part of a studio. The coverage is useless for the most part -- a mere synopsis of the script, and that's it -- except the writer got sorely ripped off from the company."
PERSONAL RECOMMENDATIONS FROM A KNOWN INDUSTRY PROFESSIONAL:
If you're able to get others in the industry to read your script it shows your passion. It means that you're working hard to succeed and willing to sacrifice to make it happen. "If you are getting your scripts to prodcos and getting read that means you know how to approach the system," says Jessica. "That impresses me. She recommends that you give the prodco name as there are so many false production companies. "Don't tell me about other agencies though -- I'm not interested in another agent's pass."
Foster came to Hollywood as a second career and is profiled in Linda Buzzell's book, How To Make It In Hollywood. A brilliant woman and a tough agent, she's so successful because she's very picky -- and chances are, she won't pick you unless you are personally recommended by another writer, producer or director. She is willing to read a script when someone calls or writes to her on your behalf. A second option is if you write and say you have been referred to her by so-and-so. A recommendation means that at least one other industry professional has read your script and thinks it good enough to link their reputation to it -- that attracts their attention.
But don't think you can cheat -- she calls and verifies the recommendation. New writers have also tried to dupe Marta by saying someone has recommended them -- and have been caught. "I don't like being "snowed" -- it's a sure way to turn me off," she said. Lying about a recommendation is a good way to kill your career before getting off the starting line. Don't do it. Take the time and make the effort to establish those credentials honestly and it is very possible to meet industry professionals -- especially if you live in L.A. and work in the industry in some capacity. "Ultimately, liars are caught out," says Foster. "The only thing you have in this business is your talent and reputation."
Here are answers to some questions beginning screenwriters have about agents.
WHY DO AGENTS SEEM TO BE RELUCTANT TO TAKE ON NEW WRITERS?
No agent is interested in selling just one script for someone -- the money, no matter how much, simply isn't good enough. According to Christine Foster of Schapiro-Lichtman, it takes about one year to get a new writer read in the right places by the right people. During this time of establishment, the agent works very hard on your behalf with no monetary rewards. Too many agents have found that writers get frustrated and discouraged and jump ship to another agent -- who can then use that foundation to get farther. "They are very time-consuming," says Foster. "Let some tiny new agent do all that." It sounds heartless, but it is a business that they are running -- they have to make a profit to keep working for the clients they have and take on. Just like in any other business, they must choose "product" they think will sell. New agents also understand it is a business and, because they are new, are willing to build your career along with theirs. New writers may find new agents more willing to take a chance with them.
WHY DO AGENTS SEEM TO DISDAIN NEW WRITERS?
It's not disdain, it's cynicism born of experience. That's no comfort -- but it's knowledge that you can use to succeed. Experienced agents have found that a majority of writers try to market their scripts before they are ready. They don't know the craft, they aren't prepared and they don't have the knowledge they need to succeed. So, do your homework about the industry as well as the craft, network with industry personnel and make sure your scripts are on a par with produced scripts before beginning the race. False starts can disqualify you in this race just as in track and field events. There is a direct correlation between the amount of preparation and success. In showbiz as well as golf, holes-in-one are very rare.
ARE QUERY LETTERS EFFECTIVE?
Not particularly -- which is hard to admit as the writer of this column. One in a hundred work for Foster. Other agents would have different odds, but all of them would agree that the vast majority of letters are turned down. The best way to approach an agent is: 1) through a personal recommendation; 2) at a seminar or conference where they meet you face-to-face. But, if you're going to go the query letter route -- do it masterfully and it can and does work for many writers.
WHO READS MY LETTER?
In most cases, the agent doesn't read your letter, their assistants do. Occasionally, the agent may grab some letters off the stack and glance through them, so be sure to address your letter to the agent. In certain cases, a few letters are handed on to the agent for a decision -- so don't address your query to the assistant -- unless you have a personal recommendation to her or him >instead of the agent.
The assistants, though, are the ones you are dealing with at the first level so it's very important to be extremely polite and nice to them. Treat them as humans first -- not only because it's simple self-interest on your part, but because they deserve it. They have a very difficult job and it's refreshing to them to deal with thoughtful individuals. They are working insane hours -- sometimes more than 60 hrs a week for as little as $300 a week. They get all the dirty jobs: like rejecting writers -- and they are under a great deal of pressure. Acknowledging them as people with their own goals and dreams makes the job a bit easier. Jessica, a subagent at a smaller agency, appreciates it when someone she's talked to sends a note thanking her for her attention. Making a connection with the assistant makes for smart marketing -- and it's easier on your feelings as well. Courtesy begets courtesy in the entertainment industry as well in other fields -- even if it doesn't promise success.
Assistants also may be your ticket to success in the future. The turnover in the industry is extremely high -- assistants often are agents-in-training. That's right, they may be working as an assistant at ICM today and be a subagent at Endeavor tomorrow -- and they do remember the same bad letter and boring logline when they are assigned to read the mail. They also remember the writers they loved and the agent didn't. They may be willing to look at you >again with that in mind.
WHY DOES IT TAKE SO LONG TO GET A RESPONSE?
Agencies have different methods of handling the mail and scripts. In some agencies, the standard practice is to open the mail daily. In other agencies, the mail is only dealt with once a week -- or longer. I've heard about one agency where the agent, subagents and the assistants collect all the letters once a month and sit around a table reading them and as a group decide which scripts to ask for and which to reject. This is why you may not hear for a long time or you may hear immediately -- sometimes it's just a matter of how they deal with the mail and not a reflection on how they view your letter.
Also, I have not heard of an agency where answering the mail is anyone's only duty. The "squeaky wheel" syndrome kicks in -- assistants take care of what is most urgent or makes the biggest fuss. Query letters are silent slips of paper that can simply be dealt with later when there is time. Contrary to how you may think, they don't enjoy rejecting people, so it's not a task they leap to do. Sure, they may find the next ID4, but they know they will find a thousand ISHTAR's on the way that they will have to say no to and it's not their favorite part of the job.
A third reason you don't hear back is that you have forgotten to include an SASE -- some agencies won't respond without one. If it's been more than a month and you haven't heard about a query -- call and ask about it.
WHY IS A PERSONAL RECOMMENDATION SO IMPORTANT?
Because it means that someone whose judgment they trust has read your script, may know a bit about you, and feels that reading it is not going to be a waste of the agent's time. It also means you know enough about the industry to get the script to someone with some clout.
DO CONTEST PLACEMENTS HELP?
Yes -- if they are reputable contests. Small contests or ones with a bad reputation do not impress an agent. "The problem is, there's a lot of awards where I wonder whose been judging," says Foster. The big ones: Nicholl, Chesterfield, Austin and Disney are a mark in your favor -- but all of the agents have read "bad" scripts from those contests so it's not a sinecure. The contests out of UCLA and USC are highly regarded as well.
SHOULD I TELL THEM HOW MANY SCRIPTS I'VE WRITTEN OR THAT I'VE SENT IT TO PRODCOS?
The agents I interviewed had different views on this: Foster wants to know that you have several scripts written and ready to go. Jessica and Marta don't want to know that in the query letter. In fact, Jessica says that she is turned off by writers who say "I have fifteen scripts."
"To me, it says that they haven't tried to market their scripts -- which shows they aren't serious -- or it says they aren't very good," she said.
Jessica is impressed if you've gotten it to legitimate prodcos and had a good read there. But many agents feel that you've compromised their ability to sell the script. So -- it's your call. Literally. When you call to verify the address and agent's name, ask the assistant what their preferences are.
DOES GRADUATING FROM FILM SCHOOL OR SCREENWRITING PROGRAMS HELP?
Yes and no -- depending on what program. AFI, USC, UCLA, Steven Stark's program were all mentioned as good credentials if the writer has them. The program's reputation counts a great deal. A little-known program will carry little weight. "There's no question that we're partial to schools that have delivered successful people to this industry," says Foster.
However, every agent has their own fondness for a particular school or program. Foster's assistant went to Loyola-Marymont -- and so she tends to give a little extra credit to people who went there. But in another agency, it could be a moot point. The answer is to find out as much as possible about the individual agent and agency before querying. Or, choose to attend a program that everyone agrees is of high-quality.
WHAT CAN I DO TO INCREASE MY ODDS?
Be creative. "There's a way into Hollywood for every writer trying to get in: you have to find your way," says Academy Award nominee, Patrick Shane Duncan. "Be as creative marketing your script as you are in writing it." He should know: he snuck onto the Warner Bros. lot with a briefcase full of scripts and went door-to-door asking even secretaries (his term, not mine) to read it. And it worked -- for him. It may not ever work again. "If someone has the fire in the belly to get to me out of the usual way, then they're usually a better writer," says Foster.
AVOID MAKING A FOOL OUT OF YOURSELF
Don't make grandiose statements or brag. Jessica tells of one writer who wrote something like, "This script will sell for no less than one million, if you think you're up to doing that, then I'll let you have a look at it." Statements like these or that declare that it's the best script they will ever see and compare themselves favorably with Joe Eszterhas, Shane Black, etc., don't achieve what you hope they will. Agents basically think you're clueless when you write like this. Which is too bad for you -- because the script really may be the best thing they've ever read and worth a million bucks. Don't brag about yourself -- instead take a professional tone and, if you have recognized industry references, let them do the hyping for you.
BE LETTER PERFECT
Use the same care writing, polishing and perfecting your query as you do for your script. The query determines how good a writer they think you are. Don't cheat your script.
MODULE 11:
SCREENWRIGHT: the craft of screenwriting
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