Thu, 10 January 2008 TV is in BIG trouble. We applied for a WGA program to train future showrunners -- and damned if they didn't accept us... Comments[17] |
Best of luck with the showrunners program!
You guys have talked in previous podcasts about the actual pitching process, but could you take it back one step? How would one find the right people to whom to pitch a television show? Is it just a matter of picking up the Hollywood Creative Directory and sending queries much like one would with a spec screenplay?
Thanks a bunch for all the great insight!
You guys have talked in previous podcasts about the actual pitching process, but could you take it back one step? How would one find the right people to whom to pitch a television show? Is it just a matter of picking up the Hollywood Creative Directory and sending queries much like one would with a spec screenplay?
Thanks a bunch for all the great insight!
posted by: J from MN on Fri, 1/11 10:24 AM EST
J --
Backing it up a step means getting an agent.
No, not 100% of the time. You can find small indie-producers and pitch to them -- that's how we got into the business. You can go to these big "pitch" festivals at screenwriting conventions and for some not tiny amount of cash get a few minutes to pitch people from different companies. Which might work, but the people who listen go with dread in their hearts. They're usually very junior in their companies, being sent out to listen to a lot of crap in the hopes of finding the one in a million gem. And maybe a query letter would work, though the odds are probably very low (hell, all the odds are very low).
This exact thing is what agents are for. It's their job to assess the gifts of clients and matchh them to people searching for those gifts.
That may seem an obvious point, but it isn't.
There are 2.5 kajillion producers in L.A. Which ones are trustworthy, which ones have money, which ones have even a remote interest in what you're pitching -- hell, you could spend months -- or, yes, years -- trying to get one pitch connected to the right person. No exaggeration.
It's hard to get an agent, I know, but they ARE hungry for talent, and a lot more open to dealing with newbies in hopes of finding a great prospect than most prodcos are.
Find a agent. Work that angle. Impress them with several hugely salable notions. They'll bite.
And now is a GREAT time to work 'em. They're all twiddling their thumbs and praying not to get fired.
Backing it up a step means getting an agent.
No, not 100% of the time. You can find small indie-producers and pitch to them -- that's how we got into the business. You can go to these big "pitch" festivals at screenwriting conventions and for some not tiny amount of cash get a few minutes to pitch people from different companies. Which might work, but the people who listen go with dread in their hearts. They're usually very junior in their companies, being sent out to listen to a lot of crap in the hopes of finding the one in a million gem. And maybe a query letter would work, though the odds are probably very low (hell, all the odds are very low).
This exact thing is what agents are for. It's their job to assess the gifts of clients and matchh them to people searching for those gifts.
That may seem an obvious point, but it isn't.
There are 2.5 kajillion producers in L.A. Which ones are trustworthy, which ones have money, which ones have even a remote interest in what you're pitching -- hell, you could spend months -- or, yes, years -- trying to get one pitch connected to the right person. No exaggeration.
It's hard to get an agent, I know, but they ARE hungry for talent, and a lot more open to dealing with newbies in hopes of finding a great prospect than most prodcos are.
Find a agent. Work that angle. Impress them with several hugely salable notions. They'll bite.
And now is a GREAT time to work 'em. They're all twiddling their thumbs and praying not to get fired.
i'm downloading the episode! looks good from the title...
posted by: Beshr on Fri, 1/11 01:25 PM EST
Another great show, thanks guys.
Since you are hitting on show running and budgets a little, do you know of any good resources for finding costs. I have been able to get numbers like 30-60k per show for simple HGTV or History Channel shows.
Have you found resources showing details for sponsor deals on the web? I ran across a podcaster who talked about setting up deals with sponsors getting five cents per download, but he was prepaid so if when the show took off the sponsor got bonus exposure for free. In his case, that is exactly what happened. His show blew past projections, which is great, but it also feels like revenue lost. I guess it is a good reminder of what you risk by signing that kind of deal.
Do you think in order to attract sponsors, some writers and producers will be working on a total backend payoff. Basically working for free unless the show is successful?
I wonder if the new revenue model for shows will be directly connected to performance. If you get a lot of downloads, you get a lot pay. If your show does not get a lot of downloads, you have to keep working your shoe shine job. Would actors who are use to getting paid fat checks up front be willing to go for a backend deal that may never pay much?
Again, thanks for doing the podcast guys.
Since you are hitting on show running and budgets a little, do you know of any good resources for finding costs. I have been able to get numbers like 30-60k per show for simple HGTV or History Channel shows.
Have you found resources showing details for sponsor deals on the web? I ran across a podcaster who talked about setting up deals with sponsors getting five cents per download, but he was prepaid so if when the show took off the sponsor got bonus exposure for free. In his case, that is exactly what happened. His show blew past projections, which is great, but it also feels like revenue lost. I guess it is a good reminder of what you risk by signing that kind of deal.
Do you think in order to attract sponsors, some writers and producers will be working on a total backend payoff. Basically working for free unless the show is successful?
I wonder if the new revenue model for shows will be directly connected to performance. If you get a lot of downloads, you get a lot pay. If your show does not get a lot of downloads, you have to keep working your shoe shine job. Would actors who are use to getting paid fat checks up front be willing to go for a backend deal that may never pay much?
Again, thanks for doing the podcast guys.
Re: to whom to pitch...
Thanks, Jim, for the response. I'm stuck in that Catch-22 game right now of agents wanting produced writers, and producers wanting repped writers. I even produced my own movie in part to be able to say I have a produced script.
A quick elaboration on my television idea -- It is a nonfiction serial aimed at The Food Network or TLC or Discovery or the like. To protect my farm, let's refer to an existing show, say "Decorating Cents," and pretend that is my idea. Would a literary agent still be my first point of attack in getting the idea to the right people or are lit agents only going to look for stories? If the latter is true, then am I looking at talent agents to represent my work or is there another agent altogether who is just waiting for me to pester... um... query them?
Thank you again for the response and for allowing me to further pester... uh-hem... again... pry the uncountable fathoms of your sea of knowledge.
Thanks, Jim, for the response. I'm stuck in that Catch-22 game right now of agents wanting produced writers, and producers wanting repped writers. I even produced my own movie in part to be able to say I have a produced script.
A quick elaboration on my television idea -- It is a nonfiction serial aimed at The Food Network or TLC or Discovery or the like. To protect my farm, let's refer to an existing show, say "Decorating Cents," and pretend that is my idea. Would a literary agent still be my first point of attack in getting the idea to the right people or are lit agents only going to look for stories? If the latter is true, then am I looking at talent agents to represent my work or is there another agent altogether who is just waiting for me to pester... um... query them?
Thank you again for the response and for allowing me to further pester... uh-hem... again... pry the uncountable fathoms of your sea of knowledge.
posted by: J from MN on Sat, 1/12 02:25 PM EST
Absolutely great podcast, gents. Spot on information, and outlook.
Those of you out there who aspire to get paid for your words would do well to listen to these guys and take it to heart.
Those of you out there who aspire to get paid for your words would do well to listen to these guys and take it to heart.
posted by: Guyot on Tue, 1/15 09:54 AM EST
Sam & Jim,
Congrats on the show runner program! Nice to have such a positive turn these days.
Good luck and post again soon.
-Jim
Congrats on the show runner program! Nice to have such a positive turn these days.
Good luck and post again soon.
-Jim
posted by: Jim E on Tue, 1/15 11:40 AM EST
The term "force majeure" (act of god) is something I never heard of being used for a strike. In recent web articles, I noticed that term being used as a method for studios to end contracts and lay off workers. I guess is a great reminder that even a contract cannot always save you.
Do you guys know if there are any comp packages attached to such moves? It always amazes me when a top level manager gets fired they give a comp package. Do you know of any writers who get some sort of comp package when studios use the "force majeure" clause?
Do you guys know if there are any comp packages attached to such moves? It always amazes me when a top level manager gets fired they give a comp package. Do you know of any writers who get some sort of comp package when studios use the "force majeure" clause?
I don't know the details of compensation packages, though I doubt they happen. The concept of Force Majeure is that the whole contract is killed by forces beyond the control of the paying party, so I would think that nullifies such clauses.
Interestingly, there's a serious legal debate over the force majeure issue. The AMPTP walked away from the table, refusing to negotiate, something which IS in their control, and a behavior which is technically illegal under the governing federal labor laws. A complaint has been filed with the NLRB over this matter, not that anyone expects much sympathy from the Bush administration.
Nonetheless, some of this may wind up in litigation.
Interestingly, there's a serious legal debate over the force majeure issue. The AMPTP walked away from the table, refusing to negotiate, something which IS in their control, and a behavior which is technically illegal under the governing federal labor laws. A complaint has been filed with the NLRB over this matter, not that anyone expects much sympathy from the Bush administration.
Nonetheless, some of this may wind up in litigation.
Hey guys. Thanks for the new podcasts. It's like we're driving in the car again.
You asked for feedback about the sound quality. Well, it sounds much better since you upgraded the equipment. The sound levels are more consistent, especially with the music transitions. I had to ride the levels before. What equipment are you using?
Thanks.
You asked for feedback about the sound quality. Well, it sounds much better since you upgraded the equipment. The sound levels are more consistent, especially with the music transitions. I had to ride the levels before. What equipment are you using?
Thanks.
Hello Sam & Jim,
How are you? A little while back I emailed you in response to your interest in bartering your expertise for help with web site development. Any update?
Beyond this, I hope all is well.
Best,
Frank Ruscica
How are you? A little while back I emailed you in response to your interest in bartering your expertise for help with web site development. Any update?
Beyond this, I hope all is well.
Best,
Frank Ruscica
posted by: Frank Ruscica on Thu, 1/24 10:30 PM EST
18 below this morning in the Twin Cities. Seriously, get me out of here!
What are your thoughts on e-mail queries? Some production company websites and some agency websites invite them, but others make no reference to e-mail. Should I assume most in the Industry have succumbed to the technology age and treat e-mail queries with the same amount of respect (or lack thereof) as a traditional mailed query? Or should I rely more on mailing queries?
The bottom line is getting responses, be they positive or negative. I've sent a dozen or so e-mail queries (compared to 50+ snail mail) and received only 1 response. My snail mail response rate is higher, albeit still less than 50%.
Your days of queries and specs are over, I'm sure, but through your connections have you encountered a strong leaning toward one form of query over another?
Thanks again for all your words in the podcast and the Script column. You guys and Diablo Cody are bound to put Minnesota on the screenwriting radar!
What are your thoughts on e-mail queries? Some production company websites and some agency websites invite them, but others make no reference to e-mail. Should I assume most in the Industry have succumbed to the technology age and treat e-mail queries with the same amount of respect (or lack thereof) as a traditional mailed query? Or should I rely more on mailing queries?
The bottom line is getting responses, be they positive or negative. I've sent a dozen or so e-mail queries (compared to 50+ snail mail) and received only 1 response. My snail mail response rate is higher, albeit still less than 50%.
Your days of queries and specs are over, I'm sure, but through your connections have you encountered a strong leaning toward one form of query over another?
Thanks again for all your words in the podcast and the Script column. You guys and Diablo Cody are bound to put Minnesota on the screenwriting radar!
posted by: J from MN on Wed, 1/30 09:46 AM EST
Sam and Jim, started listening to your podcast about a month ago and am finally caught up--the bad thing is now I have to wait for shows instead of having a new one every day!
I hope you'll do a show about video game writing. I would love to write for video games, but am not sure how to break in without knowing anyone. My only resume-worthy writing experience is from writing for my college newspaper and a little technical writing in my last job.
I am a programmer and am not sure if I should try to get hired as a programmer and then switch into writing, or try to start as a writer. Can one one do sample spec scripts for video games? Are there formatting guides available?
I really hope you'll do a show on this topic at some point, but either way thanks for the highly entertaining and informative podcasts!
snoozn
I hope you'll do a show about video game writing. I would love to write for video games, but am not sure how to break in without knowing anyone. My only resume-worthy writing experience is from writing for my college newspaper and a little technical writing in my last job.
I am a programmer and am not sure if I should try to get hired as a programmer and then switch into writing, or try to start as a writer. Can one one do sample spec scripts for video games? Are there formatting guides available?
I really hope you'll do a show on this topic at some point, but either way thanks for the highly entertaining and informative podcasts!
snoozn
I hope you'll do a show about video game writing. I would love to write for video games, but am not sure how to break in without knowing anyone. My only resume-worthy writing experience is from writing for my college newspaper and a little technical writing in my last job.
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