Get Your Script Reviewed On Scriptshadow!: To submit your script for an Amateur Review, send in a PDF of your script, along with the title, genre, logline, and finally, something interesting about yourself and/or your script that you’d like us to post along with the script if reviewed. Use my submission address please: Carsonreeves3@gmail.com. Remember that your script will be posted. If you’re nervous about the effects of a bad review, feel free to use an alias name and/or title. It’s a good idea to resubmit every couple of weeks so your submission stays near the top.

Genre: Noir/Historical
Premise (from writer): P.I. Sam Marlowe shows novice writer Raymond Chandler the realities of detective work, juggling gangsters, corrupt politicians and movie star Jean Harlow to find out who’s burning farms on the Arroyo Seco Canyon.
Why You Should Read (from writer): This is the real life story from the files of Detective Samuel B. Marlowe.
Writer: L.M. Ransil
Details: 107 pages

Marlowe?

I’m going to say something that’s rather embarrassing. I don’t know anything about Raymond Chandler, one of the most famous novelists of all time. I’ve, of course, heard his name. But I had to rely on good old Google to know what he wrote, and just how big time he actually was.

When I realized that Chandler was going to be a selling point of the story, I was worried. There aren’t too many people around with a healthy memory of the 30s, and with this being such a youth-obsessed town, selling stories to a youth-obsessed audience, I wondered if a movie from that time could drum up any interest.

However, as the script goes on, and we start wandering onto the stages of MGM, and into the back yard of Hollywood starlet Jean Harlow, I began to see the potential of “Marlowe” to exploit the L.A. noir sub-genre, which always finds its way into production every few years or so. So, were we gonna get another L.A. Confidential here? Or was this no-ir close to that (Get it? “no-where.” Hey, it’s Friday, people. Loosen up!)?

“Marlowe” is so densely plotted and has so much going on, it’s a little hard to keep up with, but I’ll do my best to summarize. Sam Marlowe is an African-American private investigator in Los Angeles, circa 1937 (the very first, in fact).

When he’s not working, Marlowe usually sits at his office, where he cavorts with his good friend and aspiring actress, Velma, and Velma’s brother, the mentally retarded Freddy. On this particular occasion, he’s also brought home the perpetually wasted Raymond Chandler, a friend and aspiring novelist.

So one day, Freddy comes back stabbed in the gut, on death’s doorstep, a camera in his hand. He mentions something about a fire in “Arroyo Seco” and then dies. Committed to finding his killer, Marlowe goes on the offensive.

Along the way, he finds himself lured in by one of the studios, MGM, who wants him to find their new cash cow, starlet Jean Harlow, who’s recovering from her husband’s (famous director Paul Bern) suicide, by partying her brains to mush.

While going after Harlow, Marlowe runs into Los Angeles bigwigs like the mayor, the district attorney, and uber-gangster Benjamin Siegel, who all, for some odd reason, have taken an interest in his latest exploits. Could this have something to do with the rumor that Harlow’s husband didn’t commit suicide, but was possibly murdered?

Eventually, Marlowe chases down Freddy’s murderers to an old house in Arroyo Seco, where he discovers a conspiracy by the town’s politicians and gangsters to burn everything in sight in order to create a highway between there and L.A. proper, that will make everyone rich.

“Marlowe” has been gaining some heat in other areas of the internet (I know it did well in The Tracking Board competition) and you can immediately see why. The script is dense with “old-world” Los Angeles mythology, a time capsule into 1937 that was so well-researched, you could feel the corrupt cops breathing down your neck.

The thing is, “Marlowe” is so full of story, I began to lose sight of what the story actually was. The script starts out being about Marlowe looking into his friend’s murder. However, it quickly turns into Marlowe needing to find and take care of Jean Harlow. Finally, there’s a plot that involves a mysterious house that Velma is trying to secure so she can bury her brother on the land.

All of these things are interconnected, but most of those connections are kept from us as mysteries to be revealed later. As the second act evolves, it’s clear that Harlow’s storyline is taking precedence, so we jump on board with that. Once that winds down, however, and we head back to Freddy’s murder and the house in Arroyo Seco, I’d forgotten a lot of the intricate details required to connect the overall mystery’s dots.

I guess my question would be, does “Marlowe” have too much plot going on? Are we trying to do too much here? That may come down to who the audience for Marlowe it. If it’s for people steeped in L.A. noir lore who know all these names like the back of their hand, it’s probably a lot easier for them to keep up.

For someone like me, though, who knew nobody, it took a lot more brain-power just to connect one scene with the next, much less understand the overall mystery. I’m still trying to figure out how that house in Arroyo Seco was connected to everything.

I guess in the end, you make a choice as a writer who you want to appease, the people who know everything or the people who know nothing. But for me, personally, I would’ve loved a little more hand-holding.  I’m a bit of a simpleton.

In addition to the complexity of the plot, I was surprised at how little Raymond Chandler had to do with it. Since the script starts with him, we’re led to believe he’s going to be a major character. Particularly because Marlowe supposedly inspired Chandler’s greatest works. But Chandler passes out early, is absent for 80 pages, before returning for the finale.

Having said all that, there are definitely some things to celebrate about Marlowe. First, the character work is really strong. You feel everyone here, from the weight of the city’s biggest gangster to the widespread corruption of the most insignificant beat cop. Writing memorable characters is one of the hardest things to do in screenwriting, so whenever I see it done well, I have to give the writer an ovation.

Also, Marlowe is a protagonist actors are going to want to play. A black private detective who stands toe-to-toe with the city’s biggest white personalities in 1937? I could see Denzel Washington chewing this role up.

The dialogue is good too. Ransil understands the nuances of that chip-on-your shoulder back-and-forth a p.i. in 1937 would dish out. “I don’t like your manners,” someone says to Marlowe. “Don’t like’em much either,” he replies. “Let justice do its job, Marlowe,” the D.A. says later. “Justice goes to the highest bidder. Anyone who can’t pay, better go find his own.” There’s a lot of that here, and it’s all pretty darn good.

But you guys know me at this point. I’m all about the story. If the story isn’t at the very least, clear, it’s hard for me to get on board. And that’s my big issue with “Marlowe.” I think there’s too much going on in it. I’d ask Ransil if there’s any way to simplify this.

Do we really even need Chandler? Since he’s only in the last 20 pages? And do we need Freddy? I know it’s his murder that starts this investigation, but it’s clear that the Jean Harlow stuff is the main storyline, overpowering Freddy so much that his murder almost becomes an afterthought.

What if we started with Marlowe getting hired by the studio to find Harlow? That investigation leads him into the Chinatown’esque conspiracy of Arroyo Seco. Then you only have to connect the dots between two elements instead of three. In many ways, it would still be the same story. I think it’s good that Freddy gives Marlowe’s case a more personal slant, but if it’s at the expense of clarity, maybe it isn’t the right way to go.

Then again, this was only my experience with the screenplay. Others may have been able to follow it just fine. That’s the nice thing about the comments section, is that we can pinpoint common problems.

But yeah, I thought “Marlowe” had a lot of good things going for it, and there’s no doubt Ransil is a talented writer. I would just hope that in future drafts, it’s a little easier to follow.

Script link: Marlowe

[ ] what the hell did I just read?
[x] wasn’t for me
[ ] worth the read
[ ] impressive
[ ] genius

What I learned: When you’re writing real-life people into your script, don’t assume that the reader knows who they are, because a lot of readers won’t know who they are. Treat these characters just like you’d treat any characters and have them work on their own right. In other words, a story should never be determined by its “celebrity cameos” but rather by the quality and clarity of the characters as they relate to the story.

We are nearly a third of the way through the year (how did that happen? Just yesterday it was New Years!). While we can’t make any definitive judgments about the 2014 box office (and how it affects us screenwriters) yet, that’s not going to stop me from doing so. I do these write-ups mainly because writers don’t realize how hard it is to a) get a spec purchased, and b) get a spec made into a movie. They think anything they write has a shot at being made into a movie.  And I hate to say it, but that’s not the case.

Hollywood is more narrow-minded in what it lets through, and it’s important for you to know which types of movies those are. Also pay attention to the worldwide grosses, as more and more projects are being determined by how they’ll do overseas.  And, of course, pay attention to the kinds of movies that audiences are going to in general. These are the movies the public wants to see, so these are the kinds of writers Hollywood is looking for. Now, of course, we haven’t hit the summer yet, when all the big boys come out. And we’re still a ways away from the “serious” movies that come out at the end of the year. But this is still a good representation of what studios are looking to make. Let’s take a look.

1) The LEGO Movie
Writers: Dan Hageman & Kevin Hageman and Phil Lord & Christopher Miller
Genre: Adventure/Animation
Domestic Gross: $251 million
Worldwide Gross: $425 million
Origin: Legos are, of course, a toy, which means the number one movie of 2014, so far, is based on a product. Of note is that they made the movie to span a large demo – not just children – by writing a clever imaginative script.

2) Captain America: The Winter Soldier
Writers: Christopher Markus & Stephen McFeely – concept and story by Ed Brubaker – based on the comic book by Joe Simon and Jack Kirby
Genre: Action
Domestic Gross: $167 million (and counting)
Worldwide Gross: $502 million (and counting)
Origin: Another comic book adaptation and sequel. Captain America is part of the new “universe” approach that studios have gotten jiggy for. This was another solid script that the writers clearly put a lot of time into. One of the reasons Marvel is on top right now is because they don’t phone it in with their scripts.

3) Ride Along (SPEC SCRIPT!)
Writers: Greg Coolidge and Jason Mantzoukas and Phil Hay & Matt Manfredi (story by Greg Coolidge)
Genre: Comedy/Action
Domestic Gross: $134 million
Worldwide Gross: $149 million
Origin: Okay, here’s our top spec script showing of the year. Notice that it combines elements of comedy and action, very spec-friendly elements. While comedies aren’t as big as they used to be, due to their dismal worldwide prospects, this proves that if you want to write a spec, a comedy is a good way to go, and the old “buddy cop” formula is still working.

4) Divergent
Writers: Evan Daugherty and Vanessa Taylor (based on the novel by Veronica Roth)
Genre: Action/Adventure
Domestic Gross: $126 million
Worldwide Gross: $176 million
Origin: Adaptation of a book, specifically a YA novel. Divergent has done well, but not as well as Lionsgate would’ve hoped. This may show that the YA novel craze is losing steam, or at least the female-driven side is (male-centric YA novel adaptations are coming. We’ll see how those do).

5) Mr. Peabody & Sherman
Writers: Jay Ward and Craig Wright and Robert Ben Garant & Thomas Lennon and Michael McCullers
Genre: Animation
Domestic Gross: 105 million
Worldwide Gross: 248 million
Origin: This was adapted from the old Rocky and Bullwinkle show, which makes it classic intellectual property based on a cartoon. Animation is a beast because it can bring in every single demo when done well.

6) 300: Rise of An Empire
Writers: Zack Snyder and Kurt Johnstad (based on the graphic novel by Frank Miller)
Genre: Period/Action
Domestic Gross: $105 million
Worldwide Gross: $328 million
Origin: Intellectual property strikes again. Here we have a sequel to a film based on a graphic novel. I think one of the reasons graphic novels have been so popular lately is that unlike traditional books, executives can actually see the visual style of the movie right there in front of them. So snatch up the rights to cool graphic novels if you can find them!

7) Non-Stop (SPEC SCRIPT!)
Writers: John W. Richardson & Chris Roach and Ryan Engle (story by Richardson and Roach)
Genre: Thriller
Domestic Gross: $90 million
Worldwide Gross: $186 million
Origin: We got another spec script here, this one a straight-forward thriller, which is a great genre to write in if you’re trying to sell a script. I have to admit I didn’t like this at all when I read it, but if you write something a studio can easily market, they’ll pay for the big actor and all of a sudden, you have a film to be reckoned with at the box office.

8) Noah
Writers: Darren Aronofsky & Ari Handel
Genre: Drama/Period/Adventure
Domestic Gross: $86 million (and counting)
Worldwide Gross: 248 million (and counting)
Origin: Here we have an adaptation of something in the public domain. So in that sense, it’s technically a spec script. However, it’s a spec by the director himself, and writer-director projects can’t be seen as specs in the traditional sense. Biblical stories are sort of hot right now, and as a writer told me the other day, the Bible is chock full of good story material.

9) The Monuments Men
Writers: George Clooney & Grant Heslov (based on the book by Robert M. Edsel and Bret Witter)
Genre: Drama/Period/Action
Domestic Gross: $77 million
Worldwide Gross: $153 million
Origin: The Monuments Men was adapted from a book. Projects like these are hard to base future decisions on. If Joe Schmoe would’ve written this, I’m not sure it would’ve gone anywhere. This was Clooney’s love child to begin with, so he was promoting it from the get-go. His amazing cast didn’t hurt either. I’ll also say this about Clooney. Everyone loves him. He’s one of the few guys who seems unaffected by fame and understands how lucky he is. If you’re that kind of person in this business, good things tend to happen to you. Therefore, I’m not surprised that actors jumped at the chance to help him with his passion project.

10) The Nut Job
Writers: Lorne Cameron & Peter Lepeniotis (story by Daniel Woo)
Genre: Animation
Domestic Gross: $63 million
Worldwide Gross: $69 million
Origin: Here we have another animated film, but I want you to note the difference between this one and the two other higher ranked animated films on this list. In those cases, the subject matter catered to both kids and adults (Every adult used to play with legos and Mr. Peabody was based on an old cartoon that adults were familiar with). The Nut Job clearly only caters to kids. And when you do that, no matter how much kids want to see the film, many parents will resist because they know it’s going to be dumbed-down nonsense.  So write your animation for kids AND adults, since the adults are the ones with the actual credit card.

–OTHER NOTABLE SPEC SCRIPTS–

28) Devil’s Due (SPEC SCRIPT!)
Writer: Lindsay Devlin
Genre: Found-Footage/Horror
Domestic Gross: $16 million
Worldwide Gross: $33 million
Origin: Found-footage is still the cheapest genre to produce, so this is a nice genre to write in. The tricky thing is that a TON of these are going straight-to-video, and I still haven’t figured out what determines which films go straight-to-videos and which ones get wide releases.  It all seems quite arbitrary.  I guess all you can do is come up with the coolest most original found-footage concept you can, write a killer script, and hope for the best.

32) Draft Day (SPEC SCRIPT!)
Writers: Scott Rothman & Rajiv Joseph
Genre: Drama/Sports
Domestic Gross: $12 million (and counting)
Worldwide Gross: no international release yet
Origin: This is the truest spec script project here. Draft Day is the script that finished tops on the Black List a couple of years ago. And unlike all these other spec scripts that made the list, it’s not based on a common “spec script” genre. Perhaps that’s why it didn’t do well. Personally, I thought the script was awesome and it was botched on the directing end. They tried to give this that Jerry Maguire sheen. It should’ve been a lot grittier.

35) Bad Words (SPEC SCRIPT!)
Writer: Andrew Dodge
Genre: Comedy
Domestic Gross: $7 million
Worldwide Gross: no international release yet
Origin: This was a good script, but it’s hard for these edgy indie comedies (comedies not built around a mainstream idea) to break out and do well at the box office. However, these do really well on the script-reading circuit as they’re generally more fun to read that those bigger mainstream ideas. And for that reason, a few of them always get made.

SUMMARY
I don’t know about you, but I see a lot of adventure, action, comedy, and thrillers. This is not surprising. People go to the movies to FEEL SOMETHING other than their otherwise boring lives. They want to laugh, they want to be scared, they want a rush. Which is why these genres do so well. Even in the two period pieces that made the top ten (Noah and Monuments) there’s plenty of action. I’m a little disappointed to see only 5 spec scripts in the top 50 (not counting some of these low-grossing indie films). Then again, based on the low-quality of scripts I’ve been reading lately, I guess it makes sense.  The problem, I think, is that more and more prod-cos are snatching up intellectual property and hiring writers to write the material, so good writers would rather go for the guaranteed money than risk 8 months on a spec. Then again, that’s good news for all of you. With less people competiting in the spec market, there’s more of an opportunity to write something that stands out and gets noticed.

So, what about you guys? What conclusions did you draw from this list?

Genre: TV Pilot (Horror)
Premise: (from network) Set in the volatile world of 17th century Massachusetts, ‘Salem’ explores what really fueled the town’s infamous witch trials and dares to uncover the dark, supernatural truth hiding behind the veil of this infamous period in American history. In Salem, witches are real, but they are not who or what they seem.
About: When you think about cutting edge television, WGN America probably isn’t the first channel that comes to mind. But that’s only because they’ve never had an original television show to TRY and become cutting edge with! Enter Brannon Braga & Adam Simon’s new pilot, Malice (now known as “Salem”). You might have heard Braga’s name before. He’s made many geeks happy writing on shows like 24, Star Trek: The Next Generation, and the short lived but cool Flashforward. Co-writer Adam Simon, who’s been writing for over 30 years (his first credit was 1990’s “Brain Dead”) is best known for writing the 2009 film, “The Haunting in Connecticut.” Salem debuts this Sunday.
Writers: Brannon Braga & Adam Simon
Details: 61 pages (May 2, 2013 draft)

Only two more episodes left of Breaking Bad. I’m trying to extend them out as long as possible because I don’t want it to be over. After that, I’m not sure where I’ll head on the TV landscape. I watched one season of Mad Men, which I liked but didn’t love. I was thinking of getting back into it but people don’t seem to be too excited about it anymore.

I liked The Walking Dead, but also left off somewhere in Season 2. That’s probably the leading contender since the show only seems to be getting bigger and bigger. There’s also Game of Thrones. I watched 5 episodes of that and, I’ll be honest, became pretty impatient with the format (lots of talk talk talk talk talk scenes, which would be fine… if your story didn’t occur in a land of dragons and blue people). It seems like it’s a big universe to set up though, and appears to be the show with the biggest number of payoffs (I feel like every month I’m reading about another huge shocker on the show). So maybe I’ll hitch a ride on a dragon and become a Throner (is that what you call yourselves?). What do you guys think I should watch?

Maybe Salem can become my new watch-fest. Yeah, it’s on WGN America, which has never had an original show before, but here’s how I see it. If you’re the first ever show on a network, they’re going to let you go nuts. These execs know that the way you get noticed in TV these days isn’t to do what everyone else is doing. It’s to do something different. So let’s see what kind of show we’re gonna get.

Although the writers never tell us what year it is (tsk tsk writers), I did some online research to find out that the Salem Witch Trials occurred in the 1690s, in Salem, Massachusetts. When your reader has to do your research for you, that usually makes said reader angry.

After getting over that, I was introduced to our hero, John Alden. 16 year old Alden is in love with 16 year old Mary, but unfortunately has to head off to war. That’s one of the great story options you have whenever you’re writing a period piece. You can always write in some war that your hero has to go off to.

This, of course, means your hero will come back, older and wiser, to a place that has changed a lot, which is exactly what’s happened to Salem. Alden is now 27, thought to be a casualty of war, but pops back in to his old haunt, only to find three bodies hanging just outside the town. Apparently, since he left, his town has been overrun by witches. They’ve even brought over an English heavyweight to get rid of them, a witch-expert by the name of Cotton Mather.

Alden doesn’t believe in witchcraft, and yells at anyone who tells him otherwise. All he cares about is finding Mary again. But that turns into an unwanted surprise. Mary has gone off and married Old Man Sibley, a guy Alden and Mary used to despise as children.

The good news is she clearly still holds a candle for Alden. So we’re hoping these two are going to make it happen. Excccccc-cept we learn that Mary’s holding a little secret from her former lover. Turns out Mary’s a witch. She’s so evil, in fact, that she’s cast a spell on her husband so that he’s a prisoner in his own body, a slobbering vegetable.

Eventually, Alden comes to realize that maybe this witchcraft stuff isn’t so ridiculous after all, and goes to Cotton to see how he can help stop them. Cotton tells him this won’t be as simple as a few hangings. This is going to be a long drawn out war. A war that the witches will do anything to win.

Salem was pretty good. I noticed something immediately that I didn’t see from yesterday’s film. If you read that review, I commented that, in horror, you need at least one super memorable scene, something that freaks people out, the kind of thing you can imagine people talking about afterwards.

Remember, in this day and age, with social media and the good old fashioned internet, word of mouth is as powerful as ever. If you can come up with something that chills people, freaks them out, or unnerves them, everyone’s going to be talking about it, and that means more people are going to watch your movie (or your show).

Oculus didn’t have a single scene like that. Salem had three. The first was when Mary, as a pregnant 16 year old, has an abortion, with her servant literally reaching her hand inside her and pulling out the fetus. It was terribly uncomfortable. But it was MEMORABLE.

Next, there’s a scene where a young teenaged girl who is thought to be a witch is tied down and shaved. Every single inch of her is shaved, and one of the men watching this finds himself getting inadvertently aroused. It’s disgusting and sick. But it’s MEMORABLE.

Finally, there’s a huge orgy that occurs with all the witches in the forest, wearing animal heads, and covered in a strange moss-like grimy substance that seems to enhance all the slipping and sliding and pleasure for everyone involved. It’s disarming. But it’s MEMORABLE.

If you’re going to do horror these days, you have to push the envelope a little bit. You have to freak us out. It’s almost like you want whoever reads the script to say, “Are they really going to film this?” That’s when you know you’re pushing the envelope. Salem had that.

There’s something else I’m catching on to in a lot of these pilots I’m reading. There’s usually a character who starts out one way and ends up another by the end of the pilot. I’m not talking about a character overcoming his flaw, like you’d see in a movie (a man who’s selfish learns to be selfless), but rather their beliefs change or our perceptions of them change because of new information.

So here we have Alden, who doesn’t believe in witches. But by the end, he realizes they’re real. There’s Cotton, who we see as bad since he’s killing witches, when we know there are no such thing as witches. But then we learn that witches are real, and all of a sudden, Cotton becomes a guy fighting a just cause. Then there’s Mary. She starts out as the perfect little princess of our story, but then turns out to be a witch.

So when you’re writing these pilots, make sure characters are changing (or our perception of them is changing) during the course of the story.

Finally, probably the hardest thing to do with a pilot like this (something steeped in history and lore) is to pack all that mythology in there. It has to feel like its bursting with possibilities. Think of it like a dinner. Too many amateur pilots I read feel like they ate a couple of sushi rolls and a piece of celery. Your pilot should feel like a five-course Thanksgiving meal. Like its belly is full – that it can’t even eat one more mint. Braga and Simon clearly did a great job researching and filling this world up as there arose details around every corner. It reminded me a lot of Travis Beachem’s “Killing on Carnival Row” in that sense.

Unfortunately, whenever you’re doing a show like this, you’re only as good as your budget. Once Upon A Time had big ambitions but its budget made it look like it was 1982 again. So I don’t know if WGN America will be able to show off this rich complex period world Braga and Simon have created. But if they do it justice, they should have a good show on their hands.

[ ] what the hell did I just read?
[ ] wasn’t for me
[x] worth the read
[ ] impressive
[ ] genius

What I learned: Don’t be afraid to make one of your main characters a “bad guy.” I think as writers, we often want to protect our characters. Particularly our main characters. We want them to be good and just. But Salem taught me that it’s usually more interesting if you make one of those main characters “bad.” I thought Mary was going to be a typical unattainable romantic interest as she had married the town leader while Alden was gone. That might’ve worked out okay. When we found out Mary was a witch though, now her character takes on a whole new meaning and is far more fascinating.

This is your chance to discuss the week’s amateur scripts, offered originally in the Scriptshadow newsletter. The primary goal for this discussion is to find out which script(s) is the best candidate for a future Amateur Friday review. The secondary goal is to keep things positive in the comments with constructive criticism.

Below are the scripts up for review, along with the download links. Want to receive the scripts early? Head over to the Contact page, e-mail us, and “Opt In” to the newsletter.

Happy reading!

TITLE: LOST IN THE SUPERMARKET
GENRE: Dramedy
LOGLINE: While working part-time in a supermarket, an ordinary college guy tries to save a bipolar jazz genius from self-destructing — but falls for the musician’s girlfriend, and finds himself in the process.
WHY YOU SHOULD READ: This is my third script to make the Nicholl Fellowships quarterfinals (two prior scripts were psychological/supernatural thrillers) and while I have had some success in other contests with different screenplays before, this is my most personal statement about what it means to be an artist, who is struggling against the odds to leave your mark in whatever creative endeavor you choose. It’s about the heartache and joy of doing something you love, regardless of the outcomes.

There’s this old Catch-22 in Hollywood. You can’t get an agent to read your script unless you’ve sold something. And you can’t sell something unless you have an agent pushing your script. You can probably up that number to Catch-24 or 25, since most production companies and studios won’t read your script unless it’s coming from an agency. There are two reasons for this. First, nobody wants some unrepped script coming in that could end up in a lawsuit. And second (and I think this is the more likely reason), they know the script is going to be terrible and don’t want to waste their time on it.

Yes this is the dirty little not-so-secret about sending your scripts out. 95% of the time, the scripts are terrible, which means if the agents go by the odds, your script will be be terrible, too. As someone who receives and reads lots of scripts myself, I can confirm this. And you guys have seen it, too. You know those 5 scripts you tear apart for Amateur Offerings every week? Those are the good selections. There are tons of submissions that don’t even get past the query stage because of spelling, grammar, lousy concept, lousy logline, or just an inability to form a coherent query (not everybody, mind you. Sometimes we just haven’t gotten to your submission yet).

So the question for today is, how do you get an agent when the odds are so fiercely stacked against you? Well, there are a few ways to go about it, but before we get to those ways, you must first…

BE READY
Nobody likes to hear this one, but your writing has to be ready for the big time if you’re going to get a respectable agent (you can shoot for a not-so-respectable agent, but that’s another story). Most writers press for agents too early. I see this ALLLLLL the time. And the writers say to me, “Why am I not getting an agent?” And I say, very respectfully, “I don’t think you’re ready yet.”

So how do you know when you’re ready? I don’t think you should send agents anything until you’ve written at least three scripts. And the safer bet is probably six. Still, I know people who are on their tenth script who aren’t ready. So this is not a guarantee of anything other than you’ve put in the work, are serious, and know all the basics (the three-act structure, that a script probably shouldn’t be over 110 pages, what a character arc is, etc.).

From there, it gets a little tougher. I’ve found that “readiness” can be gauged fairly accurately through screenplay competitions. Say you enter four screenplay contests. You should at least get to the second round of two of them (that’s typically the top 100-250 submissions). That’s the bare minimum of “readiness.” I would say getting to at least one semi-final in a good competition is necessary (that’s roughly top 20) before querying anybody. I’ve read every type of script there is. Second rounder, quarter-finals, semi-finals, finalists, winners. From dozens of competitions. So I have a pretty good feel for this. Even the finalists scripts usually have problems. So a second-rounder’s going to have a lot of problems. However, I understand that sometimes it comes down to the right reader “getting” a script, and you might not find that reader in four contests. BUT, if you’ve entered four contests and four separate vetting processes didn’t advance you beyond the first round, I wouldn’t query agents yet. I’d read more professional scripts and I’d buy more screenwriting books. Come back when you’ve gotten stronger.

Another way to know if you’re ready is through feedback. Submitting to Scriptshadow and being graded by your peers is a great way to do this. But not everyone gets that opportunity. Feedback from writing groups is helpful, although can be misleading if you’re still in the early stages when everyone wants to be nice and no one wants to hurt anyone’s feelings. Long-term feedback is the best bet. The longer you get feedback from someone, the more honest they’ll be, and the more reactions you have to compare between. It becomes easier to figure out which of your scripts is getting the best response, and therefore which one might be ready to send out.

Okay, now let’s talk about the three ways to get your script to an agent.

William Morris Endeavor

COLD QUERYING
Querying is pointless. Targeted Querying is where it’s at. This means finding all the movies of the past ten years or so that are like your script. Then find out the writers of those scripts along with their representation (both agent and manager). You can find this info from places like Google, Spec Scout, The Tracking Board, IMDB Pro, and the WGA. Does this take forever? Yes. But whoever said this was easy? You’re competing for prime agent real estate against hundreds of thousands of other writers. Of course it’s going to be hard.

You’ll then write your query e-mail to these people. And guys, please check your query with a friend before you send it out to a hundred agents. Like I said before, I can knock off 60% of queries right away due to a grammatically incorrect e-mails or terribly written loglines. If you don’t know what to write, try something along the lines of: “Hi, I just wanted to say I’m a huge fan of “Terminal Cyborg.” It was one of my favorite films from last year. I understand that you represent the writer. I was wondering if you might want to read my script, “The Robot Files,” which is in the same vein. It’s about a group of robots who fight for robot rights in 2073 Mississippi.” If you have a noteworthy contest finish, bring it up. “The script recently finished in the semifinals of the Nicholl and has placed in many other contests. If you’re interested, let me know and I can send it over.” Personally, I’ve found that even quarterfinal Nicholl finishes are only “okay.” I don’t know if others feel that way too, but I’d probably only bring up semi-final or higher finishes and only in well-known competitions.

Another little trick you can do is… well… stretch the truth. You know that friend who USED to work at JJ Abrams’ “Bad Robot” as an intern for three months? The one who read your script? Well, technically, if you said that your “script is into Bad Robot and they’re considering it,” you’re not technically lying. The truth about Hollywood is, people tend to only want things when other people want them. So if there’s a way, in your query, to imply that other people are after your script, do it. I admit that I’ve been duped by this a few times myself. And while the scripts weren’t any good, they at least got me to open them.

Hearing back from an agent will depend on a lot of things. How well your query was written, how good your concept is, how big the agent is. Big agents often don’t have time to take on new writers, or even give their scripts a read. But if your concept is amazing or your query stands out in some way (it’s funny or really well written), they might read your first five pages and get hooked. The more likely scenario is that some of the mid and lower level agents will respond. That is, anyone who isn’t WME, UTA, or CAA. If Paradigm, ICM or APA responds, you’re still in good company. And then there will be smaller agencies still. Once you get down to the really small guys, you have to ask yourself if it’s worth it. There’s often a good reason these guys are hanging onto the bottom rung.

Querying is all about the efforts you put in. If you half-ass it, you’re going to get half-ass results. You have to have a great concept to start with. Then you have to do all that research, finding the agents who like the material you write. Then you have to find their e-mails. Then you have to write a great query letter that passes your friend’s inspection test. Doing this takes time. But it’s the only way querying is going to work for you.

THE MANAGER
The Manager Route takes a little longer but it’s the route a lot of writers are going these days. If agents are about selling your material, managers are about managing your material. Whereas an agent might never give you a drop of feedback, most managers will read your scripts and give you notes, helping better you as a writer. Because managers are willing to work with you, they’ll usually take you on as a client when you’re a little greener. In other words, it’s easier to get a manager. Once you have a manager, it’s much easier to get an agent, since managers have a lot of relationships with agents (they’re often working as a team for their clients) and the agents trust their taste. You query managers the same way you query agents. And you should get a little better response.

NETWORKING
Writers hate this term because it’s so nebulous. There’s no A+B=C in networking. Rather you meet someone who may eventually meet someone else who a year down the line remembers your script which they give to someone else who likes it who gives it to their boss who happens to be an agent. Since it’s a lot harder to measure how all that’s going to work, writers would rather focus on the writing part. But of these three options, this is the one that will lead to the most success.  People who know you are more willing to pass your stuff on to others, or to read it themselves. Nobody wants to read something from someone they don’t know unless they’ve heard it’s amazing. The great thing is, it’s so damn easy to network in this day and age. Pick one of the many screenwriting boards on the internet, from this site to Simply Scripts to Amazon Studios to Trigger Street and be nice to people in the comments. Make friends. Trade scripts. Join a writing group. The bigger your network is, the more people you will have access to. You guys will get better together, until one of you breaks in. That person will then share his new contacts with you, and before you know it, you’ll have ins with agents who want to read your stuff. This is the slowest of the three options I’ve given, but it also results in the most success. You gotta network, guys.

IN SUMMARY
Like anything else in life, getting an agent depends on how much time you want to put into it, both on the writing side and on the looking side. You have to do a lot of research. You have to know who sells the kind of stuff you write. You have to come up with the perfect query letter. And all of this is dependent on you a) writing a concept that gets an agent excited, and b) executing that concept with a really good screenplay. Those last two things are the things that take the most time, but they’re really the only two things the agents pay attention to, so you gotta nail them first. The thing is, all the people who don’t want to do that? Who try to take short cuts? They’re the ones who get frustrated and give up. They’re the reason you’re going to make it and they aren’t. Because you’re willing to work harder and do more than they are. Getting an agent boils down to good old fashioned hard work. Either you’re willing to put in that work or you’re not.