Representin'

It's a question I see a lot of screenwriters at the foothills of the heap ask: Agent or Manager?

First, let's define the differences. In my experience...

Managers typically have fewer clients, provide more hands-on script development, focus on networking opportunities (setting up meetings), and are more often in a position to be willing to "break" a new writer.

Agents typically have more clients, offer less one-on-one time, and focus more on making a sale or securing a writing assignment. Agents are registered with the state of California.

Managers are not registered with the state and, technically, are not supposed to negotiate a deal (they'll set you up with an entertainment attorney for that).

Think of it this way: A Manager is more like your Research & Development Department and your Marketing Department. An Agent is more like your Sales Force.

Because agencies come with a verifiable reputation and track record, it should be easier to do your homework on an agent. In theory, they should be more of a known commodity.

Because anybody can hang up a shingle and call themselves a manager, you need to do your due diligence. Both managers and agents will get a 10% commission on any money you make while working with them.

Any manager or agent who asks you to pay upfront for any service whatsoever is not legit. Run away.

So, back to the original question. If you're a new writer looking to break in, my feeling is that you have a better shot at aligning yourself with a manager who is willing to take on new clients. You want someone with good script development instincts who knows a lot of people. This is your chance to get your calling card script into a lot of peoples' hands.

And if things go well, the manager can hook you up with an agent.

The other option is to look for an ambitious junior agent who's willing to work with unknown writers.

And of course, there's the Big Ass Caveat -- there is no instruction manual. There is no definitive road map. There is no blueprint for a career path. It happens differently for everyone.

Rocket Science

Yes, it's top of the queue time. And get ready to start saying "there's a cello in your house now."

I Really Don't Know Clouds

I can see both sides of the Diablo Cody/Juno debate.

The first 15 minutes were overwritten to the nth degree. But the rest had heart and personality to spare. I understand that Diablo has the greatest inherent gift for self-marketing since Spike Lee. And I feel very sorry for all the readers in Hollywood who are going to spend the next year getting slapped with Cody-esque quips like "that's one doodle that can't be undid."

But last night, she showed up with a tattoo that couldn't be missed, and a history of taking her clothes off in public. She made writers seem cool.

Avert the Children's Eyes

I mentioned previously that acclaimed illustrator, certified sherpa, and all around spitfire Russ Walks and I are developing a web strip together.

For those of you who can't get enough of slow motion train wrecks, we've decided to offer up the entire development process in real time at Ten Thunders. Don't worry, it will get cool once Russ starts putting stylus to virtual paper.

You can also check out Russ's recent interview at starwars.com

stuck on you

As promised/threatened, here's the beginning of what I think will be a recurring thread -- industry information for the aspiring screenwriter.

I'm not talking about the process of writing a screenplay, but the business of being a screenwriter. And part of that is learning the foreign language of Hollywood. Let's start with...

attached, adj. In the real world it means 'joined, connected, bound'.

In Hollywood it means that someone of value has verbally agreed to have their name associated with a "project", with the goal of that valuable name giving the project "momentum" or causing it to be "set up" at a studio.

For instance, we have a Comedian/Actor attached to one of my scripts. How did he get attached? His wife read the script and told him he was doing it.

How long will he be attached? Until he's not.

So now I'm doing a revision based on meetings with The Manager, The Producer, and The Comedian/Actor's people. Then The Producer will "take out" the new script to "the town" with the "attachment".

See, it's just that simple.

From The Dave Doesn't Get It File

How in the holy hell has Razorlight not gotten huge in the states. Skinny british guys with big lips. And skinny pants. Isn't that how it's supposed to work?

You Can't Get There From Here

Now that the strike is over, I was putting together a post to explain the two main projects I'm working on, and that explanation included noting that we have a Big Time Actor/Comedian attached to one of the projects and...

I started thinking about prosthetic limbs.

And trailer hitches.

And leeches.

And press-on nails.

And I seriously don't even know if they make press-on nails anymore, but the point is that all of the above get "attached".

The word "attached" is a Hollywood term. Because Hollywood feels the need to have its own language.

And this got me thinking that -- hang on, I'm getting to the important part -- if you're an aspiring screenwriter you need to understand the act of screenwriting, but you also need to understand the business of being a screenwriter.

You don't need me to talk about the act of screenwriting, because there are plenty of far more eloquent blogs doing just that. There are enough books on screenwriting to fill your library. And you can read screenplays until your eyes bleed at sites like drew's script-o-rama.

Twenty years ago you probably needed a secret handshake and a map to get some insight into the act and physical process of screenwriting. Twenty years ago, unless you could find a xeroxed copy of a script, the documents themselves probably seemed like extended haikus written in morse code -- strange, other worldly seeming glowing fish in black waters because they were so specialized and industry specific. Twenty years ago, all you probably had in terms of books was Syd Field (not sure about that and too lazy to fact check, but you get the idea).

But that's all changed.

Today there is no mystery to what scripts look like and how they're written. But there is still mystery as to what goes on in the room. And "the room" is another term (hint: you want to be "good" in there).

So this is where I'm going to focus: shining a light on the business of screenwriting. Because outside of possibly USC and UCLA, I don't know of any other sources for inside instruction on the business of being a screenwriter.

More to come...

Still a Tool

Of course, John Mayer. Corporate Casual says it best.

The End Is Near

At least the end of the strike, that is. Why do I think that? Because the phone's been ringing.

The Manager had a meeting with a Producer (an established member of the producer genus we love so much) and The Talent's representatives regarding a project that we were close to setting up prior to the strike.

Of course the division president who wanted to buy the project has been replaced since then. Unbelievable.

And I spent a lot of time caucusing with another Producer about a script we hope to have ready when the bell rings. It will be nice to get back to public flailing after the last few months of private flailing.

music, money, models

MGMT. Check out Time To Pretend.