I consider myself fortunate to have an agent, the lovely Katie Williams who's now with The Agency in London. She negotiates contracts for me, chases payments, keeps me up to date with new opportunities, and gets my writing into the hands of those looking for emerging talents. And that's all great.
But it's easy to sometimes forget that the care and nurturing of your career is your own responsibility. Having an agent opens doors, but it's up to you to make the most of those opportunities. You cannot expect anyone else, even your agent, to do all the hard work necessary to advance your career.
Case in point: last week I had a minor disappointment. Nothing terrible, just a minor setback in the scheme of things. But it underlined a growing frustration that I'd taken my foot off the gas, been too content to let others determine my progress. I was being a passive protagonist in my own life story.
After seeking out wise counsel, I spent the rest of that day taking action. I got on the phone and email, got in touch with people and set up a fistful of meetings in That Fancy London next month. None of them is likely to result in instant offers of work, but I am making myself apparent, starting conversations.
The usual name for this is networking [stop shuddering at the back], but I prefer to think of it as having a conversation. Getting to know people a little better, engaging with them as people - not stepping stones. Be professional, be normal, be someone that they just might want to work with one day.
Fact: there are far more writers than writing jobs. If you want to be considered for those few and far between opportunities, you have to make yourself visible, be known by those making the decisions. In my case that means getting off my arse, going to events, being an active protagonist in my own life story.
Of course, all the meetings in the world won't help if you haven't got the writing to back them up. So I'm also busy progressing my first feature film screenplay, currently writing a step outline. I've spent a lot of time developing this idea, testing the logic, finding the best way to tell the narrative in my head.
Even now, after a premise and two outlines and multiple versions of the treatment, I'm still finding fresh angles and better sequences. I haven't written a word of the actual screenplay, but when I do the results will be that much that stronger for the amount of pre-writing I've poured into this project.
And that's the other place where I believe writers have to take responsibility for their careers: in the quality of their writing. It's no good rushing something sub-standard out in response to an opening. You have to be prepping, writing and rewriting all the time so you're ready when the door opens. Onwards!
Showing posts with label The Agency. Show all posts
Showing posts with label The Agency. Show all posts
Monday, April 23, 2012
Wednesday, November 23, 2011
When is the right time to get yourself an agent?
One question that exercises the minds of many writers near the start of their careers is, when should they seek representation? As an author or screenwriter, the idea of having an agent seems very attractive. The fact they want to represent you equals instant validation, helps show the world you're a writer worth noticing.
Writers who don't have an agent [yet] sometimes labour under misapprehensions about what it is that agents actually do. Some believe an agent will get them work. It does happen, but far more likely is an agent will open doors for you, access people and opportunities you otherwise not have known about or be eligible for pursuing.
Whether or not you get the commission will be based on your track record as a writer, and the work you submit after the agent has opened the door. Once you secure the gig, then the agent really comes into their own, handling the negotiations, getting you the best possible deal, and protecting your rights. They have your back.
So, when do you know it's the right time to get yourself an agent? It varies for every individual. I had 20 novels published before I got an agent [proof that you don't need an agent to get a book contract]. I secured my first radio play and my first TV drama broadcast credit as a writer on Doctors before I got an agent.
In the case of my novels, they were all media tie-in tomes commissioned via standard boilerplate contracts. There was little or nothing for an agent to negotiate, and they wouldn't have made much money - so I didn't need representation. The same applied to my first radio and TV commissions, although the money was getting better!
But since getting an agent - the lovely Katie Williams, now at The Agency - I've had new opportunities that never arose before. Katie also negotiated a very good deal for me on one particular job that provided several months of financial freedom in which I developed and wrote the first draft of my new calling card script.
So having an agent has definitely paid off. I haven't got the job behind every door Katie's opened, but that's the life of a writer. You'll always hear the word no far more often than you'll hear the word yes. [If you can't cope with rejection, get another job - both you and those nearby will be much happier as a consequence.]
I made classic newbie screenwriter mistakes before I got my agent. I applied to multiple agencies as soon as I finished my MA course. Sure, I had a radio play to my credit, did well at uni, and even won a first prize at the 2007 Page International Screenwriting Awards. But I simply wasn't ready, and that showed in my writing.
More than anything else, it's the quality of your writing that matters for finding and securing representation. You want an agent who believes in you and your work, who will go out and promote you, open those doors. And you need to demonstrate that you'll make their agency money. It's called show business for a reason, people.
How do you demonstrate that you'll make them money? By already having paying work on the go when you approach them. In fact, this is the acid test for whether it's the right time to seek representation. Ask yourself this one, simple question - and be completely honest about the answer. Do you want an agent? Or do you need an agent?
Wanting is not enough. Desire is good, but there should be more. You should be in a position where not having an agent is detrimental to your career. Then you offer a clear narrative to the agent you're approaching. You have secured a commission, but need their help with the contract. They make money and help you simultaneously.
Representation is a two-way street. They work for you, taking a commission for all the work covered by your agency agreement. If you're not earning, neither are they. Just wanting an agent isn't enough. You should need an agent before you approach one. It's that simple, in my humble opinion. [Your mileage may vary.] Onwards!
UPDATE: If you're decided that you do NEED an agent, how do you approach them? There are many different methods people have used, but one that's proven to work can be found in Adrian Mead's excellent e-book, MAKING IT AS A SCREENWRITER. You can download it here for just £7.79 + VAT. [All proceeds go to the excellent charity Childline, by the way - Adrian doesn't make a bean from it.]
Writers who don't have an agent [yet] sometimes labour under misapprehensions about what it is that agents actually do. Some believe an agent will get them work. It does happen, but far more likely is an agent will open doors for you, access people and opportunities you otherwise not have known about or be eligible for pursuing.
Whether or not you get the commission will be based on your track record as a writer, and the work you submit after the agent has opened the door. Once you secure the gig, then the agent really comes into their own, handling the negotiations, getting you the best possible deal, and protecting your rights. They have your back.
So, when do you know it's the right time to get yourself an agent? It varies for every individual. I had 20 novels published before I got an agent [proof that you don't need an agent to get a book contract]. I secured my first radio play and my first TV drama broadcast credit as a writer on Doctors before I got an agent.
In the case of my novels, they were all media tie-in tomes commissioned via standard boilerplate contracts. There was little or nothing for an agent to negotiate, and they wouldn't have made much money - so I didn't need representation. The same applied to my first radio and TV commissions, although the money was getting better!
But since getting an agent - the lovely Katie Williams, now at The Agency - I've had new opportunities that never arose before. Katie also negotiated a very good deal for me on one particular job that provided several months of financial freedom in which I developed and wrote the first draft of my new calling card script.
So having an agent has definitely paid off. I haven't got the job behind every door Katie's opened, but that's the life of a writer. You'll always hear the word no far more often than you'll hear the word yes. [If you can't cope with rejection, get another job - both you and those nearby will be much happier as a consequence.]
I made classic newbie screenwriter mistakes before I got my agent. I applied to multiple agencies as soon as I finished my MA course. Sure, I had a radio play to my credit, did well at uni, and even won a first prize at the 2007 Page International Screenwriting Awards. But I simply wasn't ready, and that showed in my writing.
More than anything else, it's the quality of your writing that matters for finding and securing representation. You want an agent who believes in you and your work, who will go out and promote you, open those doors. And you need to demonstrate that you'll make their agency money. It's called show business for a reason, people.
How do you demonstrate that you'll make them money? By already having paying work on the go when you approach them. In fact, this is the acid test for whether it's the right time to seek representation. Ask yourself this one, simple question - and be completely honest about the answer. Do you want an agent? Or do you need an agent?
Wanting is not enough. Desire is good, but there should be more. You should be in a position where not having an agent is detrimental to your career. Then you offer a clear narrative to the agent you're approaching. You have secured a commission, but need their help with the contract. They make money and help you simultaneously.
Representation is a two-way street. They work for you, taking a commission for all the work covered by your agency agreement. If you're not earning, neither are they. Just wanting an agent isn't enough. You should need an agent before you approach one. It's that simple, in my humble opinion. [Your mileage may vary.] Onwards!
UPDATE: If you're decided that you do NEED an agent, how do you approach them? There are many different methods people have used, but one that's proven to work can be found in Adrian Mead's excellent e-book, MAKING IT AS A SCREENWRITER. You can download it here for just £7.79 + VAT. [All proceeds go to the excellent charity Childline, by the way - Adrian doesn't make a bean from it.]
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