Screenwriting : WEBINAR: How To Get a TV Literary Manager, Tuesday, Aug 23RD, 1 - 2:30PM PDT by Rosemond Perdue

Very excited for this one!

Not only will Robin talk about HOW to get a TV writing manager, but also HOW you work with a manager so that you are truly able to get the most out of the relationship so that it furthers your career.

Very insightful, imo. Frustrating that she asked me a question just as my computer decided to make the webinar page disappear and I couldn't respond!

Anyone else here?

Michael A. Levine she wanted to know the name of your short :) comment it here!

Called The Aspirant, here is a link with the password. We just finished the festival circuit so you're welcome to give it to anyone you think would enjoy it.

https://vimeo.com/414178506

Password: screener

Michael A. Levine Hi, I loved Michael Cortez. Great voice! I wondered if you would perhaps share this on the ‘Your Stage’ Lounge, to get a wider exposure.

Sadly I missed this webinar. I met with a Literary Agent, which was set up through Stage 32 and was told that no one would consider me for representation, because I didn’t have a track record. Perhaps I should check this webinar out and see if that is universal or just particular wisdom?

In short she said that was true for agents but not for managers. My experience in the music side of show business was no agent will touch you until you have a gig. I got my first big job - scoring Cold Case for CBS - through my own contacts before I got an agent.

And pardon my ignorance but what is Your Stage Lounge?

Your Stage is where you can post your projects, reels, crowdfunding campaigns, and other promotional things, Michael A. Levine. https://www.stage32.com/lounge/promotion

Thanks Maurice and Geoff.

I have a question. I have a script that I am thinking about selling but I want to know how much to sell a script.

Geoff. That is true when it comes to the bigger agencies but not with the small boutique ones.

Hi Aaliyah - I recommend reaching out to Jason Mirch at j.mirch@stage32.com - he'll have suggestions of Stage 32 resources to help you figure that out.

Okay, thank you so much.

You're welcome, Michael A. Levine.

Dan Guardino, sorry I can’t tag you. Thanks for that. So I should be looking for those small boutique agencies?

Geoff Hall. I think you would have better luck with them. Agents tend to not work that hard for their clients but they can get just about anyone to read your screenplay so it really doesn’t matter if they are in California or not as long as they are WGA Signatory. At least that’s been my experience. Good luck!

Aaliyah Rowell. Are you saying how much you should sell a screenplay for? If that is what you are asking if someone is interested they will make you an offer. If you are new you would be taking a chance if you made a counteroffer because yours might not be the only one they are interested in.

Thanks Dan. I’ll let you know how that works out.

What's a good price range to sell a script?

Aaliyah Rowell the price is based on the budget, Aaliyah and not by what the writer thinks it's worth. But then, perhaps it should be. Haha!

Michael A. Levine I just watched The Aspirant. I thought it was great! Well-done. I hope you have more success in your future. Are there plans to make this into a feature film? I wanted to find out more about the world, and point of view of the characters, that you created. Bravo!

Geoff Hall Did the agent define "track record"? I've always wondered about this. I've heard that agents and managers either take recommendations from people in the industry who they trust or they scout, such as looking for successful playwrights, contest winners, etc. Very few seem to accept unsolicited submissions for consideration, and it can be discouraging.

Zareh Artinian, Jr. This particular webinar was with a manager not an agent. In my very limited experience,, managers are more open to clients without industry credits than agents. I never really got her to define "track record". However, in a very short exchange we had after, I believe she thought my Nicholl semi-finalists and my festival wins for my short were enough to qualify.

When I began my career scoring film and TV, I could not get an agent until I had a show. My guess is it's similar for writers.

Michael A. Levine Thank you for your response! I also attended the webinar and understood the difference between an agent and a manager. I actually tagged Geoff Hall in my question about the agent because he had written "I met with a Literary Agent, which was set up through Stage 32 and was told that no one would consider me for representation, because I didn’t have a track record." I am looking for both an agent and a manager at this time. I have had three plays produced and over a dozen short stories published. I was curious to know if this constituted a "track record" or if a track record meant I needed to win awards and / or have worked in film or television already.

Once again, congratulations on your work on Aspirant! It was a great short!

Hi Zareh, sorry, but once again tagging doesn’t work, but yes, he defined ‘track record’ as having sold a couple of scripts. Not how many you’ve written, but how many you’ve sold. It’s a business after all!

Zareh, tagging fail here, too. Thanks for your kind words about my short. The format of these kinds of boards makes linear conversation complicated. Sort of like having an overseas phone convo in which the other person is delayed a few seconds and you're always responding to the second-last thing they said!

Admin? Looks like David Kost was either hacked or is a bot. Can you delete?

Stage 32 deleted David Kost, Michael A. Levine.