Thanks for this insightful and well-timed article. Since you touch on the issue of authorial representation (literary agents), vs, non-represented authors, I would love to get the input of any writers who are in these modern times still getting an agent and, if considering screen and theater adaptation purposes, are you finding a single agent who also specializes in the kind entertainment law changes that affect film rights. Technology seems to be proceeding apace and things like the writer's strike in Hollywood, AI and so on have kept me confused about the lay of the land going forward, from a likely business sense. Thanks again for the great article.
Chris, I’m glad I could help. Also, I’m planning an article about literary representation in the coming weeks.
Truth be told, there are many ways to “break into the bank” so to speak when it comes to film & TV reps. For a new writer in film & TV, getting a manager will be easier than getting an agent. Agents in that realm are looking for writers with a proven track of optioning/selling scripts. A manager is there to help mold the overall arc of your career. Both typically have legal departments that make sure the latest changes in entertainment law are reflected in the contracts of their clients. There are several third party legal groups that work with writers directly for this too.
I wouldn’t feel so concerned about changing technology since, well, that’s what technology does. Check out the WGA’s website (https://www.wga.org/contracts/contracts/mba) where you can see exactly what was negotiated for in this area during the strike.
Thanks for this insightful and well-timed article. Since you touch on the issue of authorial representation (literary agents), vs, non-represented authors, I would love to get the input of any writers who are in these modern times still getting an agent and, if considering screen and theater adaptation purposes, are you finding a single agent who also specializes in the kind entertainment law changes that affect film rights. Technology seems to be proceeding apace and things like the writer's strike in Hollywood, AI and so on have kept me confused about the lay of the land going forward, from a likely business sense. Thanks again for the great article.
Chris, I’m glad I could help. Also, I’m planning an article about literary representation in the coming weeks.
Truth be told, there are many ways to “break into the bank” so to speak when it comes to film & TV reps. For a new writer in film & TV, getting a manager will be easier than getting an agent. Agents in that realm are looking for writers with a proven track of optioning/selling scripts. A manager is there to help mold the overall arc of your career. Both typically have legal departments that make sure the latest changes in entertainment law are reflected in the contracts of their clients. There are several third party legal groups that work with writers directly for this too.
I wouldn’t feel so concerned about changing technology since, well, that’s what technology does. Check out the WGA’s website (https://www.wga.org/contracts/contracts/mba) where you can see exactly what was negotiated for in this area during the strike.
Keep writing and keep the faith!👍🏾
- Dustin
Great job on the article, Dustin! It's nice to have someone with a bit of insider knowledge sharing that with the Fictionistas community.
Looking forward to sharing much more!🙏🏾
Thanks Dustin for all of this useful information.
Glad I could help!
Another great and FREE (last I checked) online screenwriting tool is ArcStudioPro.com!
Arc is great, and I've used Highland for many years: https://www.highland2.app