Spec Scripts

In my last blog entry, I focused on managers and agents in a general sense. I had mentioned some actor friends of mine, who had some experiences dealing with different agencies and managers. However, since then I’ve been lucky enough to have my eyes opened to one aspect that I had not thought of. And I met someone willing to shed a little light on the world of writers for film and TV and the road they take to find some kind of representation or management.

I had previously stated that to earn their 15% the agent has to do all of their work before you even do yours. This fact is true of artist managers. And in the case of acquiring the management, they usually need to have done some work prior that would move the agent to want to sign said person, either that or they have to audition in person. The process is much different for a writer. One could say that this process of acquiring a manager is much more of an uphill struggle.

My writer friend clued me in to the process. You need to have at least three spec scripts to turn in. Our fine friends at Wikipedia define a spec script as scripts by writers who hope to have a script optioned and eventually purchased by producers or studios or by amateur writers hoping to convince a literary agent to represent them or a producer to hire them.

And if you want to write TV and film? You need to have three spec scripts in each format. This of course makes sense, because an actor can act on the spot in an audition, but the writer needs something to stand by. Quick wit and clever spoken quips are not enough. So unlike actors, you find yourself doing all of your work up front, and even then there’s a very good chance that they will not like your work or style. And then you’re left with a handful of scripts and no agent or manager. Let’s thank the skies that we are not all writers.

For more information you should all check out "Tales From the Script" available streaming instantly on Netflix!

Management and Representation

Management and representation in the entertainment has become a necessity. It has become a sign of making it, or getting your foot in the door, especially in the film industry. From an actor’s stand point, most casting offices will not even look at you if you do not have some form of representation. Larger scale productions do not even have open casting calls, rather they send out casting notices to specific agencies. For the same reason why actors work hard and strive for an agent or manager, studios looking to cast their movies or TV shows are looking for quality and a certain caliber. Agents and managers represent a certain assurance that no one is wasting their time.

But I don’t mean to paint a negative light on managers and agents. Their standard 10 to 15 percent does not come with out its benefits. Once under the guise of management, you have an extra set of eyes and ears on the look out for you. Because after all, they don’t make their 15% if you don’t make your 85. Essentially you don’t do any work until they’ve done most of theirs.

Owning part of my own production company, my relationship with a prospective client or actor’s management and representation comes down to negotiation. They want what’s best for their clients, and to some extent for themselves. This negotiation process ensures everyone is taken care of.

My network, here in Orlando, has led me to have many conversations of the pros and cons of managers and agents. Mostly coming form up and coming actors who are at the mercy of their agent’s willingness to send them on top tier auditions. Agents with a smaller scale of clients will often be sending many young actors out for the same role, hoping that something sticks, and this is the part where it becomes a little tricky, when your benefits aren’t being weighed as much as your manager’s.