Dear Hollywood
Scriptwriter:
I operate The Gary-Paul Agency. We
promote screenplays to the film and television industry. The first two
years in business I operated out of Los Angeles. I now conduct business
in Connecticut. In those first two years I found it difficult to submit,
let alone sell scripts to the studios. I could not package "talent" with
the properties I submitted. As a result, a year ago I changed my method
of operation and have made great progress.
The key to this progress is that I now focus my attention on selling
scripts to independent producers. This market is better than ever right
now, and is growing each day. Unfortunately, independent producers are
usually not Guild-signatories, and therefore develop or purchase scripts
from non-union writers. And, 99% of the scripts I receive come from
first time writers--- so I'm going after the most promising market.
Because most of the submissions I get
are from first-time writers, many scripts come to me needing work. In
fact, I have yet to receive a script that is presentable "out of the
box." My job is to work with the writer through rewrites so the script
is presentable. Most of the time it is an involved process that in the
past had cost me a small fortune. I almost went out of business because
I couldn't afford the phone calls and other expenses incurred in running
an agency.
I get 10% of a script's selling price.
At one time that was all I would earn. I don't represent (actors), I'm
strictly a literary agency. Competition and the fact that over 50,000
scripts are registered each year with only several hundred or so
produced makes the selling of a script extremely difficult. Therefore,
the only way I can stay in business is by offering my talent as a script
consultant.
Each script that is submitted to the
agency carries a consultation fee of $450.00. The writer and I can
usually work out script problems the first time around. Most script
problems arise out of misguided information about form and formula.
Nevertheless, once the final draft is secured, a solicitation mailing of
150 to 250 letters is conducted which can yield requests of fifteen to
twenty copies per title. Solicitations and mailings will continue until
both the writer and I are satisfied that we have covered all possible
contacts. The way in which I work gets results because I believe that
there is no such thing as a poor story only poor story telling.
I have yet to have a writer complain or
in any way feel robbed, cheated, or let down by me. I offer a quality
service at a reasonable price and follow through on my claims. If I did
not live up to these claims, I would be out of business. So my question
is: am I doing something unethical or wrong?
In defense of the agency, our method of
business is correct. My partner and I work long hours to satisfy our
writers. What we do is not unethical or wrong, it's hard and honest
work.
Well, I stated my position. What's
yours? Let's debate the issue.
Gary Maynard
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