Bottom Feeders and Goldfish

(written for ScreenTalk Magazine)

In every industry there are Bottom Feeders, and then ... there are Goldfish, those who prefer the light of the surface, avoiding the scummy bottom and murky waters. The film industry is no exception.

The big question? How does one differentiate between the two without swimming on the bottom and getting stuck in the mud? Have no doubt that cruising with Bottom Feeders will not only suffocate your career and reputation, but your creativity and self-esteem as well.

If you are a screenwriter, hoping to sell your work, then you are in the business of writing and must think like a business executive. I know that sounds cold, and might even take the thrill out of writing, but it’s the truth.

There is nothing wrong with writing to sell! What better way to make a living than doing what you love best? What is wrong is letting the intense desire to sell cloud your judgment and allow you to make disastrous mistakes. It is self-defeating to let desperation and frustration lead you down the wrong path for the sake of a sale.

Lets get down to the scummy "nitty gritty," so that when you take the dive into the market you will not become an aquatic Ostrich.

Production Companies and the Internet

The Internet has become a favorite method of marketing screenplays. Hundreds of writers offer log lines, synopses, and partials of their scripts on homepages. This method has proven successful for many writers and has garnered contact by producers and agents.

Perhaps Joe the producer has shown interest in your screenplay. That doesn't mean that you should package the script and send it Fed-Ex an hour later. Don't let the excitement of the contact overrule your common sense.

Find out who Joe the producer is before submitting your script, and don't be afraid to turn down a producer whose company you don't know. Better safe than sorry.

Fight the temptation to submit to just any producer who bats his eyes at you. No sale is better than attaching oneself to a lousy producer who will become a nightmare.

Do not send your material before you have researched the company. This means not only asking the producer questions, but asking other writers their opinion of the producer. It does not mean carrying on an e-mail conversation with the producer; it means talking with him on the phone.

Bottom feeders are masters of disguise and doublespeak. They are fast-talking flatters who use "blockbuster," and other stellar words, to describe the future of your screenplay -- and your career -- if you stick with them. They toss out industry names that are likely to impress you (and themselves). Instead, think of the word "hype." Joe the producer is hyping himself, and that is a definite warning flag.

A producer with real contacts -- real power -- does not need to impress you with anything but his quiet sincerity. No legitimate producer is going to divulge his contacts or tell you how much money he has in his discretionary fund (if he has one). No professional will tell you that he will make your career; only you can do that. Rather, he will express his enthusiasm like the professional he is, and will treat you in kind.

The "Big time" never comes with a Bottom Feeder

A Bottom Feeder will do his best to suck you in at any cost, and the cost falls on you. Everyone loves accolades and validation, but both should be genuine and not a means to an end -- quite possibly your end.

Everyone wants to sell his screenplay, but at what cost? A bottom feeder will offer you the world, praise you until the words become meaningless, and keep you on the hook for as long as possible. He will tell you about the "vision" he has for your script, the actors he will contact (undoubtedly all "A" list to impress you), and the myriad of plans he has for your future together. When the time comes to sign the contract suddenly all that is forgotten and he expects you to go for the ride and pay his ticket, while you are asked to defer payment indefinitely (probably forever). If things go awry, you are as expendable as the next screenwriter. After all, there are lots of suckers out there -- writers who will virtually give away their material for a chance at the big time. Desperation and frustration is the screenwriter's worst enemy.

Searching the Internet can be a very effective way to locate legitimate producers. Sites belonging to respected companies offer a tremendous opportunity to writers. Much to the ire of agencies, there now appears to be a trend to by-pass the agent to make direct contact with writers. These producers solicit log lines and synopses onsite, and usually get back with you very quickly. It is very important to follow instructions when submitting, otherwise your log line or synopsis may go unread.

These producers are Goldfish. They recognize that the Internet gives them access to a limitless supply of writers; writers who are very talented and need only an invitation to step through the proverbial door. The Goldfish recognizes that the closed-door policy of agents not only keeps talent from finding representation, but severely restricts the material available to production companies.

During your travels on the net, you may find company sites that are beautifully designed and inviting. But are they too slick? Read the "fine print" before submitting. Do you recognize the name of the company? Does the company offer a list of credits past and present? Do you recognize the titles? If you don't, then rent the films and decide for yourself whether or not this company is worthy of your screenplay. Check your resources!

Does the company call itself a production company, yet offer to critique or evaluate your screenplay for a fee? Don't fall for it. Working production companies are in the business of producing; they do not have the time or inkling to critique screenplays. Legitimate production companies do not ask you for money -- they offer you a deal if they want your screenplay.

"Production Companies" that offer a critique service are Bottom Feeders; the only thing they generate is money from your pocket, and possibly ideas from your screenplay. They will lure you with the possibility of optioning your script if it receives "good coverage". It won't. Why should they pay for your script when you will pay them to read it?

Young Companies/Start-Up Companies

What about young companies with no credits? Does this mean the company is a Bottom Feeder? Not at all. Everyone must start somewhere. Procuring and developing a screenplay(s) does not happen overnight. What is optioned today may not be produced for several years -- if it all. What matters is who helms the company.

Does they company have projects in development? Does the company have a film in production or post-production? Is the company about to release a film? What about deals? Are they negotiating with an umbrella company? If so, this is good news; it means that an established entity has faith in the small company. Such faith is earned and not handed out on a whim.

Remember, "young" does not necessarily mean inexperienced. Many young companies are staffed by highly respected film executives who have left a studio, or mini-major, in favor of their own company. Other "young" companies are off-shoots of established companies. These are definitely companies to query.

It is critical that the producer(s) has experience in the industry -- and I don't mean the mail room. Remember that you are a business executive. You are not only selling a product -- you are investing; investing your talent and labor which is the screenplay. Would you sell an invention to a company who had no experience manufacturing the product that you are offering? Would you go to a dentist who never went to dental school? Why sell your screenplay to someone who may know less about the industry than you?

A young company can be a Goldfish, and your screenplay can be "food" for the company -- helping it grow into a recognized entity that delivers quality films. In that case, you will have entered the company on the ground floor and will, in all likelihood, remain an important part of the team. They will come to you for the quality writing they demand.

Finding new or young companies is easy. Keep your eye on the trades; they announce executive moves daily. A good source of online information is http://www.inhollywood.com. Also check out daily The Hollywood Reporter and Variety.

Watch out for companies born in the backyard over a steak and beer, to eventually move into the "garage". A thought. A whim. "Gee, wouldn't it be cool to make movies." The only thing these producers have put into development is their desire to become "producers"; they have never worked in the industry, and wouldn't know a screenplay from a menu. These are the guys who pretend to be producers -- the guys who ask you to defer payment until the movie or video comes out -- if it ever does. These Bottom Feeders will promise you everything and deliver nothing, and make your life a living hell

Agency Bottom Feeders

There are hundreds of agencies from which to choose. Unfortunately, you don't get to choose ... the agency chooses you. Although the agent works for you, in effect you are "hired" by the agent. The agent (agency) will offer representation only after you have passed stringent criteria.

Large agencies are difficult to crack. If you are not an established writer, or referred by a client/producer, chances are they won't read your material. It is not for us to reason why, but to accept the fact we can't do a damn thing about it. All we can do is contact agencies that will consider "new" writers. This means wading through the lesser-known agencies and finding a Goldfish among the hundreds available.

Agency bottom feeders live beneath the mud. They walk the walk, talk the talk, but they don't have a clue what they’re doing. And, yes, some will even lie about the clients they now have, or worked with in the past.

If an agency claims to be representing (or in the past) a major writer, check out the validity of the claim. If you cannot contact the writer directly, call the WGA and ask the name of agency that represents him/her. Surprise; it's not the same agency! What now? Call the current agency and tell them that X agency claims to have represented Mr. Writer in the past and you wish to verify this. You know what to do if the claim is false.

Some Bottom Feeders will demand payment for an evaluation to consider your material. Don't do it. I can almost guarantee that you will be not offered representation in the end. Why bother trying to sell material when you can make a living "considering" manuscripts? Or, they may offer representation provided that you rewrite first -- with their help of course. This help will be expensive and probably on going until they release you as a client, or you fire them for non-performance.

Other Bottom feeders will insist that an editor review your material before they will consider it. They will refer you to an outside company, who will charge an horrendous amount for their services -- giving part of that fee to the agent as a kick-back. In most cases the writer ends up with a light wallet and nothing to show for it.

Most aspiring screenwriters will begin their career with a small agency, or perhaps an independent agent; there is nothing wrong with either, as long as they have experience and contacts. No matter where the agency is located, the longer they have been in business the better. Agencies that are not selling do not last five or more years. Ask questions. Those who have nothing to hide will be forthright and happy to talk with you.

Undoubtedly you have read solicitations for screenplays in the trades. Be very wary. Most ads do not contain a name and address for the company, merely a P.O. box number. Now, why would you send your screenplay to a box number?

I know a writer who replied to such an ad. He received a reply sans a letterhead, without a phone number, and without a physical address. Sure, send the script, they replied. Who are these people who will not reveal themselves?! And why would you send anything to them?

Sure, legitimate companies can and do occasionally solicit screenplays in this manner. However, be assured that they will reveal themselves when you contact them. Do not send your script before talking with someone at the company.

Bottom Feeders look out for themselves. They do not care about you; you are a means to an end to them. They prey on the vulnerable and the inexperienced, and the Internet is the perfect place to find their "food." Hidden within the Ethernet, you neither see their face, nor hear their voice, while they pitch themselves with fervor until they believe their own lies. They are masters at deception.

Goldfish are the producers and agents who honestly care about you, and, yes, they do exist. They will not rape you. They treat you with the respect you deserve. They recognize that the screenwriter is not just a supplier of product, but a human being who has spent hours developing, writing, and polishing that product; a product that is very near and dear to his heart.

Goldfish nurture talent and will go to bat for those they believe in.

Before you make a move in marketing, check out as many resources as you can. Talk to other writers and join screenwriting e-mail discussion lists. Frequent sites that cater to screenwriting, offering advice and other resources.

There are also books available that list producers and their credits.

Remember, don't associate with any producer that gives you the willies. I know, it's only common sense, but then why do so many writers jump in head first ... like an "aquatic Ostrich," and later complain they got screwed. This is your career, treat it tenderly and with respect.

Previously published in ScreenTalk magazine.