HELLO!

This new blog series, REPS 101, was inspired by you, the reader. So, over the next few weeks we will be discussing "literary representation."  I get questions about representation ALL THE TIME, so I figured we should discuss it.

​"Hollywood," and the business behind the industry, can be very confusing, and I want to help demystify the realm of representation for you. So, today we will discuss Literary Agents and Literary Managers and how they do similar, yet totally different, things for their clients.
​But let's start with the basics by defining the role of each. Shall we?

The similarities of Agents and Managers:
So both Agents and Managers "represent" their clients, and here are the roles that can overlap between both types of representation:

• Both Agents and Managers will read your scripts.
• Both Agents and Managers will pass your work along to producers and studios.
• Both Agents and Managers can make introductions/get meetings.
• Package your script with other talent within their agencies.
• Offer expertise and knowledge about the industry.

So there you have it: now you know specifically what an agent can and can't do, and what a manager can and can't do.  This was a very basic explanation and I intended it to be as such.  But I hope you found it helpful! And remember, over the next few weeks, we will get in much deeper and cover the following questions asked by you, the loyal reader: 

1. Do you need an agent, a manager or both?
2. When are you ready for representation?
3. Where do you meet these elusive representatives?
4. How long does it take to get representation?
5. I've tried to get representation for a long time with no luck.  What now?

I know that seeking representation can be tiresome and exhausting.  But listen, as cheesy as it sounds, don't give up!  Keep writing, keep learning, keep networking.   It takes a lot of effort, a lot of patience and a lot perseverance!  And that's the truth.  You have to have a drive.  You have to keep going when you think you can't.  And you need to possess the maturity and grace to know when you may need to go a different direction.  But, it is possible.  It can happen.  It does happen.  And it CAN happen for you!

So come back to continue furthering your education on the world of representation and what it can mean for you and your career. We will set goals!  Make a plan!  Talk about the intense stuff.  Don't miss out.  Until next time!

Happy Writing!

Whitney
"Everyone has a story.  Write Yours."

Summer is upon us!  If you take your writing seriously {or would like to anyway} and have the budget available,  you've hopefully carved out some time to attend a conference or pitch event (such as the Writers Digest Conference in NYC or The Fade In Hollywood Pitch Festival  in Los Angeles, both held in August) this summer!  It is also a great time to work on your marketing materials for your creative projects.

This is going to be a super detailed, and hopefully useful, post (aka RANT) about the piece of paper known as "the one-sheet." It has other aliases as well: one-page, leave-behind, etc, and we will discuss it in depth today.  I think this information is DEFINITELY useful for  screenwriters and novelists alike, because listen up novelists: you never know if you might want to pitch your book as a movie or TV series one day.  It could happen.  And honestly, I've seen novelists create one sheets for their books!  So, you need to know this stuff.  It's always good to be educated! ☺️

If you're pitching your work this summer in hopes of finding representation (an agent, manager, et. al.) or creating buzz for your project, you might have some questions:

• I hear about this thing called a "one-sheet"...what is it?
• If I decide to make a one-sheet, what should it look like?
• What information should be on my one-sheet?
• When I pitch, should I bring the literary agent, producer, or manager my one-sheet?  
• If I bring it, should I actually LEAVE it with them?

So many questions...

So, let's get to the basics: 

1. What IS a One-Sheet?  

A one-sheet is just that: it's one sheet of paper (sometimes double-sided) that serves as marketing material used to pitch your feature film, TV series or book.  It's kind of like a query letter on steroids, but it's not actually a letter. A one-sheet is so much MORE, often times because it's visual, like a mini-movie poster.

2. What SHOULD it look like?

A one-sheet can actually come in any size, but in my opinion, a one-sheet works best as a standard 8 1/2 by 11 sheet of paper;   you'll most likely need the room for your information anyways.  {And let me tell you, as a manager/consultant, it's much easier to lose a half-sheet of paper than it is a full one!} People create all sorts of one-sheets (in terms of creativity) but here is the bottom line: Make it easy to read and visually appealing.  

"Well, that's a subjective statement," you say. "Everyone has differing opinions on what's visually appealing."

And yes, that is true. And unfortunately, a lot of what happens in the entertainment industry/literary world is subjective because that is the nature of creativity. But again, here is another bottom line: Less is more when it comes to the one-sheet, but don't leave out the basics (listed below).  Keep it simple, concise and easy on the eyes.  

3. What INFORMATION should be on a One-Sheet?

The basics:

◻️ YOUR NAME, NUMBER, & E-MAIL (usually in one of the bottom corners.) If it's double-sided, I would put it on both sides in the same location on the page.  That way, no matter where a person looks, they'll see your name.

◻️ TITLE OF YOUR SCREENPLAY - This should be bigger than everything else.  And never underestimate a catchy title.  

◻️  LOGLINE- if you need help with a log-line, there are plenty of resources.

◻️ GENRE of your project

These are the basics and I feel all of this should be on the "front" of the sheet.  I'm actually a big proponent of the double-sided one sheet, because it doesn't crowd everything out.

If you want, please include the following, BUT make sure it is really well done.

◻️ A very brief synopsis of your project (usually 8-12 lines max). But remember,  do NOT give the ending.  Leave them wanting more.

◻️ If the work has garnered any awards or attention, MENTION THAT!  Tell them if you're a Scriptapalooza Semi-Finalist or a Writer's Digest Short Story Award winner or whatever.  It will add some credibility. 

SO, now that you know what a one-sheet is, what it should look like, and what should be on there, let me give you the skinny on these suckers.  And I'm gonna be really honest here. THERE ARE NO RIGHT ANSWERS!  You will search on the interwebs about "One-Sheet Etiquette" and you will hear a BILLION different things.  Before here is my two cents.

4. Should you have a ONE-SHEET for your project?  The answer is YES. YES. YES. YES.  

• If nothing else (and even IF you never showed it to anyone), it's an excellent exercise and can't hurt.  It will certainly help to hone your pitch.  And, if it helps you boil your script down to one page, why not? As Albert Einstein once said, "If you can't explain it [being your story or concept] simply, you don't know it well enough." So, it's essential to have your story honed to a few simple statements...and...
• You will be ASKED for the one-sheet eventually. Most likely, anyways.  And as a manger, I certainly appreciate them.  But,  did you pay attention to that?  You will be ASKED for it!  So, let's dive into the choppy waters of one-sheet etiquette.

Disclaimer: These are just my opinions and personal preferences, but I would still say 'tis decent advice and as close to the truth as you're gonna get.  So, take it or leave it, but I speak the TRUTH! {in a balanced way}

5. When you pitch (at a pitch event, or to a manager, or to a producer at a studio) should you bring your one- sheet AND should you leave it with them?
The quick answer to this 2 part question is YES, but with a few obvious caveats.  It truly depends on the situation, the person, and your relationship with them, but let's go over a few tips. FYI: there is nothing wrong with bringing your one-sheet to a pitch. {It shows you have prepared and you care}. BUT HEAR THIS:  If the person you are pitching does not take it, do NOT despair. Keep reading to find out why!

Here are some examples of what to do in several pitching situations:

• At a Pitch Event?  Lay your one-sheet down on the table {as you start the pitch} to show you have it, but don't necessarily hand it to them. But what if the person listening to your pitch picks it up off the table?  No problem. But let the person hearing the pitch make that decision.  The word on the street is that you shouldn't hand out your one-sheet at the beginning of the pitch, for fear that they will be distracted by the sheet and not listen to you. BUT HEAR THIS!  YOUR VERBAL PITCH SHOULD BE SO PASSIONATE AND CAPTIVATING that THEY CAN'T HELP BUT LISTEN!  So, as I said, leave it on the table.  If they pick up, so be it.  No big deal. At the end of the pitch, offer to leave it with them OR to send it to them via email.  And let them decide.
  • This is the only situation I would OFFER to leave a one sheet.  And if they don't take it with them? That could be a good thing because you've saved a little money. Additionally, if they request that you e-mail them a copy, you have a much greater chance of cultivating a relationship with them.  Which is a good thing.
• If your pitching a manager or agent and it's an informal coffee mtg where you are getting to know one another?  Go ahead and show them your one sheet!  I love to look at one sheets with my people but I have usually already established a relationship with them at this point so it is much more informal. So, I see no problem handing it to them from the beginning. But, don't offer to give them your one-sheet.  Most likely, they'll take it with them or make it known if they are interested in the work.  If they hand it back, play it cool and just follow up with a nice e-mail.
• If you are pitching a producer at a studio or company?  This is a tough one, honestly. It is truly up to you and how you feel based on your relationship with this producer. My advice is bring the one-sheet with you, but keep it in your bag or briefcase  and bring it out ONLY if they ask for it.  If they ask for it, give it to them.  But, if you decide not to bring it, just offer to e-mail it them and do so quickly, within the week. 

BOTTOM LINE:  The person you are pitching will let you know if they want to keep the physical copy or how they want to receive it.  Don't be bummed if they don't take anything.  It doesn't mean they hated your pitch.  It means they are drowning in papers already.  And never forget to send a nice follow up letter or e-mail after you have pitched someone.  That in itself can go a long way. 

Finally, some major no-no's:  

• Never push your one-sheet on any one.  Wait until they ask for it.
• Never have a one-sheet be more than one page.  Double-sided is fine, but anything beyond one piece of paper is considered to be a treatment.  Don't do it.  Additionally....
• Never hand them more than one pitch, a.k.a. do NOT hand them 5 one-sheets at once, or give them a one-sheet with 5 different projects on it.  It is overwhelming and it will kill your pitch.  Pick one project and pitch it.  If the agent/manager/producer doesn't like the project you pitch but they happen to like you, they most likely will ask if you have anything else (and you should have a back pocket project, by the way) and you can politely say you would be happy to send them information on what else you have.
• Never put a picture of a famous person on your one-sheet or give casting suggestions in your pitch.  It screams amateur.  That is what a casting director is for.  And if they were to ask you who you see in the role, flip the script and politely respond, "You know, I've thought about it a little bit, but now that you've heard the pitch, I would love to hear your suggestions."  TRUST ME ON THIS.  They want to see that you're collaborative.

And finally, let me leave you with this.  Use your one-sheet to go beyond simply telling people about the dreams you have for your movie, TV show or book...use it to show them the dreams you have for your concept.  Be creative.  You've got this.

If you have any questions, please feel free to contact me.  OR if you would like an example of a one-sheet, I'd be more than happy to share that with you. One-sheets can be very daunting, I know, but it is a very essential skill to learn.  Until next time...

Happy Writing!

Whitney
"Everyone has a story.  Write Yours."

Dear Creative-

Let's just say what everyone already knows.

Being a creative person- an author, a screenwriter, an actor, a singer, a painter, a dancer- is HARD.

There is no other way to say it: plain and simple. Yet, this HARD thing that your soul yearns to partake in is also what makes you so, so HAPPY and provides so much JOY. Oh the torture of being a creative soul!

Like anything in life, nothing comes for "free." There is always a risk involved, always some sort of sacrifice. But, in the creative world, I think there comes a point where you reach a breaking point. You love this thing that feeds your soul and gives you fulfillment...but you also yearn to have recognition for it. You want others to recognize how much it means to you. You want to make an impact. You ask the question...DOES THIS CREATIVE ENDEAVOR MATTER? WILL IT EVER MAKE AN IMPACT?

Well, let me ask you this: Is your creativity POSITIVELY impacting YOU ?

If it is {and I hope it is}, and if it makes YOU happy...then to be honest, you HAVE achieved your goal.

"But, that's lame," you say.

I get it. You want others to participate with you- to laugh, cry, to experience - this "thing" you have created. And they will, even if it's your best friend. But here is the thing. Creativity is subjective. And you've heard it before. You will and can not make everyone happy. So, you need to worry about yourself and how it impacts YOU.

You've heard the cliche phrase, "Dance like no one's watching." And as cliche as it is, I totally agree with this.

When you participate in this kind of activity, of creating when no one's watching, you are uninhibited, you are free, your creativity knows no bounds, you aren't doing it for anyone but yourself. This is when the magic truly happens.

So, if you are wanting to give up because you haven't achieved a self imposed HIGH ENOUGH level of success, stop it. Stop thinking that way and listen to me: I don't care if you haven't gotten a book deal, or an option on your screenplay or had your art displayed in a prominent art gallery.

Hear this: Your voice, your dance, your words, your art, your everything MATTERS. And if it makes you happy and brings you joy {when you aren't filling your brain with the junk and muck of where you think you should be, or comparing yourself to to others} then keep on doing it.

Don't dance for the fame, don't write for the money, don't paint for the recognition. Do it because you love it. Push yourself to be better than you were the day before.

But don't let the lack of public recognition drag you down and here is why:

Putting unrealistic expectations on yourself (i.e. wanting to be the next J.K Rowling or whatnot) can seriously kill your creativity. It can stifle you. It can paralyze you before you even take a step. It can create a block that is very, very hard to move. So many people don't even begin things because of this.

Think of what you could achieve if you truly threw what everyone else thought out of the window? Umm...wow.

So, do not give up. Be creative because you love it. Keep your aspirations, keep your goals, and go for them. But, keep your perspective to. Develop a thick skin for when others tell you to quit. Know in your gut that your perspective is solid - that if it's a creative outlet that fills your soul, then that's enough. And forget the rest. You may be surprised by what happens when you drop the layers of expectations you (unknowingly) put on yourself to succeed...You may just break through and shine. But even if you receive acknowledgement and fame...creativity will always be a struggle and it will always a bit messy. Just be sure to enjoy the mess you're in. The price {or sacrifice} of being a creative is worth it if it truly makes you happy. Remember that.

Happy Writing!

Whitney
"Everyone has a story. Write yours."