PrimeTime: How Do I Get An Agent? – Part One

Aaaah … after a week  off — I’m back!

First of all, a huge thank you to Zac Sanford, Jamie Livingston, Gray Jones, and Vivi Anna for a wonderful time at the TV Writer Chat a couple weeks ago, where I was the special guest.  I had no idea what to expect, and it was a blast … so double thanks to everyone who participated and asked questions — you guys made it a super-cool, terrific hour — THANK YOU, and I hope to do it again some time!  If you missed it, we covered everything from why it’s not usually valuable to create a bible … to what specs to write … to whether or not you should shoot a pilot on your own — and you can read the entire transcript by clicking HERE!

Secondly, I wanted to kick off this week with another quick plug for this coming weekend’s TV/Film Summit here in L.A. (June 25-26).  This should be a tremendous two-day event.  The first day focuses entirely on the craft, art, and business of television… I’ll be speaking alongside Ellen Sandler and Jen Grisanti.  The second day focuses on film, with classes from Chris Vogler, Linda Seger, and Dov Simens.  So if you’re in L.A … or can get here … check it out — it’ll be a jam-packed whirlwind weekend, but well worth it!

Anyway, today’s question, which comes from several people, is about agents.  I get asked about agents a lot, and some questions are more specific/focused than others, but this week I thought I’d hit on the big one … how do I get an agent?

Jason writes …

How do I go about getting an agent?  I realize there is no hope of even being looked at for staff without representation.  But … I’ve heard query letters don’t do a thing.  So not really sure what I can do on my end to make writing for a living a reality.  Any advice on this matter is greatly appreciated.

Theo writes …

I have a super idea for a reality show, along with ideas for the episodes. How do I proceed? I’m probably going to want to contact an agent with strong ties to reality TV producers. How do I locate good agents?

And several weeks ago, Steve posted in response to my April 4th blog, “Am I Too Old To Become a Screenwriter?”…

My personal story is that of a lifetime artist … who got tired of writing job proposals. I finally overcame my writing blocks and turned out … a pretty decent movie script. So — now what? I need an agent and a WGA card?

I want to answer this as a two-parter.

How do you make yourself attractive to this guy?

This week, we’ll focus on how to make yourself attractive to agents and representatives.  Next week, we’ll talk about the delicate art of asking agents to read you, represent you, etc.

First, a disclaimer: This is a TV-writing blog, and as someone who’s spent his whole career in television, I can only speak to getting an agent in television.  Feature lit is a different world entirely … and a world I don’t work in … so I can’t speak to that.

Also, before we discuss how to get an agent, it’s important to be on the same page about what agents do … and what “tools” you need in order to be hire-able in television.

I wrote about this in greater detail in my February 3rd post, “Does Having an Agent Allow You To Live Outside L.A.?,” so I won’t rehash it all now. But I think people often misconstrue what agents do — and how they do it — so I’d recommend clicking HERE to read that first post, then coming back.

So understanding all that, there are three basic ways of landing a TV lit agent:

  1. Through personal connections and relationships
  2. By getting yourself a job
  3. By creating a property with marketable value

Here’s how NOT to get an agent:

  • By sending your scripts, unsolicited, to agents you’ve never met (even if the Hollywood Creative Directory says they accept unsolicited submissions)
  • By sending query letters (these go directly into the trash)
  • By cold-calling

Theo — I say this because simply having a “super idea for a reality show, along with ideas for the episodes” is not enough to attract or entice an agent … even if your reality idea is brilliant.

People think these cold-calling, querying, etc. are viable methods … and when they don’t work, writers tend to think they’re simply doing something wrong.  If they just knew what to put in the cover letter … or who to send it to … or how to describe their TV show idea … or some other “silver bullet,” they could land an agent via a cover letter and submission.

But the truth is … YOU CAN’T.

These methods DO NOT WORK. They will NEVER work. Using them will be a waste of your time, energy, and money.

This doesn’t mean that as someone trying to break in and get your first job … or sell a TV show … you can’t get an agent; it simply means you need to understand how the process works — and that it often take a bit longer than simply “contacting an agent.”

So let’s take an up-close look at methods that do work …

1)  Using your own personal connections and relationships.

I began working with my current agent, Lindsay Howard at APA, six years ago. At the time, I had spent the last few years as a development executive at the Littlefield Company, a production company with CBS-Paramount. A reality show I’d developed, Foody Call, had been picked up to series at Style Network, and I was transitioning from being an executive at Littlefield to producing Foody Call with Warren, my boss, and the two showrunners we’d hired.

I figured I needed a new agent. (My last agent had left the business, and since — as an exec — I didn’t have much need for representation, I had gone unrepresented for a couple years.)

So I called three or four agents I knew through my work with Littlefield and liked.  Tom, an agent at APA, brought me in to meet the rest of the APA team. When I sat down with everyone, Lindsay — whom I’d never met — and I just clicked. She became my “point agent,” and I’ve loved her ever since.

Now, my pre-existing relationship with Tom (and a couple of the other agents) did four things:

A)  It moved my material to the top of their reading pile. Agents receive thousands — literally thousands — of submissions ever year.  More submissions than they could possible read. So they prioritize, and because these agents had known and worked with me, my material moved to the top of the stack. (You can learn more about how agents and execs prioritize their reading by clicking HERE and reading my January 7th post.)

B)  They knew my qualifications: my work and experience. An agent trying to get anyone a job must know he’s working with someone able, productive, and professional … and it often takes more than just reading samples to know this. A sample can illuminate your talent, sure, but it doesn’t always speak to your professionalism, your productivity, your ability to get things done.  This is especially important for people like Theo, who want to be show creators and sellers. Selling a TV show involves much more than simply having a show idea; production companies and networks need to know they’re buying from someone capable of actually running and producing a show … and this is NOT something that can be done by a newbie with no experience. Yes, networks or production companies can pair you with a showrunner, but they still expect and need you to be heavily involved. Thus, agents only consider people who have the actual qualifications to staff or sell — and having a strong sense of this usually involves more than just hearing a stranger’s idea; it often means knowing him or her personally.

C)  They knew I had professional relationships. As we discussed in the February 3rd post, scoring TV writing jobs is not just a meritocracy based on talent. You have to be a talented writer, yes … but you also need professional relationships. Because APA had worked with me (and knew most of the other people I had worked with), they felt comfortable that I had a decently sized network of contacts to make me hire-able. Even the industry’s strongest agents rely on their clients’ lists of personal and professional relationships, so agents need to know you have a network. If you don’t, it’s nearly impossible to staff or sell you.

 

D)  They liked me. This is more than just friendship and cronyism. You might write brilliant scripts alone in your office, but TV writing is a highly collaborative, social endeavor, and execs, producers and showrunners need to know you’re “good in a room.”

Sally Field Oscar Speech

Not the only reason Sally Field got an agent… but one of them.

Writing staffs spend 10-14 hours a day together, jammed into tiny writers rooms. Scripts are often written, and rewritten, by entire groups working together under tight deadlines in pressure-cooker environments.  As you move up the ladder, you will be expected to supervise and collaborate with directors, designers, actors, and on-set crew. As a showrunner, you may spend almost no time writing at all — much of your energy will be spent managing people and departments!

Thus, interpersonal skills are imperative to a being a successful TV writer, and agents need to know they’re representing someone who’s got a great personality, a sense of humor, patience, adaptability, and all the other qualities TV writers need.

These three reasons are why it’s pointless for an agent to sign someone off an unsolicited submission, query letter, or cold call.  Even if the script is good, a quality script is only half the battle … the agent must know the writer has connections, is good in a room, etc.  And it’s impossible to ascertain this from a letter or phone call.

What you can do: Put yourself in a position where you can meet and form relationships with working TV lit agents.  Ideally, this means being in Los Angeles (or, second-best, NYC) and working in the industry. You could be an assistant, a PA, an intern, a publicist, a runner … anything that allows you to begin meeting people and forming connections.

If you don’t currently live in L.A., and you’re serious about a TV-writing career … MOVE.  If you can’t move, get a job wherever you are that puts you as close as possible to the action. Take a job at a network affiliate TV station; these places have incredibly strong ties to their parent networks, advertisers, local producers, etc. Work at a professional regional theater, and make it your mission to seek out TV agents who may represent TV writers that have playwriting experience. Volunteer with a film festival where you can begin networking with filmmakers, writers, directors, producers, and agents.

In short, put yourself in a professional position — wherever you are — that allows you to begin networking. Here are two previous blog posts laden with valuable job-hunting information:

•  April 12, 2011 – Getting Your First Job in Hollywood

•  December 10, 2010 – How To Break In If You’re Not in LA

2)  Get yourself a job.

Jason, I actually disagree when you say, “there is no hope of even being looked at for staff without representation.” Many baby writers don’t get their first gig through an agent; they get it through their own contacts and relationships … often by being a writers assistant and getting promoted onto the staff.magnifying glass calssified ad

Now, landing a job as a writers assistant is often just as hard and competitive as getting an actual writing job, and — again — it means having strong relationships. But writers assistants do get promoted … and they also write freelance scripts for shows they work on. (TV shows that have been on air for more than a season are required to give two freelance scripts to writers not on staff … so these often go to the writers assistants.)

And because breaking a baby is such an uphill battle, even for the most powerful representative, agents look for young writers who have already gotten their own first job … or are in a position to get their own first job (as a writers assistant, a showrunner’s assistant, an EP’s assistant, etc.).

Plus, agents are interested in writers who can earn money … and there’s no better way to convince someone you can earn money than by earning money.

Not to mention — work begets work. You appear more valuable to employers if you’re already busy and employed somewhere else. No one wants to hire the guy who’s been sitting on his duff, twiddling his thumbs; everyone wants to hire the guy who’s busy, in demand, constantly working.

What you can do: Get a job that’s a strong stepping-stone to a staff job: a writers assistant, a showrunner’s assistant, an EP’s assistant, etc.  Again, this means living in L.A. or NYC, starting at the bottom, working your way up.

If you can’t do this … get a job writing wherever you are.

Become a news writer for your local affiliate station. Seek out local interest shows that may need writers or producers. Become a journalist for your newspaper … and, if possible, the TV or film critic, a job that could allow you contact and interview working writers, producers, agents, execs. These jobs may not help you build the required network of contacts, but they will allow you to build some cachet as a working writer … and that’s attractive to agents.

In short, agents want writers who can earn money … so if you want to be attractive to agents, you need to land yourself a job that suggests you are, or soon could be, earning money as a working TV writer.

3)  Create a property with marketable value.

Agents need writers and properties they can market or sell, and while this is much much much easier said than done, you may be able to attract representation if you create something with real marketable value.

This does not mean simply writing a script you believe is “worthy” of selling.

This means creating something that generates visibly tangible value (read: “significant dollars and/or eyeballs) … and then trying to attract an agent.

The Whitest Kids U Know

The Whitest Kids U Know began as a college sketch group touring New York comedy clubs. They began generating a large, rabid fan base … and eventually scored a TV series on IFC. They’re now repped at APA.

Mindy Kaling, currently a writer-producer-actor on The Office, burst onto the scene when she co-wrote (and starred in) Matt & Ben, a stage play that toured the country, received rave reviews, generated real box office receipts, and gave Mindy a spotlight as a writer and actress. She eventually signed with UTA.

Maxim writer Justin Halpern’s Twitter feed, Shit My Dad Says, racked up over 700,000 followers to become the basis for CBS‘s 2010-2011 sitcom, starring William Shatner and produced by Halpern. He’s now repped at ICM.

I often talk to writers who say they have 10 episodes of a Web series they want to sell. But simply having a work, even a work that exists in an accessible space, like the Internet, doesn’t give it value. It must prove it can generate a significant number of viewers and/or dollars. It wasn’t Justin Halpern’s hilarious Tweets that earned him a sitcom deal … it was his 700,000 followers — developed in less than a year.

Obviously, these people are exceptions to the usual rules. But as a writer-producer, your job is to be constantly writing … and if you do create the next Matt & Ben or The Whitest Kids U Know, agents will come knocking.

What you can do: Be constantly writing, creating, pumping out new material … and getting it in front of audiences. Sketches, plays, books, shorts stories, articles, local reality or game shows … anything you can put into the world to gather an audience and generate dollars.

Write a successful play, produce a festival-winning film, sell and publish a hilarious memoir. Or …

Become a stand-up comic like Wanda Sykes, who used her stand-up to land a TV-writing job on The Chris Rock Show before becoming famous as an actor and performer (she’s now repped at WME). Found a satirical newspaper like The Onion (now represented at CAA). Invent creative ad campaigns, like GEICO’s Cavemen commercials, created by Joe Lawson, which went on to be a short-lived ABC series … and launched Joe’s TV-writing career; he’s now repped at WME and writing on Modern Family.

Not the most direct path to an agent, but he might get you there.

Again, this path is much easier said than done … but create a property that proves to have real value, and Hollywood representation will come calling. In fact, I don’t believe you can follow this path because you hope it will bring you representation; I think you follow this path only because you’re burning to write or create whatever it is you feel compelled to create. The focus must be on the work … and creating a work of quality and passion … not eventually landing an agent.

In other words, I wouldn’t recommend this path because you think it’s a quick, easy shot to a “career”; most people’s work never produces the kind of attention necessary to become Cavemen, The Onion, or Shit My Dad Says. You have to be writing and creating because you love it … you love the process, the struggle, the thrill of seeing your work come to life … not because you’re strategizing a career and believe this is the most probable path.

The most viable path is to be constantly writing, creating new material … and working in the industry, learning and forming relationships, meeting agents, execs, writers, and producers.

Anyway, I hope this helps!  Next week, we’ll continue … talking in detail about where and how to actually meet and connect with agents, when and how to ask them to read you, etc.

Until then, please feel free to post comments and questions below… or email me at chad@chadgervich.com… or Tweet me @chadgervich.

Primetime: How Do I Get an Agent, Part 2

21 thoughts on “PrimeTime: How Do I Get An Agent? – Part One

  1. David Gilmore

    my testimony
    hi my name is david gilmore im 22 yrs old ,i have talked to someone about making a movie about my dad and my life where we have been and where we are, now, they said they can make a movie i just need some one to fund it so im searching the net sharing my story praying that someone will help i would like to know
    how i can get someone to make a movie or write a book about my father and i
    , i want to share my story with millions about what god has done in my life,
    i grew up in new orleans family on drugs , lived a rough life got in a gang
    lost everything in hurricane katrina in 2005 , then moved to birmingham al
    where my i lived a horrible life, i was robbeing people i was in a gang , in
    and out of jail, then my dad got devorced , we lost everything our house and
    my mother left us, we were homeless on the streets no where to go no where
    to turn, we heard about a mission in mobil the waterfront rescue mission , i
    had just turned 21 years old in a park where my dad and i was sleeping, i
    turned to my dad and the asked him dad what are we going to do? he said son
    i have no idea what to do and he broke down crying i was scared because i
    saw that my dad was scared, i wasnt going to give up, we heard of the
    waterfront rescue mission, in mobile al , we walked to mobile al from
    birmingham al it took two days i have scares on my feet from blisters, i
    talked to someone there at the mission we got in the program and i found
    Jesus christ my life has changed i have peace of mind ,joy and i have a
    reason to live a future, i love jesus , the program im in im at the las
    phase CDP career devolopment program where i will be going to school for CNA
    certified nursing assistant, i been here for a year in pensacola fl i go to
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    get a movie or a book made about what i went through and where jesus has
    taken me , please email me or call me , God bless

  2. Dave

    Some of the advice in the “Get Yourself a Job” section is just ridiculous. “Become a writer’s assistant…” This is just as dificult as getting the actual writing job.

    “Become a news writer for your local affiliate station… Become a journalist for your newspaper and, if possible, the TV or film critic…” Maybe if you live in Podunk, USA. Otherwise, unless these are things you’ve already been pursuing, it would take you years to even qualify for those gigs.

  3. Jay Brosz

    Coming from NYC, things are so much easier there! This info helps a lot, because here people are so spread out, you never run into people, it is much more difficult to meet people, and yet, here, it is all who you know. In NY, with acting, you can submit a pic/res and move forward. I had friends who wrote a novel, and it became the best selling book of 2002. Do you know if the literary world is as difficult? This explains why this town has the reputation of being so phony, and social climbing, you never know who to trust, who really likes you for you, or who is simply using you to get ahead. Is the TV/film writing world in NY as bad? Any idea?

  4. Pingback: Chad Gervich Will Make You Rich, Famous, and Successful in Scripted Television | Joke and Biagio

  5. Anthony Falcon

    Thank you Nicholas,

    It’s funny that you say not to spec “Breaking Bad” because when I was trying to figure out which show to spec, I read this article on script mag’s website:

    http://www.scriptmag.com/2011/02/16/which-show-should-i-spec/

    Which list “Breaking Bad” as one of the recommended shows to spec.

    I’ll tell you, the hardest thing I’ve found about writing scripts, especially using this website, is the moment I get advice from someone on what to do — someone else comes to me with opposing advice.

    It’s quite the interesting world, this writing game. Every time you think — “Perfect, I got advice from a pro, let me follow it.” Then someone else comes through to say, “They told you what? I totally wouldn’t do that.”

  6. Captain

    Dear Nicholas,
    I don’t see where you get mock out of it as that was never intended. Sorry to intrude, I will curb my enthusiasm in your forum of despair as you seem to enjoy it so much. You would actually recommend that a writer Quit?
    Again my apologies and I certainly can finish Weenie Hill, which I think is the best title since Legally Blonde.
    Captain

  7. Nicholas

    Captain…

    You’re looking for a writer partner, and you believe agents will knock done doors?

    Good luck with that. My only advice to you is…I wouldn’t mock those that are or have been in, the game.

  8. Captain

    Dear Nicholas,
    I e-mailed Anthony and begged him not to resign. There is no way that he should let a little quirk in his sexual makeup define who he is as a man and a lawmaker. I’m five feet eight inches tall and weigh two hundred and forty pounds. If I looked as good as Weiner, I’d send out a picture too. Lieing about sex? Show me a human being who has not! Aren’t you supposed to? Oh Baby! you’re beautiful! remember? huba huba?
    King David looked on Bathsheba bathing on the roof next door, and had her old man sent to the front line to get killed. David was wrong, he admitted it. He did not do it again, but he also did not resign. That’s what Anthony should have done and he had a solid precedent.
    “Weenie Hill” is the antithesis of Anthony Weiners story. Strom Thurmand is my behaviorial model.
    I disagree with most of what you guys say. I think good scripts are like good food. You can’t hide it. I am looking for a writing partner who knows something about Washington to help finish Weenie Hill.
    How this relates to your blog?
    You guys need to quit wining. When you or I write something good enough, people will beat down our doors to be our agent.
    Captain

  9. Nicholas

    Billie, as for what they do with the unused good stamps…probably shred the envelope or toss it. Yes, it’s a bit rude and a waste of your money and postage, but, it was unsolicited in a way and if an agency requires you to include a self addressed stamped envelope, they are cheap and probably no good. Bulk postage isn’t expensive for anyone making money and is serious.

    Sorry it goes unused, that’s why an email is better…getting that is a whole new topic and MAY include having to make a phone call and risk rejection.

  10. Nicholas

    Billie:

    Do not be discouraged, only, inspired to keep at it. Whenever someone would ask me if they should stick with it, I’d always say, “with that question, no…because its not easy and never will be.”

    I got my foot in the door by impressing an agent (I guess)…he mentioned “get a job in L.A.” So I asked him if he’d take my resume…straight forward and proving that I was up for that. He took it and a week later I got a call for an interview and after two meetings, was offered a job in the mail room. If someone you contact bites…run with it, but DO NOT over step your line; you really don’t know him/her enough to seek out employment…rather, be inquisitive…it all depends on the person, really.

    As for writers producing work, well, in TV its common, in features, it happens. If you can raise the money to shoot a feature on your own, or a short, with excellant production value, it’s a easier calling card then a script. I would rather watch a film then read. However, you don’t want to shoot it yourself if you’re not a Director, and it will cost a lot of money to film, edit and enter into festivals.

    Starting your own production company is not as useful as it sounds. You need relationships, deals and a lot of money. Starting your own company without A LOT of capital and tight relationships is basically you saying you have a company, and that’s it.

    When I had my own boutique firm, I’m sure we averaged 15-30 letters a week and I probably averaged 15 emails a day. I personally opened every submission and responded to them in two ways: formally and informally. If something REALLY, REALLY grabbed me, I would ask to read the script. If it didn’t we would send a standard thanks for thinking of us, it’s just not right for us. Whenever we published our name in anything we stated two genres only: horror and comedy. Anything other then that got a fast pass. Out of ALL the cold scripts I read, I signed ONE writer and optioned that script with a studio.

    Most of the big places, and even some mid-level, just don’t have the manpower and cant afford (or do not want to afford) being in the development business. Everyone wants to find the next best thing, but odds are, no “new” writer is really new…they’ve been around.

  11. Billie

    Chad and Nicholas: Good advice from both of you. The more we read, the more we learn even if it isn’t what we want to hear.

    I’m one of those who’s written a script and had it critiqued by a paid professional as well as a couple actors. I’ve sent literally hundreds of query letters and e-mails and am finding it’s all been a waste of time and money. Some companies simply return the letters without opening them. A handful reply saying “sorry, we only accept scripts from agents.” Others/most we never hear from. Agents do the same thing – either no reply at all or a note saying they aren’t accepting new clients. Very frustrating, extremely discouraging, and if it wasn’t for the money, I’d study and see about starting my own production company. I’ve noticed on Imdb that some script writers also produce the movie. Maybe that’s an alternative.

    Just out of curosity, if companies get as many queries as everyone says, what do they do with all the stamps on the return envelopes? They certainly don’t use them to send replies.

  12. Nicholas

    As a former manager, I can agree with this blog post. But before I was a manager, I was an aspiring writer, like so many. I spent way to many letters, wasted way to much time and money. You have a .99% chance of ever being considered by a big agency, right out of the bat. Sure, SOMEONE may ask to read your spec or original work, but that’s probably a new assistant who doesn’t know how it all works yet. Odds are you have a great log line and it excited the reader, he figured maybe he can find the next best thing…and you might have it. You feel good because you sign a standard release form, you even spend $15 to next day it (it won’t be read until the weekend any, unless he’s got time to kill). The old saying is true, “if by page X I am not excited, I pass.”

    As a talent manager who read scripts a lot for my working clients, I took home 2-5 on the weekend; a lot less then many others, that’s for sure. If I had time, I’d read scripts at work too. I would read scripts from studios or producers, or casting directors, but I would also read a script from someone who said “I have the perfect script for…” But as an assistant, I often responded to emails for my bosses (I learned quickly that before I got in the biz, I was never really dealing with an agent) requesting cold submissions. If I liked the script, I’d do coverage on it (a book report of sorts). Usually I would pass on the writer and sometimes give the story a good grade, and maybe even the writing style. Passing on the writer meant…we’ll never rep him/her.

    Now a days, with emails always changing yet available, I would suggest sending an email to the assistant (which means YOU may have to call for it). Some companies offer a general email…aka trash. A one page letter is fine, if you want to use the stamp, just make sure you change the address and name on the letter; I received so many template letters with no name or the wrong agency / agent name.

    Never send a script without permission, it will never get opened. Agencies know when something is important; 99% of the important stuff is delivered via messenger all day long. USPS or carrier stuff is usually submission requests.

    Never pay someone to read anything…I even discourage against contests; I probably spent $1000 before I realized it was a waste. And it is. I remember receiving invites to judge them; what does an assistant know anyways! Remember, I was one.

    Like the writer says…move to LA and network. Can you make it living in Iowa? Yes. If you know someone in the business that is will to believe in your project (not just you) and he/she can move it. You can write anywhere. But there is only one Los Angeles, CA.

    My words may seem harsh, but I’ve been an aspiring writer before.

    (Anthony; don’t waste your time writing character descriptions, no one will read them. If you can’t describe the character in the script, you’re not ready to submit. Don’t think little of the reader, they are the pros, usually. If a professional reader, ie agent, manager, producer, has no clue who the characters are, you wasted a submission. And yes, spec is key, remember to write specs of NEW, hit shows. Breaking Bad, while a good show, is not one of them. Agents, producers…they’ve read plenty of Breaking Bad specs by now. Wow them with a new show that just got on the air. I had a client with a terrific sitcom spec, but the show was on for 3 years; in three days she turned in a 30 Rock (when it was new) and William Morris thought the world of her.)

    (Gino: What Mr. Gervich says CAN apply to features…getting attention is all the same…)

  13. Gino

    Chad,

    You gave very good detailed info. that people wanting to break into TV can use. But I’m a feature writer, so most of this doesn’t apply. I know you said you are strictly a TV person, but maybe you can encourage a film contact to add to this topic. Maybe, your good friend Michael Ferris will volunteer.

    Script Mag’s blogs have been very TV oriented lately and us film guys need some love too!

    Thanks,
    Gino

  14. Anthony Falcon

    Hey Chad,
    I know you stay very busy. If I am writing a spec for a show that I love for my writing portfolio, do I write character descriptions? I’ve always been told someone for “Breaking Bad” will never read my “Breaking Bad” spec, that you write it as a writing sample to send to anyone. So I don’t know if I write character descriptions for my spec.

    I’d hate to have someone read it and have no clue who the characters are.

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