Does Your Agent REALLY Need to Live in L.A.? Who's Buying What Interview with Carol Western and Chris Spencer, by Eric Player

We've all heard the mantra, reprinted in the pages of many a respectable writer's magazine: "To make it in the business, you need an agent, and that agent has to be in Los Angeles." The perception is, if you haven't got a representative "inside Hollywood," then you might as well not have one at all. But is that really the case? After all, isn't it better for some agent or producer somewhere to be looking at your script, than it is for the thing to just sit in a drawer at your Aunt Elda's house?

For an in-state and out-of-state perspective on the issue, we spoke to two current and former screenwriting representatives: Carole Western, Director of the Montgomery-West Literary Agency, based in Salt Lake City, Utah, and Chris Spencer, President of The Spencer Company, a small production company based in Burbank, CA. Their answer? The old stand-by: It's the story, stupid! (The following exchange is structured for convenience; though the answers are those given by Chris and Carole, the actual interviews occurred separately.)

Q: Before we begin, could you highlight your experience in the business, and talk a little bit about what you're doing now?

CAROLE: Montgomery-West has been in business since 1989. We represent both screenwriters and novelists. We've optioned 6 projects in the last 3 years. One of those, TAINTED ROSES, is currently in production with CBS.

CHRIS: The Spencer Company has been in film production since 1988. From 1995 to 2000, we represented and managed screenwriters, however, we have recently discontinued this practice in order to focus solely on production. One of our last deals with a writer was a book option of a biography of Coco Chanel, a project we then sold to Universal Pictures, through Demi Moore's production company -- Moving Pictures.

Q: Do you think there is a negative, positive, or neutral perception about agents outside the LA area? How did the attitudes of production companies toward you affect your reception when you first started your business? How do they affect you now?

CHRIS: I find it's a non-issue. If they're smart, a good producer knows that the entertainment business is really no longer just based in LA anymore, and clearly there is no requirement for an agency to be located in LA. A good agent can find work for their writers no matter where they are. Since the business is a phone business, what you need is something to sell. The upside for the project is who it's written by, or specific interest of the parties involved. The heat of the career; not the location of the agent.

CAROLE: I think there is curiosity about agents outside of LA. Producers have gone out of their way to make us feel welcome when we visit LA. When we first began shopping to Hollywood it was on the heels of 5 sales, HARDWIRED and BLIND DEAL to Disney, SPACELESS to Fox 2000, LONG HELLO SHORT GOODBYE to a German producer, and MANPLUS to Warner. With a track record to announce us, we were treated like kings by the smaller producers and eyed with astonishment by the larger producers. They were not used to a little agency out of LA selling such large projects. Now we can go down to Hollywood any time we like. We set meetings in advance and receive a very warm welcome almost everywhere.

Q: So, what qualities should new writers look for in an agent? What qualities do you look for in a new writer?

CAROLE: I think a new writer should pick an agent who is interested in the writer's own career and improvement, not an agent who doesn't spend time reading the writers work or trying to match the work to the producer. And it's very important to us that our agents recognize a strong "hook", a well-paced, character-driven script with a good solid ending.

CHRIS: Obviously, you need to look at which agents have representative projects that have sold. Who's selling now? What are they selling? Does it match what you're writing? As for our company, we look at the writer's skill to produce interesting characters and weave the story. Fundamental stuff.

Q: How about the writers? That's something you hear a lot about, too. Is it an advantage or a disadvantage to an agent for their pool of writers to be located out of the LA area?

CHRIS: No concerns, so long as the agent is an effective one.

CAROLE: There is no disadvantage we have discovered being outside of LA.

Q: Is there any difference in the responses you get from individual production companies/studios, based on your location, or theirs? What is the most important factor in getting a production company to read your material?

CAROLE: No difference in responses because of location. In fact, we get good responses by both telephone and letter. It would be the same in LA. Production companies are looking for the "new, unusual" script not too different, but different enough to win awards. We have producers call us regularly for scripts because we are not "caught-up" in the politics of Hollywood.

The most important factor in getting a producer to read our submissions is not to send them any "trash" scripts. We scrutinize and stand behind all of our scripts and consequently the producers know if it is coming from Montgomery West, it is in good shape both story-wise and technically.

CHRIS: It's about the relationship. If the agent has a good relationship with the producer, you can get in the door. Not having a relationship makes it that much harder, of course. These issues are a bit overplayed. None of that matters. I knew an LA-based writer whose agent was in Chicago, but he sold scripts. Bottom line, is the project something somebody wants to buy? That's the key. And how marketable is it? All in all, it goes: Relationship first, quality of screenplay second.

Q: So what can writers do to help their agents sell their work?

CAROLE: It helps when a writer is willing to revise and rewrite, or add new aspects to his/her story. It helps when they send in their very best work in the first place! It helps if they have some ideas for their own project. We usually try to accommodate writer's requests for different producers and stars they think are applicable to their work.

CHRIS: Write some good material!! If the material is ready to go, timely, or unique, it will sell. Write what people want to read/produce! Plus, don't over-pitch, sending a script to a bunch of producers/agents is almost as bad as writing a bad screenplay. Target your audience of companies, based on who is buying what.

Updated: 10/13/2000