Barbara Bitela

Small but busy WGA agency; please do not pitch us big budget features unless you've got a proven track record. If however you are just breaking in, we will read you but read this first. Thanks. BABZ
Thank you for your pitch.

READ THIS FIRST: THERE WILL BE A TEST
http://makeyourbookamovie.com/screenwriter-producer-terry-rossio-extreme-interview/847/

READ THIS NEXT: don’t want to read it? Why should I read you?
https://screencraft.org/2018/08/27/confessions-of-a-studio-script-reader/?utm_source=drip&utm_medium=email&utm_campaign=Confessions+of+a+Studio+Script+Reader

Research our agency before you do any of the following. We only send this letter to those persons who pitched us something we think may be interesting. And my tastes are very narrow; I know from page one if I want to keep reading.

A pitch from you is like asking me, a perfect stranger, to get you a loan so your film can be made and you have no credit. (It appears you have not been produced, forgive me if I am wrong.) That means we need coverage on your script. Please follow these instructions exactly; folks tend to be in such a hurry they often do not do this correctly and thus, we do not get what we need from you.

NOTE: Writers seem to believe that WGA REGISTRATION is enough. IT'S NOT. I can't sell work unless it's US Copyright protected. If you cannot prove your work is US Copyright protected (even if it's just the case number because you have just started the process) then please do not send us or anyone else ANYTHING until you have that case number. ONLY US COPYRIGHT will suffice for our office and professionals in this business. https://www.copyright.gov/

Please see: https://fairuse.stanford.edu/overview/faqs/copyright-basics/

Please see: https://maximumz.wordpress.com/2017/08/31/i-hope-this-really-registers-with-you/

Do not get coverage as noted below unless or until you have your US COPYRIGHT number. That said, here we go:

1. DO NOT SEND YOUR SCRIPT. Never send material unless invited to do so.
2. Please find a coverage company and send us ONLY the coverage. Don't know what that is? That's OK. :) Look it up.
3. We do not care WHO you use if the company is reputable. Do not spend a lot of money on COVERAGE. If you can't afford coverage, save up for it if possible and send it when you can. You will be very glad you did. I like screenplayreaders.com; (fast, solid, trustworthy and inexpensive) also there's scriptshark, and scriptpimp and others. I don't care who you use but be sure they are reputable. Also, do NOT back bite whomever gives you coverage. If you get a “pass” forget it; cure what ails your script and learn from the experience. For that matter, don't snark anyone; you never know with whom you may work.
4. There is no rush to send coverage. Show business is a 'hurry up and wait' kind of business. Nothing happens quickly.
5. Simply because we ask you for coverage means little; it neither conveys nor implies representation. We ask for coverage because 99 % of writers who pitch us are:
a) not ready
b) do not know how the business works
c) believe they will become millionaires and the world is waiting for them
d) think a script is a lottery ticket
e) do not do rewrites, table reads (huge!) and cannot take critiques
f) think their script is 'great'
g) and please don’t recommend casting
h) and please never write a script based on pre-existing material unless you have IN WRITING express permission to do so
i) READ SCRIPTS! I suggest you read and I do mean read not check your phone, really READ them, and read at least 3 a week. Take you about six hours roughly. Give or take. Imd movie script data base has pretty much all of them. Now, remember: as a newbie you are more restricted to traditional format than that you may read on line (for your formatting help you must own David Trottier’s Screenwriter’s Bible.) That aside, yes do read scripts each week.

Therefore, we send this letter out not to hinder but to help.

HALLMARK: May not pay much, but it’s a great way to get a credit: https://chasingmacguffins.com/2018/08/17/writing-hallmark-channel-movies/

AND: https://chasingmacguffins.com/story-structure-for-movies-and-novels/

AND MORE: https://chasingmacguffins.com/2018/08/08/relationships/

AGENTS: having an agent means next to nothing. Yes, we can open doors. But if the writing and the story are not GREAT (just good), nothing will come of it (unless you raise the money and shoot it yourself and then you need to distribute.) It's got to be great! (How many great scripts have you read in the last year?)

SHORTS: consider writing a short before a spec script and WATCH AND LEARN how films are made; maybe even shoot it yourself.

REWRITES: the chances of all your words remaining on the page and shot are zero. Let me repeat that: rewrites will be done. Period. He who pays for the script, wins. Therefore, if you are married to every word you write, I am not the agent for you.

ACERBIC: I am pretty sure some of you may consider this acerbic. Maybe. Still, get over it. Agents are forbidden to charge for their time and may not charge to read work and thus we are working for free. FREE. That means we need to get you as close to reality based as soon as possible. Taking the time to draft this letter is our way of helping you get a leg up amid your competitors. Who are they exactly? There are the over 13,000 registered WGA/non-WGA working writers in the world, many of whom moved from film to tv. (We do not do tv: you will need an LA agent for tv.) Those are your competitors. To that we say so what! Get to work writing. It's your dream, isn't it?

STAGE 32: People took time with me; therefore, I am making time for you. Please get to know STAGE 32. Please read Balls of Steel. Get to know Inktip and Talentville. Please register your work with the US copyright office and the WGA before sending it to anyone and never send a script without an invitation to do so.

GET COVERAGE. Coverage will alert you to what needs fixing. Don't want to edit your work? Nice knowing you. Even pros get notes. So, the question is, why aren't you?

AFTER COVERAGE AND AFTER YOU'VE FIXED YOUR SCRIPT: have a table read (we suggest the writer read the action and the slug lines and have friends take parts and THE WRITER LISTEN and make notes don't comment on what you hear. Then cure what ails your script if anything.) And have the beer or wine after the read and not during. Let me repeat that: (SHOUTING HERE: Have a table read!)

And if you already knew all of this; you are terrific and a rare breed of writer indeed. But get me coverage anyway.

THIS IS HOW WE LIVE, BABY! :)

None of the above is a promise of representation in any way. If none of this appeals to you, thanks for pitching.

Respectfully,

BABZ
PS send a copy of this letter with your coverage. TX!
BONUS: FINALLY: REAL TIPS. REAL TIME:
http://screenwritingtips.blcklst.com/
MEMORIZE:
http://screenplayreaders.com/first-10-pages-stand-up/

Go to: wordplayer.com

Suggested scripts to read: Insidious, The Italian Job, The Replacements, The Matrix, Revenant - all good for starters.