Quote: RJ @ May 31 2011, 11:46 AM BSTIt's certainly not impossible. It just depends what sort of writing work.
I was specifically thinking of TV and radio comedy writing.
Agent - How, why, where? Page 2
Me too. I've done both for ten years without an agent.
Quote: RJ @ May 31 2011, 12:42 PM BSTMe too. I've done both for ten years without an agent.
Yes, but it obviously doesn't hurt having an agent sending stuff out to people you might otherwise not be able to reach.
Absolutely. I'm just saying that it is possible to get regular writing work on radio and TV without an agent. In my experience, and having spoken to other writers, agents don't necessarily get you more work, they can just negotiate a better deal. Even with representation, most new jobs will be generated from just knowing people you've worked with before.
That's not to say don't get one. If you can, and most importantly they can do what you want them to do, go for it.
Quote: RJ @ May 31 2011, 1:29 PM BSTEven with representation, most new jobs will be generated from just knowing people you've worked with before.
This is true.
All my current commissioned work comes from people I've worked with before - they phone me before my agent normally.
However, ALL my contacts came through my agent - initially pushing spec work round to the kind of people I normally wouldn't have had a hope of getting my stuff in front of.
He still does that with my spec work, not only to sell it in it's own right, but as a calling card in order to broaden the base of people who might, in the future commission me.
Again these are people I wouldn't have a chance of getting to.
I just think it's important that the original poster understands that your way of working - 100% valid as it is and well done for it - is not the norm, by a long way.
Most working writers need an agent.
I didn't say it was the norm.
Quote: RJ @ May 31 2011, 2:00 PM BSTI didn't say it was the norm.
Sorry, wasn't implying you were.
It's just that sometimes on these forums the weight of opinion in the posts doesn't always accurately reflect the weight of opinion in the outside world.
Formatting is typical example - newcomers often ask if formatting is important and are often told that 'as long as it's funny it doesn't matter if it's hand written in pencil' - which just isn't true.
So - to be clear - whilst it is possible to have a writing career without an agent - most writers do end up with one.
I think it's great that you get work without an agent - that's 15% more dosh in your pocket!
I suppose it has a lot to do with what kind of writing you do in the end.
Quote: Lazzard @ May 31 2011, 4:25 PM BSTSorry, wasn't implying you were.
It's just that sometimes on these forums the weight of opinion in the posts doesn't always accurately reflect the weight of opinion in the outside world.
Well, I'm only going by the outside world as I've experienced it. Most professional writers have agents. That's true. But I know some professional comedy writers who have agents, some who don't. Some who had agents and then chose to do it for themselves, some between agents etc.
It depends what you're trying to sell, as I said in an earlier post. If you want to sell full length dramas/sitcoms, you've really got no chance without an agent. If it's mainly sketches and one liners, in my experience you can do it without one.
But, yes, if the opportunity comes along to get representation, they like you and just as importantly you like them, then you should grab it. But don't seek it just to say 'I've got an agent'. You've got to work for them, but they've got to work for you. Or you're just handing over money for nowt.
Quote: RJ @ May 31 2011, 7:21 PM BSTWell, I'm only going by the outside world as I've experienced it. Most professional writers have agents. That's true. But I know some professional comedy writers who have agents, some who don't. Some who had agents and then chose to do it for themselves, some between agents etc.
It depends what you're trying to sell, as I said in an earlier post. If you want to sell full length dramas/sitcoms, you've really got no chance without an agent. If it's mainly sketches and one liners, in my experience you can do it without one.
But, yes, if the opportunity comes along to get representation, they like you and just as importantly you like them, then you should grab it. But don't seek it just to say 'I've got an agent'. You've got to work for them, but they've got to work for you. Or you're just handing over money for nowt.
No experience of sketches and one-liners - but I can imagine that being a deal easier to handle flying solo.
However, if you haven't got an agent, who the hell do you moan about to other writers!
Other writers!
Quote: richiemoomoo @ May 30 2011, 9:45 PM BSTIt's been suggested that I get an agent. Firstly how would I get one and secondly, why would I need one? From a very naive writer!
As as been said previously in the thread, most serious / pro writers have agents. Right or wrong, it's just the way of things.
But there are also lots of questions. Do you get taken more seriously by people who don't know you if you have a good agent? Sometimes. Does having a good agent mean lots more work coming your way? Not necessarily. Does having a good agent guarantee you getting the best deal on fees / contracts / etc? I'd say yes. Does having a good agent guarantee you lose 10-15% of your income? Absolutely. It's something to weigh up.
Basically, you've got next-to-no chance of getting an agent if you haven't done done a lot of ground-work yourself and made contacts in the industry and ideally had something broadcast or at least have a well-known producer who'll back you up. Most of the time you need some sort of pedigree, although it is possible to land an agent with just a good script. (Rare, but possible)
Another thing to remember is that having an agent sometimes means that a job will come up that you don't particularly want to do. For example, (and this is just an example - nothing personal here) there's a comedian you've hated for ages who suddenly has a new sketch show. There's money upfront and you're acutely-aware that your agent wants you to take the job because it's a give-and-take relationship. But you HATE the comedian's stuff and you KNOW you'll be shit. Do you take the job to keep your agent happy? Or do you decline and risk him/her putting you to the bottom of the pile when new works comes up?
It's a minefield really, but agents really come into their own when sorting out legal stuff and contracts. Basically, they want you to get paid as much as possible because you, as a client, are their bread and butter.
I'm waffling now but in my experience, getting an agent is as simple as making it worthwhile to the agent.
Which is rarely simple. 
The few comedy professionals I've been allowed near all seem to adore their agents, so they obviously have some importance in careers.