Reads a lot like Melbourne, too (well, especially the cost of living and astronomical house prices).
I need to get myself moving for work, but just got sucked into the first few pages of the script. Had me grinning from the interaction between Alan and Iggy.
What's the plan for the Pilot? Have you submitted it somewhere? (I don't know how these things work for Pilots in the US)
Thanks for checking it out, Nathan! I submitted it to a few TV pilot contests, but success in those isn't really something to be relied upon. Sooo, the plan is to compile a list of possible literary managers (film & tv here is different from book publishing, in that managers are recommended, and not agents -- agents are just the folks that close the deal from a legal sense), and to query them like one would for any other written project. I've sent out a few out, but no bites, which speaks far more of course to how I'm packaging it up in these pitches vs. the content itself.
But! If there aren't any bites at the moment, I'm largely okay with that. I think I'll just sort of tuck it into a drawer. The novel I'm about to dive back into is one that I hope to publish traditionally, and so assuming at some point I'll be able to secure representation, I can chat with them about this pilot, and any other projects I might have that are ready for either their eyes, or the eyes of a contact they trust.
Love the concept, Garrett, sounds like San Francisco when I first arrived there. Good luck pitching!
Thanks Troy!
Reads a lot like Melbourne, too (well, especially the cost of living and astronomical house prices).
I need to get myself moving for work, but just got sucked into the first few pages of the script. Had me grinning from the interaction between Alan and Iggy.
What's the plan for the Pilot? Have you submitted it somewhere? (I don't know how these things work for Pilots in the US)
Thanks for checking it out, Nathan! I submitted it to a few TV pilot contests, but success in those isn't really something to be relied upon. Sooo, the plan is to compile a list of possible literary managers (film & tv here is different from book publishing, in that managers are recommended, and not agents -- agents are just the folks that close the deal from a legal sense), and to query them like one would for any other written project. I've sent out a few out, but no bites, which speaks far more of course to how I'm packaging it up in these pitches vs. the content itself.
But! If there aren't any bites at the moment, I'm largely okay with that. I think I'll just sort of tuck it into a drawer. The novel I'm about to dive back into is one that I hope to publish traditionally, and so assuming at some point I'll be able to secure representation, I can chat with them about this pilot, and any other projects I might have that are ready for either their eyes, or the eyes of a contact they trust.
Appreciate the info, Garrett. Best of luck. You deserve to secure representation.