Mentioned this in the SimplyRadio thread but thought this might deserve its own.

I listened to the Babz Bitela episode, which was great BTW, and found it odd that she blew off whoever she contacted on the site seemingly for asking too many questions. This seems to go against everything I've seen said on these boards for the past five years I've been here. There've been countless threads started by people who've been contacted by producers with concerns as to what they're stepping into. People constantly respond to these threads saying that the thread starters should voice their concerns to the producers who've contacted them. Likewise, countless times producers have started threads looking for scripts and people have responded by asking for more information in regards to said producers' backgrounds.

All of this seems to boil down to writers protecting themselves and not entering any business deals with unanswered questions. But listening to this recent SimplyRadio episode, one could take away that asking to see an agent's website is "giving them a hard time." Okay. So she explained that WGA agents can't reveal any information about past contracts. Understood. Also, not being the writer Babz contacted, I have no idea how intrusive or nonintrusive his/her questions were. But is asking to see a website really too much?

My question is at what point does a writer's right to information end and just being plain pushy begin?

In my experience, if the person is serious, they won't care if you ask them a lot of questions.  The ones with something to hide do.

But that's just me and my three year long experience of being strung along.

I'm very easy when it comes to deals. I'm probably the complete opposite of what she describes. Maybe I even show too little interest...  I honestly believe most writers are way too protective of their stories. Too suspicious that someone is going to steal their story. Ruin it. Sure it happens. Has happened to me too, but I rather have too many people wanting my scripts than no one wanting them at all even if it means being ripped off. So yeah, I agree with her. Some people are just not worth dealing with. It's the same thing in my business at work. Some customers just aren't worth the hassle...

Babs didn't go into detail over what 'too many questions' was.  It's one thing to ask who the agent represents and what their services include.  It's another thing to call the agent twice a week, asking, "Did you sell my script yet?  Why didn't you reply to myt e-mail I sent you yesterday?"


Phil

Actually, I heard from Babz about this because I sent her to the Simply Radio thread about her interview so she could look at the feedback.

What she said was it wasn't the questions that were asked, it was more the attitude behind them.   She will probably talk more about this on Babz's Buzz.  I'm not even going to try and guess what went on.

I'm going to assume here that whatever conversation they had was via email.  So, of course, the attitude of what you read is strongly subjective and can often be a misinterpretation.   But, as writers, we should try to be more aware of what we are projecting through our writing when we communicate with prospective colleagues.  

Quoted from Grandma Bear I'm very easy when it comes to deals. I'm probably the complete opposite of what she describes. Maybe I even show too little interest...  I honestly believe most writers are way too protective of their stories. Too suspicious that someone is going to steal their story. Ruin it. Sure it happens. Has happened to me too, but I rather have too many people wanting my scripts than no one wanting them at all even if it means being ripped off. So yeah, I agree with her. Some people are just not worth dealing with. It's the same thing in my business at work. Some customers just aren't worth the hassle...

I agree 100% with you Pia and this is why:

Green writers often think they have "this big unique idea" and they need to protect it.

My opinion is that a story is a story is a story and the only thing that's unique is the writer's voice and the packaging and angle.

When you've read enough and watched enough you have to know that. Even if you haven't-- maybe you're like me and just "know it". I haven't watched that much compared to most people. I watch and read with discrimination because I like to do "stuff". All kinds of "stuff" and I don't want to waste my time on crap unless it's crap that I happen to like.

I think it boils down to knowing what the hell you're doing. For Babz, I have no doubt she knows her business and I love her style.

For you, or any writer, you have to make your own mistakes and sometimes find out the hard way. If you want to get all protective, that's your choice. You play the game how you like. And, it might be right for you, but you have to make that determination. As always, there's often no single right answer. There are always exceptions.

Sandra

Disagree with both of you. Scripts have been stolen or almost been stolen from SimplyScripts on more than one occasion and this is only one site. There's reason to be caution. I don't think people should worry as much about their scripts being ruined. You can't approach every potential deal thinking that's the case and it's completely unrealistic to think your script won't be changed. But a bad film reflects poorly on you as a writer. You take a chance no matter what but you should at least have some sense of what you're getting into.

Quoted from Sandra Elstree. Green writers often think they have "this big unique idea" and they need to protect it. My opinion is that a story is a story is a story and the only thing that's unique is the writer's voice and the packaging and angle.

I do agree with this. But if that be the case, why shouldn't protect your voice, your packaging, your angle? You don't have to be a prima donna to care about your work. If there's a chance someone wants to produce your script who actually cares too, why give it to just anybody?

Quoted from mcornetto I'm going to assume here that whatever conversation they had was via email.  So, of course, the attitude of what you read is strongly subjective and can often be a misinterpretation.   But, as writers, we should try to be more aware of what we are projecting through our writing when we communicate with prospective colleagues.

Agreed.

Quoted from James McClung Disagree with both of you. Scripts have been stolen or almost been stolen from SimplyScripts on more than one occasion and this is only one site. There's reason to be caution. I don't think people should worry as much about their scripts being ruined. You can't approach every potential deal thinking that's the case and it's completely unrealistic to think your script won't be changed. But a bad film reflects poorly on you as a writer. You take a chance no matter what but you should at least have some sense of what you're getting into. *** I do agree with this. But if that be the case, why shouldn't protect your voice, your packaging, your angle? You don't have to be a prima donna to care about your work. If there's a chance someone wants to produce your script who actually cares too, why give it to just anybody? Agreed.

I completely hear you, James. I really do. I'm not throwing that off. Just personally, I can't spend the rest of my life trying to coddle everything. For me, I've just got too much in "the idea department". Not just my own, but from my husband also. And "he" unlike myself, KNOWS MOVIES.

The idea department isn't the problem. I think most writers recognize this. It's the execution and the commitment to a project that elicits problems.

At this very moment, there are two projects I'm working on. One, a short called Macho Taco that I had believed would already be up and running on the boards by now. But Damn, when Merry, (our kitty cat) took a dive from her cancer, I could hardly work. But Cancer's a strange thing. Even though it's not gone, today, I could see she was feeling better. And she joined me in my little aerobic work out that I do. Sits on the chair, waits to get loved up, patted and petted...  I'm able to work.

The other project I'm working on as you probably know is Thief. When I was down in Vancouver and off the docks, Dave pointed out to me this guy who was "worth a lot of bucks!!!" Like his car was half a mill like that. I'm telling you, if I had Thief in order... If I knew I was "There". I wouldn't have hesitated for an instant, to grabbing hold of his arm, and making him listen.

Seriously, that's what I'm like. All I could think of at the time was, "Swear! I wish I had it cooked!!!"

Point is, we're all looking for opportunities, but let's not lose the immediate picture:

The immediate picture is:

That we're learning to work in a very decisive and predictable game.

Yes. I believe it is decisive and predictable even though it might seem helter skelter.

There's more to this than what people think. The stupidest things can get noticed, but it's the smart moves that make you known.

What's a smart move? Maybe no move at all. Irony.

Sandra