A question about overlap on the creative side: how "hands-on" should your literary manager be when it comes to providing notes and feedback on drafts -- both early drafts and final polishes?

Is it common and expected that their notes include: line edits and dialogue edits at the word-choice level and on up to "take this section out, move that over here, punch up this sequence by doing this, eliminate that character" etc.

If your rep seems to be venturing into the territory of "writing partner" what should you do and how?

Question: "If your rep seems to be venturing into the territory of "writing partner" what should you do and how?"

Answer: "You're fired."

Bill,

Could you talk about query letters in terms of finding representation? I'm ready to shop for an agent, and I know I should start sending out letters - I'm just not really sure what should go into them.

Thanks!

Stu, I don't have representation but one easy thing to keep in mind — when you send your letters, make sure you do due diligence and address your letters to the right person. I interned for a literary agent and it was surprising how many letters came through addressed to someone other than Ted, something he was used to but meant instant recycle bin. (For the record, if you were writing to the guy who runs this blog, his name is Scott, not Bill ;-))

Oh. Man.

Thank you Annika, and sorry Scott. Had a meeting with a Bill today, and he must have been on my mind...

Didn't want to "bust your chops" but thought it was a good way to point out how easy it is to slip up. You'd be surprised how many people don't double-check things on official query letters.

Stu: Check out these GITS posts here, here, here, here, and especially here.

My manager (and the team) have vetted my ideas and directed me to the ones they think I should write that are high concept and fit more with my brand. They have offered extensive notes on treatments before going to script. At this early stage in my career, I appreciate the creative feedback and their knowledge of the marketplace. As it progresses, I will lean on them less and less, although my ears are always open to better ideas that will improve the product and my career.

How important is it to even HAVE a manager or agent? Is it possible to get something read/pitched without the middle men? I'm unsure whether what they have to offer is worth the 15 points. Is it?

I am a Tarantino fan, and I know his story fairly well. He happened to know a friend of Laurence Bender's who ultimately read Reservoir and got funding for it. The rest is history. Is this merely the exception to the rule for exceptional people/scripts?