I’m LeLe Park, and I’m a screenwriter who went from being un-repped to being repped in just over a year.
It was October 2018; my ego was firmly against the wall of “no, thanks.” I didn’t know where to go next. I was fully prepared to hunt the globe for talent representation, permanently. I’d written my drama series pilot and poured all my emotional octane into it and physically pushed myself — sleeping only 3-4 hours a night for over a year. Now, I was running on fumes.
Then one day a friend-of-a-friend suggested I compete to stir up some legitimacy around my efforts. After gaining the traction I’d hoped for from competing, Coverfly’s Pitch Week selected me in their new opportunity offering!
Part of the reason I was exceptionally excited was because Coverfly is so unique. Its efforts to ensure that competitions and festivals are both credible and following best practices is truly a credit to its care for the participants and the reality that new writers can be preyed upon. Coverfly’s also so well-respected and trusted that it cuts right through the concerns of even accomplished writers. Add to it a platform as tidy and concise as this one: creating its own Pitch Week and harvesting through its massive database of talent… it organically lends a selected writer credibility, opportunity, and recognition worth noting.
Are you a writer with a few completed screenplays under your belt?
Apply to Coverfly Pitch Week for FREE to connect with agents, managers and producers.
When I was notified I’d made Coverfly’s Pitch Week, there was a sliver of hope that representation was near! This mythical unobtainable marker in a writer’s journey is ripe with such a variance of avenues and conditions… and now it was possible. The ability to possibly be in front of talent management and producers in the hopes of connecting or becoming represented, that’s always enticing! It’s hard enough to get signed as a writer when you live in Los Angeles full-time. For me, a working mother of two small boys going between LA-and-Chicago and new to the process — it felt as fanciful as it did unlikely.
A calendar invite was sent my way and days later the online meeting began. I was ready to answer questions about my lead character’s journey, ready to discuss my vision, was excited to discuss character development and hopes for the project. But, then the first question was, “So, can you tell me about yourself and how you got here?”
The moment that question came out, I started blathering. I was fumbling through it like the kid who hadn’t wanted to catch the ball, and I was just hoping I didn’t mess it up so bad that I’d blown the opportunity. I realized I need to be completely comfortable answering questions. Having great answers is lovely but how they’re answered is just as important. I had to embrace sharing my journey and how my projects had marinated — a teachable moment brought my way, thanks to Coverfly’s Pitch Week.
Despite my blathering and worry, I was selected and signed by Eric Borja at Alldayeveryday!
From that point on, my manager and I spent time building a “two-pager” for my drama series, The Bliss Killer. We spent time retooling and better preparing me for wider discussions about the project — to speak about my show’s message, genesis, and trajectory — the benefits of signing with someone who enjoys developing writers! Even today, we’re still discussing, fine-tuning, and preparing materials for my drama series and soon will be preparing my other projects as I currently wrap my limited series, Night vs Day and have begun sharing my latest feature film, Visceral Fatherland.
Having a manager has opened doors. It’s allowed me to participate in query submissions that widely prefer receiving materials from a manger/agent. And it’s added validity to my abilities as a fresh member to the community. I still work my hustle and focus on listening and connecting to those that carry more experience. I look for opportunities to ask for help from advocates of my projects — and that’s also part of the process of working with a talent manager — they’re there for you, but you still have to be there for yourself. They’re the additional engine to your hustle, not the end of your hustle.
Coverfly’s Pitch Week brought me to another level; first by selecting me, then by creating the opportunity to be seen and heard by a talent manager who enjoys writer development, and from there lifting my credibility game once signed by the manager.
If you have the opportunity to submit your work for consideration via Coverfly’s Pitch Week, I highly recommend it… you never know what the game-changer will be.
LeLe Park is a Chicago based screenwriter. Her original pilot “The Bliss Killer” has won/placed in over 40 competitions including Screencraft, Final Draft, Scriptation Showcase, Cinequest, Script Summit, and Shore Scripts. Her short screenplay, “ACHE”, has won/placed in 30 screenwriting competitions including Austin Film Festival, Oaxaca Film festival, Rhode Island International Film Festival (RIFF), and The Richmond International Film Festival. She was “staff pick” at ScriptD, a guest speaker at Bucknell University, and pitch choice at Coverfly. She recently finished her highly-anticipated feature script, “Visceral Fatherland” and is currently wrapping up her second feature “Topt” and her limited series “Night vs Day”. She is represented by Eric Borja at Alldayeveryday (Los Angeles). https://lelepark05.wixsite.com/lelepark