How to get a Manager/Agent in the TV/FILM industry
A long overdue post and one of the most asked chicken-or-the-egg questions.
The question in full “I’d love to read your thoughts on querying managers/agents for representation - both how to approach them and when it’s a good time for a writer to take that step. I’ve been sharpening my craft through writers’ groups and Script Anatomy courses for about three years. And I finished a Feature I’m really proud of earlier this year. I know it’s a weird time in the Industry, but aside from submitting my work to fellowships and contests, I feel I’m at a point where my writing is a solid example of my skill and creativity so I’d love to start having those conversations to get my foot in the door.”
I got this question a while back—maybe on Slack? (Whoever asked, I hope this finds you, and sorry for the delay!) I wanted to go beyond just talking about querying and break down some of the most common paths to finding representation as a screenwriter, plus when it makes sense to start looking. Landing a rep in this industry is like the ultimate chicken-or-the-egg scenario, and there’s no magic formula anyone can hand you. What there is, though, is a series of small steps and a lot of prep work that can ensure you’re prepared when you find yourself “at the right place, at the right time.”
When Should You Start Looking For Rep?
Every writer’s journey to finding representation is different. For me, I decided to start reaching out only after I had two pilots that scored 8’s on The Black List and had made it to the semi-finals/finals of a few competitions and fellowships. I sent out some cold queries and, unsurprisingly, got no responses. So, I went back to the drawing board, wrote a few more pilots and features, kept submitting to fellowships, and kept meeting more people in the industry. Eventually, the “meeting more people” made all the difference as that is how I ended up on The Black List, which opened the floodgates for me in terms of managers/agents reaching out.
I personally think finding a manager first is a good place to start, managers are meant to be your career/life partners whereas agents are more about finding and closing business deals. A manager can help you make solid decisions with your long term goals in mind.
There’s no single “right” answer to when to reach out, but there are definitely a few things worth feeling confident about first to avoid burning any bridges or connections too early.
Strong Samples
Getting repped isn’t just about having one good script. Most reps want to see a portfolio that shows range, consistency, and can compare to the samples they are seeing get hired into rooms/for OWA’s. Aim for at least two polished, high-quality scripts in the genre you’d like to focus on.
This was a bit different for me as well, I was able to showcase a comedy feature along with a dark, drama pilot that allowed my reps to see that I had range and could work in a lot of different environments.
And it’s not ALWAYS the case. If you have a feature that is blowing people out of the water and that someone who reads it thinks it has commercial viability and could get produced easily, that’s a chance a lot of managers/agents are willing to take.
For most though, if you’ve only got one solid piece, it might be too soon. Agents and managers want to know you can sustain your quality over multiple projects and are ready to write consistently. Because it’s very rare to actually sell your first project.
Your voice shines through
You know not only the type of stories you want to tell but are confident in bringing your voice and personality into your work. When you can inject your POV into a script, it breathes a fresh life into the pages that allow the reader to feel immersed into the story from your unique perpsective or at least garnering laughs and shocks and reveals through action lines. This personality and POV should shine through no matter the genre or format.
Strong Validation
Feedback matters, and not just from family and friends. If your work is placing in reputable screenwriting contests, fellowships, or labs (think Nicholl, Sundance, Austin Film Festival), that’s a big green light. Industry validation like this means you’ve got something that stands out, which can make reps take you more seriously.
Alternatively, if you’ve received feedback from professionals in the industry (producers, directors, established writers) who tell you your work is strong and marketable, that’s a good signal that you may be ready and you shouldn’t be afraid to ask if they have anyone they’d feel comfortable referring you to.
You understand where you’re at in your career
Often baby writers think they should be reaching out to managers who rep their favorite screenwriters or even staff writers on their favorite TV shows and while that would be great to find one of those managers - they already often have their schedules packed with their current clients needs and aren’t always looking to take on baby writers. They’re looking for someone who’s carving their path - either getting into a room on their own or who has recently had some festival buzz.
If you’re just starting your career you may have a better opportunity connecting with an assistant who is working their way up to be a manager. It’s two people with a lot to prove and you know that person will be dedicated to your career as it’s a mutually beneficial opportunity vs. if you’re with someone who has a slate of talented writers who are all booking on big shows, with big directors than you may get lost in the shuffle.
You understand the business aspect of a writing career
Representation isn’t just about creativity; it’s also about business. Are you prepared for meetings, pitching, taking notes, and consistently producing work? Reps aren’t going to handhold—they want clients who are professional, responsive (I feel like this one is sooo often missed, responding to an email 24 hours later is not approp in a work environment like this!) and ready to work and are coming to them with new ideas, new scripts and updates on how you’re networking.
Once you have a rep, it’s not unusual for them to ask for new material or to request rewrites. Constructive criticism and timelines are expected.
You know what you want from your team
Some writers think getting repped will automatically lead to big breaks, but that’s not usually the case (i am the exact example for that!). It’s important to be clear on what you want from an agent or manager. Are you looking to get staffed in a writer’s room? Hoping to get your indie feature financed? Or do you want guidance on building a long-term career. Knowing your goals will help you find reps who align with your vision, and it will make your relationship with them stronger.
Your team only gets 10% because they only do 10% of the work, you want to make sure that you’re consistently writing, bringing new ideas, plans and consistently networking beyond the meetings that they get you.
Now here’s my honest, breakdown on the most effective ways to get repped as a screenwriter.