“How do I get a screenwriting agent and manager?”

This is the most popular question we get here at Script Reader Pro. So we thought we’d finally demystify the process of how to gain the attention of screenwriting agents and managers.

This is also a guide on what a screenwriting agent and literary manager actually do. And how they can help your career in different ways.

Part of the problem, however, is that getting a screenwriting agent or manager can often feel very elusive. Almost like a dream that only the special writers get to fulfill. It’s not.

It just takes a handful of things all coming together: persistence, a strong desire to succeed and a highly developed writing ability.

In this post we’ll be examining:

• The key differences between screenwriting agents and screenwriting managers.

• How to avoid the rookie mistakes many aspiring writers make when querying.

• A 10-step guide on how to get a screenwriting agent.

• Query letters: when to send them and when not to send them.

• How to craft the perfect script query letter.

• Hacks and resources on how to research screenwriting agents and managers.

• What to do and not do when submitting your screenplay.

• How and when to follow-up your script submission.

• What to do if your queries to screenwriting agents and managers get rejected.

• What to do if a script agent or literary manager shows an interest in your work.

• What to do after signing on the dotted line.

• How some of our script readers acquired screenwriting agents.

So, let’s get started with a few definitions.

Click to tweet this post.

Screenwriting agents and screenwriting managers 101.

The business side of a screenwriter’s life is largely handled by three different representatives. Each of them handles a unique area of their career.

• A screenwriting agent

• A screenwriting manager (also known as a “literary manager”)

• An attorney

Screenwriting agents.

Screenwriting agents and attorneys handle legal matters. They’ll be there for you when you’re looking to close a deal on a script sale.

Screenplay agents generally take a 10 percent cut of that deal, and attorneys will take 5 percent.

However, they generally won’t help you set up general meetings, or offer you much feedback on your writing. They’ll often be in communication with you only when necessary.

In general, screenwriting agents tend not to have the time or the inclination to help your screenwriter career.

They’re all about the sale. They will be there for you when you’ve reached that point in your career when you have something to sell and need to negotiate a deal.

In spite of what you may have heard, screenwriting agents almost never respond to query letters or unsolicited submissions. The legal risks are too great, and the slush pile of submissions would also be too great.

Screenwriting managers.

The role of a screenwriting manager (or “literary manager”) is very different from that of a script agent. Screenwriting managers will often be there to hold your hand from day one and guide you as a writer.

The top literary managers for screenwriters will help you mold your career, hone your voice and focus your talent.

This hands-on approach of screenwriting managers means, in a sense, they can be viewed as the gatekeepers to the industry. They discover talented new writers and deliver them to producers, studios and television networks.

A good screenwriting manager will read your work, give notes and help you develop it to a place where it’s the best it can be. A script agent is more likely to take you on when it’s ready to be sold.

Screenplay managers love the hustle. They love marketing, networking and kickstarting new writers’ careers.

For this reason, literary managers are usually much more willing than screenwriting agents to accept unsolicited submissions and take on unknown writers. Especially at the smaller literary management companies.

Should you try to get a screenwriting agent or manager first?

While screenwriting agents are tremendously useful once you’ve got a deal lined up for some serious coin, they’re usually not the kind of representation an aspiring screenwriter should be looking for.

Screenwriting agents usually have anywhere from thirty to sixty unique clients. Screenwriting managers rarely have more than fifteen or twenty. Because of their shorter rosters of clients, a literary manager is likely to have more time for you.

Target screenwriting managers first.

Overall, screenplay agents seem to be very focused and (stressed!) whereas screenwriting managers are often more laid back. More like an encouraging sports team coach.

As previously mentioned, a good literary manger will help you as a writer: pick a new concept worth your time, read your scripts and give you notes over successive drafts.

Then, when you and your work are ready to be promoted, they’ll help you line up an agent. This is because screenwriting managers and agents tend to share clients—and most agents only discover new clients through personal referrals.

It’s easy to understand why: referrals and recommendations are already vetted and endorsed. Often, the personal relationships screenwriting managers have with agents in Los Angeles or elsewhere are fundamental to getting a writer signed.

The superior networking skills of most Hollywood literary managers could well put you in touch with producers and studio execs too.

“In my experience, a manager is the golden ticket to getting an agent, and from what I’ve seen for myself and my screenwriter colleagues, they’re one of the only real ways to get one.” – John McClain, Screenwriter.

If you have a strong relationship with a producer, they may be able to reach out to screenwriting agents on your behalf. Or perhaps you know an agent yourself, then you have other options.

But if you’re new to the business and don’t know anyone in the industry, you’re better off targeting screenwriting managers first.

While we advise targeting screenplay managers first, we’ll also be mentioning how to get the attention of script agents. Maybe you already have a literary manager? Or feel you can go it alone on that front, so just need an agent?

In any event, follow the step-by-step process below and you will be giving yourself the optimal chance of getting both a screenwriting agent and screenwriting manager.

How to get a screenwriting agent and manager Step 1: make sure your writing is exceptional.

Before even thinking about approaching anyone, you need to make sure your work truly stands a chance. This means getting feedback on your screenplay(s) from friends who work in the industry. If you know any.

If you don’t, then check out some professional script coverage services. They will give your script an industry-standard rating of either “Pass”, “Consider” or “Recommend.” This is a good way of getting a feel for what kind of shape your script’s in.

Whatever grade you receive, your script will probably need some work doing to it. But a “Recommend” will need very little before you start sending it out to Hollywood agents and managers. A “Pass,” though, will need a lot.

Why you should never query screenwriting agents and managers before you’re ready.

There’s no way around this part. In order to ultimately attract high caliber representation that will change your life, you have to generate life-changing material that will attract a stellar team.

If your work’s not ready yet, it’s time to take a deep breath, slow down and keep improving your craft. Forget about searching for screenwriting managers and agents for a while and follow these steps on how to become a screenwriter.

Keep reading screenplays, writing constantly, getting some high-quality script coverage and continue to grow as a screenwriter. Then, once you get a “Strong Consider” or “Recommend,” write another.

Ideally, you want to only try getting a screenwriting agent or manager once you have two or three high-quality scripts in your portfolio. This is because the first question any script agent or literary manager will ask you is, What else have you got?

Screenwriting managers and agents are looking for real screenwriters with a future in the business. And that means writers who can demonstrate an ability to consistently produce stellar material.

Sending out material that’s not ready to be sent out is probably the number one mistake aspiring screenwriters make.

How to get a screenwriting agent and manager step 2: pen a great query letter.

There’s much controversy these days over whether screenwriting query letters still work. Or if they’re a relic from some “golden age” of Hollywood that’s long past.

While they do still work in many cases, it’s not a particularly great strategy for approaching screenwriting agents. Agents generally don’t look at query letters. With dozens of clients all vying for their time, they’re stressed enough as it is.

However, we do recommend writing a good query letter and sending it to screenwriting managers. The return on your time may not be fantastic. You may only get one reply out of every hundred queries you send out, but it’s better than doing nothing.

If you have a great query letter and at least two kick-ass screenplays in your portfolio, you stand a good chance of gaining the attention of literary managers.

How to write a script query letter.

Screenwriting managers field dozens of query emails a week, and the best way to stand out is brevity and clarity. Keep your screenplay query letter short, friendly and engaging.

There’s no need to mention accolades from unheard-of screenwriting institutions or contests because, frankly, they won’t care.

What they’re interested in is your logline, short synopsis, and if you sound like an intelligent and communicative person. The best way to illustrate this is to add some examples of real-life query letters.

Here’s the query letter that gained one of our readers, Scott Parisien, representation. It’s followed by another more generic sample.

Screenplay query letter sample 1.

Subject line:

Bourne-esque action thriller from a contest-winning writer.

Email body:

Dear NAME HERE,

What would you do if you saw a face on a missing person poster that looked exactly like you?

Well, that’s exactly what’s happened to Ethan Monroe—a British ex-pat who’s come to the States to start a new career.

When he discovers this poster and delves into his cloudy past, he finds holes and secrets that reveal he may not be who he thinks he is at all.

THE OSIRIS VENDETTA mixes action and intrigue with exciting, memorable characters and a twist that you will not see coming.

My last two thrillers placed highly in industry contests, with my script FERAL winning the All Access Competition.

I look forward to your request to read the script. Thanks for your time.

Scott Parisien

XXX-XXX-XXXX

Screenplay query letter sample 2.

Dear NAME HERE,

Title: XXXXXX

My name is XXXXXX and I’m a produced screenwriter whose first screenplay, XXXXXX, was purchased by XXXXXX.

It was then produced into a feature film starring XXXXXX (“Nightcrawler”) and XXXXXX (“La La Land”).

My latest screenplay is a moving comedy drama called XXXXXX.

Logline: XXXXXX

XXXXXX is a story in the vein of XXXXXX and XXXXXX that tells the story of…

Please contact me at XXXXXX if you would like to receive a copy of the script.

Thanks for taking the time to consider my work, and I look forward to hearing from you.

Best regards,

Your name

XXX-XXX-XXXX

As with much to do with screenwriting, there are no hard and fast rules when it comes to writing a query letter for a screenplay.

There are a few things you’ll want to avoid, however:

• Going on too long. Screenwriting managers are busy people, just like the rest of us. So make sure you keep your script query letter to three-quarters of a page or less.

• Sloppy presentation. This letter is your first impression so it needs to be faultless. Avoid at all costs: typos, spelling mistakes, grammar irregularities, wonky formatting, etc. Get someone to proofread it first.

• Overdoing it. Just send the screenwriting query letter and nothing else. No fancy fonts. No brightly colored banners. No pictures. No video clips. And don’t attach the actual screenplay, treatment or a character list either.

How to get a screenwriting agent and manager step 3: seek out people to send your script query letter to.

As we’ve already mentioned, attracting the attention of screenwriting agents via cold query letters is highly improbable. So focus on screenwriting managers with your queries.

Here are a couple of points to consider as you do your research.

• Genre. It’s advisable these days for newbie writers to stick to one genre. Look for managers who work with writers with a similar style to yours.

For instance, if your niche is writing dark romantic comedies, make a list of your favorite movies in that genre. Then find out who wrote them and who they’re represented by.

• Start small. You’re probably more likely to find success targeting small screenwriting managers and literary management companies with smaller client lists than the big boys of the industry.

Newer managers who are maybe just starting out on their own and likely to be more driven and hungry to find that next big breakthrough writer.

The top 100+ screenwriting managers.

The best place to start scouting screenwriting managers is our downloadable pdf Top 100+ Screenwriting Managers List. This is a comprehensive list of over 100 legit Hollywood managers worth submitting your queries to.

Every manager and Hollywood management company on this list is looking for new writing talent. While many do not accept unsolicited queries without a referral, many on the list do.

We’ve included the contact details, submission policy and size of each management company in the document. (They range from one staff member with one client to fifty-five staff and over five hundred clients. So you can target the smaller management companies first if you wish.)

There are some omissions, but chances are if a screenwriting manager isn’t on the list, they’re probably focused on acting talent. Or operate on a freelance basis, completely separate from any Hollywood management company.

You can download our Screenwriting Managers List for free.

IMDb Pro.

If you haven’t already, also sign up with IMDb Pro. This has taken over from the Hollywood Creative Directory as the go-to resource for screenwriting managers and screenwriting agents.

As of writing, it costs $19.99 a month, but you can save 37 percent off this price by signing up for an annual subscription at $149.99. That may sound like a lot of money, but it’s not really if you’re serious about securing the services of a Hollywood management company.

On IMDb Pro you’ll find the contact details of everyone you could ever want to get in touch with—the movies they’ve worked on, are developing and the writers who are signed with them.

Referrals.

Overall, this is a referral business. The very best way to get a screenwriting agent or manager is to befriend someone who knows one and get them to recommend you.

If you have friends or family members with industry connections who are willing to go out on a limb for you, so much the better. Being referred to a manager or agent from someone they know and trust is probably the easiest way to gain representation.

The annual (original) Blacklist, released every December, is another terrific (and free) resource for finding screenwriting managers. You can read all of the loglines for the most popular scripts of the year, find projects that seem similar to yours, and discover the names of the representation behind each project.

Online pitch sites.

• The Black List website (an offshoot of the annual best spec scripts of the year list) is a good first point of call. The site works on the premise that you upload your screenplay whereupon it can be spotted by screenwriting agents and screenplay managers.

You can become a member as a Guild or Non-Guild screenwriter. It costs Non-Guild members $25 per month to host at a screenplay or pilot, and this must be upheld every month for your membership to remain active.

• Stage32 enables new writers to pitch industry personnel such as execs, screenwriting managers, producers and screenwriting agents virtually, face-to-face. The benefit here is that you don’t have to pay to go to a pitch festival anymore. You can do it from the comfort of your own living room.

• InkTip is another good choice. Again, it involves uploading your screenplay and/or logline to the website where screenwriting agents, producers and literary managers can find it. And, as with the Blacklist, you can track who’s viewing your script and what they think of it.

New and hungry screenwriting managers, in particular, use online screenwriting pitch sites like these to find all those hot screenplays that have scored highly on their quality charts.

Networking.

For those who aren’t lucky enough to have any connections in the industry, get out there and start going to places screenwriting agents and screenwriting managers are likely to be.

These include:

• Writers’ groups. Go on Stage32 and meetup.com and join a writing group. Not only will you get valuable feedback on your work, but you may meet your first screenwriting manager or agent.

• Festivals/conferences. Screenwriting conferences, film festivals, pitch festivals are all perfect places to network. You can import the top screenwriting dates to your iCloud/Google calendar from this year’s screenwriters’ calendar.

• Coffee shops/bars/gyms near agencies and companies. Screenwriting agents and managers are likely to be hanging out in places near their workplaces, so take advantage of that. If it’s a feasible option, consider moving to LA.

We have a post called 4 Bad Reasons Screenwriters Give For Not Moving To LA (And Why You Should Ignore Them) that you may find persuasive.

It’s all about having a great couple of scripts and then putting yourself in places where you’re most likely to either meet people who work in the industry. Or know someone who does.

Screenwriting contests.

Winning or placing highly in one of the best screenwriting contests can be a good way of grabbing the attention of screenwriting managers and screenwriting agents.

Focus on the script competitions that promise the winner’s meetings, rather than just prize money.

The top contests such as The Nicholl and the Austin Film Festival screenplay contest, are pretty much guaranteed to put you in touch with producers, screenwriting agents and literary managers if you place highly.

How to get a screenwriting manager and agent step 4: submit your screenplay query letter.

Many screenplay managers will only get back to you if they like what they read. In which case, they’ll request the whole script.

While screenplay query letters can be a useful tool in your armory, they shouldn’t be relied upon. You should be using all the online and offline methods detailed above.

Create a spreadsheet.

Being able to track which screenwriting managers and agents you’ve submitted to and staying organized is paramount.

Create a spreadsheet, adding the details of each screenwriting manager and/or agent you want to contact. However, don’t go overboard and create a list of eight-hundred names. Start with a small list of around twenty or thirty of your ideal script managers.

Then add another thirty once you’ve submitted to all of them.

Check the company’s submission policy.

Take your time to find out what each screenwriting manager’s submission policy is first before sending them any material.

Just like with screenwriting agents, not all screenwriting managers are keen on receiving unsolicited material from new writers. Many will only read queries from writers who’ve been referred by someone they know and trust in the industry.

Also, most screenwriting managers do not like being sent full screenplays, treatments, outlines or attachments of any kind via email or in the post. The majority prefer a simple logline and very short synopsis first. Then, they will get back to you if their interest is sparked.

Stay personal.

Individually craft each query before sending out. And always, always get the name of the person you want to query—whether it’s the manager themselves or their assistant.

Ideally, call the company and ask who you should send your query to, as this can be a great way of starting a connection. However, if you’re not all that confident on the phone, email instead.

Generally, you want to get the name of an assistant at a Hollywood management company, rather than the founder.

Choose the right time.

What’s the best time to send screenplay query letters or emails? What’s the best time of day? Season of the year?

There aren’t many hard and fast rules other than never send script query letter over the weekend, and probably not on a Monday or Friday either.

You should also avoid submitting queries to screenwriting managers on the two weeks surrounding Christmas, and any other big holidays, such as Independence Day.

How to get a screenwriting agent and manager step 5: follow up.

If your screenplay query isn’t grabbing any screenwriting managers or agents, then you may or may not hear back. But don’t get impatient and start pestering them with tons of follow-up emails.

Give the manager or agent you submitted to enough reading time. If you haven’t heard from them in two to three months, an email or call is perfectly reasonable.

In that time, you should have started seeing responses from your other submissions, one way or the other. You may get your material returned to you simply with a compliments slip but, hopefully, you’ll get at least a form letter.

If you’re lucky, a screenplay agent or manager may take the time to give you some personalized feedback. In which case, reach out and thank them. There’s nothing to be lost in that situation by asking to contact them with more material down the line.

The silence…

If, after sending out dozens of query letters, you get nothing but rejections, then it’s time to assess why. Re-read your query and take a good hard look at it.

Ask yourself some tough questions, such as: Would I pay money to watch the events described in this logline up onscreen? Is this the very best I can do? Or can it be improved?

Depending on your answers, it might be time to get back to work on the query letter. Go back and rewrite it. Shorten it. Make it more punchy and intriguing. Or have a professional script doctor give you some feedback.

By the way, going onto online forums to complain about screenwriting agents or managers isn’t a good idea. Nor is complaining about them to other agents or managers.

Even though they’re competitors, they still talk to one another, so you might get known for all the wrong reasons. The motto again here is: be polite and respectful at all times.

The breakthrough.

Let’s say a screenplay manager or script agent wants to read your screenplay. Congratulations! Send it in with a short thank you note and nothing else. No character bios, treatment or any other bells and whistles many novice screenwriters feel the need to submit.

Or, let’s say you get a positive response from Company X and you’re still waiting for Company Y to get back to you. There’s no harm in calling Company Y and asking them if they’ve had a chance to look at your script.

Say you’ve had interest from Company X and you’re thinking of signing with them. But don’t be arrogant about it. Just be polite and respectful.

It’s a poker game, and you want in at the table. And the good thing is screenwriting managers and agents genuinely want to find new talent. They want you as badly as you want them, so you have more control in this situation than you may think.

How to get a screenwriting agent and manager step 6: choose wisely.

Firstly, it’s important to be aware that not all screenwriting managers are created equal. Some are far, far better at their jobs than others. Some will act as true mentors, guiding your career every step of the way. Others won’t even bother to return your calls.

Should your work receive a positive response from a screenwriting manager or agent, you will feel like you’ve been “chosen.” And likely you’ll want to sign with whoever shows the least bit of interest.

That’s the wrong strategy.

Look for a similar wavelength.

In order to get anything out of the relationship, it’s important to focus on those screenwriting managers who are on your wavelength. Ideally, they should love not only your writing but the overall genre(s) you write in. And preferably the same kinds of movies.

Take meetings with all of your potential reps, and assess who’s the best for you. Go with the one who shows the most detailed enthusiasm about your work. The one that seems keen to nurture you. The one that you can sit in a room with and actually get along with. That’s the one you want to sign with.

Overall, assessing screenwriting managers and screenwriting agents is much like finding a lover. You both need to support one another through thick and thin, and you’d better make sure you keep each other excited.

On that note…

Look for passion.

Above all else, though, screenplay managers need to show you a level of commitment to you as a writer and that they’re going to promote the hell out of your work.

This desire and ability to get you noticed shouldn’t be underestimated. The last thing you want is to wind up with a manager whose idea of hustling is sending out one email a month.

This is why going for the less established “newbie” screenwriting managers can often be a wise career move. These are the people with the passion to make things happen and who are actively building their client list and contacts.

This isn’t to say that you shouldn’t also approach the veteran screenplay managers, as they can be fantastic too. But they may have less time for you than their bigger-name clients.

Do your research.

Sign up to Done Deal Pro and type in “screenwriting managers” or “screenwriting agents.” This site is one of the best only repositories for gossip and opinion about various reps. You can find out who’s liked and who’s loathed, which could very well save you from entering a toxic relationship with the wrong literary manager.

For a start, a reputable script agent or manager will never ask you for money up front. Or a monthly fee.

Apart from avoiding scam artists, the best thing you can do for your career is find a team of reps who love your work and really believe in your creative goals.

The meeting.

Don’t just sign with the first literary manager or agent who asks to meet you. The meeting will likely feel like they’re interviewing you, but this isn’t entirely true. You’re also interviewing them. It’s important (and difficult) to realize that you’re their employer and not the other way around.

So don’t be afraid to ask questions about who they regularly deal with or their way of working, that kind of thing. Whether your work fits with their aims, and vice versa should be a key part of the process.

Don’t try to put on a persona. Just be yourself: cool, calm and collected. But deadly serious about writing. The last thing you want is to give a prospective rep the impression you’re going to be an annoying client.

Think Bradley Cooper rather than Zach Galifianakis.

What happens after signing?

So you’ve finally jumped all the hurdles, met with a rockin’ script agent, and signed on the dotted line. What’s next? You need to learn how to pitch a movie idea.

Depending on the status of your various projects, your work will be sent out in an appropriately strategic way. You’ll meet directors and other attachment elements, and you’ll be sent out on what’s known locally as the “Water Bottle Tour.”

This is an intense round of “general” meaning “informal” meetings. One or more of those meetings may generate future relationships and work for you. And, if so, you’re on your way.

How we got screenwriting agents and managers.

Here’s how we at Script Reader Pro got screenplay agents and managers. Hopefully, our stories will inspire you to follow in our footsteps.

How to get a screenwriting agent by screenwriter, John McClain.

Here’s a very brief rundown of exactly how I landed a literary manager, and subsequently a screenwriting agent.

Several years ago, I wrote a script that I hoped would serve as a calling card, a project that would be attention-grabby and exciting for people to read.

It was an expensive period horror that I really never imagined would get made (spoiler alert: it hasn’t gotten made), but I knew it would be a fun project that was unlike anything people had read.

Armed with a subscription to IMDb Pro and three years’ worth of annual Blacklists, I sought out screenwriting managers that seemed to nurture writers with similar styles or interests as mine.

Then I reached out directly, submitting my work to those who asked to read me, and met with the one team of managers who loved my material. They’ve been the oldest and most reliable part of my team of reps ever since.

I also sent queries to screenwriting agents, and while ALL of the managers I contacted, called or emailed back, none of the agents reached out at all.

I’m telling you, they only operate on a relationship basis. After signing with my management team, we spent two and a half years workshopping the script and writing new material. (That’s right: two and a half YEARS.)

The first script didn’t sell, but it did garner me several meetings which lead to work that went through a Sundance Lab, and another project that sold and landed on the Blacklist.

After that long haul, my managers reached out to screenwriting agents on my behalf, and I landed an amazing rep at one of the big five [William Morris Endeavor (WME), International Creative Management (ICM), Creative Artists Agency (CAA), United Talent Agency (UTA), Paradigm Talent Agency] as well as a terrific attorney.

It is easy for me to say that my manager and script agent have absolutely changed my life. But they didn’t do it out of the sweetness of their hearts or because I’m a nice guy.

They did it because they believed in my work and because thought they could make money out of me. In other words: the writing was good.

How to get a screenwriting agent by Scott Parisien.

At this point in the game for myself, I have had two screenwriting agents and two sets of managers. I happened to snag my first screenwriting agent with a query letter.

He was a small agent, outside of LA, but took a chance on me.

I worked with him for years and he helped set up my first project that had legs, even though it fell apart a few weeks before production was due to take place.

Poor health took him out of the picture, and I was left with nobody on my back. After a few hard years, I won and placed well in some contests and snagged a high tier management company with some well-crafted query emails.

I was with that management team for five years, and it was a constant battle of agreeing or disagreeing over ideas and choices and career wants and needs.

The interesting thing to note is that even my managers didn’t want to get me set up with an agent until I had a project that they were able to get close to a sale. They didn’t feel it was worth bringing them in if I had nothing yet to offer them.

After five years, I decided it was time to move on and I fired that team, even though they had high caliber projects making noise. It was a hard decision, but I felt they were just not the champions I needed.

Soon after, I found a new manager, a smaller one, with a passion for story and writers like I had never seen. I then went on to win the Page Awards, and he helped me capitalize on the attention with a sale.

Having this manager for a year, far outweighed anything the larger and prominent managers did for me, all because he is a champion of my work.

Recently, through how big of a fan he is of my writing, he has managed to get me onto the roster of a great agent at a top house. And I know he will be there when I have that big sale ready to happen. All because I fully trust my manager and I know that screenwriting agents need a hot commodity to sell. Or they can’t afford to waste their time.

Overall, finding and getting a screenwriting agent is really the end game, once you have learned how to write a screenplay. At least… having mastered the first level.

Beast mode is a harder level to get to, and even A-list screenwriters struggle to make it there and stay there. So, keep writing, always be learning, always taking feedback and see if it will make you better. And never give up.

How to get a screenwriting agent by Peter Briggs.

I signed with my first screenwriting agent back in the early 90s when things were very different from how they are now. On top of this, I was born a long way from Los Angeles. In a small northern town in England.

At some point it dawned on me I wasn’t that bad a writer and perhaps trying to get representation might not be out of the question.

So, I created my stack of screenplays. Now I had to find my market. However, I was basically stuck with the smaller British homegrown agencies. And the two larger LA agencies with a London presence: William Morris and ICM.

Hollywood networking was way different back then and simply not connected for any individual “user” beyond a telephone. Your sole avenue for gleaning industry names and contacts was the semi-regular purchase of hefty, expensive $100+ printed Hollywood Directories.

These days, the most useful thing you can do to help your research is buying an online subscription to IMDb Pro. This unlocks those same direct-access email addresses for agents worldwide. (Or, at least, to their over-stressed assistants.)

So, once I had my list of script agents, I hit the streets, hand-delivering my wares one pile at a time. One morning, after several rejection letters, I received a crisp envelope with a William Morris logo on it.

Turns out they were interested in my work, and would I contact their office with a view to coming in to have a chat? But, hold on: there was another envelope in the same batch. Only this one was from ICM.

In what was turning out to be a surreal morning, ICM also wanted me to contact them. I immediately made appointments to meet my prospective reps. The ICM script agent talked about who he wanted to set me up with, and outlined his game plan for me over the next hour. I was impressed.

In comparison, the William Morris guy was less in-depth and didn’t flatter my writing, other than saying he enjoyed it and was interested. I told him ICM were also interested, so he said to let him know what I decided. I think I was out the door in about ten minutes. I was disappointed. It was a no-brainer.

I went with ICM, but this turned out to be a big mistake. Our personalities didn’t really gel. And his “game plan” turned out to be hot air. After a few months, I ditched ICM and signed with the script agent at William Morris.

A few months later, I handed him my Alien vs. Predator draft, which I’d written on spec. He flew to LA the next week and sold it to Larry Gordon and 20th Century Fox. Overnight my career had begun.

Securing screenwriting agents and managers: conclusion.

Always keep in mind that being a screenwriting agent or a manager is a job. And a tough one at that. Just like a writer is only as good as his or her last screenplay, a script agent is only as good as his or her last sale.

They can’t spend time on small projects or projects that won’t attract stars or directors or producers. It’s important to keep a positive attitude when it comes to all aspects of the business. But it is also important to be practical.

If a screenwriting agent only makes 10 percent on a deal, no one is going to take on a writer that doesn’t have commercial appeal. Because if not, what’s in it for them? Keep this in mind not only when hunting, but also when writing.

The percentage of good screenwriters out there is infinitesimal. But you don’t want to just be “good”. Getting a good screenwriting agent or manager requires you to be fantastic.

Click to tweet this post.

The script comes first.

Yes, it’s important to take your professional arc seriously, to strategize, to daydream, and to aspire. But the thing that will ultimately determine whether you snag a screenwriting agent or manager or not is the quality of your writing.

Firstly, stop procrastinating. (Use these 45 tools to make you the most productive screenwriter you know.)

We writers are world-class procrastinators. So make a binding resolution that getting a manager or script agent is to be your number one priority and stick to it.

Yes, if you’ve been an amateur so far, it can a big and scary step to dip your toe into the waters of professionalism. But if you set the wheels in motion, persist. And if your writing is fantastic, you’ll likely succeed.

If you like us to take a look at your script before you start approaching screenwriting agents and screenplay managers, click the banner below to check out our script coverage services.

Enjoyed this post? Read more on how to get a screenwriting agent or manager…

How to Pitch a Movie Idea and Sell Your Script With Style

How to Become a Screenwriter: A Pro’s Guide to Unlocking Your Career

How to Sell a Screenplay: 6 Most Popular Ways New Writers Make a Sale

[© Photo credits: Unsplash]