Tips for Screenwriters Seeking Representation

There’s a bunch of screenwriting posts circling about how contests and paid coverage / listing sites don’t really help screenwriters. Okay… So what do you do instead? First and foremost, have an undeniable sample. If you want to write in film, it should be a film spec. If you want to work in TV, it can be a spec pilot. Pick one. Not two, not five. One. Now I can’t underscore this more—it has to be great. Ask your biggest critics, ideally people who read or write a lot of screenplays, and have them poke holes at it. Have them be brutal. See where the common notes fall—99% of the time these are things you should address in a rewrite. Do the rewrite. Address the notes. Make it better. Solicit tough criticism again. Repeat until you’ve got a consensus from your small group of readers, that what you have is not just okay, not good, but effing great. Hint hint. Most people don’t do this. Most people think woohoo I have 100 pages and a title page let’s go. Most people do not make careers out of this. So be the one who does ALL the hard work. Now, beyond your ability to write, getting your stuff into the mix of people who actually make movies is tough. There is no prescribed path for this. Not contests, not coverage, not listing services. So again, what can you do? Here’s where I would start, today. Write down 20 people you know, even just a little bit (even over social media) that are industry adjacent. Don’t freak out about it, just make the list. Then, write a short, personalized note to each of these people—ask how they are doing, show interest in their world / work. Tell them you’ve been working like crazy on a sepc, give them the logline. It should tease what you’ve been working on in a compelling and succinct way. Now, and this is important, don’t ask THEM to read your script. Ask them if they know anyone who might be looking for material like yours, or reading new writers, and if they could make an introduction. Keep it all very simple. Ask them if YOU can do THEM a favor in return: read something of theirs, be a test audience, just offer up “any way I could be of assistance.” This way, you are not asking someone to read your stuff. You are asking if you can do a favor FOR someone, in exchange for an email from them. See the difference? And WHEN (not if, because if you do this with as many people as you can think of, 20 per day, it will be when) you get someone to agree, the person they are referring you to is more likely to read it than if they got it directly from you. You just created a referral for yourself. If all of this sounds hard, or makes you uncomfortable putting yourself out there, know this is about as easy as it gets. Think of other ways, whatever fits your style. But do it. Every day. This is the work. In sum, I get it—the appeal of contests and coverage and listing services is real. But it’s not the work. This is the work. Do the work. You will see the difference. Just. Keep. Going. You got this!

Aspiring screenwriters often ask me: “How can I get my script read by someone who can bring it to life?” It’s a question full of hope, and in some cases, frustration. So let’s talk about it. First and foremost, understand this: sending unsolicited screenplays—whether to producers, agents, or filmmakers—is a big no-no in the industry. It’s not because we don’t want to discover great stories (believe me, we do!), but because unsolicited work creates legal risks and professional boundaries that must be respected. Instead, focus on these actionable steps to get your work noticed: 1. Find Representation: An agent or manager advocates for your script while ensuring it’s delivered to the right hands. Research reputable literary agencies, and query them with a polished, professional letter. 2. Feedback, Polish, and Polish Again: Before you send your script anywhere, make sure it’s ready. I’ve written pages I thought were gold until someone challenged me to dig deeper. Join writer groups, get feedback, rewrite, and rewrite again. 3. Enter Screenwriting Competitions: Festivals and contests can act as the spark that ignites careers. Winning (or even placing) at respected competitions like the Heartland, Cannes, or Tribeca Film Festival gives your work credibility and opens doors to more opportunities. 4. Make Connections: Build organic relationships in the industry. Attend workshops, the aforementioned film festivals, and industry panels. When you’re ready to share, do so professionally. People need to trust you as much as your writing. 5. Just Start Already!!: Don’t wait for permission to create. Write short films, produce small projects with friends, and put your work out there. Some of the greatest careers began with one small, brave step. The truth is, every one of us—even the greatest writers of all time—started as an unknown storyteller. The key is to combine your talent with persistence, humility, and respect for the process. Make sure you’re giving others every reason to believe in your vision. Keep writing, keep creating, and keep sharing in the right way. #Screenwriting #Submissions #Film

"How do I get a manager?" is a common question I hear from emerging writers. It seems like a catch-22: you need work to get a manager, but you need a manager to get work. (That’s the perception at least.) Let's break this down in a way that actually helps. 🧵⤵️ First, a quick clarification: early in your career, target managers, not agents. In today's industry, agents typically only sign writers who are already working or about to make a sale. Managers are the ones who'll take a chance on emerging talent (sometimes). Here’s a tough question not enough writers ask themselves: Are you actually ready for a manager yet? Having representation feels validating, but signing too early can sometimes hurt more than help. If your work isn't truly at a professional level—if you can't honestly see yourself staffing or selling a script within the next year—having a manager won't magically change that reality. You'll take meetings with executives, but if your scripts aren't ready, those meetings won't lead anywhere. That might mean you’ve burned potential relationships before you were ready. In some cases, waiting is better. Manager relationships are a bit like romantic ones—sometimes it's better to stay single than partner with someone who isn't the right fit for you and your work. When you do feel ready, there are three main paths to connecting with managers: • Leveraging personal connections • Getting noticed • Cold querying If you've worked as a PA, writers' assistant, or script coordinator, or have other industry relationships, start there. Ask folks you know directly: "Do you think my work is ready to go out to representation?" This specific question gets you honest feedback. If writers say yes, they might offer to pass your work to their manager or others they know. When possible, try to send your work to multiple managers on the same day, and have your referring writers mention this when they submit you. Another path: getting noticed. This might happen through the Black List website if your script scores well (usually multiple 8s), placing in prestigious contests like Nicholl Fellowship, or even through a standout comedy set or showcase performance. If managers reach out to you—great! But remember, finding the right fit matters more than just having *any* representation. Don't sign with someone just because they reached out first. The final approach is cold querying managers. It's a numbers game. I've had clients send 100 queries, get 7 responses, which led to 3 meetings and signing with 1 great manager who was the perfect fit. (I’ll give more specific advice on this approach in a future thread.) Whatever approach you take, remember that rushing into representation before your work is truly ready can set your career back. The goal isn't just to get a manager—it's to find the right manager at the right time.

I wrote a 34-page guidebook for screenwriters looking for a literary manager. But if you don't want to read the whole thing, here are my Top 10 Tips from it: Tip #1: Before you are ready for a literary manager, you should have at least TWO solid scripts in your genre. Tip #2: Your portfolio should contain NO MORE than 5 screenplays. Tip #3: The best way to find a manager is through personal recommendations. This approach will beat querying every single time. Tip #4: Don't include the word "Query" in your email subject line. Talk about you or your project specifically. Tip #5: Your query email should contain a polite opening, a logline, and a bio. Don't attach any documents or lengthy summaries of your script. Tip #6: Don't include multiple loglines in a query. Pick the script you think is the best (or that this manager will like the best). Lead with that one. Tip #7: Don't include coverage or feedback from other people. Managers want to evaluate your idea for themselves. Tip #8: Be polite, but don't be too formal. Hollywood is an informal industry. You'll sound more experienced if you greet the manager by their first name. Tip #9: Personalize each email. NEVER CC or BCC a bunch of different agents/managers on the same email. Tip #10: We all talk to each other. If a manager gives you feedback or passes on your script, be courteous. If this is a pleasant experience for them, it could result in opportunities for you in the future. Don't burn bridges. *** If you found these tips helpful (or want to know more about the reasoning behind any of them), you can download the full version of my Querying Guidebook for yourself. Link in the comments below!