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Resourceful writers who have no agent connections but know others working in the industry should brainstorm ways to reach desirable names. The agency that reps your attached figure is the most logical choice since they have a vested interest in seeing the project materialize. Tinseltown loves “names.” A project with a recognizable actor, director or producer attached will draw the attention of reps eager to sign the writer before the project sells. Offer to treat your friend to a nice dinner or some concert tickets if she can get you a face-to-face. Your friend should be able to tell you about the agency’s culture and whether she’s had good experience there, so you can determine whether they’re a fit. She can be a director, actor, editor, cinematographer, whatever – so long as the agency she’s with also has a roster of writers. And that friend doesn’t need to be a writer. Writers should also speak with friends and colleagues who have representation in an attempt to gain entry that way. Typically, semi-finalists in well-respected contests will get phone calls from reps interested in seeing their material while finalists and winners will get in-person meetings. (See more details about these competitions in my previous article, “The Pros and Cons of Screenplay Competitions”: ). Only a small handful of competitions are going to provide access to literary reps with any real cache. Screenplay competitions are a viable path to reaching agents and managers – and this includes platforms like The Black List () – but you have to be selective in which ones you submit to and you have to do well in them. Fortunately, though, they left a few small fissures in their walls where truly talented and resourceful writers might squeeze through, even if those writers have no credits.
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And yes, they put up walls to prevent the inevitable deluge of middling material from every wannabe just because he learned Final Draft. Yes, agents and managers are integral to success in the literary screen trade because they provide access to opportunities not otherwise available to fledgling writers.
#Getting an agent as a screenwriter professional#
I’m constantly meeting aspiring screenwriters from around the world, whether on social media, in academic settings, or via professional networking events like Pitchfest, and one question I often hear is, “How can I get an agent (or manager) if I have no produced credits?” Yes, cause for vexation, especially in Hollywood where chicken-and-egg conundrums abound.