Correct, the guy writing an article telling you how to get an agent hasn’t got an agent. I’ve tried/I’m still trying however along the way I have learned how to get one and I feel like it’s my duty to share everything I know.

I can tell you everything I’ve gathered so far but obviously, take it with a pinch of salt. There’s no one-way, no easy nor direct path to getting an agent. It’s a constant learning curve and unfortunately, takes a lot of trial and effort.

Right. Before we begin theres one single question you need to ask yourself and be honest...

Are you ready for an agent?

My answer to this question is exactly why I stopped looking for one not long after I started. I thought I was ready, but there’s a difference between feeling ready and actually being ready.

Let me clarify.

I’m at a point now where I’m confident enough in my writing that I want people to read it and turn it into something. However, that confidence, simply being a good writer and being eager to be represented isn’t enough to snag an agent.

A major thing that’s never really discussed or taught on screenwriting courses is the business side. They focus more or less solely on the craft and neglect to tell you how to sell the scripts you’ve written or how to get someone to do it for you.

It’s probably why you’re here. Don’t worry, I’ve been in the same situation, Googling articles with this literal title “how do i get an agent” and filtering through countless ones till you find one that’s genuinely helpful or written with a voice you click with. Basically, I know I’m not the first person’s advice you’ve read. That’s okay, I know there are others who are probably better and know what they’re talking about *sniff sniff*

Anyway, if you’re trawling the internet for help, you’re more than likely not ready, not equipped, to get an agent and be a professional writer fresh out of your degree or writing course because you might have been taught how to be a writer, but not everything that’s part of being one.

Sheer talent alone does not guarantee you anywhere in this line of work, I’m sorry to say. To be a writer you must be more than a writer. You need to be a salesperson. You need to sell yourself all the time.

Yes, I realise the irony that you have to sell yourself to get someone else to sell you to others and even then, you’ll still be expected to sell yourself in meetings and pitches etc. It never ends! Often writers are the socially awkward type and that’s why we hire agents, to do the talking for us. But we still gotta do our fair share - it’s our writing after all. Only we know it best. And no-one’s going to have confidence in you if you don’t have confidence in yourself.

What I’m saying is, you’re not ready to get an agent if you’re just a writer. You can’t just a send a script and hope for the best. Part of the reason someone will want to represent you, to buy/read your script is because it’s yours, it’s got you in it. So, you need people to want to invest in you.

Make sense? I doubt it. And we’ve only just begun...

Other reasons you might not be ready yet

You’ve written something? Great, but nobody’s going to represent a writer with only one script to their name. You wanna show you can write more and if you have more than one script you have more chance of getting an agent because you can send different scripts to different agents according to their tastes.

I’d say have at least two polished pieces minimum, preferably 3. You definitely need a calling card, a back-up and then something still in development to show you’re always working.

Speaking of which, you need to show you’ve been doing this for a while and you’re passionate about it. You’re not just going in naively with a single script under your belt. You gotta have experience in the industry. You gotta seem to know what’s in store.

Agencies claim they’re looking for up and coming new writers, and that’s nice and all, but are they really? You check out their client list and everyone’s twice your age, in their 30s and 40s.

“So, what, I have to wait to be old enough?”

Not necessarily, but I guess we get better with age if we keep it up, as writers and salespeople. But also, time allows you to go and do stuff.

How to get credits - make yourself attractive to an agent

You want an agent to get credits. Well, little industry secret, but agents are more likely to be interested in you if you already have credits. I know, doesn’t make sense, right? You need an agent for credits but also need credits to get an agent, it’s a Catch 22. How can you get credits if you don’t have an agent to get you a gig?!

Well, you can bloody well try and get something you’ve written produced. But there are few production companies who accept unsolicited scripts (there’s ways around that but I’ll get into that another time…), and the likelihood that one of your first specs will get made is - sorry to say - very low.

Alternatively, you could try and get a seat in a writers room - I’m always being encouraged by my mentor to hop on a soap like EastEnders or Corrie - or find someone online to produce a short film by shouting into the social media void. I’ve used Reddit - the Screenwriting and Produce My Script subreddits specifically - to connect with directors and producers before now, but they were based in America, didn’t have any experience in making narrative shorts and ultimately, transatlantic talks either petered out or ended due to “creative differences” (like, real ones, not the excuse used by Disney when they fire directors).

At the end of the day, you can only rely on yourself.

You gotta make your own way

I know, I know, easier said than done. You’re probably sick of hiring established filmmakers tell you to “just make the thing”. Sure, it’s easy for them to say, they have agents, the track record, the backing, the trust, the resources to make stuff.

Has anyone else seen those adverts with Martin Scorsese, James Cameron, Alejandro G. Iñárritu and Kathryn Bigelow for Rolex? It’s supposed to inspire “the next generation of filmmakers”. Firstly, Rolex, understand your target demographic better. The next generation of filmmakers are broke, they can’t afford a Rolex unless they’re rich. In which case, they can fund a film and have a helping hand into the industry thanks to Uncle Nepotism.

you have to prove yourself

I feel like the older generation of filmmakers have forgotten what it’s like to break into the industry. On one level, they’re right, anyone can make a film nowadays thanks to how accessible technology is. But let’s be honest, making a movie on your phone isn’t the same as having an actual budget and cameras and a crew who know what they’re doing. I should know! I made an entire Doctor Who fan-series on a 4:3 low-fi camcorder and it’s not exactly catapulted me to stardom.

Of course, you can make a good movie without a budget or on your phone. I mean, Steven Soderbergh shot a whole ass movie on the iPhone 7 Plus! Then again, he’s Steven Soderbergh and not everyone can afford an iPhone or the fancy apps available with them.

My point is, the likes of Cameron can say “just go make your film” but not all of us have made the second and third highest grossing films of all time (yet!) to purchase a frickin’ submarine and an unlimited budget for countless Avatar sequels nobody asked for. I don’t know how filmmakers who grew up in arguably harder times can tell aspiring creatives who look up to them just to get on with it whilst simultaneously and ironically trying to sell them expensive watches. Their success has caused a disconnect.

it's hard being a diamond in a rhinestone world

If anything, even though it’s easier to produce something yourself, that doesn’t mean it’ll be any good or stand out from the rest. There’s more competition in the industry then there was when Marty and Jim were starting out, and just making something might make you look slightly better to agents but you’ll stand a better chance of bagging one if that thing is good and won competitions or been shown at festivals.

I’m sure I’m not the only one who’s heard of writers who drew attention from making a thing off their own backs. Sam Raimi is a classic example, and I’d recommend reading the Wikipedia for his debut The Evil Dead on how he managed to get that made.

It is possible to make your own film and I’m not going to try and get an agent until I have. Get a great portfolio together that you're proud of and know from external sources is good. I think you and I will stand out more if we do.

Unfortunately, it’s a lot of hard work and requires you to take on multiple roles you might feel uncomfortable in but that dedication, determination and having your finger in as many pies as possible will make you more attractive to an agent.

Plus, having experience on a production will help your writing because you know what can and can’t be done. You’ll have sympathy and respect for the crew who will one day turn your words on a page into a reality.

For more on how to produce your own work, check out our resident filmmaker Jon Benoy's article CREATING ON A BUDGET.

Can’t make a thing? Be involved with someone else’s thing

Even if you don’t produce something you’ve written, I’d recommend working on a production in some capacity, even if it’s unpaid or a role unrelated to your ideal job. Preferably, you’d get paid and you should strive for that but the older generation expect you to earn your place in the industry through free labour *rolls eyes*

Take whatever opportunity you can get, you can’t afford to be picky - unless you genuinely can’t afford to work unpaid, then don’t. Be a runner, be a boom op, just get a credit because any is better than none and they all count!

There’s a misconception that being a writer is one of the easiest jobs in the world. Getting overpaid to make things up or a living. But you’ve gotta get there first and you’re not expected to hustle like this in any other industry. You’d think those who’ve already broken in would understand and not expect you to jump through so many hoops and slave away but hey-ho. Hopefully, things will change when our generation of writers gets to the top.

Okay, so you think you’re ready. The next question on your lips is:

How do I find an agent without being approached?

Although most writers are ' discovered' by agents without approaching them if you want to go out and find one for yourself the obvious answer is Google “screenwriting agents” and variations thereof. Scroll through the results, open a million tabs, create a Bookmarks folder. But I have an old-fashioned alternative.

An easier way of searching for an agent is turning to the Writers’ & Artists’ Yearbook, which is a reputable and popular resource among aspiring writers. Although it’s kinda more for how to get published as an author, there are comprehensive lists of literary, film, TV and radio agencies in the UK, Ireland and overseas that include what they’re looking for, their submission guidelines and contact details. It’ll save you the effort of finding and noting down every legitimate agency because they’re all conveniently to hand. Then it’s just a case of narrowing down which ones are for you.

The latest version is available of the Yearbook is on Amazon for £15. That’s the cheapest place to buy it at the moment and I know even that sounds a lot for a book but it’s a tome and totally worth the investment, not just for the indexes but also advice from other writers and people in the industry across all genres and mediums. I’m gonna buy an updated copy for the New Year and read everything applicable to me before starting my search for a publisher/re-starting my search for a screenwriting agent.

If you’d prefer to stick to online though, I’d also recommend WritersServices which is essentially a virtual version of the Yearbook where you can search and filter your preferences. Like the Yearbook’s own website, it has other helpful resources and like the Yearbook itself, will probably lead you to each agency’s website.

How to find the right agency

Right, so you’ve got a rolodex of every agency, time to narrow them down.

You’re going to have to check who’s looking for clients and accepting submissions and what they’re looking for. More often than not, the Writers’ & Artists’ Yearbook and WritersServices will tell you whether an agency accepts unsolicited submissions. And more often than not, they aren’t. But don’t just go off Yearbook or WritersServices’ description and fire off a generic e-mail.

Go to the agency’s website, check their submission guidelines and what they’re looking for. Before now I’ve thought an agency was accepting scripts but either didn’t accept unsolicited submissions or didn’t even look for screenwriters. As much as I cherish and endorse the Yearbook, it’s not always clear or accurate and that’s not always its fault because the agencies aren’t always clear what they’re looking for themselves and might’ve changed their guidelines since the book was published.

So yeah, make sure the agency is looking for new clients, they represent your medium, they’re accepting submissions and most importantly, they’re a right fit for you.

If they’re not accepting submissions or looking for new clients, you could possibly enquire but it’s probably a waste of time. Time you could be contacting an agency who might actually read your e-mail and not send an instant generic rejection or just delete yours.

How to find the right agent

Now, you’ve got a list of agencies you want and more importantly, can contact, you need to pick a specific agent.

Some agencies will tell you to just e-mail an @info address or fill in the contact forms. Which means either they might not read your e-mail, or will fob it off on an assistant. And it suggests they’ll decide which agent is suited to you.

Unless that is your only option, I’d recommend you e-mail someone directly. Good agencies will have a list of agents. Read their bios. Take note who’s looking for what and pick the agent you’ll think you’ll gel with. This is going to help you with your enquiry and cover letters.

If you can’t find an e-mail address for the agent you want to contact or their status means their inbox will be full and they have an assistant, e-mail them instead! I’ve contacted an agent’s assistant before and you’re more likely to get a response that will you tell you straight up if their boss is looking for new clients or not.

What do I send an agent?

Alright, you’ve picked an agency/agent, you’ve got an e-mail address. What the hell do you send to them? Well, that depends on the recipient's criteria. Every agency has different submission guidelines so read them carefully.

Solicited vs. unsolicited

Firstly, does the agency accept anything unsolicited? Unsolicited means not asked for. But that doesn’t mean you can’t send them anything if they’re not asking for submissions. There’s a difference between “not looking for clients” and “no unsolicited submissions”. So, if an agency is looking for clients, you just need them to ask you to send them more about yourself and your work.

How do you get them to ask that, you ask?

writing your Enquiry letter

Any e-mail you send asking to be represented is you making an enquiry. So, regardless if you’re attaching a cover letter or a sample of your work, you’ll have to write one of these bad boys. An e-mail that introduces yourself, short and sweet.

Example:

SUBJECT LINE: Name of screenplay by your name (genre)

Dear [insert name here / whom it may concern if it’s not directly to an agent]

My name is [your name] and I’m a screenwriter and I’d like to seek representation with you.

Very briefly mention what you’ve been up to e.g. I’ve just completed an MA in screenwriting etc.

Pitch the script you want them to read:

[INSERT TITLE] is a [GENRE/ FORMAT – Feature? Returning Drama Series? Sitcom? etc.] and is about [INSERT LOGLINE].

But keep this to a couple of sentences, nothing more. Add if it’s won any competitons etc. to catch their eye.

Then it depends what you’re able to send to this agent. If you’re sending a cover letter. CV, synopsis or sample, attach that obviously and mention it.

Finally:

Many thanks, I look forward to hearing from you at your earliest convenience

Yours sincerely,

( Your Name )

Or something like that. Just be brief, polite, formal to a degree, humble brag but don’t boast and balance selling yourself and your work.

writing your Cover letter

Agencies are you going to ask for a cover letter. If you’re like me, the concept of a cover letter is absolutely baffling and seemingly unnecessary. Basically, it’s an expansion of your enquiry letter and you’re going to mention things that are present in your CV. There’s an art to it I’m sure, but I’m yet to master it.

A cover letter should be 300 words max with plenty of white space. Keep your paragraphs short, maybe two to four sentences.

Style it just like your enquiry letter but go into more depth about yourself, your background, your achievements, your calling card script and maybe why you think you’re ready for an agent/why you’re contacting said agent.

Make sure you appeal to them and their tastes. Flatter them a bit. Do they or the agency represent any prolific writers, ones you like. Mention they have an impressive client list and you want to be part of that. But don’t go overboard, you don’t want to put them off with cringey compliments. They’ll see right through you.

Also, to make your cover letter less dull, use a template from Microsoft Word. You can have a lovely picture of yourself and all your contact details on a sidebar which will help bulk out the page too.

Referrals & recommendations

Some agencies say they’ll only take on writers who have been referred or recommended or prefer ones with references.

Has someone in the industry or someone with representation suggested you contact an agency? Then that’s your ticket in, mention them! If not and that’s exactly what the agency wants then either they don’t want to hear from you or you don’t really stand a chance.

However, if an agency prefers or requires you have a reference then you can get one if you have contacts.They usually look for references from a professional or course tutor so, if you know any who can big you up and legitimise your enquiry, ask them nicely to write something up about you that you can send to agents.

your writing CV

Some agencies and writing competitions ask for a writing CV. So, like a normal CV but focused on your writing (duh). Agents don’t want to hear about that Christmas temp job you had or how you’re a team-player. They want to know what makes you a writer they want to represent.

So, what to include?

Your name - Screenwriter

Email Mobile Other contact details

About me

A paragraph about yourself, what kind of stuff you write.

Credits

Start off with these if you have them! If not...

Education

...if it pertains to screenwriting so, an MA in it or a media course etc.

Work experience

Any that’s relevant to screenwriting, credits on a production, script reading, that sort of thing.

Online presence

What’s your Twitter handle? Do you have a blog like this? Are you part of the #WritingCommunity?

Projects

A summary of your completed drafts with genres and loglines and if they’ve gotten anywhere yet, works in progress etc. Maybe don’t list everything though.

Other

Do you do any other extracurricular activities that pertain to screenwriting that you think will help you stand out?

References

Names of any course tutors, mentors, writers or industry professionals and their email addresses and or phone numbers who will say nice things about you.

____________________________________________________________________________

Your CV should only be about two or three pages. Make the formatting clear and like all the other documents you submit, stick to a font type and number. Try and keep to the facts but don’t be overly formal and there’s room for humour. But again, like everything else you send to an agent, remain professional and don’t try to be too funny.

Actually, let your tone match the work you’re pitching for some synergistic consistency. So, if you want them to read your sitcom, make them chuckle and etc.

your selected script Synopsis

An agent will only read your script if it sounds interesting. You’ve teased them with the logline and they’ve taken the bait. Now they need more to reel them in.

If they’re asking for a synopsis as an individual document, you don’t need to fill the page with a block of text. Remember, plenty of white space.

Introduce the premise, go into some detail about the plot, the inciting incident, that first cliffhanger, BUT DON’T GIVE THE GAME AWAY. Tease them a little more. Hint to where it’s going to go and hopefully you’ve made it intriguing enough they’ll want to read the rest in your script. And if it’s a series you’re pitching, loosely describe its trajectory, mention what’s in store for the future.

A synopsis is a summary, and depending on the agency, it could be just a paragraph or two or an entire one-page pitch so be prepared for that. This is the writing that will convince an agent to read your writing.

sending an agency a Sample of your work

If you’re lucky enough, an agent might want to actually read your script - or the first 10 pages at least. So, make sure it’s polished and the very best it can be. Proofread, spell check, check your formatting.

This is it, the real selling point. I’m not going to tell you how to write, that bit’s up to you.

The waiting game - embrace the ticking of the clock

Alright, so, you’ve taken the plunge and pressed send. Now, the waiting begins. The real test.

Don’t expect an answer in your inbox immediately. Most agencies say they’ll take about 6-8 weeks to get back to you and if you don’t hear from them at that point, it’s best to assume they’re not interested. Which I feel is worse than a generic e-mail? I’d rather know no definitively than never hear anything. They say it’s because they’re busy but come on, it doesn’t take much to send a pre-written message. It’d probably be their assistant doing it anyway!

Following up - don't be ignored

If you haven’t heard anything from an agent, I wouldn’t bother following it up. Not only is it a waste of time, especially if they’re a popular agency and they’ve explicitly said you’re not going to hear back soon, if ever. But, it also comes off annoying and desperate - which you are (the latter, but if you feel the former, I get it) - and that’ll just put the agent off.

What about following up after a rejection?

Well, that depends. Unless you’re lucky or a fortuitous genius, you’re going to receive a lot of rejections and understandably, want to know why nobody wants you.

Some will suggest you reply asking why - I mean, what have you got to lose? They already said no. Fair enough, but you’re more likely to get a reply to your new query if it’s a smaller agency. I wouldn’t expect an explanation from the big ones. Also, smaller agencies will get back to you faster with personalised messages which is nice!

I’m prepared for it to take years. I don’t know how my girlfriend can put up with that and stand by me but if she’s willing to support me, than I’m willing to keep trucking through the storm. Like Dick Halloran in The Shining - but in King’s version where I live long enough to move to Florida and retire in peace.

Do I need an agent to write professionally?

After reading all this, you’re wondering is it even worth the effort? Do I really need an agent to become a paid screenwriter? Can’t I make it on my own?

Well, yeah, of course. Many writers don’t have an agent or don’t need one. I know one who had one and then decided to be self-sufficient. And I know another who got their first credits off their own back and then got an agent.

So, it is possible to get credits and be a full-time writer without an agent. But I’d say you’re probably better off with one. Most successful writers have one and they get you work. I mean, you never stop networking and pitching to people but at least some of the load is lifted with an agent.

At the end of the day the decision is up to you. Whether you think it’ll be good for you and whether it’s worth the gruelling process to get one.

Either way, I hope this somewhat helped give you an idea of what it’s like and how to get an agent. This is just what I’ve learned and my humble opinion so feel free to ignore everything I’ve said and read another article from someone who’s actually succeeded.

Best of luck to all of us!