Finding an agent isn’t as easy as attaching your script to a mass email blast and hitting ‘Send’. If you’re going to really devote time to building a career as a screenwriter, you’re going to have to invest real time into the search, and you’re going to need to go through the query process in a very specific way. That’s why we created our process. We interviewed dozens of writers on how best to develop queries, and have amassed their tips into four distinct categories that we like to call the four tenets of Get Me An Agent.
NEVER send unsolicited material. Always ask an agent if they want to read you.
This is the single most-important part of the query process. T there’s a lot of money involved in the development process, which makes agents very wary of receiving unsolicited scripts from would-be clients, for fear they may be hit with a lawsuit if they produce a series or film with a similar plot or characters. And while this myth of IP being stolen from writers is a very rare occurrence (see our guide on protecting a TV show for more on this), it’s a common fear. If you send your script out cold to an agent or manager, you will almost certainly receive a depressing response like this:
Dear Screenwriter Who Isn’t Going To Be Repped By Us,
Please be advised that Big Name Agency does not accept unsolicited material or requests for representation. The Unsolicited Material you sent us was destroyed unread with no copies kept by Big Name Agency. Please note, the Unsolicited Materials were also not forwarded or discussed with any third parties. Accordingly, any future perceived similarity between any Unsolicited Material and any element in any creative work of Big Name Agency or it’s clients would be purely coincidental.
Sincerely,
Underpaid Assistant
Big Name Agency
Not only is this kind of email scary to receive, it also drops your chances of being read by that agent to zero. Don’t give anybody a reason to ignore you. Always send the logline first, and ask “would you be interested in reading?”
Send your script only after at least five friends/coworkers have seen it and given notes.
You probably feel the urge to ignore us on this one. But we’re serious. Even if you’re convinced that your script is the best thing to hit the market since Citizen Kane, you’ve got to show it to at least FIVE friends and/or coworkers (and receive notes from said friendworkers), before you’re ready to send it to agents or managers. Why? Because here’s the painful truth: it’s probably not nearly as good as you think it is.
It takes a script years of development before it’s ready to be made into a movie or TV show. And we know you think you’re the exception. You know how we know? Because we think we’re the exception, too. Every writer thinks they’re the one who’s just “destined” to make it, and that their writing is just so undeniably good that agents will be tripping over themselves to sign them as a client. But here’s the cold, hard truth. Those prodigies are one in twenty-million, and they’re not the vast majority of successful working writers. Almost everybody who’s actually made it in Hollywood did so by working hard, taking criticism well (and frequently), and getting feedback on their work before sending it to gatekeepers.
Have a second script (that meets the requirements of tenet 2) ready to go before you send anything.
We know, this may seem unfair. You have to reach this unattainable level of excellence with not one, but two, scripts?!?! Yes, you do. If an agent and/or manager likes your first sample, they’re going to want to make sure you’re not just a one trick pony. So they’re going to ask you to pull off the impossible… twice. So have a second excellent sample ready to go when you send out the first one.
But what are the requirements for this second sample?
It should be roughly the same genre as the first (both in the drama realm, both in the comedy realm, etc).
It should be in the same medium as the first (both TV or both features).
It should show off a different area of your expertise. If the first sample is an ensemble space opera, make the second one a more grounded, character-based story.
Your seconds sample can be a spec of a different show, but your first one cannot.
Don’t even think about reaching out until you’ve written at least six scripts.
We know you think you’re ready now. We know you think you have such a singular, once-in-a-generation voice that you simply must be heard right now. You’re wrong. Even if you have an innate understanding of character, or a lovely, flowery style of writing, you need to write at least six scripts (note, we said AT LEAST) to have even a hope of being ready to reach out to agents.
Do these six scripts have to be excellent? No. In fact, a lot of them won’t be. As we’ve said above, you must have at least two samples that pass the “Five Friends” tenet, but the other four samples will, no doubt, be worse. But what exactly do we mean when we say six scripts? Each script has to be:
They must be completed (multiple drafts, to the point where you’ve put it away on the assumption that you’re finished writing).
They must be a feature film or a TV pilot script (we love podcasts and short films, but they don’t count for our purposes).
Why are we so cruel as to force you to write six scripts before finding an agent? Because no matter how genius/talented you are, you need to write many screenplays before you reach a level of comfort with the form. That’s the deal, plain and simple. The more bad scripts you write, the less bad those scripts become. Your “best work” after script #1 is several dimensions away from your “best work” after script #6. So write all six (or more).
There you have it: the four tenets of Get Me An Agent. These are not all you need to successfully find a Hollywood agent, not by a long shot. But these are the four pillars we believe are the most important when preparing your query letters. Follow all four and you’ll be well on your way to the red carpet. And if you’re not a subscriber to Get Me An Agent, what’s standing in your way? Start your free month today!
One of the best ways to make your mark in Hollywood is by making a short film. Many of the greats, from Robert Eggers, to the GOAT himself, Stephen Spielberg, got their start after somebody powerful fell in love with their short film. In fact, hardly a month goes by that I don’t hear about another writer or director who broke through with a killer short film. Why? Here are a few reasons why a short film is an excellent entry point into Hollywood:
They are quick – A feature film is usually between 90 minutes and 2 hours long. This means that a hypothetical agent looking for new clients has to take hours out of their day to watch your film. Considering this agent probably has to go through hundreds of submissions to find a good fit, your two-hour epic is a poor use of their time. Shorts, meanwhile, can be an excellent show of your talent in as little as 5 minutes.
They stand out – Even the best features have only a few standout scenes. Think about your favorite movie: Is every scene riveting? Is there no moment that you wouldn’t miss? Chances are, you said ‘no’. Even the best films only have a few truly standout moments. A short film, on the other hand, is comprised only of the standout moments.
They are everywhere – Features (even more for TV episodes) are usually difficult to find. Our hypothetical agent would have to rent your feature, find it on a streaming service, or click through your Vimeo link and type in a password. Short films can be proudly displayed on your YouTube or social media, or downloaded to an agent’s computer in a matter of minutes.
Yes, short films can be an excellent way to show off your writing/directing style and promote yourself to agents and managers. But how do you come up with an idea for your short film? It may seem tricky, especially if you’re used to writing longer form screenplays. Short films don’t have complex stories or rich, full character arcs. This can be very frustrating to a writer. I know I’ve struggled to write a short film before, simply because my ideas generally come out too big. But never fear, because I’m going to end that brain fog for you today: Here are ten methods to come up with great short film ideas.
1.) A scene from a longer project
IP is king. What does that mean? It means that studios and/or production companies who might be interested in you are infinitely more likely to jump on board your project if it’s based on existing content. One of the best ways to come up with a short film idea is simply to rework one of the best scenes out of your existing feature film or TV series as a short. If you choose this route, you’re killing two birds with one stone. You’re making your short film, and you’re adding more value to your feature/TV pilot for when you decide to shop it around town. And who knows? Maybe a studio chief will watch your short film and decide to option it out right. Then you’ll already have an entire pilot or feature ready to go for them.
You can’t just pick any scene, however. It needs to be attention-grabbing and visceral. Here are some tips to pick the scene you’re going to adapt:
Make sure it shows the world of your longer script. If your feature is a romantic comedy about two people with human heads finding each other in a world where everybody else has goat heads, make sure the scene you pick has some goat heads in it.
Keep an eye on budget. You don’t want to adapt your short film from a sprawling car chase sequence. The more stunts or VFX you need to employ, the worse the final product will look (unless you have a massive effects budget).
Make it dramatic. The scene you choose should involve (probably no more than 3) characters grappling with profound issues, preferably those directly connected to your longer script’s overarching story.
You can totally make your short film a comedy, but it must be the most funny scene in your entire feature or pilot, and it must follow the above rules (except it has to be funny instead of dramatic, obviously)
2.) The world around you
Let’s talk about budget. If you’re reading this, you probably don’t have one. You’re probably making this short film for pennies, if not less. Your friends are probably working for free (or, if this is a college film, for credit), and most of your budget is probably going to props and food. So write towards that. It’s not shameful to write within your means when first starting out. Oren Peli, who wrote and directed the worldwide phenomenon Paranormal Activity, wrote his film around the fact that it could take place entirely in his house.
Think about the assets you already have. Your own apartment. Your car. The bus or subway (although you’ll have to be discreet). Your college campus or workplace (if you’re allowed there after hours). Find the most interesting spot you have access to (preferably not outdoors, as the sound will be affected), and ask yourself: “What kind of story could I set here?”
3.) A picture
The 1990s film Miller’s Crossing, directed by the Coen Brothers, was based on an image one of the brothers imagined: a hat blowing in the wind. Obviously, they spun this idea into a sweeping crime noir film, but it works even better for a short film. So how do you do this?
Spend some time looking at pictures online. Download any that really speak to you into a folder on your computer.
Narrow it down to between three and five of your favorite pictures.
For each picture, start jotting down any characters you see. If there are people in the frame, start there. If not, imagine the kind of person that might be in the picture and write towards that.
Once you have loose notes on a few pictures, step away for a while. When you’re ready, go back and re-read your notes to find the picture you’re most interested in adapting.
Start outlining based on the notes you’ve just taken.
NOTE: Be sure not to use the actual picture in your final film unless you have the rights. Don’t be a copyright thief.
4.) A dream
There are two ways to come up with a short film idea based on a dream. We’ll go through each one individually.
A.) WRITE A SHORT STORY BASED ON A DREAM YOU’VE HAD
This is pretty straightforward. We all remember at least some of our dreams, even if only in fragments. Take some time away from your computer. Go for a walk. Try not to focus on remembering your dreams (that’s a trap it’s very difficult to get out of). Once you’ve successfully cleared your mind, try to think about the craziest, most intense dream you’ve had recently. Avoid sexy dreams, unless you’re a very specific kind of writer. Instead, focus on wild, crazy, unique dreams. Once you find one you’re interested in adapting, start writing down anything you can remember about it. Usually, after a short while, the floodgates will open and the ideas will pour out onto the page.
B.) WRITE A SHORT STORY THAT IS A DREAM
This is the second way to use dreams as fodder for your short films is by making short films that consist of dreams. There are some excellent benefits to this method. Firstly, you don’t have to worry about formatting your short film in a traditional way (or about continuity, for that matter). In addition, many editing and shooting mistakes will also be forgiven as style in a dream sequence, which is very useful for first-time filmmakers. Also, a dream sequence allows you to play with many different emotions and sequences in rapid succession, and even to tell tiny character arcs all in a single scene. Dream sequences are one of the only times audiences entirely suspend their disbelief and allow themselves to completely open up to whatever you’ve put in front of them.
5.) A Zoom short film
I know, everybody is done with the pandemic (if you’re reading this in the future, we’ve been dealing with this thing called COVID for a year and a half, now. Look it up, it’s wild!). We’re all itching to get back in the real world. But Zoom cinema isn’t going anywhere. The days of films like “Unfriended” being oddities are gone forever. Today, there are mountains of Zoom films and TV. From Aneesh Chaganty’s “Searching” to an episode of the Emmy Award-winning series “Modern Family”. So why should you consider making a short film that takes place over Zoom? Here are a few great reasons.
Budget considerations – As we’ve said before (and will say again), budget is key when coming up with your idea for a short film. And the great thing about Zoom is nobody is expecting killer production value. People will forgive audio and video quality issues that they certainly wouldn’t forgive in a traditional film. You may even be rewarded for your “authenticity”.
It does the work for you – Everybody knows what a Zoom meeting is. The moment you see those boxes appear on screen, you know what you’re in for. Which means you can save a lot of time on setup and introductions, and just get right into the meat of the story.
They force you into a box (literally) – This is, after all, an article about coming up with short film ideas. And there’s nothing better for a blank mind than putting restraints on yourself. Once you’ve settled on Zoom as your set, you’ve narrowed down the scope of your project so much that it will be far easier to start writing.
6.) Two characters in a room
This is similar to method #5. Shrinking your location down to a single room, and your cast down to two people, gives you a number of guaranteed boosts right off the bat. Not only do you get many of the same budgetary benefits you get with a Zoom film, but you also get something else that’s priceless: you’re automatically dealing with one relationship. You have endless options for that relationship, but your short film will revolve around two characters in a room, working within the bounds of a relationship of some kind. Many great movies and TV episodes take place all (or mostly) within a single room. Movies like ‘Saw’ pit two characters against each other in one room, while ’12 Angry Men’ (which, admittedly has more than two characters), forces resolution between many different strongly-held beliefs. There’s magic to a single room (and two characters with opposing views in that room) that is short film gold.
Need help deciding what sort of relationship your characters will have? Start here:
They could be…
A couple (either breaking up or getting back together)
Two strangers (falling in love or trying to kill each other)
Two friends (learning a secret about on another)
Two enemies (becoming allies or backstabbing each other)
They could also be…
Detectives (solving a murder)
Parents of a bride to-be
Siblings left home alone
Cannibals planning their next kill
A couple trying to make love for the first time but messing it up
This is just the tip of the iceberg. The opportunities are nearly endless when you put two people into a room and force them to interact. But, if “endless opportunities” stresses you out, start with one of the ones I’ve listed above. I won’t sue you, I promise 🙂
7.) Genre-smash
This idea is pretty straightforward: take two genres and smash them together. Many great films have done it. The Coen Brothers, for instance, make a second appearance on this list. Their films are almost always a blend of genres. ‘Oh Brother Where Art Thou’ is a blend of Western and Epic, ‘No Country For Old Men’ is a Crime Noir and a Western. Come to think of it, they often genre-smash using Westerns. But you don’t have to. Not all genres smash as well, and some are just cliché (saying you’re making a dramedy doesn’t count as genre-smashing). Here are some genres you can try smashing together. See what you come up with.
Science Fiction
Comedy
War
Thriller
Western
Horror
Musical
Crime Noir
Fantasy
Biopic
Mockumentary
Time Loop
You can be the one to write the world’s first ever Horror-Mockumentary or Comedy-Crime Noir. And these are just sample genres. Start smashing and you’ll be well on your way to finding the perfect short film idea.
8.) Use a life event
Suppose you want to make an “important” short film. In that case, welcome NYU Undergrads. Just kidding, not everybody wants to make a Western-Time Loop movie. And for these people, it’s best to find subject matter that’s a bit more personal. Any great film or TV series is at least partially inspired by real life. While your important film doesn’t have to be based on an actual event from your life, there’s no rule that says it can’t be. So why not base your short film on a major life event that made a real impact on you. The best writing always comes from a place of true, raw emotions. So find an event from your life that really spoke to you and get writing.
Here are some sample events, broke down by the tone of film you want to make:
Positive Events: Graduation (high school or college), marriage, birth of a child, first kiss, first time having sex.
Negative Events: The death of a loved one, The anxiety of starting a new job or relationship, first kiss, first time having sex.
As you can see from above, many of these life events can play as positive or negative depending on how you spin it. An interesting exercise would be to take one of the happiest life experiences you’ve had, and write as though it was the worst thing that ever happened to you. Or vice versa.
PRO TIP: I’m not saying you should literally write a short film about your own life (you probably shouldn’t). Instead, I’m suggesting you write about a fictional character experiencing one of these life events, and learning the same lessons you learned (or failing to learn them).
Feel free to put your own spin on this method. Maybe mix one of these life events with a genre-smash or two.
9.) Write for your budget
Once again, it all comes back to budget. This is going to be the single biggest factor in getting your short film made and looking beautiful. And I’m going to say it one more time for the people in the back: There is no shame in writing with a budget in mind. For many writers, there seems to be a stigma around writing towards a budget. It’s seen by many as “selling out” or “hampering their creative vision”. I’m here to tell those people that they are wrong. Even among the most expensive films in the world, screenwriters have to write towards a budget. And that means you can too. So how do you do this?
Make a list of everything you have at your disposal for your film. This means, your car, your apartment, your iPhone (yeah, it has a camera). Do you have any bedside lamps you could use for lighting? Do you have access to a college campus or production company with cameras and other equipment?
Actually write down your budget. Do you have one? How much personal money are you willing to spend on this project? Are you willing to use your credit lines (don’t)?Do you have a grant from you school or a fellowship? Do you have any investors? Do you have producers and/or other partners who can throw in some money or help you find some? Be realistic here. At the end of the day, how much money do you really have to make your film a reality?
Write towards this. Can you afford to pay actors? If so, how many? Great, now you know how many characters are in your short film. Do you have a cool apartment or neat courtyard at your office you can use after the workday ends? Great, there’s your location. How many people can you afford to buy lunch for? That’s your crew size, which effects how much you’re doing in terms of effects and fancy camera moves. For how many days can you buy lunch? That’s your shooting schedule (and, therefor, your runtime). You’d be surprised how much you can figure out, story-wise, simply by getting real about how much money you actually have to spend. And guess what? Doing it this way will make it less likely that you go over budget.
NOTE: This isn’t part of the story-idea generation process, but I highly suggest all new filmmakers checks out StudioBinder’s free Budget Topsheet Generator. It will help you get really granular about how you’re going to pay for this. Get it here.(We didn’t get paid for this)
10.) Use a story generator
Story generators are frowned upon, and there’s a reason this is the last method on this list. But writers block is a real struggle everyone faces at least once in their career (even those of you who claim you don’t). Once you get in your own head, you doubt your talent. And when that happens, it’s no wonder the ideas fail to materialize. So I’m not necessarily recommending that your finished product be based on a random story generator, but it can definitely help to get the juices flowing. Services like Plot-Generator.Org.Uk will randomly write a story based on variables you enter (and if you’re really really stumped, they can fill in the variables, too). Once you read the (admittedly terrible) story that’s written for you, you can take any pieces you like and begin work on your new-and-improved short film based (very loosely) on that story.
NOTE: If you don’t want your entire story to be written be a machine, but are only looking for some ideas, there’s a really nifty free service called Story Dice that can get the ball rolling nicely by randomly selecting six story elements you can incorporate into your story.
So there you have it, now you should be ready to start writing. Good luck! It’s going to be a long road, but I promise it’s worth it. Once your short film is written and produced, you’ll want an agent or manager to help shop it around to Hollywood studios and production companies. And the best way to get an agent is with a subscription to, wait for it, Get Me An Agent. Plans start at only $19.99/month, and every plan comes with your first month free. With a subscription to Get Me An Agent, you get all this and more:
Unlimited access to the contact information for 400+ agents and managers.
Free templates for your inquiry emails.
Weekly articles just like this one to help you to kickstart your career in entertainment.
Free 24/7/365 live support with a real entertainment professional who will walk you through the processm.
So you moved to LA, you found a starter job at an agency or a studio, you’re writing every day, and… nothing’s happening. After telling your family, friends, and the mean kids at school that you’re a screenwriter, the forward progression has stagnated. You knew it would be hard to get into Hollywood, but you weren’t ready for the endless hours of waiting and the feeling that no matter how close you get, a successful screenwriting career is always just out of reach. We’ve all been there. During these frustrating time, it’s important to find projects to keep you moving forward. And one of the best projects you can embark on as a young writer is finding an agent. So today we’re breaking down 10 steps every aspiring writer should take when looking for an agent.
1. Know your brand
I’ve always hated the term “personal brand”. But finding a way to sell yourself in Hollywood is important. If an agent is going to be able to pitch you to showrunners and/or studios, they’re going to need to know what they’re pitching. Every writer thinks they’re great at Features and TV, Drama and Comedy (and maybe you are), but the best advice I ever got when looking for an agent was to pick a lane and stick to it. Once you’ve made it, you can make all the wonky, experimental projects you want. But for now, pick the thing you do best and make that your thing.
There are two questions you have to answer when defining your writing brand. They are:
Am I a Feature writer or a TV writer?
Am I a comedic writer or a dramatic writer?
PRO TIP: Drama writers get paid more, go home earlier, and win more Oscars. So if you’re having trouble deciding, I’d go with Drama.
2. Have a great script
This may seem a bit obvious. But many aspiring writers don’t actually write all that much. It should go without saying that you shouldn’t look for an agent before you have a script under your belt. And the more the better. I’d recommend writing at least six or seven scripts (two or three of which you’re really proud of) before starting your search for representation. But not every good script makes a good sample (industry jargon for the script you’ll send to would-be agents). Here are some things to keep in mind when picking your sample:
Be Original – If you’ve written a spec script (an original episode of an existing show), set it aside for now. If your agent can’t get you a job on an existing show, they will try to sell your script to make into new show. They can’t do that with a spec script. So write something new.
Big Ideas – Slice-of-life stories are great. But make sure your first sample is a big idea. Agents are more likely to read scripts whose loglines stand out from the crowd.
3. Have a great script
It’s not a glitch in the Matrix. If an agent likes your first sample, they’ll want to read another. Which means you should have a second great sample to follow up with. If not, they’ll likely forget about you. And try to make your second sample different. It should show another side of your writing. If you went big with the first sample, show a more tender, intrapersonal side with your second. Remember that awesome spec script you set aside in Step 2? Now’s the time to send that. Agents love writers who can capture another show’s voice, since that’s most of the work you’re going to be doing in your career anyway. But always make sure to stay within the confines of your medium (Features or TV) and genre.
4. Have a social media presence
Don’t expect to be “discovered” on social media, you don’t need to be Justin Bieber to get an agent. But agents want to get a sense of your personality and character before they’ll rep you. So in addition to the usual “job interview” test (no alcohol, drugs, sexy pics, etc), make sure to do the following:
Show your personality in your feed. Have pictures of yourself, your writing, and any projects you’re actively working on. I’ve found pictures with a face in them perform the best.
Display your work. Anything you’ve written that’s been produced (including tiny web-series and short films) should be prominently displayed on your profiles.
Have a couple-hundred followers. Agents want to see you’ve got a following. Getting to 200 Instagram followers isn’t very hard if you start following a large number of people. (But be careful. Instagram can lock your account if they think you’re using a bot to get followers)
5. Use your connections
So you know what kind of writer you are, you have a great script, and a another one waiting in the wings. You’ve bolstered your social media with projects and frequent, personal posts. Now what?
Don’t get discouraged when I say this, but the easiest way to get an agent, yesterday, today, and until the end of time, is with strong connections. So don’t turn up your nose at this option. If you have any good friends who are writers, ask them to read your work. If they like it, ask if they’d ever consider showing their reps. Go above and beyond for your superiors at work, especially those you ‘click’ with. Make them want to help you. Eventually, when the time is right, ask them to reach out on your behalf. Ask your parents and their friends if they have connections in entertainment they could connect you to (you may think they don’t, but I grew up in rural Rhode Island and still had three different distant entertainment connections). Here are some other places to look for connections:
Writers groups, Meetups, etc.
Your LinkedIn network.
Alumni of your college or high school.
Nurture your connections, and protect your network at all costs. Don’t reach out to anybody if you think it will hurt your relationship. But most people want to feel helpful, and everybody wants to say they found the next Steven Spielberg.
6. Find agents yourself
Using or building your network of connections is great, but it can only get you so far, and it can easily land you back in the painful holding pattern we discussed at the top of this article. At some point, you’re going to want to actually start reaching out to agents yourself. But how do you find them? There are a few ways (and fair warning, shameless self-promotion ahead):
IMDbPro – The biggest repository of free agent emails is, undoubtedly, IMDbPro. Roughly one in five agents have emails or phone numbers listed here. Simply search for an agency and go through their Staff List.
Agency Websites – Some smaller agencies list their agent’s contact information on their websites, but most of the big guys (CAA, WME, UTA, ICM) don’t.
Using Nymeria and Hunter – If you know the agent’s name but can’t find their contact info, my favorite tools are Hunter and Nymeria. Hunter helps you find all the emails associated with a given domain, and Nymeria is a Chrome Extension that helps scrape emails from LinkedIn profiles (legally).
Get Me An Agent – Save the hassle (and cost) of combining the above services and do it all easily with Get Me An Agent. Every email in our database is verified to work, and you can search for agents depending on your niche. Plus we can match you with agents who might be interested in reading you. Plans start at $19.99/month (cheaper than Hunter, Nymeria, and IMDbPro).
It’s the moment of truth. You’ve got the scripts, and you have a list of agents to reach out to with said scripts. How to actually write the email? Here are some tips to consider:
Keep it short and sweet – 2 to 3 short paragraphs (1 to 2 sentences per paragraph).
Include a logline for your script, a sentence or two about you, and something personal about the agent or agency you’re reaching out (so they don’t think you’re sending mass emails).
DO NOT INCLUDE YOUR SCRIPT. Ask the agents if they’re interested in reading your script, but never send it in the first email. It will be deleted, sight-unseen, for legal reasons.
Have a personality. Agents get a lot of these emails. Be personable, but not overly chummy. Use correct grammar and be respectful, but use the agent’s first name. Don’t be a robot.
We have a whole article about how to format your cold emails, here.
I suggest using GMass, a free service (if you’re sending under 50 emails a day) that allows you to send emails to many agents at once and adds in the custom bits by default.
8. “Just circling back…”
Follow up. Follow up. Follow up. If you’re using GMass, you caneasily setup automatic follow-ups. I’d suggest sending follow-ups to anybody who hasn’t responded after 5 days, 10 days, and 15 days. In my experience, you get the most responses after your first follow-up (yes, more than from your initial email). Lot’s of times, agents simply forget to respond.
PRO TIP: Say something like “If you’re not interested, let me know so I can stop bugging you”. This will get you a lot more responses so you can check uninterested parties off your list.
9. Keep at it
Remember: you’re playing the long game. Right now, Get Me An Agent has over 200 emails, and that number is constantly growing. Keep reaching out. In my experience, one in thirty agents who respond will be willing to read you. And five-to-ten agents have to read you before you’ll get a ‘Yes’. So we’re talking about sending hundreds of emails. It really is a numbers game, and it’s easy to get discouraged. But getting an agent isn’t impossible. If you grew up outside of LA, like I did, you probably see Hollywood as a mythical city, and becoming a screenwriter as a near-impossible goal. I promise you this isn’t true. I got an agent. I got scripts sold. It IS possible. You just have to keep fighting long after everybody else has gotten bored and given up!
10. Join ‘Get Me An Agent’
Okay, hear us out! You can cut your work in half (especially in step #6) by subscribing to Get Me An Agent. Plans start at $19.99/month, and offer unlimited access to our catalogue of hundreds of verified screenwriting agents. Plus, if you signup for our Unlimited plan, we’ll read your script and match you with agents and managers who are a good fit with your project. You can sort agents by:
Medium (Features or TV)
Genres (Comedy or Drama)
Plus, you can talk to a real person on our support team 24/7/365 using Live Chat or Email. If you want a month at half the regular price, check us out on ProductHunt.
