How to Get a Literary Manager or Agent as a New Screenwriter

Quick answer: most new screenwriters get representation by having strong, finished samples and then reaching managers and agents through referrals, contest placements, the Black List, fellowships or targeted query letters. Literary managers are usually the more realistic first step, while agents tend to sign writers who already have momentum. The WGA publishes a list of franchised agencies and recommends sending a short query letter rather than an unsolicited script.

Representation is one of the most misunderstood steps in a screenwriting career. New writers often think an agent is the first thing they need. In practice, most representatives sign writers after something is already happening: a contest win, a script getting attention, a sale or a staffing job. Your job is to create that momentum and make it easy for the right person to find you. Every industry professional you meet is a possible connection, so treat each conversation as the start of a relationship.

This guide explains what managers and agents do, how they differ, how to write a query letter, and the main routes to representation. It is part of the Movie Squirrel series on how to become a screenwriter. Facts about the WGA’s agency list and commission rules come from the Writers Guild of America West’s official site and its published schedule of minimums.

What Literary Managers and Agents Do

Both managers and agents help writers find work, but their roles differ.

Literary Agents

Agents negotiate deals, submit clients for open writing assignments and staffing jobs, and sell scripts. In California, talent agencies must be licensed by the state. The WGA West says the agencies on its agency list represent film, television and interactive writers and are licensed by the State of California. In film and television, a screenwriting agent’s core job is to match clients with paying work and negotiate the terms.

Agencies that are franchised by the WGA have agreements with the Guild. The WGA’s 2026 schedule of minimums notes that initial compensation for writing services, and for an option or purchase of literary material, is generally subject to a 10 percent commission. Residuals and certain other payments are not commissionable under the MBA.

Literary Managers

Managers usually work more closely on a writer’s development: giving notes on drafts, helping choose which projects to write, building relationships, and often bringing in an agent when a client is ready. A manager acts as a business representative focused on the long-term direction of your career. Many managers also produce. Managers are not licensed as talent agents, and their commissions are set by contract, often in a range commonly cited as 10 to 15 percent.

Entertainment Attorneys

Many writers also work with an entertainment attorney, who reviews and negotiates contracts. Some attorneys help clients get scripts read. The WGA does not provide lawyer referrals, but its FAQ points writers to California Lawyers for the Arts.

Manager or Agent First?

For most new writers, a manager is the more realistic first representative. Managers often take on writers earlier, help shape their samples and use their relationships to get those samples read. Agents are more likely to sign a writer who has a script generating interest, a contest win, a sale or a staffing job. Building a career takes time, and a manager can help you plan for the long term.

There is no single correct order. Some writers sign with an agent first after a big contest placement, and some work only with a manager and an attorney for years. What matters is that each person on your team is actively helping.

Feature Writers vs. TV Writers

The route to representation differs a little depending on what you write. Feature scripts and TV pilots each tend to follow their own path to a screenwriting agent.

Feature writers are usually judged on spec scripts. A single standout feature can start conversations, especially if it places in a well-known contest or appears on a list that executives read. Representatives will still want to know that you can do it again, so a second feature, ideally in the same genre, matters. A feature that places well in screenwriting competitions can get noticed well beyond the competition’s own readers.

Television writers are usually judged on original pilots, and the job most new TV writers aim for is a staff writer position in a writers’ room. That makes studio and network writing programs especially important, because many of them exist to prepare writers for staffing. Representatives for TV writers often look for two strong pilots, a clear sense of the shows you would fit on, and the ability to talk about your own life and perspective in a meeting.

Either way, the logic is the same: the samples open the door, and the meeting shows whether you are someone people want to work with for years. Two strong TV pilots or feature scripts show that you can deliver more than once.

What You Need Before You Query

Representatives sign writers, not single scripts. Before you reach out, have:

• At least two polished, finished samples in the genre and format you want to work in. TV writers typically need original pilots.
• A clear, compelling logline for each script. The guide to how to write a logline walks through this.
• A short bio that explains who you are and why you write what you write.
• Registered scripts, so you have a dated record before they go out widely.
• Pages that follow standard format and length conventions, covered in the guides to screenplay format and screenplay length.

If you have placed in a well-known contest or fellowship, that belongs at the top of your query. Mention only real placements, and name the competition and the level you reached, such as quarterfinalist or finalist.

How to Write a Query Letter

The WGA West recommends sending a query letter rather than an unsolicited script. It describes the letter as concise, outlining relevant credentials and briefly describing the work. A typical query email is short enough to read on a phone.

A common structure:

1. A one-line opening that says why you are writing to this person. Mention a client they represent in your genre, a panel where they spoke or a referral, if you have one.
2. The title, genre and logline of the script.
3. One or two sentences on what makes the script stand out, if needed.
4. A brief bio, including any contest placements, relevant experience or produced work.
5. A simple request: would they like to read it?

The examples below are original and were written for this guide.

Subject: Query - NIGHT SHIFT (contained thriller)

Dear [Name],

I’m reaching out because you represent writers of contained

thrillers, and I have a script I think fits your list.

NIGHT SHIFT: A burned-out paramedic must keep a wounded mob

accountant alive until dawn, when his testimony can bring down

the men who killed her partner.

I’m a former EMT, and the script draws on that experience.

[Add any real contest placements here.]

Would you be open to reading it?

Thank you,

[Name and contact]

Keep it short, personalize it and never attach a script unless the recipient’s submission policy says to. Many companies will not open unsolicited attachments, and some require a signed release. Avoid online pitch sites that ask you to pay a fee for a promise of representation.

Where to Find Managers and Agents

The WGA Agency List

The WGA West maintains an online list of signatory agencies, available to everyone. Each agency has its own submission policy, so check before you contact one. The WGA also offers a Find a Writer database, where you can look up the representation of WGA members, which is useful for finding representatives of writers whose work resembles yours.

Referrals

A referral from a working writer, a producer or an executive is one of the most reliable ways to get read. Build relationships over time through writing groups, classes, festivals and professional events. The guide to screenwriting classes covers programs where many writers meet peers and mentors. Ask for a referral only when you have a relationship and a script ready. Industry connections built at screenwriting conferences and film festivals can also lead to a useful introduction.

Contests and Fellowships

Strong placements in respected contests and fellowships often lead representatives to reach out to writers. Many film festivals also run screenwriting competitions, which can put your work in front of industry professionals. The guide to screenwriting contests covers the main programs, including the Nicholl Fellowships, Austin Film Festival and studio writing programs.

The Black List

The Black List website lets writers host scripts where industry members can find them and buy evaluations from its readers. Its annual list, a survey of executives’ favorite unproduced scripts, can raise a writer’s profile when a script appears on it. Use the paid services with a budget in mind, since there are no guarantees. Other online script-hosting and pitch sites work in a similar way, and none can promise representation.

Producers and Executives

Sometimes a producer or development executive reads a script first and then refers the writer to representation. Assistants and junior executives are often more reachable than senior figures, and they move up over time. A production company may also pass a script along to a screenwriting agent it trusts.

Following Up and Keeping Track

Querying is a numbers game, and organization keeps it manageable.

Keep a simple tracker with the name, company, date sent, response and any follow-up. Wait a few weeks before a polite follow-up, and do not send repeated messages if there is no reply. Many representatives never answer queries they pass on, and silence is usually a no, not an insult.

Send queries in small batches. If ten carefully chosen queries produce no requests, look at the logline and the opening of the letter before sending more. If people request the script but pass after reading, the problem is more likely in the pages, which means another rewrite or a different sample. A script coverage service can give you a second opinion on a sample before you send it out.

When someone asks to read, send the script promptly as a PDF, thank them and note the date. If they pass with feedback, thank them again. Representatives remember writers who handle rejection professionally, and a pass on one script can lead to a read on the next. A PDF keeps your formatting intact on any device.

When a Representative Is Interested

If a manager or agent likes your script, they will often ask what else you have and want to talk about your goals. Prepare for that call:

• Know which projects you want to write next and be ready to pitch them briefly.
• Ask how they see your work, which clients they represent and how they plan to send you out.
• Ask how they communicate and how often.
• Read any management or agency agreement carefully, and have an entertainment attorney review it before you sign.

A representative who is excited about your work and has a clear plan is worth more than a big-name company where you may get little attention.

Red Flags

Be cautious if someone offering representation:

1. Asks you to pay a reading fee or an upfront fee to represent you. Legitimate managers and agents are paid by commission on deals.
2. Promises a sale or a job.
3. Requires you to buy coverage, classes or services from them as a condition of representation.
4. Is not on the WGA agency list but claims to be an agent. Managers will not be on the list, but anyone calling themselves an agent should be properly licensed.
5. Has no verifiable clients or credits.

Tools That Help

These books and desk tools help with pitching, querying and keeping track of contacts.

As an Amazon Associate I earn from qualifying purchases.

Selling Your Story in 60 Seconds by Michael Hauge (paid link): A short book on pitching yourself and your script.

The Screenwriter’s Bible by David Trottier (paid link): Includes a section on marketing and selling a script.

Amazon Basics Classic Lined Hardcover Notebook, 240 Pages, 5 x 8.25 inches (paid link): For tracking queries, replies and follow-ups.

Logitech H390 USB Wired Headset (paid link): For clear audio on video calls with managers, agents and producers.

Frequently Asked Questions

Do I need an agent to sell a screenplay?

Not always. Some writers sell or option scripts through managers, attorneys or direct relationships with producers. Representation helps with access and negotiation.

How much do screenwriting agents charge?

The WGA’s 2026 schedule of minimums says initial compensation is generally subject to a 10 percent commission. Legitimate agents do not charge reading fees.

Should I send my script to an agency that does not know me?

Usually not. The WGA West recommends a query letter instead of an unsolicited script, and many companies refuse unsolicited material.

Where can I find a list of screenwriting agents?

The WGA West publishes an online agency list. Each agency sets its own submission policy, so check before you contact one. Third-party directories may also list submission rules, but each agency’s own policy is the one to follow.

How many samples do I need?

Many representatives want to see at least two strong samples, since they are signing a career, not a single script.

Is a manager the same as an agent?

No. Agents are licensed to procure employment and negotiate deals, while managers usually focus on career development and often work alongside agents.

Sources and Further Reading

• WGA West Frequently Asked Questions, including the agency list and query letter guidance.
• WGA Signatory Agency List.
• WGA Schedule of Minimums, including agent commission notes.
• The Black List.
• California Lawyers for the Arts.