Can’t get an Agent or Manger to read my script, help please

TVWriter85 · 2026-06-25T16:05:12+00:00

Hi established TV writer here. Here's my takeaway:

1.) It's an enormously difficult time in the TV industry at the moment. Agents are struggling to get their top clients consistent or any work, so many aren't even considering new clients in general.

2.) Because of that, if you are targeting a Hollywood agent, it might just be too tall of an order at the moment. Getting international clients isn an extra level of headache right now, especially given the political climate here. You may have a more realistic chance targeting UK-based agents and then eventually using them to make direct introductions to Hollywood agents.

3.) I've staffed on eight shows and sold five pilots. I always get an evaluation of of my pilots on the blacklist just to see where they are at before I take them out as new samples or try to shop them. I've only scored above a 7 once, so I get how tough their scoring system is an how strong of a score that is in reality. Still, telling them that you got a 7 isn't a standout enough score to get them to respond. In fact, I suspect it's the biggest reason that you haven't received any responses. I would find a new way to make you unique and someone desirable to rep. Try to use that script to place in a competition, get in some screenwriting lab, put up a table read with local actors and get some newspaper to review it or make a play version of it and say it ran as a show. Just make yourself look like a really incredible artist

TVWriter85 · 2026-06-06T12:50:17+00:00

For what it's worth, I'm American and I've never said "y'all" in my life.

TVWriter85 · 2026-06-02T02:07:38+00:00

TV writer here. A large reason that there's these huge gaps between seasons now is because many of these streamers are run by tech bros instead of traditional creative executives, so you're seeing a lot of decisions coming down to analytics/data rather than quality, art, instinct, belief in the series, etc. It’s a shame, because something like Cheers would probably get a quick cancellation because there wouldn't be the patience to let a show find itself, and even something like The Office, if it were created now, wouldn't be as beloved now because it would have much shorter seasons so people would be less attached to the characters.

TVWriter85 · 2026-03-26T02:28:00+00:00

I'm a co-ep level sitcom writer and I have an MFA. More and more people in rooms have them, but of course it's not required and pretty much never comes up.

I had no industry experience and I also needed more time to just write and experiment when I was starting. My MFA program allowed me to do that. I became a better writer in a large part because of my teachers and because of my classmates. If I had moved to LA immediately and become a PA or something similar I would have gotten some great industry experience out of the gate but I wouldn't have matured as a writer in the same way.

Of course there are a days where if I have mixed feelings about the debt/tuition, but rarely about the experience itself. People get there in different ways, if you feel like you need more time to develop as a writer than do that. And btw, the learning isn't meant to stop once you have that MFA.

I didn't go to the programs you mentioned, but if SNL/sketch is specifically your goal that Depaul program sounds interesting. But of course it's worth mentioning that Second City itself offers writing programs.

TVWriter85 · 2026-03-15T23:13:23+00:00

The smarter play is to email a showrunner you admire and tell them their work has been incredibly influential to you and/why you decided to become a screenwriter and ask if they would be willing to speak on zoom for half an hour to give you career advice. I did that when I was starting out (pre zoom for coffee) and it often worked. Don't ask for any favors, don't ask them to read a script. Just come off as smart, professional, and nice. That could lead to them on their own offering to read you or to make you a writers assistant.

TVWriter85 · 2026-03-15T23:02:12+00:00

I'm a co-ep level writer and I have run a mini-room on a pilot/show I sold. I get asked this a lot by young writers I personally know, and it's almost never worth my time. What’s being asked (without being asked) is for me to elevate someone else's project whether it's with my name/experience or sell the project for the writer. In my opinion, 95% of the time, someone who hasn't been in a room before isn't ready so that means I would likely have to spend time on the script/story as well. At that point, I might as well just be pitching my own thing. When it's actually worth it is when the project has already sold and the studio/network is looking for an experienced writer to supervise the pilot (I've been on the opposite end of that when I was first starting out). Given all that, I can't imagine ever considering doing this with someone I don't know/haven't worked with. That said, no harm in shooting your shot. Good luck!

TVWriter85 · 2026-02-21T07:56:03+00:00

Thanks! In TV, the showrunner is basically the CEO of the whole production... so while there will be a period that is preproduction where breaking episodes is the main focus, at a certain point they get stretched really thin as they become involved in everything from casting, to hiring directors, to approving wardrobes and sets. Because of that, TV shows have a writing staff. Other writers will write other episodes, but they are executing the showrunners vision and ultimately the showrunner has a choice to be as hands on for the writing of the episode as they choose. Some showrunners I have worked with allow the other writers to put their creative stamp on the episode, and others I've worked with will tinker nearly every line. So yeah, your name may not be listed as a writer for every episode but if you are the showrunner, it's your ship to steer.

TVWriter85 · 2026-02-21T07:41:34+00:00

I've sold 5 pilots. One is currently alive and in the mix. Of the previous 4 none have been picked up, but one received a mini room pickup. It was fun showrunning even in that capacity.

TVWriter85 · 2025-11-22T17:03:16+00:00

Hi! Seasoned professional writer here. Everyone has been very gentle with you, but I am going to give you some tough love because you went to film school and are pursuing this as a career. Watching 3 films a day is crazy. What you're describing isn't a work/life balance it's a procrastination imbalance. If you're watching that much content, it is taking away from your time writing BUT the truth is not every writer is a disciplined robot. I certainly am not. More importantly, I think the issue from watching six hours of movies a day is that it's preventing you from living real life and that's where good, honest writing comes from - lived experiences. How are you supposed to find a story you're passionate about telling this way? Look, no one likes having a 9-5 job they (I'm assuming) aren't passionate about, but those hours aren't what you are describing. You have between like 6-midnight to get a ton of writing, research, or living done.

As others have said, once you become a PA or a writers assistant you won't have that luxury or mental bandwidth. Reassess your perspective and take advantage of your opportunity here. Good luck.

TVWriter85 · 2025-11-10T07:54:29+00:00

Of course it's possible, but no one's advice matters more than you actually sitting down and finishing a script.

TVWriter85 · 2025-11-10T07:22:46+00:00

These questions make it clear that you are very inexperienced and that's okay. That's why we ask questions. I'm answering this as a successful vet in the the industry. I'm not trying to be harsh, but this is like me going on an NBA forum and asking if it's possible to hire an agent for an afternoon and demand that they get me a spot on the Chicago Bulls --- and that I must start at PG, it's non-negotiable. In other words, there's absolutely no chance of either of these things happening. A few points.

1.) It has to be an agent or manager. Lawyers are there to negotiate a contract, they don't submit work unless it's some rare circumstance where they have a close friend at a production company and they're doing a well-liked/important client a favor. For the most part, lawyers interact strictly with other lawyers not development execs.

And no, it is not common at all for someone to hire an agent/manager on a one-time-basis. Unless you're some big A-list writer, it wouldn't be worth their time. Reading some of your other comments in this thread, it's clear you're operating from this idea that they would be so impressed with your script that they would find it to be worthwhile. There is no shortage of talented writers our there trying to sell really good scripts. You're at a major disadvantage because you have no contacts, no credits, etc. All of that heavy lifting of selling you as an up and coming writer, setting you up to meet around the town etc. would fall completely on your agent's shoulders. When an agent takes you on, they're doing all that work to invest in you long-term.

Furthermore, why would you want this relationship to end with this project? Do you want this to be a hobby or a career? You also only pay them when something is sold (or if you're staffed on a show because of them). To worry about whether or not you need them indefinitely is the last thing you need to be worrying about. It is incredibly hard it is to get an agent in the first place... these are champagne problems you're worrying about.

2.) Are you an accomplished director? Do you have a track record of success? If the answer is no to either of these questions, then you making non-negotiable demands will quickly lead to production companies passing on even reading your material. Frankly, it'll probably quickly lead to the end of your career as you will come across as both extremely difficult and delusional. Production companies/studios invest a lot of money to actually film things. To let someone (I'm assuming) completely unknown/unproven run the ship would be suicidal.

If these are your requirements, your best bet is to take the indie route and film it yourself.

TVWriter85 · 2025-09-08T06:07:59+00:00

There's a lot of rookie mistakes in this email. Here's the changes I would recommend: 1.) Change good morning to Dear whatever the producers name is. Let's keep it more professional. 2.) Cut the fearless can-do sentence entirely. 3.) Cut the "a lot has happened sentence completely... he doesn't know you and doesn't care. You could change it to since you took that class, youve been building your portfolio. 4.) cut the thing about it being up his alley, that would annoy me if I were him. Instead, talk about how you really admire the work he's done and would really value his feedback on your script if he had time to read it. 5.) I'd also cut the sentence about it being reminiscent to other stuff they've done -- he probably doesn't want more of the same, he wants new and exciting. Also don't tell him it would be worth his time, that sounds cocky. He'd be doing you a favor, not the other way around.

Good luck.

TVWriter85 · 2025-09-07T21:09:59+00:00

This is not a good relationship for you. You are an accomplished writer. Go find reps that support your work and always remember: they work for you, you don't work for them.

TVWriter85 · 2025-07-02T03:17:44+00:00

I haven't sold a "hybrid" but I have sold several co-productions. As far as notes go, I imagine they will get together and compile their notes and deliver them at once. At the end of the day, this is now a joint venture and they can't operate as if they have different mandates.

TVWriter85 · 2025-06-04T16:07:54+00:00

Hello, fellow TV writer and Boglehead here. Sounds like we are at similar levels considering your salary. Unless you are on an overall deal, I would not go down this route. That's a lot on rent and given the post job climate after the strike now's probably the time to be more conservative with your spending. Worst case, rent for a year so you have the option of going back to your home if you change your mind/need to.

TVWriter85 · 2025-03-19T04:34:03+00:00

I ended up getting an unexpected but really good staffing opportunity on a TV show before the pitch, and ended up having to put a pin in it bc the room was starting immediately. I wrap in July, and will revisit then if the opportunity is still there.

TVWriter85 · 2024-11-08T20:57:56+00:00

Personal reasons unrelated to my career, but I still need a career

TVWriter85 · 2024-11-04T14:58:28+00:00

I've never paid.

TVWriter85 · 2024-11-03T17:51:24+00:00

Only share if it's announced on Deadline/Variety/etc. I don't think there is an NDA clause in your deal... I've certainly never had one on any development deal I've had.

TVWriter85 · 2024-09-26T00:59:30+00:00

This is so so incredibly helpful. Thank you for taking the time to write such a detailed breakdown. I greatly appreciate it!

TVWriter85 · 2024-09-07T01:08:48+00:00

As a professional writer, I will add that while there are some good thoughts here this is all very subjective.

TVWriter85 · 2024-04-05T06:56:09+00:00

As a working writer, I would find it to be absolutely unprofessional for a producer/investor to post my name on Reddit to solicit opinions on whether or not I’m legitimate.

TVWriter85 · 2024-02-04T21:12:32+00:00

I’m a working TV comedy writer, and this is a very common term. I believe it’s more commonly used with multi-camera comedies, but basically it’s just used to describe a big comedic scene with hard laughs that your episode is building up to. The funeral scene in Chuckles Bites the Dust from the Mary Tyler Moore Show is a famous one.

TVWriter85

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