If you're a screenwriter trying to break into the industry in 2026, you need to understand something critical: the pathway to representation looks completely different from it did just a few years ago. The post-strike landscape has fundamentally shifted what managers and agents are looking for, how they discover new talent, and what kind of portfolio actually gets you signed. Building that portfolio starts with understanding how to become a screenwriter and setting realistic career milestones.
Managers don't take chances on writers with potential anymore. In 2026, they want scripts they can immediately take out to buyers—actionable material, not projects they need to develop from scratch. The TV market is tightening for emerging writers while feature specs are making a comeback. The smartest screenwriters are adapting their portfolios to match what the market actually wants.
Once you have those market-ready scripts, knowing how to sell a screenplay becomes just as critical as writing it.
This post breaks down exactly what managers and agents are looking for in 2026, how to build a portfolio that gets attention, the truth about diversification, and five proven pathways to landing representation.
If you're an emerging screenwriter, you need a manager before you need an agent. This isn't just advice—it's how the industry actually works.
Managers develop careers. They work directly with writers to refine scripts, develop new material, and plan long-term strategy. Unlike agents, managers typically work with 10 to 25 clients. Agents handle 60 to 80. This means managers can give you more attention, communicate more frequently, and genuinely invest in your growth. Some screenwriters talk to their managers daily.
Managers help you figure out what to write next. They read every draft. They push for rewrites until the script is where it needs to be. They also help you find an agent when the timing is right, and they can attach themselves as producers on your projects—something agents can't legally do. Understanding the script development process—from option agreements to production deals—helps you navigate what happens after a manager signs you.
For this hands-on work, managers typically take 10-15% commission.
Agents are sales machines. Their job is to pitch your work, get you meetings, staff you on shows, and negotiate your deals. They're licensed by the Association of Talent Agents (ATA), and by law, they can't take more than 10% commission.
Agents have larger client rosters because they don't handle the intensive development work that managers do. You might talk to your agent once a month, whereas you could check in with your manager several times a week. Agents focus on short-term wins—selling your script, booking you on a show, closing deals. Managers focus on the long game—building a sustainable career.
Most major agencies don't accept unsolicited material. No query letters, no cold submissions. They rely on managers to act as a "filtering system"—vetting talent before it reaches their desks.
The pathway is straightforward: Strong portfolio → Manager → Agent → Industry opportunities. Before you start querying, make sure you can deliver a compelling pitch and have a professional synopsis ready.
If any "manager" or "agent" asks for upfront fees, reading fees, or wants a 50/50 split on anything you sell, walk away. Actually, run away and call them out to anyone who'll listen. This is the oldest scam in the book, and it still works because newbie writers don't know any better. Legitimate representation works on commission only. They get paid when you get paid.
When you're ready to approach the industry, follow these proven screenplay submission strategies to maximize your chances of getting read.
"The key thing to do is to write what you're passionate about. If you want to write Coen Brothers-type material, don't go write a high concept take on King Arthur just to get noticed because the studios will then want you to be writing those types of films." —Adrian Garcia
When a manager asks, "What else have you got?"—and they will—you need an answer. Top Literary Managers consistently recommend having at least 2-3 polished, professional scripts ready before approaching representation. Not first drafts. Not "almost done." Finished, polished, proofread, formatted correctly, and ready to read scripts.
But here's the rub: those scripts need industry validation. At least one of these:
Industry trade publications like Deadline and The Hollywood Reporter regularly report on spec script sales and emerging writers breaking through, giving you insight into what's working right now.
If your scripts haven't hit at least one of these milestones, you're not ready to query managers yet.
The marketplace has shifted dramatically post-strike.
Features are back, baby. After years of Peak TV, Hollywood is excited about feature specs again. Why? The TV market became oversaturated. Streaming services are producing less content than during the 2013-2023 golden age. When they do buy TV, they're favoring established writers with proven track records.
But what feature scripts are selling? Three words: Genre. Genre. Genre.
"At the moment, we are finding that the feature space is favoring thrillers or erotic thrillers, horror movies, and more comedies and romantic comedies, as well. We're seeing a move away from straight dramas." – Lee Jessup
Jessup defines "actionable scripts" as material so well-defined that a manager can immediately see a clear path to setting it up or finding the right producers. The days of "let's discover a writer with a strong voice and develop something new with them" are largely over for emerging writers.
Jessup's research confirms what many in the industry are seeing: "For emerging writers, we are moving away from the TV space and towards the feature space at the moment, because buying behaviors have really changed post-strike."
This shift is reflected in the numbers: according to Variety's analysis of the 2024 spec market, thriller and horror specs dominated sales, while TV pilot deals dropped by nearly 40% compared to pre-strike levels.
Translation: if you're an emerging writer, features are your best bet right now, especially in thriller, horror, and rom-com genres.
If you're a TV writer:
If you're a feature writer:
For everyone:
Short films aren't enough for representation. They're great for production experience, but managers need to see feature-length or pilot-length material to gauge your abilities. Study professional screenplay examples across all genres to understand the craft standards managers expect.
Traditional formats:
Emerging formats:
Deadline reported that this agreement marks a major milestone for the format, which generated $819 million in U.S. revenues in 2024 alone.
Still relevant:
Louisa Minghella, an agent at Blake Friedmann Literary Agency, is direct: "I don't want someone to give me a comedy script if they're predominantly a drama writer. It's all about it being appropriate to you."
Managers need to know how to sell you. If your portfolio is scattered—a horror script, a sci-fi epic, and a family comedy—nobody knows what to do with you.
Whatever genre your first script sells in is probably what you'll write for the next 2-4 years. Studios want to hire you for what you've proven you can do.
Start specialized, then show versatility within related genres.
This works:
This doesn't:
Establish yourself in one arena first. Get really good at something. Build momentum. Then branch out once you have credits.
If your script isn't in proper industry format, it's dead on arrival. You must learn the fundamentals of professional formatting.
Common dealbreakers:
In 2026, there's the "iPhone scroll test." If your action blocks look intimidating on a small screen, you're losing readers. White space is your friend.
Managers don't want to discover a writer with potential and spend a year developing something new. They want scripts they can take out immediately.
An actionable script has:
"Personal connections are how most of the town works. This is how I got every agent except my first. I asked for an introduction, and friends slipped my scripts to agents, and everybody wins." —Tom Vaughan
The contests that matter:
The Academy Nicholl Fellowships remain the gold standard in screenwriting competitions, with alumni including Allison Schroeder (Hidden Figures) and Susannah Grant (Erin Brockovich). That said, the rules have changed, and some of the players are out of the game. You should stay up to date on the latest changes in screenwriting competitions.
For a comprehensive breakdown on the best competitions to enter, and when to enter. Be sure to download our free 2026 Screenwriting Competition Calendar.
Managers actively use Coverfly, WeScreenplay, and The Black List to discover writers. Create profiles with compelling loglines. If your material gets high ratings, managers will reach out.
Coverage Ink's "Get Repped Now" program circulates scripts rated "Consider" or better to a panel of top managers. Understanding what script coverage is and how it works can help you navigate these platforms more strategically.
Step 1: Research the right managers
IMDbPro is essential for researching managers' client rosters and recent deals—it's worth the subscription fee when you're ready to query strategically.
Step 2: Craft a targeted query
Step 3: Follow up appropriately
Referrals go to the top of the reading pile.
How to get referrals:
The Austin Film Festival is particularly writer-friendly, with dedicated panels on representation and opportunities to meet managers in informal settings.
Building a sustainable screenwriting career requires combining multiple strategies—contests, networking, and consistent output.
Your scripts:
Supporting materials:
Additional concepts:
Validation documentation:
Before you query:
Don't stop at 2-3 scripts and wait. Keep generating new material. Always have something in progress. Momentum matters more than perfection on old scripts.
Managers and agents are typically most proactive when you're a new client. Many writers get options or sales in their first 6-12 months.
Expect your manager to give you notes and request additional drafts before taking scripts out. Sometimes you'll go through multiple rewrites.
Communication frequency varies. Some screenwriters talk to managers daily, others weekly. Agents typically communicate less frequently.
Don't expect loyalty to be permanent. Hollywood representation is often described as "musical chairs." If there's no movement after a year or two, reassess.
The best relationships are true partnerships where both sides hustle.
It helps, but it's less crucial than pre-COVID. Virtual meetings via Zoom are now completely acceptable. Managers like Daniela Garcia-Brcek at Circle of Confusion represent clients worldwide.
Post-pandemic industry shifts have been documented extensively by The Hollywood Reporter, showing that remote representation relationships are now standard practice across major agencies.
That said, being in LA and "good in a room" gives you an advantage. Agents especially prefer LA-based writers for quick meeting availability.
If LA isn't feasible, don't let that stop you. Be available for virtual meetings and prepared to travel when necessary.
Managers in 2026 aren't looking for potential—they're looking for scripts they can immediately take to market. Your work needs to be not just good, but actionable.
The TV market is tougher for emerging writers than it's been in years, but the feature market is hot. If you're primarily a TV writer, have feature samples as backup.
Diversification is fine within related genres, but establish a clear brand first.
Representation is a business partnership. You need to keep hustling—creating new material, generating ideas, networking.
Make sure your scripts are ready. The worst thing you can do is query too early with material that's not polished.
Professional script coverage becomes invaluable here. Services like Script Reader Pro provide detailed analysis with the same rating system that industry professionals use. A "Recommend" rating gives you instant credibility. More importantly, the notes help you identify and fix issues before your script reaches a manager's desk.
Think of coverage as your first line of quality control.
Script Reader Pro's professionals offer coverage service that provides detailed feedback from industry readers who know exactly what managers and agents are looking for. Get your script evaluated, strengthen your portfolio, and start your journey toward representation with confidence.
The path to representation in 2026 is clear: exceptional scripts + professional validation + strategic outreach = managers knocking on your door. Start building that foundation today.
How to Pitch a Movie Idea and Sell Your Script With Style
How to Become a Screenwriter: A Pro's Guide to Unlocking Your Career
How to Sell a Screenplay: 6 Most Popular Ways New Writers Make a Sale
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I really appreciated your tutorial on how to obtain a manager/agent. It’s refreshing to hear about the real challenges and hoops one must jump through. Thank you!
Grace Bruno
Thanks for reading, Grace and good luck!
Tyshondra Barnes Female Screenplay Writer I have a script I am working on getting on television and I need a screenplay writer agent in addition, I being writing going on 5 yrs now
We have a post on how to get an agent which might help.
I am in Africa, in DR CONGO. I am screenwriter, with some "good" (I hope so) finished works in my pocket. My deep desire is to find a producer to buy my work (for TV or cinema).
What could be your advise for a guy like me? A guy in my position ?
Many thanks.
Solid article and helpful advice, but I do have to point out that sometimes exceptions make the difference.
For the queries for my war biography, I included a photo of the crew and began my query with a statement about the singular historical nature of the their accomplishment, followed by "Their story has never been told on the big or small screen." My query took up most of a page. But I had them hooked from the start, and continued to hook them with the exceptional aspects of their story.
Whether they read it all, I don't know, but I do know I had a 60% request-to-read rate on those queries.
We're a visual culture. A photo to make the story more real doesn't hurt, and if there are exceptional aspects of your story that will help sell them on the read, use them. Use them as succinctly and vividly as you can—same advice for your screenplay description, for that matter—but use them. You want your story to stand out from the pack.
Your story will dictate to what degree you can do that. Not all will lend themselves to that approach. But some do, and if yours does, make the most of it.
Do you have any information on what options you have with your script after securing a manager / agent? Meaning, you can obviously sell the script, but what if you wanted to also be a producer if the movie obtained interest? Just looking for pro's and con's of finding a manager vs. just making your own movie.
A personal choice of two radically different paths. A interesting topic for a future post.
So, you said that we shouldn't send any photos with the inquiry letter. but what about a photo like a poster or a photo we made to impress them?
Hi Farzad, we do advise against photos, but you're welcome to add one if you really want.
I need a manager
We have a post here on how to get a manager.
Hii I'm Pertunia and I'm 17 years old...I'm talented girl. I'm a script writer like i write drama/movie so i want a manager who will make my dream come true. It's been months I've been looking for a manager so if i get one I'll be happy.
Hi Pertunia, that's great - best of luck with it!
If a screenwriter is to present a hard copy of his/her script, are there any guidelines such as 2 or 3 hole punched, how the script is bond, etc.?
Hello,
I'm in the process of writing my published medieval novels into a TV series screenplay. I'm currently following a personalized mentoring since my career is a bit different from the usual standards. I would very much like to have my work known to an English-speaking audience, along with one who wouldn't necessarily read a 1500 page-long trilogy! It took me 10 years to complete, as it includes quite a lot of research - not only on the historical events of the 14th century where it's set, but also about daily life, trades, mindset, psychology and spirituality. All to say is that I wrote that work with absolute PASSION. Thank you for sharing this highly informative document with us. Reading this is reassuring to me, as I kind of dreaded initiating the procedures with screenwriting agents: it felt like an aid terra incognita to me. I didn't even know minutes ago that screenwriting managers existed at all, and that's definitely where I'm going to start my quest.
Thanks for sharing, Marie and best of luck with your writing!
great-job, guys!!!
That was very informative.
Next step, world domination.
Thanks, Jeff 🙂
Are any of the options to find a manager free?
Reading this article makes me feel like you need a pretty hefty investment to get started as a professional screenwriter. This is nonsense.
What about the guys who want to do it to survive and can't afford all the fees?
Any free tips available?
Not entirely sure you actually read the whole post.
How to protect your idea and story while you sharing with others or the manager or agent. It is important to protect my story idea.
You can copyright a script, Soheila, but not an idea. Here's some general advice on copyright when sending out your work.
Thank you for your time. I found something that I hope will work for me. I have two scripts ready and going to look for a manager now.
Thank you for your pointers.
Phenomenal site and information!
So far, all doors of opportunity for me have been closed tighter than Fort Knox.
Mine is based on actual events and part of the script includes my history and dealings with a South Florida music firm.
Regretfully, I was left with the daunting task of taking them through the court system.
However, during the five positive years, I, the "schmuck" was in the company of VIP and celebrities at numerous events and promotions.
I was "rubbing elbows" with individuals worth multi millions, and outside of a nice suit I purchased from "Men's Wearhouse" I had empty pockets.
Still, everybody that was anybody though I was somebody..LOL!
Is mine viable or will I be confronting closed doors due to the music company situation which is now "water under the bridge".
In fact, they have given me the "green light" to include our history in my script because, and these are their words, not mine, "we want nothing but the best for your future and success".
Thank you very much for this helpful article. I just wonder if I could get a manager with short scripts? I'm preparing a feature but I would like to begin to look for a manager. And my previous features aren't good enough. Thank you
You'll be much better off trying to get a manager with a feature. Or making the short yourself and trying to break in that way too. Best of luck!
Great article! I am recently a member of IMDB Pro. I have a couple of directors and producers contacts on my wish list. My concern is that they have so many contacts.
Such as their own production companies, talent agents, representatives, managers, legal representatives, and publicists. Where should I start?
We have a free PDF of the 130+ best Managers to contact that's a good place to start. You can find it here.
This article is insanely helpful
could not find anything like this on how to get an agent anywhere
thank you so much
Thanks, Lucas!
I have a strong story full of passion and ready to sell. Are you able to buy?
I have been trying to get an agent for years but now realize I should probably focus on getting a manager instead. Thanks for waking me up!
Glad you found it useful, Kari!
Just tell your story, write from the heart and agent manager will come to u. STOP CHASING THIS PEOPLE! !!
Obvious stuff but still helpful to new writers.
My mind is blown. Script Reader Pro you guyz are awesome! Thanks you!
Thanks so much, Tim!
Does anybody know where I can get screenplay to read . I need to imrpove my craft before I send out to agents. Sincerely
This list of the 50 best screenplays to read is a good starting point.
Poor article Nothing here on what to do once you get an agent. Thanks for wasting my time.
Wonderful! Thanks for putting everything together in one place. You don't know what a godsend this site is for up and coming writers like me. 🙂
Thanks, Wendy!
Thanks for the very helpful article!
By the way, you mentioned Tribeca...
and few days ago I've got an invitation from them to take a part in their casting for 2019 season...
so, if I'm selected and granted, then I'll sign with your mentoring service (I'll list it in my plan submitted to Tribeca)
Thanks, Alek, that'd be great - looking forward to working with you!
Script Reader post
Hi I’ve wrote this wonderful script about a love story that’s in a different form that will change the world. But I need help on how to get it formatted and how to get a manager please help!
Here's the link to our Proofread service. We also have a Line Edit service that includes a Proofread but also does more work on tightening up the dialogue and description.
Is there an age limit in starting your career? I’ve been looking to do this for many years, but your information has been the best that I’ve found. I live two hours from a major studio and do have friends in the industry. I have just now have come up with scripts with potential. My fear is my age. Thank you.
There isn't an age limit as such but it's less of an issue with features than TV. We'll be writing a blog post about how to break in over 40 soon so stay tuned.
I did a mentorship with the WGAW and after stellar reviews of my material, two producers offered me jobs. A guy (let’s call him Mr. A-Hole) who attended the mentorship (but never wrote a single sentence) ran up to Producer #1 as we were walking and SCREAMED at him. I held the guy back to let the visibly rattled producer escape. When I caught up with the producer later, a young woman whispered something to him and he looked at me with a scowl.
Later, the second producer invited me to beer and wings at a local restaurant. All was going well until Mr. A-Hole showed up (must have hacked my Google calendar, I told no one) and knocked the pitcher of beer all over the producer’s custom embroidered leather jacket.
Getting two once-in-a-lifetime chances was phenomenal, but losing both by sabotage was heartbreaking. So, then... how does one find a THIRD chance?
I never new how to get a screenwriting agent so thank you so much for this invaluable post script reader. Thank you.
Happy you found it useful, Maglia!
I have recently got an agent and its going well so far. Fingers crossed.
Congrats, Andy!
My screenwriting professor showed me this site and now I can't get enough. Another fantastic post here, well done guys!
Thanks, Elaine! Be interested to know what screenwriting program you're on?
Thousands of writers all over the world are going for the same few agents and managers. It's a numbers game and you gonna lose.
It's my aim to get a manger (and maybe agent) by the end of 2019.
Good luck, Camiseta.
Thank you for the information it has been very helpful. I have a self- published novel that I'm currently developing into a screenplay. Representation is something I will be seeking in the very near future.
Thanks for the feedback, and best of luck with the adaptation!
I'm not calling anyone on the phone my voice is too high pitched lol.
Found this very useful and very informative. Now I have far too much to think about!! Thank you
Thanks, Penelope 🙂
Are there any agents or managers in Idaho?
Long post but very useful information. Thank you a lot.
Сan you recommend a good screenwriting software? Preferably free. I need to convert my script from Word before sending to agent.
Here's a post on free screenwriting software, Julian.
Hey, What if I've written a screenplay with a certain Actor in mind? How should I proceed? Should I get a Manager first, or pitch the script to the agent of the Actor who I tailored the script to?
I want to be a screenwriter so bad I will do anything. Going to follow these steps religously. Thank you SRP!
Best of luck, Stevie!
I need to write more good scripts then I will come back to this and see how to get an agent. Thank you.
Two drone crash two days apart in a suburb in Arizona and it turns out one is sent from the future and one from the past and the residents have to figure out how to stop them messing with time before it's too late. This is my pitch and the agent I sent it to said he like it but hasn't got back to me. 🙁
You will not want to miss this opportunity. Call me now to hear about my script. Based on a true story of my life and my sisters escape from a terrible country.
Don't go for managers go for agents.
I really needed this post. Thank you Scriptreader Pro!!!
Hi my name is Joseph I am a movie script writers and I'm willing to go forward
People should stop worrying about how to get an agent and worry more about their script. Most are NOT ready to send out but everyone is so eager to "Make It" what ever that means they rush in to soon. Then cry when they don't hear anything back and get angry at the world. Stupid.
Myname is Wiseman Gabavana a Xhosa drama book writer. One of my books was acted at the national Arts Festival in South Africa at Grahamstown in the Eastern Cape Province in 2011. I really wan to be assisted i write Xhosa manuscript play. I am a graduate from the University of the Western Cape. Kindly google my name for more information.
Would an agent or managerwork with someone who doesn't live in the US? Can you get assignments as a foreign writer(eg:via e-mail), or just write and sell spec screenplays(my dream)
Yes you can certainly make connections via email and Skype but at some point may have to fly out to LA to take meetings.
Ⅴery nice post. I feel like I have a proper game plan now to get a manager. And agent if it comes to that but I think ur right- getting a manger first is the best way to go. Thx.
My god it will take me all day to read this. Got better things to do. See ya.
Howdy just wanted to give you a big thanks for writing this. I feel like I know where to start now with this whole getting a manager thing.
Glad we could help, Gavin.
as someone who desperately wants to get into the screenwriting business, this was so extremely helpful. i thank you for that. i was just wondering where the Top 100+ Screenwriting Managers List is. i was interested in looking at it and can't find it anywhere.
Hi Grace, Thanks for your kind words. You can download our 100+ Screenwriting Managers list here.
Been looking for info like this on agents and managers and how to get em for ages 🙂 Thanks you.
Glad you enjoyed it, Ellie!
Great post, I will be taking these steps and putting them into practice definitley.!!
Thanks for the comment, Sidney.
One of the more truthful and comprehensive articles I've seen on this subject. Kudos. Glad to see Stage 32 on here. That's where I found, wooed and eventually signed with my manager.
Yes, that's a great site - not surprised you found your manager on there 🙂
I have been waiting for a response from my query letter for 3 weeks now. How much longer should I wait? Should I call him or what?
Do you know any agents that specialize in horror ?
Thank you one million times over for this! Can't believe all this information on managers your giving away for free!
Thanks for reaching out, Steph, and best of luck finding a manager!
I was wondering if you could personally introduce me to an agent? My work is very good and ready to be seen.
I have spent a lot of time finding agents and contacting them but havent had any success yet. I will keep trying though because to be a screenwriter is my dream.
Best of luck, Troy.
You have just made a career for screenwriters. Thank you so much.
Thanks Paul!
I've been a working writer for 16 years now and got my agent through a family friend. It was pure luck and that's the most important thing I think. You can't really strategize anything when it comes to screenwriting.
Thank you for taking the time to write this very comprehensive guide on agents and managers. God bless to you all.
Good luck with your search, Darnell!
I don't think you can lay out step by step how to get an agent like this. Lifes not so simple people.
Where I can get a agent or manager if I don't live in Hollywood or anywhere with a film industry? Is it imporsiblle?
Hi, i am from Afghanistan i have experience in script writing or screenplay since 2005 , i have wrote some of the great story witch focus on Movies 100% i am assure. it is write protect and secret , now i am looking for an agent to discuses & share with good producer in Hollywood, if someone wish to work with me he/she is will be my future partner in deal , the desire person contact me , on below address.
niceafghan@yahoo.com. cell no 0093700709838
Abdullah-Ulfat
This article was really useful for me.. thanks for these information.. but I’m wondering what about finding a manger or an agent for an Arabic writer who has projects represent the middle eastern conflicts written in Arabic?.. is it possible to find an agent or manger for Arabic screenplays?
In ordeг to be sᥙccfessful you got to get your script in order first then start looking for a manager that's what I am doing.
Wow... did I need this!
Writing for TV is not as simple as this post makes out. It requires years of trial and error not following silly steps like a child.
How long should I wait before contacting an agent to see if they liked my script? Thanks
Great post! Have nice day ! 🙂
Does this apply exactly the same to getting a producer interested in your script??
So I don't need an agent I need a manager? Why does everyone tell me I need an agent then?
Thank you guys so much. Been looking for this info on how to get a manager for so long.
I'm looking for an agent but am stuck in Europe. 🙁
I've decided to (re-)commit to my screenwriting career--I realize I have the talent but didn't give it even a proper go. I love adapting for the screen, and writing for TV. I wrote an episode of an open submission TV show that industry friends praised. I've written 2 other feature length adaptations, including one with the blessing of the novelist. I see it is recommended to have 2-3 marketable scripts. Would adaptations count, or do I really also need to write some original scripts? I want to do that at some point, but my next great passion project was to adapt the first in a series of 3 science fiction novels. I want to best use my time. Thanks for any feedback!
Hi Brad - adaptation is a great way to go as your script will be based on an existing IP. Overall though I'd recommend going for what moves and excites you the most. If that's an original script then go for that instead but there's certainly nothing wrong with writing a great script adapted from a novel.
I personally like your post; you have shared good insights on how to get an agent. Keep it up.
That article is true and helpful. Thank you for writing it. Also, for screenwriters: make sure your script is polished before you show it to anyone in the industry. Study the formatting section in "The Screenwriter's Bible." Read "Your Screenplay Sucks." Read at least ten other screenwriting books. One way to help polish a script is to workshop it with a group of writers who help each other. In L.A. there are a variety of these screenwriter workshops that are run on small donation. See MeetUp.com. In Sherman Oaks on Monday evenings, there is Actors and Screenwriters of Hollywood. In Venice on Thursday evenings, there is Beyond Baroque Screenwriting Workshop. There are others. I started the one called Screenwriting Tribe, which consists of over 200 writers and some actors who help writers polish their scripts. We hold a workshop every Sunday from 6-8 p.m. in Santa Monica. We read out loud and give feedback on 12 pages from 4 scripts from 4 writers in attendance at the workshop. Up to 15 people can RSVP to attend - usually two or three are actors. The first four writers who RSVP to reserve space at the two-hour workshop can bring several copies of their 12 pages. Each of the 4 writers gets 24 minutes at the workshop. After we read the pages out loud (usually about 10-11 minutes), we go around the table twice. The first time is for positive feedback. The second time is for constructive criticism. The writers remain quiet, both during the read and the feedback. It takes two to four months to put a full-length script through our workshop - 12 pages at a time. But, the script will be better for having been critiqued by dozens of other writers. The writer will improve their craft. The script will be more ready to give to agents, managers, studio readers, producers, directors, actors, financiers, and others, and to submit to writing fellowships and screenplay contests.
What a helpful article. Thank you for your generosity. The content was eye opening and the three perspectives were the icing. I need to get to work.
Thanks Jim, good luck with getting representation!
Thank you for this comprehensive guide; an aid into which direction I should choose to go on my writing journey.
Hello. This post was extremely fascinating, particularly because I was browsing for advice on how to get an agent for my writing career the other day.