My Journey from Contest to Manager to Agent to Paid Writer… Maybe!

Depending on how long you’ve been exploring the business of being a writer in Hollywood, you’ve probably asked or heard someone ask, “How do I get a writing job?” One of the first answers to this is often, “You need to have an agent.” The following question is, predictably, “How do I get an agent?” To which you’ve probably heard someone say,  “Get a manager and  the manager will get you an agent.” Which of course begets, “How do I get a manager?” And the answer is often, “Win a contest.”

So, if you win a contest you’ll get a manager then get an agent then get a writing job. Is this true? Yeeessss… ish.

Does winning a contest get you a manager? In 2011, not long after I graduated from school,  I  won a pretty big contest. It was sponsored by Amazon Studios and had a chunk of prize money attached. Amazon ended up optioning the script, twice. Both times, the executive pursuing the option waxed poetic about how they were going to introduce me to agents and get me repped. Once I signed the paperwork, he never mentioned the idea again and any emails where I brought it up the subject went unanswered. I also probably sent a dozen cold queries citing my contest win — (note that this is pretty much NOTHING in a numbers game like cold queries) and also didn’t get a response. Certainly no one ever sought me out based on my contest win. So I did my day job and allocated my extra time to writing. A few YEARS went by…

THEN, about four or years later, I was invited to a party by an old USC classmate. At that party, another classmate introduced me to his manager. A couple months after that, the same classmate heard that the manager had a specific opening in his roster.  He wrote to both of us, recommending me.  So at that point there was a combination of things at work. This classmate knew me personally from school, had read my writing and knew it was in the genre the manager was looking for. AND he knew I had won this contest.  I think the contest win helped give him the confidence to make the referral, because it was like having someone else, someone more important, vouch for me. There’s a good chance I wouldn’t have gotten the referral, or the manager’s interest, without the contest win. But the personal connection with someone who had actually worked with me, who was also connected to the manager (enough to know his needs) was also key. The fact that the manager had met me face-to-face among people he already liked probably also worked in my favor. I think if any of those things had been absent, it wouldn’t have happened. So:

  • Contest win  + Degree from Name School + Referrer familiar with work AND personality + Intangible Group approval of having been invited to party + Writing samples = Manager.

Does having a manager get you an agent? Almost a year into my relationship with my manager, I wrote a pilot script that “popped” more than the other scripts I’d been working on. The manager used this to get me read by two agents he knew. The first wasn’t responsive, but the second was. This agent worked at the same company as a senior agent who had taught a class at USC. I had worked hard in the class, and kept in touch in the years since (without agenda, I’ll note. He had promised he would never rep one of his students, and I believed him). So again — it was a confluence of things… an exciting script, the manager’s relationship with the agent PLUS the goodwill of the senior agent based on the effort I had put in to the class and to staying in touch… and I had the good school credentials and the contest win, AND – at this point a script I had been working on while un-repped had won a fancy prize — a fellowship in Switzerland. As a note, I don’t think the agent particularly liked either of my contest-winning scripts,  but he liked that he could tell people it had won because it made me shiny.

  • Manager + Manager’s Agent Relationship + Senior agent as secondary referrer familiar with my work AND personality + Degree from Name School + Hot Script + Other samples + Contest Win + Fellowship Win = Agent.

Does having an agent get you work? My new agent used the exciting script to get me a “water bottle tour” and  some pitches.  Ultimately one of the companies I pitched entered into the development process to pitch the series. Everything was going according to plan! However, the project ultimately floundered and didn’t move forward. The exec who had acquired it never responded to another email. My samples earned me the opportunity to pitch for some open writing assignments, I got to break stories, go to meetings and give my “take.” Though, on the rare occasions my take was choses, the projects ultimately fell through,  I enjoyed the process. I could feel myself becoming a better all-round writer and pitcher.

There was only one problem:

In the four years of being unrepped + year of having a manager + four years of having both manager and agent (= nine years), none of the work I’d done had been PAID.  All this time, I was teaching, editing, consulting, doing random side hustles and admin work — or going deeper into debt — or both.

Today, as I write this, this seems like it might be about to change. Not in a big way. Not even in a “quit my day job” way. But, in a way that at least breaks the almost decade-long cold streak. (Knock wood — send good vibes!)

To say it is to jinx it, so details must wait for a future post , but I can tell you now that the answer to the question “Does having an agent mean paid work” will be an equation containing a number of factors…

Representation!

So, here’s a little news on the professional front.  I’ve got representation now! A little more than a year ago, I received an email from a college classmate, introducing me to his manager and suggesting that we might enjoy working together. I had some work ready to go, so I sent the manager some samples which he liked and thought maybe he could do something with. He suggested that we spend time working together to see 1) How we worked together creatively and personally/professionally, 2) If I could continue producing work, 3) If he could get my material read (and what the response was), and 4) If we could get me more representation in the form of an agent.

Early on, I think most aspiring writers have a vision of being “discovered,” by someone who “falls in love,” with their writing. Clearly, this scenario was a bit less romantic. After taking a moment to calibrate, I was grateful for this. There’s a certain rush that comes when people LOVE you immediately, and say you are brilliant, and “you’re going places, kid.” But I’ve now had some Hollywood relationships that began with enthusiasm and fanfare end with no fanfare at all. As the saying goes “If you let yourself  get swept off your feet, you’ll probably land on your ass*.” So, this probationary arrangement was not unappealing to me.  I figured it would keep me from getting complacent and keep us both working to impress the other.

For about the next six months we tested the waters.  I was very happy with both his notes and his work ethic. Creatively he was insightful but not too pushy, and I liked how he was responsive, detail-oriented, and didn’t over-promise. We discussed formalizing our relationship based on that, but there was an issue that we were having a hard time getting readers to respond to the work we sent out. And by respond, I don’t mean emotionally respond–I mean even glance at the material and take the time to say no. This is not surprising, because feature scripts, especially from new writers are a hard sell**. But, it was a point of concern.

Then, I tried my hand at writing a television pilot.  This time, when my manager sent it to three people, amazingly, all three people responded. They didn’t all respond with “yes, tell me more about the series,” but they all read it and responded (and one of them said, “yes, tell me more about the series.”) This seemed like some movement in the right direction, and gave my manager the confidence to show the pilot to agents and a couple of agencies. One of them was interested, and I went in and met with them. Before our second meeting with the agency, the manager and I signed a contract.

So, for this moment, I have a “team,” consisting of both and agent and manager. They cannot work miracles, and they will not be champions of everything I write. But for certain projects that they feel have marketplace potential, they can amplify my visibility…to convince more people to read a script, and arrange some meetings with people at companies who have a track record of getting things made. That, for me, is a huge step forward.

So, YAY, representation!!

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*Actually, this is not “a saying,” I think I just made it up. It’s pretty good, though, right?

**Some depressing but informative articles about selling spec feature scripts.

The Odds of Selling a Spec Screenplay (2011)

What are your real chances of success? (2012)

What Screenwriters Can Learn from Hollywood’s Dismal Spec Market (April, 2016)

2016 Spec Script Sales to date (October, 2016)