Hi There,
This fortnight the newsletter is about – LITERARY AGENTS – when and why writers need them, when and how to approach them, and much else on the topic. A huge thank you to ANNABEL BAINBRIDGE for her generosity and these valuable insights.
Annabel currently assists CEOs Charlotte Moore and Andy Harries at Left Bank Pictures. She previously worked in Jessica Cooper’s office at Curtis Brown. Before joining the agency as an intern, Annabel undertook an MSt in 20th century literature at Oxford and worked as a freelance script reader and a researcher for a number of leading production companies.
‘Securing representation is a notoriously opaque process. This is partly because there is no blueprint; people get signed in all kinds of ways. As a result, advice is conflicting, if it exists at all.
Given the lack of clear information online, I thought it might be helpful to share some of the things I have learned from my experience as an agent’s assistant at Curtis Brown.
As a quick disclaimer, these points won’t apply to everyone – feel free to read selectively and take what you need.
In the first instance, it is important to understand what an agent can and can’t do for writers.
Agents enhance writers’ profiles by sharing their work and connecting them with producers and production companies. They can put you forward for opportunities and jobs in the industry. Agents will oversee your contracts and payments to protect your interests at every stage. They cannot guarantee work or income, and they can’t write for you.
Agents are collaborators that will work with you, rather than for you, to help strategise your short- and longer-term ambitions. You will still need to work hard and pull your weight – more is more at every stage.
Do you need representation? Is it the right time?
Agents need to be able to pitch you to producers and suggest you for projects. This requires an existing body of work that they can share and, given the risk-averse nature of the industry, experience to back it up.
Have you done everything you can without an agent? There are an increasing number of hugely valuable schemes (e.g. 4Screenwriting) and open script submissions (eg. BBC Open Call) that are free to enter. These not only provide specialised training and industry connections but the kind of external accreditation that agents look for.
You don’t need an agent to build relationships across the industry. As well as producers and people working in development, getting to know a variety of writers and directors opens opportunities for collaboration and provides a valuable support system.
Do you know your own work? While it sounds obvious, agents will be assessing how they can position your writing in the industry. You can anticipate this by considering which shows you would aspire to work on, and which emerging and established writers you most admire.
In a similar way, it is helpful to have a sense of which mediums you would be open to working in. Would you consider writing audio drama, for instance? If so, is this a skill you can develop further while you look for representation?
Finally, agents will ask about your career ambitions. Do you know where you might like to be in 1, 5, 10 years’ time? If so, do you have a sense of how an agent could support you at each stage?
Choosing an agent can feel overwhelming.
Agents, and agencies, vary in personality, taste and approach. Have a look at different agent’s websites and, if available, their client lists to get a sense of whose interests most align with your own. Who represents your favourite up-and-coming voices? Which genres do they specialise in? Which production companies have they worked with?
Do you know which agents are actively looking for writers? While very established agents need to focus on their most senior clients, younger or associate agents are growing alongside their lists.
Seek advice from a range of people in the industry; what do other writers value in their agents? Are there any agents they can recommend?
The next challenge is getting an agent’s attention.
Writers are typically advised to submit representation requests over email. When doing so, make sure to target your letter to a particular person. Don’t reach out to multiple agents in a department or company.
Your email should include information about your writing style, industry experience and why you feel they are the right fit. Given the volume of agents’ inboxes, the email should be easy to read; make sure to select and highlight the most relevant pieces of information. Similarly, attach a writing sample to your email – don’t make them ask.
Alternatively, you can invite agents to attend showcases of your work – e.g. a play, rehearsed reading or short film screening. This approach not only demonstrates that you are getting work made but ignites a conversation with an agent without putting them under immediate pressure to offer or refuse representation.
Thirdly, in an industry built on personal connections, recommendations count for a lot. Are there any producers that can recommend you to agents or vice versa? Other writers or collaborators may be able to connect you with their agents if appropriate.
Most importantly, you want the agent to want you. If you can build momentum and get people talking about your work, the rest will follow. As Jenny Takahashi Stark helpfully advises, ‘You want to be chased, not the other way around’.
It all comes down to the work.
No matter how impressive your CV or network is, the agent needs to connect with your writing.
Select a sample that you feel most represents you as a writer. Hone the script as much as possible before submitting it to an agent. You don’t want to have to convince people that your work has improved two years later.
While it sounds obvious, ensure that the format and formatting of the script adheres to industry standards. A TV sample, for instance, should be an appropriate length (e.g. 60 mins) and follow the stylistic conventions of the medium. BBC Writers have a helpful guide. Don’t provide any reasons for your email to be filed or deleted.
If you are asked for multiple scripts, try and demonstrate range and versatility. If you write across drama and comedy, send examples of each. If you previously shared a screenplay, send a radio drama.
When reading your work, agents will be looking for a distinct authorial voice that feels urgent – i.e. it speaks to the present day.
It goes without saying that agents are looking for potential – they want to be excited to read your next piece and to see where your career will go next.
Meeting an agent
Meeting an agent isn’t an interview – it’s a chance to connect with a potential collaborator and for you both to assess whether it is a good match. Is this someone you can and want to work with long-term?
It is important to get yourself across and to be open minded. Agents are experts in their field – you need to be able to take their advice.
If all goes well, think critically about offers of representation. You can meet multiple agents and don’t need to rush.
If it’s not yet your time –
Different offices have different approaches but, generally, you wouldn’t expect to hear back for a few weeks. If 3-4 months have lapsed, it is likely that the agent isn’t currently able to engage.
Don’t keep chasing an agent. Repeatedly following up by email or phone is very unlikely to result in an offer of representation – if anything, it puts their office under pressure to provide an answer, which will likely be a negative.
Don’t be disheartened by rejection or not hearing back – while easier said than done, this is all part of the process. Finding the right person matters far more than the timeframe.
Most importantly, don’t put your work on hold while you look for an agent. Keep applying for schemes, entering competitions, building connections and making work. Aside from the obvious benefits, agents will be interested in what you are doing now, not a year or five ago.
As Richard Bach famously stated, ‘a professional writer is an amateur who didn’t quit.’
Many thanks to Annabel for this invaluable advice.
SCRIPT READING AND DEVELOPMENT Q&A Wednesday November 19th 6-8.30pm
This is a semi-regular zoom session for a maximum of 8 people in which I will try to answer all your questions about the world of script reading, script editing and script development – whether you have no industry experience and are looking to find ways to break into this area; or if you have a lot of experience but (for instance) are finding that next career step from in-house junior development executive to production script editor tricky.
A chance to not only ask all the questions you have but to get advice on your CV, how to approach potential employers, where the opportunities currently exist in the industry, more general principles of how to get work and maximise your professional potential, a chance to meet 7 other people with similar interests and ambitions, to share experiences and knowledge with your peers – and the opportunity to be part of an exclusive WhatsApp group where you can carry on the conversation, share tips and ask advice.
Some quotes from the course testimonials –
‘I highly recommend the session for anyone seeking genuine insider expertise and the chance to connect with other like-minded professionals.’
‘…packed with insightful advice around starting an editorial career in the industry. I received feedback on my CV and clear, actionable pointers to use when contacting companies for script reading work. Philip’s focus on the ‘how to’ of finding opportunities really sets the session apart – I came away inspired with pages of notes and a mile long to-do list!’
‘Our chat answered a number of my longstanding industry questions and provided practical advice and direction on the next steps to take with my career. Highly recommended.’
The next newsletter will be on Friday November 7th
Best wishes
Phil
PHILIP SHELLEY
www.script-consultant.co.uk
Twitter / Blue Sky: @PhilipShelley1
Friday October 24th 2025