How do I get an agent? Part 1

I subscribe to Screenwriting Goldmine. It lead me to this article: "How do I get an Agent?" This is specifically a TV agent.

From the article it says:

"So understanding all that, there are three basic ways of landing a TV lit agent:

Through personal connections and relationships
By getting yourself a job
By creating a property with marketable value

Here’s how NOT to get an agent:

By sending your scripts, unsolicited, to agents you’ve never met (even if the Hollywood Creative Directory says they accept unsolicited submissions)
By sending query letters (these go directly into the trash)
By cold-calling"


I don't send out scripts, but I send out query letters. Well, more like query emails. I did that for a couple of weeks, and then got rejected. I don't cold call.

I then stopped looking for an agent, and went back to the usual of writing my script and pitching The Vertex Fighter script to production companies through email.

"1) Using your own personal connections and relationships."
He talks about how he knew a few agents and contacted them. It's not just about having an idea for a TV show, but also having knowledge like going to school in writing. Or having experience like working in TV. He mentioned about being likeable and that's why he was hired.

"Writing staffs spend 10-14 hours a day together, jammed into tiny writers rooms. Scripts are often written, and rewritten, by entire groups working together under tight deadlines in pressure-cooker environments. As you move up the ladder, you will be expected to supervise and collaborate with directors, designers, actors, and on-set crew. As a showrunner, you may spend almost no time writing at all — much of your energy will be spent managing people and departments!"

That reminds me of an article about the TV show Rookie Blue. There is a team of writers sitting and writing. I remember reading a Buffy the Vampire Slayer book about how the writers talk about ideas and the direction the show is going to go before they write.

"What you can do: Put yourself in a position where you can meet and form relationships with working TV lit agents. Ideally, this means being in Los Angeles (or, second-best, NYC) and working in the industry. You could be an assistant, a PA, an intern, a publicist, a runner … anything that allows you to begin meeting people and forming connections.

If you don’t currently live in L.A., and you’re serious about a TV-writing career … MOVE. If you can’t move, get a job wherever you are that puts you as close as possible to the action.

Take a job at a network affiliate TV station; these places have incredibly strong ties to their parent networks, advertisers, local producers, etc. Work at a professional regional theater, and make it your mission to seek out TV agents who may represent TV writers that have playwriting experience. Volunteer with a film festival where you can begin networking with filmmakers, writers, directors, producers, and agents.

In short, put yourself in a professional position — wherever you are — that allows you to begin networking."

I should take a job at a TV station. I tried to get one at CBC, but didn't get hired. I tried to get an internship there before, but they only hire students at NAIT's TV program. I did momentarily tried to get into NAIT's Radio program, but fortunately got rejected. Thus lead me to take writing.

2) Get yourself a job.

"Many baby writers don’t get their first gig through an agent; they get it through their own contacts and relationships … often by being a writers assistant and getting promoted onto the staff."

I learned something new: "TV shows that have been on air for more than a season are required to give two freelance scripts to writers not on staff … so these often go to the writers assistants.)

And because breaking a baby is such an uphill battle, even for the most powerful representative, agents look for young writers who have already gotten their own first job … or are in a position to get their own first job (as a writers assistant, a showrunner’s assistant, an EP’s assistant, etc.)."

"Plus, agents are interested in writers who can earn money … and there’s no better way to convince someone you can earn money than by earning money.

Not to mention — work begets work. You appear more valuable to employers if you’re already busy and employed somewhere else. No one wants to hire the guy who’s been sitting on his duff, twiddling his thumbs; everyone wants to hire the guy who’s busy, in demand, constantly working.

What you can do: Get a job that’s a strong stepping-stone to a staff job: a writers assistant, a showrunner’s assistant, an EP’s assistant, etc. Again, this means living in L.A. or NYC, starting at the bottom, working your way up.

If you can’t do this … get a job writing wherever you are.

Become a news writer for your local affiliate station. Seek out local interest shows that may need writers or producers. Become a journalist for your newspaper … and, if possible, the TV or film critic, a job that could allow you contact and interview working writers, producers, agents, execs. These jobs may not help you build the required network of contacts, but they will allow you to build some cachet as a working writer … and that’s attractive to agents.

In short, agents want writers who can earn money … so if you want to be attractive to agents, you need to land yourself a job that suggests you are, or soon could be, earning money as a working TV writer."

http://www.scriptmag.com/2011/06/20/primetime-how-do-i-get-an-agent-%E2%80%93-part-one/