Time To Get An Agent(?)

When I decided to dedicate myself to writing for television, I thought the first thing I needed was an agent. I subsequently learned that the first thing I needed to do was *write*. A lot. So that, when the opportunity presented itself, I had some sharp examples of my voice. Trying to get representation without a portfolio of writing samples is simply impossible. How are they going to sell you?

So the first thing to ask yourself is, Am I ready? Do I have multiple on-air specs to offer in addition to some examples of original work? Have you had pros read it who says it’s ready to land you a $3000/week job (that’s WGA minimum for a Staff Writer)? Do you *love* the stuff you’re about to send out with your name on the front page?

I did. There was NO way I was going to squander an opportunity with anything less than my best. Through blind queries and my contacts, I ended up getting read at WME, ICM, UTA, Gersh, and a smattering of top-shelf management companies. But they *all* would have been wasted had I tried to roll in with one spec or one pilot. I had three on-air specs and two original one-hours that I knew were solid before contacting *anyone*.

So ask yourself: Is this the best time for me? If so, I’d say start researching exactly who to target. I’ll have an upcoming post about the query letter that worked for me, but – in the meantime – find out who you’re targeting. I used IMDB Pro to find out who repped junior writers on shows my voice would be good for and hit every one of them with a blind email.

Call those second-cousins who are PAs and ask for a referral or read or *whatever*. Get on people’s radar. And cross your fingers – there’s a huge element of luck involved in all of this.

But at least you’ll be able to say you brought your A-game and gave it your best efforts…regardless of the outcome.