Most screenwriters scramble to get representation, putting all of their eggs in that one basket for any hope of making a living as a professional screenwriter. While representation is a key tool to obtaining screenwriting success, it’s not the be-all end-all that most screenwriters believe. There are other avenues towards success and seeing your screenplays produced and distributed, with contracted compensation in your bank account.
With that in mind, here we share ten things you need to know about being a successful screenwriter without representation (and by representation, I am referring to agents and managers).
Before we begin, here’s a little context and inspiration.
I Am a 20-Year Pro Screenwriter Without Representation
I don’t have any Oscars or Emmys. I can’t lay any claim to box office success. However, I’ve been earning for twenty years now. My first paid contract - a 2007/2008 script development deal with Lionsgate - did come through early representation by way of my former manager.
However, since then, I’ve represented myself. No agent. No manager. Not even an entertainment lawyer. At the time of this writing, I’ve had 15 (and counting) paid pro screenwriting contracts resulting in 12 (and counting) produced and distributed features (one was actually a four-hour miniseries). I’ve made deep into six figures as a professional screenwriter. All of these contracts beyond the first were by way of me representing myself.
I’ve seen my words come to life with companies spending millions of dollars to do so, all as an unrepresented screenwriter. There are hundreds of others like me. And here’s the cool part, you could be one of them too.
10 Things You Need to Know About Screenwriting Success WITHOUT Representation
1. It’s Possible
This is the key thing screenwriters need to know - it is possible to be a pro screenwriter making a living writing screenplays without having an agent or manager. There are thousands of screenwriters who have accomplished success this way throughout the years. Some have made more than others. Some have more consistent work than others. But this age-old notion that you need representation to sell scripts, get paid writing assignment contracts, and get your scripts produced is false. You can do all of that while representing yourself. Once you know it’s possible, your chances for earning opportunities increase ten-fold. You become less obsessed and stressed with finding representation (which is very difficult to do), and more open to being more proactive in getting your work into the hands of industry difference-makers and decision-makers. It is possible.
2. It’s a Grind
You hope for the best, knowing that it’s possible to become a successful screenwriter without representation in the form of agents and managers. But you also need to be prepared for the worst. And the worst isn’t really being rejected. All screenwriters face constant rejection or silence. The worst of it is the grind. When you’re marketing your scripts and your writing talents with no representation (as most novice screenwriters are forced to do), it’s a sometimes soul-sucking experience.
- You need to write loglines.
- You need to learn how to cold query.
- You need to network.
- You need to send hundreds of emails.
- You need to be at the right place, at the right time, with the right people and situation.
Nobody said this was going to be easy, though. Right? And you can take solace knowing that every screenwriter, even those award-winning household names and box office champs, started where you’re starting today. The grind.
3. It All Starts with the Writing
Before you even think about trying to cold query and market your scripts, with or without representation, you need to first focus on the writing. One script is not enough. Having a single hot script that has done well for you in the screenwriting competitions or through some networking isn’t enough. As an unrepresented screenwriter especially, you need a stack of 3-5 great scripts that showcase excellent screenwriting voice, style, ability, talent, and market value.
It may take some time to get a solid stack of writing samples together. But it’s worth the time invested. It’s worth the time you take away from trying to pursue marketing and networking plans. It’s worth taking at least a couple of years to get at least three solid scripts written.
Learn to write under pro deadlines. The time of taking six months to a year or more writing a single script needs to stop. Learn how to write under pro deadlines, which are usually anywhere from one to three months for a first draft, followed by just two weeks for a rewrite. If you can learn to write under the strictest of pro deadlines (one month for a first draft), you’ll hone your skills and be able to get to those 3-5 great samples quicker.
Your success as an unrepresented screenwriter hinges on your writing samples. If you can showcase your talents to a company with some great scripts, they’ll be more inclined to hire you without any previous produced credits.
4. Know the Projects/Platforms for Non-Union Screenwriting Work
Contracts for unrepresented screenwriters usually come through specific platforms, most of which involving non-signatory companies (companies that don’t need to adhere to Writers Guild of America negotiated contract stipulations).
Certain types of non-signatory projects include:
- Lifetime Network thrillers, dramas, and romantic comedies
- Hallmark Network dramas and romantic comedies
- Direct-To-Streaming/Blu-Ray/DVD movies
- Indie Movies
These are the types of projects and platforms where you can find easier odds of scoring a contract as an unrepresented writer. Having an in, networking-wise, is always key. But if you don’t know anyone in those business circles, your next best bet is having that stack of great writing samples, and being able to market yourself to the companies and individuals making those movies.
So, anytime you’re watching a Lifetime or Hallmark movie, Direct-To-Streaming/Blu-Ray/DVD movie, or Indie movie, pay particular attention to the opening credits when the various production companies are listed. Utilize IMDb Pro to get some contact emails.
5. Master the Cold Query
The cold query is your friend - and it could also be your savior and ticket to paid writing gigs. It entails sending an email to any development executives or producers you can track down via your IMDb Pro research (read above), or any personal connections you may have to the industry, no matter how many degrees of separation (old high school friend, friend of old high school friend, someone who went to your high school or college, someone from your town or state, etc.). The cold query is what will get you and your writing into consideration for potential script sales or writing assignments.
Cold queries are simple:
- Open with one or two sentences briefly introducing yourself (short, sweet, and to the point).
- Share a logline of the script you’re pitching (which can also be used as a sample of your writing).
- Thank them for any consideration and briefly mention that you would be up for writing assignments as well. You can also tell them that you have other writing samples as well.
That’s it. Don’t go into any other details. The concept logline will be what they pay most attention to. If they want to explore your work, they’ll ask for material. If you don’t hear back from them, keep cold querying other companies. And don’t wait by your inbox for replies. Just keep grinding.
6. Know and Understand Contracts
Since you’re representing yourself, you need to know your way around writing contracts, payouts, etc. There are plenty of contract samples out there to explore online. But here’s a general breakdown of what you can expect from the level of contracts you’d likely be offered as an unrepresented screenwriter (again, usually involving non-signatory companies).
For a Script Purchase:
First and foremost, don’t fall into the trap of 50/50 offers, with people saying they’ll share the sale purchase of your script, or the movie purchase once it is produced. These offers go nowhere.
Here are the general bullet points of what a script purchase contract may entail:
- Overall contract payout amount (likely in the five figures at this level, or approaching six figures for bigger non-signatory companies) communicated, but broken down in the below installments.
- Upfront contract commencement fee
- First Rewrite Option payment upon delivery
- Second rewrite payment upon delivery
- Additional draft payments if the screenwriter is retained
- Production bonus when and if the feature goes into production
Most script purchase contracts will be broken down like this. When you get into bigger contracts with major studios, production companies, networks, and streamers, you may see bigger upfront payouts matched with a secondary payout if the film gets produced.
Example: $100,000 against $200,000 if it gets made.
But that example is usually reserved for bigger contracts that may require you getting an agent and entertainment lawyer. You can always say that you represent yourself, and then see what happens.
For a Writing Assignment:
This entails you writing a screenplay based on intellectual property they own (books, videogames, remake/sequel/spinoff rights, screenplays) or original concepts they have conjured.
Here are the general bullet points of what a writing assignment contract may entail:
- Overall contract payout amount (likely in the five figures at this level) communicated, but broken down in the below installments.
- Upfront contract commencement fee
- Outline payment upon delivery (sometimes the commencement fee will include need for outline)
- First Draft payment upon delivery
- Additional draft payments if applicable
- Production bonus when and if the feature goes into production
So, if the full contract amount for the assignment was $20,000 (the average non-signatory writing assignment base for beginners), each installment would subtract from that amount, leaving the remaining balance as the production bonus once the movie goes into production. Hence, the production bonus is the real big payout.
7. Writing Assignments Are Your Bread and Butter
The hard truth is that spec scripts usually don’t sell. In Hollywood, on average, only a couple dozen, if that, sell per year to major studios and streamers - and these are usually via represented and often (but not always) established screenwriters.
Yes, the non-signatory companies buy a lot more, but usually for lower-end purchase prices overall (lower five figure ranges). But even those are fewer and further between.
The real money for all screenwriters is through writing assignments, especially on the level that unrepresented screenwriters would be at.
Networks like Lifetime and Hallmark - as well as streaming entities like Tubi - usually buy non-union projects from non-signatory companies. Most of the time, those companies are based in Canada, which means they are automatically going to be non-signatory companies due to the fact that the WGA’s jurisdiction doesn’t account for other countries.
The great thing about Lifetime, Hallmark, Tubi, and other networks and streamers, is that they are in constant need of content. They make far, far more movies each year than all Hollywood studios combined.
So, the work is there. The contracts are there. And unrepresented screenwriters are always considered for the work as long as they have great writing samples and prove to be great collaborators.
8. You Need to Be a Great Collaborator
Getting work as an unrepresented screenwriter requires great relationships and easy collaboration. If you’re unwilling to relinquish control, you’re not going to be re-hired. You need to choose your battles wisely, and do your best to ensure that no battles come about.
- Remember that you’re a hired hand.
- It’s not your story, it’s theirs.
- They will have their own wants and needs that you need to apply.
- They will have budgetary issues that will change your script.
- It’s all about that perfect hybrid of what you’re good at, and what they need and want.
The age-old notion of writers sacrificing everything to retain their vision for the story they write doesn’t and shouldn’t apply when it comes to contract work - especially as an unrepresented screenwriter.
When you don’t have an agent and manager who can utilize their plethora of industry contacts to get you work (mind you, it’s even difficult for them to get you work despite those great contacts), it’s difficult to get a second chance.
You need to display pure collaborative abilities with no ego present. It’s great to be confident. You should and need to be confident in your work and abilities. However, ego is poison. If you’re difficult to work with, you won’t be rehired or referred.
Be an amazing collaborator. If you do that, you can become their go-to screenwriter. When that happens, you’ll see how easy screenwriting success can come as a screenwriter with no representation.
9. Don’t Have Overly-High Standards: You Need to Go Where the Work Is
Look, we all want to write the best and most award-worthy stories. But unrepresented screenwriters don’t have as many opportunities as those with big-time agents and managers. You need to go where the paid work is - but that doesn’t mean you have to look upon yourself as a bottom feeder.
Roger Corman made movies for next-to-nothing, budget-wise. He made what many considered fodder and schlock. But he made a great living doing it. And so many of Hollywood’s finest (James Cameron, Ron Howard, Martin Scorsese, Francis Ford Coppola, Sylvester Stallone, Jack Nicholson, Robert Towne, John Sayles, Jonathan Demme, etc) worked on some of Corman’s best and worst guilty pleasure B movies.
Lifetime, Hallmark, Tubi, and Direct-To-Streaming movies have their audiences that amount in the millions.
You can aspire to write better screenplays. You should have high standards for your career. But you need to always go where the work is if you want to make a living. It’s about paying your dues and learning along the way. Those famous names mentioned above all learned the ins and outs of screenwriting and filmmaking from those Corman movies. Any contract is a chance to grow and learn as a screenwriter.
10. Getting Representation Should Be a Goal - But Don’t Let Not Having It Stop You From Earning
We’re not saying you never need representation. We’re not saying you shouldn’t be seeking out ways to get an agent or manager. We’re just saying that you shouldn’t avoid going the extra mile to explore possible opportunities to earn outside of the majors while representing yourself.
It is possible to make a good living without representation. In fact, there are many unrepresented screenwriters that earn far more and see more of their contracted scripts produced than their fully represented (agent and manager) peers do.
It’s more of a grind. The writing samples need to be amazing. You need to be the best collaborator. And you may need to work more in the trenches compared to others. But it’s possible. And from someone who has been an unrepresented screenwriter for twenty years - one who has also enjoyed some success and momentum within the studio system as well - it is nice not having to give 30% of my earnings to an agent and manager. But it’s all relevant. There will come a time, hopefully, where I need to do that. But in the meantime, I’m enjoying getting paid for doing what I love. With some hard work, dedication, and a little luck, you can too.