Screenwriting Agents: The Top 23 Hollywood Literary Agencies

Much of what is commonly known about screenwriting agents has “truthiness” but isn’t true.

Misconceptions persist because the agency business is somewhat secretive.

There are lots of very powerful agents and agencies that keep a low profile on purpose.

Screenwriting Agents – Overview

When you watch Entourage, The Player, Ray Donovan, Californication, or Swimming With Sharks – you see the intelligence, high-stakes strategic thinking, aggressive mindset, sense of humor, and more.

But you miss the personal elements, factual backstory, and real-world situations that are crucial to understanding agents and persuading them to represent you.

That’s why I’ve gathered videos, interviews, and profiles, and created an overview of the landscape.

Hopefully this will help you sound like a professional when the topic of agents comes up and perform well in meetings with these influential decision-makers.

If you’re ready to get an agent, check out my course How To Get An Agent.

Screenwriters how to get an agent

Two Categories Of Screenwriting Agents

Screenwriting agents and their agencies tend to fall into two main categories:

  • The “Big Four” Agencies
  • Boutique Agencies

The Big Four (and we will talk more about them in a moment), are WME, CAA, UTA, and ICMP.

Everything that’s not these four I’m calling a “boutique.”

Now, some may dispute this categorization scheme because there are a number of what I’m calling “boutiques” that are more like a mid-sized agency such as Gersh, Innovative, and Paradigm.

Sometimes, these three agencies are referred to as part of “The Big Seven.”

As you become more of a Hollywood insider, these distinctions become important.

For now, what I really want you to understand is this:

Most of the deals in Hollywood are handled by The Big Four.

You need to be very familiar with these companies.

The Big Four Hollywood Literary Agencies

1. William Morris Endeavor (WME)

Founded in 1898 as a vaudeville booking service, the William Morris Agency is Hollywood’s longest running talent and literary agency. There are 273 agents at WME.

In 2009, William Morris merged with Endeavor Talent Agency to form William Morris Endeavor. In 2012, Silver Lake Partners acquired a 31 percent stake in WME and that has been subsequently upped to 51 percent.

William Morris Endeavor became Hollywood’s biggest agency when it acquired sports and media talent agency IMG for $2.4 billion in 2014, so now the combined WME-IMG comprises more than 5000 employees.

Hollywood literary agent Rob Carlson“Working at a talent agency is like working for the CIA. You get to know what’s going on at the networks, at the studios, you have access to all this talent, on-screen and off. At Sony or Disney or NBC they only know about themselves. At an agency you know everything about everybody — even in the mailroom.”

Rob Carlson, William Morris Endeavor agent

Here’s an interview with Patrick Whitesell, co-CEO of WME:

To see inside WME’s office, here are four videos that were made for staff meetings at WME. They are parodies and are snarky, but you get to see inside WME, the screenwriting agents, the assistants, the conference rooms, the screening room, and more.




Here you can find profiles of agents Rob CarlsonRich Cook, Simon FaberBlake FronstinTheresa KangDoug Lucterhand, and WME Story Editor Christopher Lockhart.

2. Creative Artists Agency (CAA)

Founded in 1975, by five agents from the William Morris Agency, CAA was the largest talent and sports agency in the world for many years and remains a powerhouse. In 2010, CAA created a strategic partnership with global private equity firm TPG Capital.

TPG initially had a 35% stake in the agency and in 2014, but raised that to a majority 53% stake by paying $225 million in equity. This was the first time that CAA was not owned by its operating principals.

According to the Hollywood Reporter, CAA had $647 million in revenue and $121 million in profits in 2014CAA is estimated to be valued at more than $1 billion. There are currently 267 agents at CAA.

While many people regard CAA as having the best movie star client list, this April, 12 agents moved to UTA. The New York Times explained, “The exodus of agents from CAA was seen as pointing toward a change in internal culture…” Creative Artists loyalists, however, have ardently argued that nothing has changed at the agency — that it remains as effective and focused as ever.”

Maha Dahkil CAA Hollywood Literary Agent“We’re always communicating; we’re always switched on. I feel this umbilical cord to what I do, whether on the phone or e-mail, and it starts really early in the morning. A lot of us have overseas clients — I definitely do — and it just continues.

But because things are harder now, I find that our interactions are more personal and meaningful because it’s not just transactional. It’s not like: ‘Here’s your deal; here’s the good news.’ It’s really tougher going into the bad news with people.”

Maha Dahkil, Creative Artists Agency agent

John Campisi talks about how he became a literary agent at CAA in this video:

Here are profiles of agents Maha DahkilJohn Garvey, Risa GertnerLaura LewisSusie FoxMichael Kives, Sonja RosenfeldBeth Swofford, and Tom Young.

3. United Talent Agency (UTA)

Founded in 1991 as a merger between the Bauer-Benedek Agency and Leading Artists Agency, UTA now has 167 agents and more than 350 employees in Beverly Hills and New York.

In 2014, UTA acquired N. S. Bienstock (the leading broadcast and news agency) to make UTA the world’s largest agency in the broadcast news space.

CEO and Co-Founding Partner talks about the future of content in this video:

Here are profiles of agents Steve CohenAllan Haldeman, Blair KohanJenny Maryasis, and Brian Nossokoff and Jeremy Zimmer.

4. International Creative Management Partners (ICMP)

Founded in 1975 with the merger of Creative Management Associates and International Famous Agency. In 2005, Rizvi Travers bought controlling interest in ICM for $75 million. In 2006, ICM acquired the Broder Webb Chervin Silbermann Agency.

ICM completed a management buyout and formed a partnership with the new name ICM Partners in 2012. There are 145 agents at ICM Partners.

In the following interview, you can listen to Ted Chervin and Greg Lipstone describe how they restructured ICM, their plans and what they are focused when shaping the agency going forward.

Here are profiles of various screenwriting agents Chris SilbermanMark GordonMichael KaganJessica Lacy and Scott Mantell.

Boutique Agencies

These agencies typically have one to five literary agents.

I have included boutique agencies and companies that I have personally worked with or have had client’s scripts included on the Black List in the last three years.

The following list is made in alphabetical order:

1. Abrams Artists Agency

2. Agency for the Performing Arts (APA)

APA has 80 agents including Brian DowMike BerkowitzMarc KamlerChris Ridenhour, and Ryan Saul

3. The Alpern Group

4. Brant Rose Agency

5. Callamaro Literary Agency

Interview with Lisa Callamaro

6.  Don Buchwald & Associates

7.  The Dravis Agency

8. Featured Artists Agency

9. The Gersh Agency (Gersh)

Gersh has 75 agents including Sean Barclay, Nick CollinsSteve GershRandi GoldsteinBob Holman, and Sarah Self.

10. Innovative Artists (Innovative)

Innovative has 70 agents including Michael Pio and Jim Stein.

11. Jim Preminger Agency

12.  Kaplan Stahler Agency

13. Maggie Roiphe Agency

14. Original Artists

15. Preferred Artists

Interview with: Paul Weitzman

16. Paradigm (Paradigm)

Paradigm has 160 agents including David BoxerbaumJason CunninghamDebbee KleinChristopher LicataManny NunezBen Weiss, and Ida Ziniti.

17. Rothman Brecher Kim Agency

18. RWSG Agency

19. Verve (Verve)

Verve has 13 agents including Bryan BesserPamela GoldsteinAbram Nalibotsky, and Adam Weinstein.

In addition, here is a complete list of the WGA Signatory Agencies.

At a bare minimum, if you are considering signing with one of the screenwriting agents at a Hollywood literary agency, it should be on the WGA List.

Interviews With Screenwriting Agents

Check out these three group interview videos which feature many top agents from the major Hollywood literary agencies.

This interview features Maha Dahkil (Motion Picture Agent, CAA), Leslie Siebert (Managing Partner, Gersh), Debbee Klein (Co-head Literary Department, Paradigm), Lorrie Bartlett (Partner, ICM), Sharon Jackson (Partner WME), and Blair Kohan (Motion Picture Agent, UTA).

Agents and executives included in the Hollywood Reporter‘s “Next Gen” List share the biggest misconceptions, pet peeves, and bad advice they’ve been given.

Books About Screenwriting Agents

If you’d like to dive in and learn more about the mindset of screenwriting agents, how they work, and also how they have built their careers, here are three great resources:

In addition, I have created a detailed course How To Get An Agent that covers what agents look for in new clients, how to get their attention in the right way and what to say when you meet with prospective agents.

As there is constant flux in the agency business, if an agent or agency information should be updated, please email me.

Please note: Agents at the Hollywood literary agencies in this post do not accept unsolicited submissions.

Do You Know the #1 Screenwriting Obstacle that is Holding You Back?

Screenwriting Breakthrough Quiz

Almost Every Screenwriter Struggles with 1 of 3 Common Obstacles. Take the Quiz to Find Out Yours.


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Discussion About Screenwriting Agents: The Top 23 Hollywood Literary Agencies

  1. Oladele Medaiyese

    I am a screenwriter from Nigeria, how will I get my works into the hand of a screenwriting agents in Hollywood for review and consideration?

    • Stephanie Palmer

      Hi Oladele,

      The main way that agents find new clients is by referral from someone they already know. This can be more challenging to do from outside the United States, but it can be done. I have created a new course How To Get An Agent which covers how to do identify the right agents for you and how to approach them in the right way.

  2. shadi

    hi,
    i need your help, i am a writter from iran and i have 1 novel and 1 screenplay. please help me find out a great anacy for talk.

  3. Sam

    Hi Stephanie — this is an incredibly useful page, and I am considering purchasing your course. However, none of the 20 agencies listed here accept unsolicited manuscripts. I’m wondering what I would do with the information in your course if, at the end of the day, I still have nobody to send a script to. Is there a simple answer to this that I’m missing? Thanks, Sam.

    • Stephanie Palmer

      Good question, Sam. The simple answer is that primary way that agents find new clients is by referral, not by unsolicited submissions. The course covers how agencies actually find new clients and the steps to take so you are introduced to agents in the right way and at the right time.

  4. Jerry Guarino

    Stephanie,

    Thanks, I have followed your blogs and articles for a few years now. I may finally have a script that requires an agent to represent me. This article has been very helpful.

    Jerry

    • Stephanie Palmer

      Very glad this was helpful to you, Jerry. Good luck on the agent search!

    • Camilla Tibbs

      Hey Jerry,

      I’m an independent agent, send me your script @ [email protected].

      Trust me, this is your big break.

  5. Jose Menendez

    The furthest I’ve gotten so far was when I submitted my screenplay to Amazon Films, on Thursday I got their evaluation. It says my screenplay does not meet the needs of their Development Slate at this time. Today I asked one of their representatives via live chat what exactly was Amazon’s needs at the time, no one had any but said if I make significant changes I can resubmit it. If if i do, I ‘m sure it will lose it’s originality and dynamic character interplay. Do you happen to have a list of screenplay agents and what type of screenplays they are looking for?

    • Stephanie Palmer

      Good that you have completed your script and are paying attention to feedback, Jose. The needs of specific screenplay agents are changing all the time and not published publicly. In my opinion, it is much harder to write an outstanding script than it is to get an agent. Keep writing and keep submitting!

  6. Vernita

    Looking for a literary agent

    • Stephanie Palmer

      Getting an agent can take work and knowing who to approach and how to approach them in the right way. I have a new course called How To Get An Agent that answers these questions and more.

  7. Kenn Woods

    I am a published author of a Civil War non-fiction book, “The Soldier’s Words.” I would like to have it made into a documentary by the history channel. Can anyone assist me with this? Thanks, Kenn

  8. Tom Ball

    I have many scripts for your perusal, if that is OK?

    • Stephanie Palmer

      That’s terrific that you have lots of completed scripts. Personally, I’m not looking for projects to produce.

  9. Troy

    Stephanie,
    Do you find agents to be a little lazy? Is the fear of thinking outside the box such a hurdle that security to reply on the three Rs (remakes, ripoffs and really bad sequels) the key to remaining employed in LA? I just read that there is to be a remake of the John Candy movie “The Great Outdoors” with Kevin Hart? Really? What next? The Godfather? Jaws? Kramer vs Kramer? The Maltese Falcon?
    Who are these agents that find the new “untold” stories from new writers? I’d like to be one of their finds.

    • thomas n tunstall

      With Hollywood, who knows? One comment with regard to your analysis above – The Maltese Falcon was the third try at bringing the story to the screen. Maybe the trick to remakes is picking a previous flop with the hopes of turning it into a classic.

  10. P.Rangarajan B.Sc.,

    I am more then 18 yr exp in Indian Film Industry. I Hold on any type of Script, please support me.

  11. Tom Ball

    A little bit above this form, you say agents in this post do not accept unsolicited submissions. Do you mean the top 17 or just the paragraph about the post?

  12. Lucius Strong Abraxax

    I need a new representative for my movie, someone free?

    • Stephanie Palmer

      All agents work on commission, meaning that you don’t pay them upfront. Rather, they take a percentage of any deals they make for you.

  13. Frank

    Looking for a agent

  14. Darlene Floyd

    I would like to submit my new screenplay entitled OBSESSED WITH MADEA to Tyler Perry Studios.

  15. Harley Rich

    I have a script at Truth Entertainment. One of the co-founders, Tony, said it’s one of the best scripts he has ever read. Done right it would get a nomination. Problem is Joe Newcome-cofounder and CEO told me he has 4 projects on his slate. 2 or more years until they can do anything. (too early for an option). I’ve spoke to Risa Shapiro at UTA. Her client, Steve R McQueen wants to play the lead. I spoke to him at a car show they have for his grandfather every year in Chino. Risa won’t get involved until it’s fully funded. My entertainment attorney called someone he knows at ICM Partners and she hasn’t called him back yet. It’s been a month now. I feel like I’m at the finish line but can’t cross. HELP

    • Stephanie Palmer

      This is a very common experience, Harley. Often getting projects produced feel like mountain climbing- you see the top of the mountain and it looks so close, but it takes a lot longer and a lot more effort than expected to reach the top. Keep at it.

  16. D. L. Walton

    I have a TV series idea. It is focused on a Class Reunion…a 25 year reunion.

    The lead would be just a middle class man in the upper Midwest. He’s left his past behind for the last 25 years…he doesn’t really remember his days in school or who his real friends were, not really anyway. He’s been diagnosed with a rare form of blood disease. Their may, or may not be a cure. He feels so alone!

    One day he gets an invitation in the mail for his high school 25-year reunion. It’s not something he’s even remotely interested in attending and throws the invitation on the dining room table. And continues to be in his dark fog, wishing he had someone to share his misery with…yet not really.

    A couple of days later he gets a call…”Hello…Brian? Yes, who is this? It’s Debbie! Debbie, Debbie…Debbie who? Debbie Green, we were classmates at Battle Creek Creek Central! Yeah, Yeah, I remember (searching his memory for what she might have looked like)…what can I do for you? Sara Gilkey and I just heard your health. I’m so sorry! Anyway, we’ve arranged to have a raffle to raise money for your medical bills at the upcoming class reunion and wanted to make sure you’re planning to attend. Shit,he thought, that’s the last thing I want to do, now where the hell is that invitation?”

    At the reunion, he was surprised to see that he remembered more faces, not necessarily names, than he thought. He spent the evening reacquainted and actually rather enjoyed himself. Towards the end of the evening the Master of Ceremonies announced the raffle would begin. It went on for almost an hour. At the end, almost $200,000 was raised! How can that be, he thought.

    Debbie handed him a listing of every who contributed, with their contact information. At that moment he decided visit every person and personally thank them.

    So, each episode would then feature a different classmate he goes to visit.
    – Drug dealer
    – CIA Agent
    – High level officer stationed in Afghanistan
    – A black market arms dealer
    – A NY playwright
    – A Chicago cop
    – A senator

    On and on…

  17. Jaime Olmos

    Very informational!

    • Stephanie Palmer

      Thanks!

  18. Lexilien Marc

    That is the place I have been looking for, your guys are great for what your have been doing. I want to know if the place is the right place for me to believe I could find an agent for my scripts.

  19. Franz Wolf

    Remember the first scene of Iron Man III: When Guy Pearce (Killian) meets Stark in the lift, having some important things to tell. Stark in his arrogance is not interested. Therefore Killian gives him two cards to call him back. Stark says – analogously:
    “Well, one card not to call you and the other to throw it away!”
    This is exactly how American agencies and production companies ( and German, too) treat unknown screenwriters. Remember, too, every well known screenwriter was not well known from the beginning. That kind of ignorance could be the grave of new ideas or innovations.

    My name is Franz Wolf, I am a German author and screenwriter. Attempts to get in contact with a production company in the USA
    or GB fail usually. There were several correspondences with Mr. Spielberg, Mr. Scorsese, Mr. Emmerich – who was born just a few miles from my home (and I was not invited to his wedding- a disgrace) – but all these contacts were closed in the phrase: We do not accept unsolicited material. Once Mr. Emmerich told me, that ,thriller’ was not his genre. Well, thats a stance.
    But remember: The Razzie Awards never go to movies written by unsolicited works…
    But what to do when you have written 10 novels, including a thriller, a real page turner, but you are a beginner in the scene? You don’t have any reputation. So now I try to get in contact with a serious produktion company in the USA or with a director.
    But it seems production companies and their ,chiefs’ are shielded from the real word. The result is: Nobody will ever even read my script.
    Even German agents won’t answer, and so do agencies in the USA. 100 Letters written, not a single respond, a single reaction like: “We got your screenplay, it is not suitable”, or the like. That is devastating! Because the readers of the novel devour it.
    But the worse thing is: no one gives me a respond on my question: What else to do?
    Writing other 100 letters with the same result?
    On the other hand you read: An US actor who has never written a screenplay before gives his ,firstling’ work to a well known director and – they produce a movie. Unsolicited…I think thats unfair.
    My plot is a ,thriller’.
    Just to try to find someone to read it, is that a tall order?
    Maybe you can – and will! – help me.
    Respectfully
    Franz Wolf

  20. G.J. LaRouche

    I wrote a “Wonder Woman” script in 2014. Warner Brothers just released “Wonder Woman” to much success. WB has announced that it will release a sequel slated for December of 2019. Director Patty Jenkins and Geoff Johns are working on the treatment right now. My script is ready to go and is very good. Do you know of any agents who would be willing to represent me? Thanks!

    • Stephanie Palmer

      Warner Brothers isn’t going to be looking for a complete script to purchase as they already have the project in development with the original team.

  21. Steven Meyer

    I am a author and I want it to be produced into a movie who do I talk to?

  22. Harry Kleinman

    I have written award winning screemplays – and was even flown to LA to receive an award. Still, I can not find representation! I am a good writer, teach English, and possess wonderful stories. I’ve come to the conclusion that Hollywood is such a closed society that outside competition is unwelcome.

    • Stephanie Palmer

      Harry, I suspect you’re closer than you think. The problem is that your conclusion about Hollywood being closed to competition, with respect, is based on a faulty premise – that if you are a good writer with good ideas, that should be enough. It’s not. You also need the right strategies and tactics to get in the right rooms with the right people and to know what to do and say when you get there – and that stuff (networking, meeting strategies, etc) has little to do with writing. I cover how to handle these topics in my digital courses – you might consider taking a look at How To Be A Professional Writer and How To Get An Agent.

  23. Ronald

    how do I know what agency is good for me?

    • Stephanie Palmer

      They represent other clients who have careers like the kind of career you’d like to have, they are responsive, get you good meetings, and you like and trust them.

  24. lamon jackson

    i am currently enrolled at Academy of Art University in San Francisco for the Writing for Film and Television program and i am currently looking for an agent. What is the process and how much does it cost.

    • Stephanie Palmer

      The process I recommend is outlined in my course. Also, getting an agent shouldn’t cost you anything. Agents work on commission; they are only paid when you make money. Any agent or manager who charges you is a scammer and should be avoided.

  25. Samuel Johnson

    I’m Sam and I’m a new screenwriter from Houston and I been calling and emailing agencies and producers all day every day for the past 7 months already, none of them ever contacted me back and some said they don’t take unsolicited and it’s ridiculous! Are there any agencies or producers that can actually respond quick enough? Thank you

    • Stephanie Palmer

      Sorry to hear it, Sam, but you’re experiencing a common issue. Getting an agent, manager, or bringing a producer on board is a complex thing and cold-calling these powerful people isn’t a strategy that works (as you’ve found out the hard way). However, you clearly are determined and you’ve persevered. My course, How To Get An Agent, is designed for people like you.

  26. billy kwack

    looking for a literary agent for screen writing, badly

  27. billy kwack

    looking for a literary agent, this is my first script, Super Mario Brothers, it’s finished. I’m now working on Legend of Zelda then Smash Melee. Please e-mail me, I’ll be on again after the weekend. O.K thank you

  28. billy kwack

    what kind of fee’s do I have to pay? I heard agents get paid only if the script sells, is that true?

    • Stephanie Palmer

      Yes, agents work on commission so they are paid only when you are paid. You do not have to pay upfront fees.

  29. billy kwack

    one more thing are you located here in new York?

    • Stephanie Palmer

      No, I’m not based out of NY though I travel there occasionally.

      • billy kwack

        hello, I used one of Shigeru Miyamoto’s Nintendo game idea, Super Mario Brothers and built it as a movie script. The movie is about Wario getting tossed into the mushroom kingdom. Taken from Brooklyn by Monty moles, in the beginning of the day of Mario, Luigi, Waluigi and Wario skipping a day of elementary school to set up an amazing summer. Wario in the mushroom kingdom, with serious memory loss. Toad’s father, Toad , Peach, Daisy and Yoshi take care and adopt Wario and raise him. Mario , Luigi and Waluigi thinking Wario being killed by furry creatures, they still keep the memory of Wario close. Wario’s last request was for them to become plumbers when they grow up. Years later they kept that promise. Mario and Luigi decide to go cross country to the deserts to try out there self built Go-carts, good on dirt , rocks, now sand. While the brothers test driving in the desert going over a dune they hit a spiny shell, causing a flat tire. Now there stuck near a portal to the mushroom kingdom. The brothers now going through confusing events with warps a pokey appears. Pokey grabs the brothers one by one, tossing them into the mushroom kingdom. The bothers now in the mushroom kingdom. Wario at age 18 going through a dream finding out his origins, now wants to go back home to his troubled. Wario going against the king’s rules of not leaving the kingdom. Wario now home finding his mother really troubled with drugs, hatred builds in Wario, causing Wario to cause homicide. Wario decides to return to the kingdom for revenge, building his own kingdom with Bowser and Bro’s. Waroi also stealing items to make him almost unstoppable in his quest for revenge. The brothers rescue Daisy from Wario, gaining the people of the mushroom kingdoms trust. The brothers joining Toad, Peach, Daisy and Yoshi in stopping Wario. The brothers not believing Wario as an antagonist. The brothers helping and learning in giving back to nature, replanting tree’s and mushrooms learning there ways. One thing about the mushroom kingdom, they have never been to war. Wario wants the Galaxy cube the most powerful item in the kingdom, to close the kingdoms portals . The kingdom needs a portion of earths air to survive. In order for Wario to gain the Galaxy cube he must steal a precious stone for riddle rock, to open rainbow road. The road leads to a invisible castle, where the Galaxy cube rests. Wario hiding from villagers and kings men in holes stealing Wind flight a flute that controls creatures. The 3 lightning strike an item that needs 3 lighting bolts to take you back and fourth from the kingdom to earth. Wario’s main objective was creating a force field in the mountains owning them. Wario destroyed every castle in the mushroom kingdom, betraying everyone he once loved and trusted. Destroying what the people in the kingdom believed in nature. Wario secretly building flying ships for war. There’s only one thing that Wario still has his love for Toadette. Wario uses an item to warp Toadette to Brooklyn. Wario don’t want Toadette to be hurt.

        who can I show this to?

      • billy kwack

        I forgot other people can read this, sorry Stephanie

  30. Matosha Elliott

    I wrote 2 plays while I was incarcerared.1 on my life story n the other one based on life’s reality that being ignored.When in a abusive relationship with Men,drugs,money,family.My plays caught the eyes of many people such as Administrators of the prison I was in n they took it to Head of the facility which was the warden.They allowed me to bring both plays to life.I got started putting my staff together which were inmates n also I had inmates try oit for different parts,they had to look like n act like that character, some of them also needed to be able to sing,then,I put the music to the scenes that was needed.I also got clean state sheets by me working in the clothes closet in the women’s prison I had access to things.I would ask the Lt.could I use somecof the sheets she said yes she said Elliott don’t u cut those sheets up,if u do Imma write u up.I said ok,but me being talented let GOD use me n my gifts.I got the sheets n ask the little old lady in the kitchen could I have some kool-aid that haven’t been diluted yet.She said what you going to with it in I told her n she helped me by giving any color kool-aid I want n that’s how I made beautiful costumes for the ladies n they also had a news team to come in n see the show.I wrote,produced,n did costumes n did all the music for it n I also did my props.I just want someone to read my material.I can be reached at (972)748-6115Thank you so much for taking the out of your busy schedule to assist me.I love to write.

  31. rahul verma

    hello,
    thanks for information but please can you tell me how can i talk to them via email,
    or how can submit my screenplay

  32. billy kwack

    can a movie star help get an agent? And what about a good story line and title?

    • billy kwack

      Stephanie are you an agent?

  33. Hassan el sharkawy

    I search for an honest agent to market my story for movies studio?

  34. James Warren

    I had a game show developed by a promotion company, Now I want to get it to television networks for consideration. Could you guide in the right direction?

    • Stephanie Palmer

      I’m not a game show expert, but take a look at the other posts about reality TV and think like this: you don’t go directly to the networks. You interest a producer who has worked on a game show and that person sends your project up the chain of command until a network asks you to come in.

      • James Warren

        I had a game show developed by a promotion company, now I want to get it to a television network for consideration; could you guide in the right direction?

        Thank you, that is a start in the right direction.

  35. Oxide Green

    Know anything about Ken Rotcop’s pitchmart? Would it be a good way for a first time screenwriter to sell their script, or get a good agent? If most agencies refuse to look at unsolicited work, could this be a good way to make connections, and make a sale?

    • Stephanie Palmer

      I have heard of Ken Rotcop’s Pitchmart, but I have never attended.

      ​A pitchfest is a good way to practice, but not usually to make a sale. Rarely do people show up who have the decision-making power to actually buy your work. That said, I still recommend doing it, and I’ll note that some pitchfests (e.g. The Pitch Conference at American Film Market) are legit opportunities to connect with decision-makers.

      ​If you go, I’d love to hear about your experience.