In a changing industry where access is everything, screenwriter Paul Ingoldsby shares how he landed representation and what aspiring writers should know about the path to professional representation.
Paul, thanks for sitting down with us. You signed with a manager while still in school. Let’s start simple-how did you make that happen?
Honestly, it was a mix of strategy and patience. I didn’t come from a family with any connections in the industry or anything like that – I’m from the middle of nowhere in Ireland – so I was starting from scratch. First and foremost, I worked really hard to write a strong sample script which I felt encapsulated my voice. That was the most important step. At the same time, I was researching reps who had had success working with writers and scripts similar to mine. Then, getting my script Analytica into the semifinals of the Nicholl Fellowship meant I started getting interest from managers. At that point I knew it was the right time to reach out to the reps I had on my wish list, one of whom is my manager today. But it all starts with the writing – there are no shortcuts.
There are tons of screenwriters trying to get repped right now. What made your script stand out?
I wrote something that felt uniquely mine. Analytica showcased my voice, my interests, and what I could do. That’s the key. Reps are looking for voice. They want to see you’re bringing something unique to the table that’s market ready. Because the reality is, plenty of people out there can write a perfectly competent script – it’s those elements that make your writing uniquely yours that will make it valuable.
How do you know if a manager or agent is legit?
Yeah I mean, you’ll meet plenty of people who exaggerate their influence in this industry, or have unscrupulous intentions. But just check their client list. Talk to other writers. Look them up on IMDbPro. You should be able to weed out any unserious people pretty easily.
What do reps want to see from a new writer?
Talent that they can sell. Beyond that, I think they also want to know that you’re collaborative, that you can take notes, and so on. That you’re going to be someone that they and by extension, other people are going to enjoy working with. Film and TV are incredibly collaborative industries, and every writer has to be ready for that.
Do you recommend writers cold-query reps?
If you’re prepared to be smart about it, it can definitely be worthwhile. But I’d only recommend it if your script placed high in a major competition, fellowship, or lab. Without something concrete like that to show, it’s hard to separate yourself from the cacophony of other writers trying to make themselves heard in most reps’ inboxes.
There’s also not much point if your emails aren’t targeted to the right people. Don’t be the guy who spams the same query letter to 200 reps and then complains on r/screenwriting about getting no response. If a rep’s client list includes writers who write in a similar space to you, you can assume they have similar taste to you, which goes a long way.
But even if you do everything right, you’re going to hear “no” – or more likely, nothing at all – a fair bit. But don’t be discouraged. Keep refining your approach. Take every rejection as an opportunity to learn, but don’t take them to heart. It’s all part of the process.
What do you say in that first email or meeting with a rep?
In that first email, be concise and professional. They don’t need to read your life story, or endless paragraphs on what writing means to you. Lead with why you’re specifically reaching out to them, your best logline, one or two major accolades, what kind of stories only you can tell, and deliver it all in a way that gives a sense of your voice as a writer.
If you get a meeting, it’s not just about the script. It’s about you. Be someone they want to go to war for. Be prepared to talk about future projects, your inspirations, and your long-term goals.
Is it ever too early to seek representation?
If you don’t have a clear sense of who you are as a writer, your process, and what you want to write next, you probably want to hold off.
But at the same time, if you wait for the perfect moment, it’ll never come. There will always be a million reasons not to go for it. Ignore the talk about how tough it is for new writers to find representation at the moment, and that no one’s taking new clients right now. All you can control is creating the right time for you. At the end of the day, reps need writers just as much as we need them. And true talent rarely goes ignored. So be smart, be patient, but you know, not too patient.
What happens after you sign? Does your life change overnight?
Not exactly. It’s a big milestone and a nice piece of validation, but it’s just the beginning of your journey. You still have to hustle. The reps help open some doors, but you still have to find some of your own, too.
Final advice for writers trying to get repped in 2025?
Focus on the work. Be professional, strategic, and polite. Be undeniable.