Screenwriting : Ask Me Anything (AMA) 11/28 to 11/29- How to Utilize Agents, Managers, and Dev. Execs. In Your Screenwriting Career by Jon Hersh

Hi, Jon Hersh. I hope you're having a great week! Thanks for having this AMA! What's one way to get noticed by reps?

Hi Jon, is it better to write low budget than high budget?

F.W.D.I.E.B LOL

Thanks for doing this, Jon. This really means a lot to many of us. My question is-- if you're a new screenwriter- what kind of scripts should you have in your portfolio? Is there anything in particular that helps not just screenwriters, but managers/agents/Dev Execs to help see how your scripts can work for them?

Hi Jon, thanks for doing this AMA .What qualities in a new writer’s voice make you feel they’re worth taking a risk on, even without credits?

Hello Jon. What does it take for a manager/agent to take notice? Film festival wins, contest placements, numerous scripts…seems like it’s a game of who you know. Thank you.

What's the best way to make contact with a specific producer a person has in mind when you're sure they'd be interested in your project but you don't have representation?

Hi Jon!As a new writer with an emotionally intense romantic drama trilogy (similar in tone to Culpa Mía), what is the best first step to get a manager’s attention, and why do strong positive reactions often still lead to passes — and if a major company currently has my script, should I still query others or wait?

Thank you for doing this, Jon! For screenwriters whose specs or samples are less commercial (not necessarily "easy sells"), should they prioritize finding reps or connecting directly with producers?

Hey Jon! Thank you for taking the time to spend with this AMA and for doing all that you do to work with the Stage 32 community. My question is as a literary manager, what are some of the key takeaways that you can share from some of your most successful partnerships and what is your best advice that you can give to a writer that's green in the industry to prepare themselves and their work for the marketplace?

Hi Jon. As a writer who has a rich and varied background (from cutting reels at APA to songwriter/touring musician to actor) how important is my profile? I still consider myself a writer first because I’ve been writing stories since I was a kid.

Hi, Jon Hersh. Happy Thanksgiving for you and your family. Thank you for your time with us. I have two questions, if you allow me to:

- When a writer has a high‑concept, commercially driven feature, what’s the best way to involve managers and development execs early? Do you find it more effective when writers bring you in at the outline stage to help shape the market positioning, or only once the draft is polished and ready to circulate?

And

-From your perspective, what are the most compelling indicators that a writer is ‘ready’ for management beyond simply having a strong script? What materials or mindset make a writer easier to champion?

Thank you.

Happy Thanksgiving Jon. I appreciate this opportunity. I've been writing in the dark for years but successfully publishing my first book has given me more confidence and purpose as a writer. I'm finishing up my pitch deck for animated feature that's been close to my heart for years. I have zero screenwriting credits to my name but I know how to tell a story and I know I have a good one. I'm glad I found this community because I feel just being here will answer a lot of my questions, I do have a big one however. With my 5th draft complete and my pitch deck almost done, should I be putting all my focus into finding a manager before approaching studios?

After having sold.true life screenplays, Netflix aired a documentary that I was featured in

on Oct 30th. 2025.

Since I have no representation, but was integral to the Documentary, do you think I could send my newest true story to them?

Or who might wish to assist with my Netflix submission given the aired Documentary I was featured in?

Kindest regards.

Jackie Giroux

Hi Jon, thanks for doing this. What’s the best way to put together a query letter via email and is there a specific day and time you should tsend that out to producers and agents? Thank you so much. Really appreciate this.

Hi Jon, thank you so much for you time offered to everyone.

In your professional opinion, when is the best time to seek out representation? Is there a certain amount of screenplays, concepts/ideas or do you believe a screenwriter needs some credits first?

It is a pretty finicky industry to break in to.

Thanks for your time.

Mick

Hi, Jon. Thank you for conducting this AMA.

What’s the best way for a multi-genre writer to get on the radar of managers who handle both screenplays and books?

By way of context: I write across fiction, nonfiction, and scripted. My flagship project is an action-thriller series, and I have several other screenplays listed on my Stage32 profile. On the nonfiction side, my history manuscript has two publishing offers—one with an advance in the several-thousand-dollar range. Early readers include AC Grayling, Steven Pinker, and Michael Shermer, all of whom have offered endorsements. Despite this traction, the agents I’ve approached haven’t been interested.

I’d truly appreciate any insight on how writers working across formats can get noticed by managers, or whether there are alternative pathways you’d recommend.

Hey Jon, thanks for doing this and congrats on all your and your clients' success! There are avenues to go directly to producers today, even here on Stage 32, but I feel like having a good manager helps writers tell the best stories possible and build great relationships. How important do you think it is for screenwriters to have a manager in today's environment?

Ramon Zapata Pretty important to have a manager or agent, but you can do a lot of the leg work yourself on stage 32, imdb pro, etc. There are a lot of indie producers and directors looking for their next project. I'm always impressed when a writer has put in a lot of the producorial legwork on their own.

Mick Eggins You should seek out reps when you've got a couple iron-clad scripts under your belt and one of them is potentially sell-able.

Jason Sylvester Most lit managers rep screenwriters. There are a few who also rep authors, but usually it's one or the other. You should divide your queries between them.

Don Zorbas Make it short and sweet. Anything really unique / accolade / flashy attachment / prize winner status etc. in the subject line. Then a killer logline. Two comps. A short bio about you and why you're different than the typical film school kid. Don't make it too long!

Jackie Giroux You should approach your contacts from the documentary -- producers, director, etc.

Sandra Isabel Correia Don't query managers with ideas. I'm involved with my client's ideas from the ground up, but if you're seeking management, you really need to be querying with a finished available spec. Second question, it really just depends on the logline and the quality of the writing.

Galen De La Cruz It's always a good thing to highlight the things that make you unique, even if those things don't revolve around writing.

Brandy Camille I think there's a lot of success to be had when writer and manager are working toward the same goal, and that comes with open-mindedness. In terms of preparing yourself, read as much as you can -- read the specs that sell, read your friends' specs, read finished films -- the more you read, the better you'll be prepared when it comes to your own writing.

Geoffroy Faugerolas Both. Or use as a sample.

@julie lamont. IMDB PRO

@Sanna Peth. A killer logline. And yes, continue to query. Always.

@kevin J. Howard - Anything and everything. Contest winds. Accolades. Relationships. It's a numbers game.

@shiva Shekari. Most of my clients don't have credits. It all comes down to a killer logline and a great voice on the page that I can pick up the phone and call people about, and get them excited to tell theri boss, and so on.

@Cynna Ael -- I like to read something that's sell-able, very high concept and studio level -- and maybe something else that's really outside the box, weird, bold, may never sell, but is a fantastic sample that is undeniable that will get people talking.

@Billy Kwack -- I think writing mid budget and below is a good idea. The high high budget ranges are usually reserved for established IP.

@Maurice Vaughan -- write something that is undeniable.

"write something that is undeniable." I'm on it, Jon Hersh. Thanks. Happy Thanksgiving!

Thanks Jon

Jon Hersh Jon, nice to meet you. What would you say to a guy who has written four screenplays: two horror shorts, two feature films—one drama, one action... but three are sitting in a drawer. Last week, I pulled an incomplete horror short film I just wrote out of the drawer. Which of these genres could be a hit and quickly get me an agent?

Hello Mr. Hersh, thank you for your time. How do I contact reps? Phone vs. email? What information should I provide them? What should you ask them about them?

Hey Jon - Outside of the scope here, but you've looked at 1000+ writings. The things I've watched, the notes I've received - how much leeway is there to not nail exact beats, at exact page counts, and not resolve every single question a reader/viewer might have? So as to leave a bit of mystery.

Thanks for your earlier answer, Jon. One more question: as a new writer with multiple scripts in different genres, what’s the key factor you look for when choosing which one should be a writer’s main calling-card sample?

Hello Jon, Thank you for sharing your knowledge with us.

I have a screenplay that has performed well on the competition circuit. It's a Canadian/Scottish period story based on best-selling IP i have the film and television rights to. My question is, if the manager/agent system is limited in Canada, what can I do to attract a U.S. representative (which there are many more of) that will take an interest in a property not "American"?

And I'm told period stories are a harder sell, yet every year many are made. Where are the bold representatives who aren't afraid to do the work?

I appreciate your input. Steven

Jon Hersh Thank you for this. It means a lot- especially now I’ve got a few scripts under my belt now. This really helps me a lot to move forward and think about that unsellable but mind bending script.

Great to meet you Jon Hersh and cou8ld you please explain how Screenwriters can land a Manager and or Agent with the rise of Ai?

Hello Jon Hersh, I have a question on using AI for script writing - can AI write original screenplays or does it just plagiaries all the context of the script by scraping the internet for recourses?

Absolutely, thank you. Jon Hersh

Hi, Jon Hersh! Thanks for taking the time to do this! I'm working on a YA sci-fi/horror pilot and was curious as to what managers typically look for in emerging genre writers today?

John January Noble Lead with your best script. Get unbiased opinions and go with that. You shouldn't share short scripts -- there is no market for that. Better to have a completed short film with a feature pitch to back it up. And you probably shouldn't go for agents, managers and producers first.

Tamara Green Always email. Phone is a red flag. Standard query -- logline, bio, comps, etc.

Joel Cousins The key is clarity. You want everything you're trying to convey to be clear to the reader. You don't need to turn over every stone. Not everything needs to be explained. But if you have readers that are consistently confused, then that issue needs to be addressed. Confusion will lead to a pass.

Shiva Shekari Whatever is the most marketable and strongest execution.

Steven R Mitchell Canadian tax incentives are enticing to Americans. Use those to your advantage. Get the movie made in Canada, and then US reps will take notice.

Mark Deuce AI doesn't effect this process.

Johannes Sikoka Don't use AI to write scripts. It's against the rules of the WGA and it's extremely frowned upon in this industry.

Holly Fouche YA / genre is a great space to be in, but there's been so much already in that space. Look for loglines that are going to be very different and bold and separate themselves from the pack.

Hi Jon Hersh! It was a pleasure pitching to you this past Weds. I was tickled that you want to read my script. My question is how many pieces of work should a writer have before a manager considers them for representation. Thank you!

Cheryl Chase Ideally 2. One that is available and sellable, and one that proves the first wasn't a fluke.

Hi Jon Hersh - hope you had a great Thanksgiving and thanks for doing this AMA. Question #1: What genres or formats are currently the most in-demand (and which are oversaturated)? Question #2 If high-end budgets are reserved for established IP, what's your advice for writers of animation? Thanks in advance!

Hi, Jon. Happy Thanksgiving and thank you for your time. I have 3 scripts that are performing really well in contests, which allowed me meetings with good executives and production companies. However, it doesn't seem to help me land a manager or an agent. In the current state of the business, should I continue reaching out to agencies or is it better to shift my energy to make connections with producers?

A. S. Vieira It's kind of pointless querying agents and agencies. You should query managers and indie producers instead. Get independent, unbiased feedback and only reach out when those scripts are singing and firing on all cylinders.

Leonardo Ramirez 2 I would say the most in demand will always be in demand no matter what. Action, action comedy, broad R comedy, rom-com, action thriller, psychological thriller, horror, grounded sci-fi, etc. Avoid period and massive fantasy / space-sci-fi. Animation writing is very tricky -- people don't sell animation features as specs. Get staffed on an animated show -- I would say apply to the Nickelodeon fellowship, but they unfortunately just shut down.

Got it Jon Hersh. Thanks so much.

Jon Hersh - two follow up questions if I may. #1 Do you see the animation question applying globally as well, or are there international markets where fantasy/sci-fi specs are more viable? Question #2: I only have one grounded fantasy script that's done well. Do managers typically want more than one strong script before starting a conversation even if that person has a few more in scifi genres that would have to wait? Thanks again.

Jon Hersh Thanks for responding. your answers very helpful, Jon!!

Leonardo Ramirez 2 I can't speak to international animation, that's not my area. It only takes one great script to start a conversation. I've signed people off of just one great script, but it helps to have at least two in your arsenal to prove the first wasn't a fluke.

There’s more grounded work coming Jon Hersh so what you’ve said is very encouraging. Really appreciate you taking the time especially on the day after a holiday.

Thanks so much for the insight, Jon! Really appreciate you taking the time to share.

I'm new to screenwriting, but I am not new to comedy. Straight to the question, is it normal for a new writer to feel like their project is easily marketable in Hollywood? Without being egotistical, I feel I've written a great high concept absurd comedy.

Matthew Thompson I'm not sure I understand the question

Jon Hersh Sorry, let me clarify; The first time a screenwriter writes a story; is it normal to feel like they've written something spectacular? Maybe a more than normal sense of pride? Like I said, not trying to be egotistical, but not being humble either. Basically, I wrote my first pitch and script and I feel it's pure comedic gold and I'm just asking if most writers feel that way when they complete a new project.

Thanks so much for doing this, Jon Hersh. I am learning so much more than I ever dreamed I would. How diverse should a writer's portfolio be if they're new- like me- I've been a published author, work in indie comics, but now writing feature and streaming scripts. So what is the best way to showcase yourself and the genres you work best in?

one of the gigs I want to submit to has a 20mm dollar cap on it. I'm stymied, Have no idea about such things, Aren't they better position top figure that out, Are there some ball park bench marks available?

Matthew Thompson Depends on the person, but I would definitely advocate for getting a few unbiased opinions from people who read screenplays for a living.

Cynna Ael Write what you're passionate about. Hopefully that lines up with a marketable genre. Your portfolio should be as diverse as you want it to be.

Jon Hersh Thanks! That's exactly what I'm doing. I just have friends and people I know basically building me up, but I recently submitted a written pitch for some real feedback. Like you said, to get some unbiased opinions.

Are you open to being manager to represent me possibly, as I am newly looking for a manager/agent to represent my feature film screenplay? It is based on my memoir, mainly in my youth. Otherwise any tips, leads are appreciated! Thanks!

Hi Jon, I posted a question up the top but I missed out on an answer. Wondering if you have any pearls of wisdom for me:

I appreciate this opportunity. I've been writing in the dark for years but successfully publishing my first book has given me more confidence and purpose as a writer. I'm finishing up my pitch deck for animated feature that's been close to my heart for years. I have zero screenwriting credits to my name but I know how to tell a story and I know I have a good one. I'm glad I found this community because I feel just being here will answer a lot of my questions, I do have a big one however. With my 5th draft complete and my pitch deck almost done, should I be putting all my focus into finding a manager before approaching studios?

David Linski You shouldn't approach studios without a manager, correct. Find a manager or approach indie producers or directors first.

Hello Jon Hersh Excellent to see you here on Stage 32 with your undoubtedly invaluable advice for screenwriters. Congratulations on your extensive career in helping creatives!

Hello Jon! I was wondering about the assembly of a portfolio and how genre plays into it. Should a writer have stories ranging over several genres, or is it better to specialize in one or two? What would you find more enticing when taking on a client? I have several scripts, but they're all different genres, so I'm unsure whether that would help or hinder my chances.) Thank you for taking the time to answer everyone's questions!

Yan Ju Zeng It's okay to branch out with various genres. It's a little more difficult to "brand" a writer if they're across two very different genres, i.e. horror and comedy, but that said look at Jordan Peele and Zach Creggor...

What advice would you give to a writer who also wants to act in their own projects? I know it makes it a tougher sell, but would you have suggestions on the size of the parts they write for themselves? Or would you suggest going bold? Like Fleabag or Abbott Elementary?

Hi, Jon. Saludos desde Colombia. I will like to know how to prepare my portfolio of screenplays? And how do I prepare my portfolio of projects in development? Gracias!

Your bio says your firm looks for "bold voices and incendiary material." What do you mean by "incendiary material"?

Yan Ju Zeng If you're looking to star in it, that will make it significantly more difficult when it comes to packaging. Indie films rely on star power to get financing. That said, if you want to star in your own work, go shoot it yourself and put it on YouTube a la BROAD CITY. There is no barrier to entry anymore. Go shoot it low budget or even as a proof of concept.

Tania Cárdenas Paulsen You don't need a "portfolio" necessarily. You really just need at least two scripts that are finished, rewritten, polished, and ready to go.

Banafsheh Esmailzadeh When you read all day long, everything kind of blends together after a while. The same kinds of stories are told over and over. By "incendiary" I mean things that stand out and are memorable and not boring!

Jon Hersh thank you, happy Thanksgiving.

Hi Jon, I see you've answered some 'potential agent' queries, but, HOW do you approach agents? I'm aware of Query Tracker but most of them are for novelists, not screenwriters? I'm in the UK, for reference. Most agencies I've found don't have open submissions (here), and still considered unsolicited.

These sessions are always welcome. I missed this one but just another reason why Stage 32 is awesome.

How would one go about getting a reboot script seen by the right people?

Emilia Maria Agents are different internationally than in Hollywood. Here, traditionally you will find a manager first, then an agent once the money starts rolling in. The exception is if you have a film premiere at a festival like Sundance, or a script that takes off like lightning for some reason.

Julie Lamont Depends on the reboot, but most often the studios will have OWA (open writing assignments) for reboots and will go out to a handful of writers with big credits or who they're fans of.

Jon Hersh Well, I'm hoping for the latter, hah! Thanks so much, it's definitely more difficult here for any sort of representation. But will keep my eyes peeled, thanks again.

Jon Hersh thanks for the reply about reboots. I was more interested though about what if a writer has the script and pitch for a reboot the relevant network hasn’t considered yet?

Suggestions in finding a manager to represent my feature film or series screenplay will be much appreciated. Just starting on this path. Thanks!

Jon Hersh question do you see younger audiences engaging in 1980s movies the classics. What would be a good way to bring those classics to 2026 without ruining the originals and establish the younger audience. Demographic from a manager, producer perspective thank you

Jon, thank you so much.