Screenwriting : Ask Me Anything (AMA) 4/29 to 4/30- What UK Reps are Looking for in Strong Clients by Christina Pickworth

Thank you so much for doing this! Will wait patiently until the 29th/30th :) I'm based in the U.S. and currently collaborating with a UK producer. At what point in the development process does it make sense to seek out UK representation? And, as a UK agent, what do you look for in an international client?

Hi Christina Pickworth. Thank you for opening this AMA, it’s incredibly valuable to have this kind of access and transparency.

I’m a WFTV UK member, newly joined in December, and based in Lisbon. I’m still finding my way through the community and figuring out how to make the most of the network, resources, and relationships available.

From your experience running the WFTV Writers’ Group for so many years, what advice would you give a newer member who wants to engage meaningfully, build authentic connections, and grow as a writer‑director within the WFTV and wider UK industry ecosystem?

Looking forward to learning from your insights. Thank you.

Hi Christina, thank you for taking our questions. For writers looking to build their own outreach lists, are there any reputable databases or sites you recommend that list producers who are open to receiving unsolicited queries? Thanks so much for your insight.

Hi Christina Pickworth - thanks so much for having this AMA and spending your day with us! Question(s)...

1. What does your ideal author–agent relationship look like over the long term?

2. How closely do you work with writers as far as revisions go? Do you typically request revisions, or do you prefer to submit as-is?

Thanks a ton in advance!

Hi Christina, thanks for this. My question is, if you write in multiple genres and formats, should you seek about as many agents or is it at all possible to find one who also reps them? Because I'm mainly a novelist but of course have screenplays as well.

Hi Christina, really looking forward to this AMA!

One question: what's the thing you wish more writers understood before they start querying agents? Is it more about the strength of the writing sample itself, or the bigger picture like voice, body of work, and how they show up as a collaborator? Thanks for giving your time to the community

Hi, Christina. My name is Chase Carmichael. A screenwriter and character developer based in Utah.

I have no experiences with filmmaking and producers. But I work with screenwriters. My only top genre is animation, also adding positive tone into any animation.

My screenplays might be compelling to you for the UK reps, mine are "The S-Guards" (All-age Action/adventure animation involving six rogues willing to bridge the gap of normals and supers into one world), "The Randall Job (Adult Spy/Heist animation involving the bipedal wolf-raccoon hybrid leads her outrageous crews to pull schemes to steal from criminal masters who are recognizable in public but they have dark secrets connected to her past), and "Getting Hitched" (Adult romantic comedy and sitcom animation where three couples are forced to live into one cramped house after they've been accidentally engaged while drinking and partying).

I think it should beneficial to those standards.

But most of my time, I'm writing superhero concepts. Also, working on family animated sitcom about a family of bipedal foxes and their crazy world and their true obsession of baseball.

Unfortunately, I don't have that much partners around and never met them in person. Also, my trust issues is the reason why it holds me back further. I finished the pilots and series bibles, but it's all AI-written. I just need to edit it to make it humanize the scripts.

That's where I'm at right now. But I'm willing to show some concepts that can be beneficial to the reps. Thank you all.

I am curious on what makes one stand out to a to an agent, when/how to approach an agent as well as what they are looking for.

I don't want to bombard you with questions but these were on the top of my list of questions, I appreciate the time you took reading this and hope you have the time to at least answer one of them.

Thank you for your time Christina Pickworth

Hi Christina Pickworth Thank you so much for this opportunity. I would love to hear if there is a suggested approach for new writers looking to break through gatekeepers to get a set of eyes on one of my projects.

Hi Christina,

I’m a Switzerland-based screenwriter building a slate of contained thrillers and elevated genre features.

From your perspective, what differentiates a writer who gets signed from one who’s passed on — even when the material is strong?

Thank you!

Hello. I'm Irish Taflinger. How would you know if you found the right company that could represents you and provide support for your professional growth for both writing and composing? Thanks

Thank you so much for this opportunity. I work in publishing so seeing how authors market themselves is a big factor when signing talent. How does that translate into the screenwriting world? Do you look for those who hustle or do you let their work speak for itself? Thank you so much for this opportunity to ask you some questions. I do appreciate you taking the time to respond.

Hi Christina, My name is Frank Detrano, a professional storyboard artist, writer and content creator with over 20+ years experience in the animation field. I'm currently working on a companion documentary to promote and market a forthcoming feature animated film about a loyal Mercy Dog during WW1. Both films have received significant traction, highlighting not only the courage and sacrifice of these amazing canines but the unwavering bond of love between a handler and his dog. In addition to being an educational vehicle for families, the documentary has drawn noted military historians, war dog organizations and army handlers lending their voice and support to the project. The animated family is called Hearts of Valor and our hero is a former stray who sees himself as a soldier and leads his canine friends on a thrilling journey across No Man's Land to rejoin their army unit. I am planning to approach domestic studios here in the US and also pitch the project to overseas companies, especially those in the UK given its British protagonist and its time capsule setting during the Great War. There are also film grants and crowdfunding options to produce the movie trailer. Can you offer me any further advice on moving this project forward? It's an action-adventure family film with a message of hope and love...you could call it my passion project. Looking forward to Wednesday & Thursday and thank you for your time - Sincerely, Frank Detrano www.heartsofvalormovie.com. .

Thank you for doing this, Christina! We often talk about how UK Writers' Room (or non-existent rooms) are so different than US rooms. Do you seem Europeans adopt the American model with more writers collaborating?

Hi Cristina!

I'm Roberto, a Latin American screenwriter and creative professional, and I'm looking for agents for my fiction and nonfiction projects, which are perfect for any type of broadcaster. There are 6 fiction pitches and 10 nonfiction pitches with their sales materials ready to be reviewed.

How do I find an agent?

Thanks!

(And I invite you to visit my Patreon, where you can see what I’m talking about:

https://www.patreon.com/cw/TSUNAMICREATIVOXXI)

Hi Christina, my name is JJ and I currently reside in Bristol, UK. I first came on a student visa and did my Master’s in Creative Writing. I am currently looking for jobs that sponsors working visa while also writing on the side. I have sent some of my screenplays to writers scheme and I also keep polishing my scripts hoping to show them to representatives. I also got plenty of ideas to develop, be it for a television series, a vertical drama, a bilingual feature and so on. I know it isn't the ideas alone that you are looking for but a full-bound and completed script. What I really want to ask is: what is that you look for in writers specifically in order to represent them? And also, what are the chances of a creative being sponsored to work in the country as that is also a priority as such. Do the creative industries sponsor visas for the creatives coming from outside the country?

Thanks, Christiana - great to meet you and thanks for offering your expertise

Hi Christina, I have a couple novella in horror/cli-fi and speculative fiction genres. Do you have any thoughts on converting a novella to a screenplay?

Hi Cristina,

When reading new TV writers, what are the most common reasons you pass, even when the premise itself is strong?

Hello Christina Pickworth - Thank you for this hosting this great topic! I’m curious about the best approach for a screenwriter who starts gaining traction with a producer who may want to take a project out: how should they go about finding the right agent or representation at that stage?

Hi Christina, thank you so much for doing this AMA.

I’m an emerging writer currently developing a YA dark fantasy story as both a novel and a screenplay, and I’m trying to approach my path strategically.

At an early stage, what makes you take a writer seriously as a potential client — is it more about the strength of the concept, the quality of the writing sample, or signs of early industry interest (such as producers or development conversations)?

Thank you!

Hi Christina,

Thank you so much for offering your time and openness through this AMA — it genuinely means a lot, especially for writers trying to find their way into such a competitive space.

I’d really value your perspective on positioning oneself as a strong potential client. As a writer working on character-driven, emotionally layered stories with a touch of surreal and psychological depth, I sometimes find it challenging to balance originality with market awareness.

From your experience, what makes a writer stand out to you not just creatively, but professionally? Is it more about having one exceptionally strong, polished project, or demonstrating range and consistency across multiple works?

Also, at what point do you feel a writer is truly “ready” to approach an agent — is it about the quality of the material, clarity of voice, or a combination of factors including industry awareness?

Thank you again for your generosity and for supporting emerging voices. I really appreciate your insight.

Warm regards,

Volkan

@avrildavid I think it depends on the reason you're looking for UK rep. If you're based in the US, and have US rep, and a producer, then do you really need UK rep? Possibly not. Having a UK-set project isn't enough to appeal to UK reps. We want to understand where you might fit in amongst a host of other writers who are either British or UK-based - and therefore might make more sense for UK producers. If you don't have US rep yet that might be a better thing to focus on?

Christina Pickworth got it - thanks for the response!

@sandracorreia Great that you've joined WFTV UK - it's a fab community. Obviously the in person events don't work for you if you're Lisbon-based, but there is so much online information and talks you can access either live or in the members' catch up hub. I would encourage you to dive into those. The next online networking is on 12th May so that's a good one to sign up for and have the chance to meet other members too.

@evanphoenix Most databases with that sort of info work on a subscription basis. Obviously there is imdbpro which holds a lot of info, but I think for the most part people build their own lists. It's also so important to make personal connections, find ways of meeting people or being introduced or recommended to whoever you're trying to connect with is usually a more successful way of getting a response! Peer connections are important too - share information and connections with people at the same level as you. Also lots of people say they don't respond to unsolicited material, but if you get the approach right, and have a project they like the sound of, I do think you can break through the walls!

Hi Christina, I'm a writer based in Istanbul, Turkey. I've completed a four-part neo-noir film series — a generational story built around inheritance, rural justice, and revenge between a father and son. My question: when a writer is based outside the UK or US, what's the single most important thing a UK agent looks for before considering international representation?

@leonardoramirez

1. I think the best client-agent relationships are built on mutual respect/trust, good communication and liking each other! It's such a hard industry it's so important to be working TOGETHER. You need to be pushing in the same direction. Also if you don't value your agent - their expertise, their notes, their advice, then it's not the right relationship.

2. I read absolutely everything before it goes out - it's not just the writer's reputation on the line, it's also mine. I won't send out anything I don't think is ready and I will push writers to do their best work. Scripts obviously don't need to be production ready and they will change and evolve, but they should still be of a good standard. What that looks like may vary from client to client or project to project. Sometimes I have no notes, or sometimes we will make a decision to send out something at an earlier stage - it also depends on the experience level/positioning of a client and who it's going to - if it's someone who already knows/likes their work then things can be a bit rougher around the edges. But if it's going to be a cold read then you always want it to be the best possible work ideally.

@BanafshehEsmailzadeh

In most cases you'll probably need a screenwriting agent and also a book agent, as they are two quite different worlds. Sometimes a screenwriting agent will rep the screen rights for books written by their clients, but it's usually on a case by case basis depending on what their book agent covers. Agents have different areas of expertise so I think it's important to find the people who are most knowledgeable in the different areas you're working in - some might cover a few. It's about researching who might be the best fit for you and your particular body of work. There are also a number of (usually the bigger) agencies who have different departments - if you can get an agent in one department (eg screenwriting) it might be easier for them to also rep you for another (eg books) and can facilitate those introductions. But it's not necessary that all your agents are from the same agency. The most important thing is that you are with the right agents who understand you and your work, in whatever format!

@JoshuaYoung

Great question Joshua! Most writers look for an agent far too early and that time would be better spent in other areas. You need to have multiple scripts, industry recognition, be hustling yourself and working with producers etc already. There needs to be momentum and buzz behind you, as well as excellent work, to gain the attention of an agent.

@ChaseCarmichael

Hi Chase, thanks for sharing, though I don't think there's a question there?

@timothymiller A strong body of work, be hustling yourself, have industry recognition and projects already moving forwards, buzz around you and momentum behind you. We have to have things we can say about you and your projects to sell them to others - that's really hard if no one has ever heard of you or your work. We don't have magic wands, and so it's about building a profile and giving an agent as much ammunition as possible. Also a recommendation from someone respected in the industry is a great way to get the attention of an agent, as is when you have a deal on the table. Most writers look for representation too early, when that time would be better spent writing more scripts and creating more connections and opportunities for themselves.

@DarrellPennington

Hi Darrell, it might depend on the particular gatekeepers you're trying to break through, as you haven't specified, but having a personal recommendation/introduction is something that always makes a huge difference. Also what is it about this particular project that is exciting? Does it have industry recognition (eg. competition wins) you can use to show it's of a good level? Is your email pitch focused and excellent? Have you done your research to make sure you're approaching the right people? Why do you think they would connect specifically to the material, and is there a way you can connect with them more generally to start a conversation?

@CharmaneWedderburn

I have a strict no egos, no arseholes policy! It's a tough industry and I want to work with kind people I like. I want to know my clients play nicely with others! Also clients who are hustling for themselves will always go further. I want to know that clients are pushing their work and connections forwards constantly - not sitting back and waiting for me to open doors for them - it's a team effort and we should be pushing the rock up the mountain together. And after all, it's THEIR career. I'm there to help, advise, cheerlead, commiserate, and all of those things, but I can't do it all for them. I also want to work with writers who understand and value the role of an agent and want to build that as a lasting relationship.

@IrishTaflinger Firstly, not all agencies will be able to help you with both writing and composing, so it's important that you find an agent, or agency, that can do both, OR look for different agents for those roles. I think the chemistry test is really important. Do you like the agents? Do you think they get (and like!) your work? Do you think they have the right contacts to help you get where you want to be? And do they have the skillset that helps develop you/your work in the areas it needs - for example some agents are very creatively hands-on with feedback etc, and others are much more focused on the deal. You just have to make sure you are in a partnership which best aligns with you and your particular situation.

@LaurenHackney always looking for the hustlers! It can be the best script in the world but if no one has ever heard of the writer then it's a much harder sell. That's not to say it's not possible, but profile, connections and industry recognition makes a huge difference.

@FrankDetrano I think focusing on companies with a track record in family films and animation will be key for you - as not everyone does, or is interested, in those kinds of films (however wonderful it may be!). It's about finding the people who are as passionate about that area of filmmaking as you are. Also there are lots of dog lovers in the industry so finding producers who love dogs might be a good way in - as well as those who have an interest in military history projects and true stories (if it's a true story?). I think those elements will help you circle in on who might be the best fit for it so you can make the most focused approaches. Once you have your list, see if you can get introductions to those people/companies as personal introductions can go a long way. And also make sure your email pitch and materials are excellent so you can make the most of the connections as you make them.

@GeoffroyFaugerolas Unfortunately the opportunities for UK Writers' Rooms are still few and far between. In a very risk-averse industry authored projects (by well-known screenwriters) are king and there is not the space or appetite to bring other writers onto those. When they happen they are such great training grounds, for newer writers especially, but they are very much the exception still in the UK.

@robertoantonionpérezortiz a lot of agents specialise in either fiction or nonfiction so you'll need to research carefully on who might be interested in your whole slate - or consider looking for two agents. Knowing your audience is also really important. There are hardly any projects which 'are perfect for any type of broadcaster' and to be honest that will put agents off as it might seem that you don't know your audience or your projects' place in the market. Don't just think about why you want an agent, but consider why you and your projects will be interesting to an agent.

@JJSebastian

To be honest I think sponsors for visas are very hard to find within the industry, particularly as a writer. There may be opportunities within bigger companies in a different role, but there aren't 'in-house' writers as such, so it would need to be working in a different capacity, and you may find you need to look outside of the industry altogether. In terms of representation, it sounds like it's probably far too early for you. You need to build a good slate of work, an industry profile and recognition, and have buzz and momentum behind you, as well as projects already moving forwards. Writers often look for agents too early, when really those are the best things to be focusing on. If you can make those happen then representation will follow.

@stevedini Thanks Steve, do you have a questions?

@RobertFrankilnGodwinIII

I think the most important thing with adaptations is to let them be their own thing, whilst being faithful to the essence of the original. It's a totally different format so you have to embrace that and be flexible about what needs to change for it be the best version on screen.

@NinaD.Karis

Whether or not it's something you think you can sell or gain traction with in the marketplace - whether that's because of the type of project or story - eg. sci-fi is (sadly because I love it!) almost impossible in the UK, or the lack of profile of a writer in a very risk-averse landscape. There are so many more factors beyond just how good the writing or the story is. It might also be something which feels saturated in terms of setting/theme etc - so no fault of the project itself, but other elements.

@PatrickKoepke

If the project is with a producer, it'll be the producer taking it to market rather than an agent, or have I misunderstood you? The producer you're working with may be able to recommend agents they like and make introductions for you. Also speak to peers - who are their agents, do they like them? Have you seen agents on panel talks or met them at networking events? Who reps writers you admire? Also consider that the newer agents at the bigger agencies are more likely to be actively growing their lists. Lots of research is often needed to find the best agent for you. Certainly you need to have traction with a project to make you more appealing to agents, but you also need to have lots of other work ready to share too.

@UlduzKarayeva

Most agents won't look at early stage writers, and if they do it's more likely they will track you than sign you. You need to have momentum behind you as a writer to be able to make the most of representation so I would recommend you focus on building a slate of great projects and getting traction with them. Writers often look for an agent far too early. There's so much you can do without one and we need to have lots we can say about you and your projects for it to make sense to sign a new client. Building your profile and making your own connections will really help you to get the attention of agents when the time comes.

Thank you, Christina — really appreciate the insight. That team mindset and self-driven approach resonates a lot.

@VolkanDurakcay

You definitely need to have multiple works at a strong standard - no one wants to put all their eggs in one basket, and longevity of a career means someone who writes and keeps writing. The right moment to approach an agent is much more about the buzz around you, the industry recognition you are getting, the connections you've built, the projects you already have going and the momentum behind you, than it is about just great scripts. Reps want to jump on a moving train - starting from a standing stop is so hard, so getting, and keeping, momentum is what will make you appealing to an agent.

Hi Christina Pickworth, someone mentioned you to me late last year, and I had been meaning to get in touch, funnily enough! I notice that your agency, specifically, mentions that your rosta is full - but, when you say you’re not taking on new clients, is there anything that specifically makes a writer stand out enough for you to reconsider that? Apart from the obvious (strong work). And what makes a writer without credits stand out enough to feel undeniable?

I love these responses Christina Pickworth - especially the one where you mention wanting to like the person you work with. I love that. Thanks so much for your kind responses to my questions and again, spending your day with us!

Thanks for the AMA.

I've been developing a noble-dark contemporary fantasy trilogy set in England.

My question for you is would having a teaser/poc help with the pitching process?

Hi Christina, thank you for the opportunity!

I am primarily a novelist, world‑builder and mythology creator, and my current portfolio includes several monumental works whose scale even surprises me sometimes.

The limited pitch time and format often make it difficult to highlight these worlds with the depth they deserve and the fast pace of today’s industry adds to this challenge.

My question is: how can a creator with a large, original and visually rich portfolio position their work in a simple, fast and effective way so that the right people immediately recognize they’ve discovered something truly unique and substantial?

Thank you so much for your insight!

Hi Christina Pickworth -very much appreciate your time and insight here. Already had so many of my questions answered reading through your answers above. One other question was regarding writer's output - once you engage with a writer, what more or less specific expectations do you (and agents in general) have of the writer's frequency of completed scripts? And do you see that number being different in the UK vs US vs European market? Thanks again!

Hello Christina,

I'm based in the US, and a few years ago I worked extensively with a UK-based producer to get a £1.5M true-story drama produced in Wales. We attached a few known talent, partnered with a Welsh university film school for support/locations (to maintain cost), and raised some of the budget through investment (the LLC is still in operation), then it stalled. The producer has understandably moved on, but the script is powerful, and while it could be made anywhere, I believe it would benefit extensively from a UK-based production and release. I even traveled to Wales to scout locations and produced a short POC for inclusion in the deck.

I believe one reason it stalled was that I was slated to direct. I'm a film industry vet with movie and TV productions under my belt, but none as a director/writer. I'd love to get this in the hands of a young, up-and-coming female director who can help secure the cast and raise interest.

I suppose my question is with a project that can be quickly ramped up and put into production, how can I assemble a team with enough weight to get this modestly budgeted drama off the ground again? What I did last time didn't work well enough.

Seeking guidance...

Mike

Christina, thanks for doing this. Question about voice. When two scripts are both well structured and clean on the page, what actually makes you stop on one and not the other? Is it the small specific choices, dialogue cadence, a point of view that surprises you, or something harder to name. Curious what that looks like at the page level when you are reading.

Hi again - No, don't have a question. I've had pretty good traction with my scripts (6 optioned and 1 produced and in theaters), but I've given up on finding an agent. I've enjoyed your thoughtful responses to members questions. Thanks for taking the time - cheers!

Thank you for all the time you're putting into this AMA as well as answering my question, Christina Pickworth. Truly appreciated! I especially like the insights about being in it together and pushing the rock up the hill.

My question was more about the negotiation side of the relationship in terms of the scenario where a producer has met with me, we've worked through notes/revisions together, and they're ready to option or purchase. I appreciate the ideas you put forward It is helpful as I think about the right timing and fit for representation.

Ugur Kayikci It's a lot to do with why UK rep makes sense - why are producers in the UK going to be interested in working with you, especially if you're not based here? That's not to say it can't happen, but it is an additional barrier I think. And I think you have to consider if you really need UK rep at this stage? One project will never be enough either, even if it's set in the UK and aimed at a UK audience. I'm not sure if that's the case with the project you mention. It would have to be a slate of great work which would appeal to audiences and the marketplace in the UK, plus having traction and momentum behind both your projects and you. There are of course lots of opportunities beyond the UK, but I think UK reps will be looking for the impact they can make in the UK first and foremost.

Emilia-Maria I think when a roster is full it comes down to one of a couple of things: 1) that someone fills a gap on the slate, perhaps regionally, genre-wise, a project that makes sense and they know they can sell, or connections they have which they want to be using more and can be fulfilled by adding this person. It's very strategic and timing is everything. 2) they just love you and the work. There's the magic. Perhaps something unquantifiable actually. A gut feeling.

I also think it's important to remember that reps shut their lists, or don't take on new clients, for lots of reasons - often which are nothing to do with the potential client in front of them. Newer agents (especially at the bigger agencies) are always more likely to be actively growing their lists.

James Fleming It can, but only if it's excellent. Something less than excellent can be damaging. I also think it's the kind of thing a producer likes to be involved with. You can achieve similar effects with mood reels or great pitch decks, but fundamentally it will come down to how good the idea/pitch and the script are. If those are knockout then your project will get attention - if you can get it in front of people who want to make that kind of thing. Slates are often tight and so focusing your pitching in the right places is as important as the material being good.

Zsuzsa Galaczi If your works are based on your novels, can you use the IP angle? Producers are keen on adapting books for screen and if you have a successful book with an established audience that can help grab attention. Otherwise, if your books aren't known, nor your work as a screenwriter (which may not be the case but I'll answer as though it is!), then it sounds like the scale of ideas/worlds and therefore the expense of them isn't matching up with your level as a screenwriter. Commissioners are risk averse and in the UK at the moment it's very difficult for new writers to break out or get eps of existing shows, never mind create their own, huge, original show. It might be that you need to find ways of telling big, ambitious stories in more contained and budget-friendly ways, and work up to the massive worlds that you love. Your profile as a writer matters alongside the idea.

But in terms of just getting the idea across, a great logline, relatable characters, a fantastic hook are all things that you need to get right. The 3 things everyone always wants to know: 1) why THIS story? 2) why YOU to tell it? 3) why tell it right NOW? Making sure your ideas have this and are accessible and universal to audiences is key, no matter how monumental the world you've built.

Hi Christina. I recently had a meeting with a London-based producer on a script that was a Top 10 Finalist submission for the IWA Emerging Screenwriters 2026 competition as well as Double Recommended on Stage 32. . The story was clearly a UK based project and even though she loved the script and my writing, I was told, in no uncertain terms, that unless I was a "British" writer, my work would not be considered unless it had attachments of a known Director or a company such as BBC, BFI or Film 4. I'd appreciatge your take on this. Thanks. Steve

Sebastian Tudores honestly it can really vary, but especially in the case of newer writers you just have to keep having ideas and keep writing new scripts. Writers should always be writing! Of course sometimes life gets in the way, but generating new material is really key to keeping people engaged with you and your work, and having new things to take back to people when (usually inevitably!) what they've read before they like but don't want to make. So much of success is building and keeping momentum, and that's not possible with only a couple of projects. The more things you have, the more you (and your agent) have to share and talk about. Projects can move forwards and backwards unpredictably and so for you to keep moving you need lots of things to pivot between. It doesn't always work like that, and yes some people write/make one thing before going onto the next, but that's not as appealing to agents.

Michael Fitzer, Mfa If it's set in Wales have you tried narrowing it down to Welsh directors? Or is it such a universal story (you mention it could be reset) that perhaps that's not necessarily important? I think seeing who is making exciting short films/low budget features in the UK, who is getting BFI/Ffilm Cymru funding, whose work resonates with the story/themes. But I'd also say I think it's more important to find a new producer first, as they will want to have input into who the director is - that's if you're not producing yourself? And even if you are, you might like to partner with a Welsh or other UK producer. If you have some elements in place then it might be that there is an exciting filmmaking team you find - a producer and director who have worked together before, eg on a brilliant short, who financiers are excited about and who might want to run with it. On the other hand you have to consider that lots of emerging directors also write and may be looking to debut with their own work, so those that work with writers instead might help you narrow the list. It sounds like really it's about doing a load of talent research and then just reaching out to people and see who might respond to the material. You could also think about attaching an experienced exec producer first who can help you build the right team. It might also be the case that you didn't do anything wrong last time - films fall apart all the time for a million different reasons. Sometimes the timing is just wrong. You have to just keep trying!

Eric Charran I think it can be unquantifiable - a magic. You can't describe it exactly but you know it when you see it. And what that is can of course be different for different people. Sometimes it can also be a theme, a character, a story which echoes with someone specifically in that moment. Ultimately you want a script to make you feel something, and timing can be so important that happening - reading the right thing at the right time - and often it's not something you, as the writer, have any control over. There is definitely an element of luck in this business! All you can do is your best work, then try to get it in front of the right people, and hope the universe throws you a bone! I do believe you can make your own luck too though, and the more you hustle the better!

Patrick Koepke Thank you for clarifying! Having a deal on the table is the best time to get the attention of an agent, and a good producer should always encourage you to get representation before signing anything - if they're trying to rush a deal through without one that can be a red flag! It might seem like you've done all the work to get the project to this point and now an agent is swooping in, but you have to view it as a process and one step in a much longer relationship. A lot of what agents do for their clients is completely speculative, and there's a huge amount to do when you sign someone new. Having an agent should always help make the deal better for you too.

Steve Fisher it's very hard to get funding for projects from unknown writers in the UK unless it can attract BFI, BBC or Film4 financing - and they are usually focused on supporting British or British-based talent. So that's the issue you're facing. The smaller production companies need to have those options open to make picking up a project viable. The bigger companies (or producers with private equity) may be able to raise funding in other ways, but it's harder to get their attention without profile as a writer. It's not at all easy, and that's not to say it's impossible, but it is the reality unfortunately in the UK right now.

Super helpful Christina Pickworth - thank you :)

Thank you, Christina Pickworth. I already signed up for May 12th. I'll follow your advice. Have a great time in Cannes :)

Thank you Christina Pickworth~ hopefully I'll find some good matches lol

Also, if it's okay to ask another question... when querying/pitching to agents, is it best to have several projects ready to go or can you start with just one?

Banafsheh Esmailzadeh you definitely need to have several ready to go. From an agent's point of view when they're pitching you, if you only have one thing and it's not what a company wants (for whatever reason) they have nothing else to say about you. Equally if a company reads that one thing and doesn't want to make that, but likes the writing and wants to read more, there is nothing else to send. You can't build momentum like that, and momentum is so important. Hope that helps!

Great stuff Christina Pickworth. I appreciate the comments. The story is universal; however, the Welsh town is exactly the kind of place where you wouldn't expect something like this to happen... But it does. The visual and thematic juxtaposition is intended and visceral.

This would be a co-pro. We did it with our film Under the Eiffel Tower (developed in the US, filmed in France, packaged and distributed in the US). If you know of any up-and-coming directors interested in working with a writer, I'm open.

Thank you for this opportunity, Christine! I am a film director - currently without a feature film credit, but with a few shorts. I writes my own screenplays and develops my own projects. What kind of agent or manager should I be looking for to help me find the right partners - producers? A literary agent, or a different type? What should I focus on in my writing to ensure I am properly evaluated and that people want to work with me?

Hi Christina. I really enjoyed the range and diversity of projects and clients on your IMDb page. I’m a produced, award-winning screenwriter who was fortunate to sign with a literary and talent agent after she found me on Stage 32 when I had completed about 30 scripts. Since then, I’ve kept writing and am now up to more than 100 scripts and pilots, with two scripts produced, one in pre-production, and about 10 optioned over the past eight years. I know those numbers are modest by industry standards, but I’m grateful to still be in the game and making progress.

Most of my work is low-budget murder-mystery comedies or thrillers with female leads, often set in the UK, Canada, or Europe. More recently, I completed three contemporary feature scripts in which the ghost of Sherlock Holmes mentors an inexperienced Detective Inspector. The stories are designed so they could be set in almost any smaller town.

What I’m still trying to learn is the best way to get these kinds of scripts into producers’ hands internationally. We’ve been sending brief inquiry letters asking permission to submit a logline, synopsis, pitch deck, or screenplay, but so far we haven’t had much response. My literary manager in Los Angeles has been supportive, though she has a large client roster and another job, so I’m trying to be proactive myself as well.

I’d genuinely appreciate any advice or perspective you might be willing to share about approaching producers in the UK, Canada, or Europe, especially for contained genre projects like these.

Special thanks,

Tom

Thank you Christina Pickworth, it does~

Katherine Sheyno Yes a literary agent who represents writer-directors. In terms of what you need to be showing - shorts are great to show tone and craft, and then your scripts should reflect your vision and the direction you want to be going in. Ideally your shorts will also be good examples tonally of your work with your feature in mind - ie. if you want to make a genre feature do you have a short that echoes it and shows what you can do in that space. Also I'd recommend having several feature scripts (which can be shot on a sliding scale of budget depending on what might go first) if possible. You might have a strategy about which is your debut, but you'll want to be able to capitalise on the momentum of that when it happens with other projects ready to go. Have a look at other emerging writer-directors whose work you enjoy and see who reps them, and who your peers recommend. And don't wait for an agent - be actively connecting with producers at your level. Agents will be more interested if you have your debut already in motion.

Tom Stohlgren

I would say don't ask permission, just send a really great email with the logline/topline information (perhaps a note from you which covers 1) why this story 2) why you to tell it 3) why tell it now) and a little about yourself and your work. People won't ask to read something they don't know what they're asking to read! Pitch it well and you're more likely to get read requests. Also be aware that the landscape in the UK is very tough at the moment so it might just be bad timing. Commissioners are very risk averse and slates are full while producers try to get things away. Many aren't adding anything unless they're completely dazzled, so you do have to grab attention. And make sure to follow up! People don't always have chance to reply the first time, so try and nudge with news (which in this case could be more information). It's great that you are hustling and working with your manager in this way.

Hi Christina, do literary agents read the entire screenplay before writing notes for the screenwriter?

Thank you so much for taking our questions!

I have an epic film that spans over two decades during the time of the Vietnam war. (It’s not UK focused film.) Question is, since the screenplay and the book are an amalgamation of my own life experiences and those I interviewed, and because the screenplay has won eight awards in the past 13 months, how do I know what the budget line items would be for this action film?

The literary agent I approached, wants to know how much it will cost to produce, etc.

I have no clue about that!

So great to meet you Christina Pickworth and thank you for so generously giving of your time to answer our questions! My question is (and my apologies if you've already answered something similar) - there are so many avenues for writers and performers in the UK - radio, theatre, novels, tv, films. Do you see having experience in one as an advantage to writing for the other? Or would a playwriter not be a strong candidate to write for other mediums? That is to say - do you prefer to represent someone who can adapt their writing or a writer who stays in one format? Clearly, those avenues exist here in the U.S. as well, but there is a strong recommendation to stick to "one lane" - both format and genre. Thanks in advance for your insights!

Christina Pickworth Thank you so much for letting me know the hustle still counts. I appreciate your words and time.

Thanks for doing this. I had an agent for my novels that was not a good fit, so I’m trying to avoid the same mistake with my screenplays. What are some ways to cut through the noise to identify partners willing to fight with me, even if I’m not chasing trends?

Thanks!

Douglas Esper

Special Thanks for the advice, Christina Pickworth. You are the BEST!

I currently have a completed feature film script, two short film scripts, and an additional short screenplay submitted to the Barnstorm competition, with results expected in December.

I am focused on developing my work and pursuing opportunities for production and collaboration.

Christina. Don't worry about it, I don't think it's actually a question either. Because I forgot to look at the full detail before answering a non-specific question.

Christina Pickworth What are your thoughts on screenwriters who write across genres? Are they more attractive or less attractive for your firm?

Hello and Good Evening Ms. Christina Pickworth

I have been working on getting my Screenplay Revelry produced. I have been fortunate enough to have contacted A-List talent and they wish to be a part of the project.

Regrettably, at this time, I have not had much success with contacting Film Development teams to provide funding and resources for said project.

Do you have any suggestions?

I appreciate your time and effort

Have a great day.

jeff.ree.G

"We didn't strive for commercial. We went for original. We fell on our asses on some of them, but we also touched magic!"

Robert Evans

Hello Christina. I'm a novelist, traditionally published (Harper/Collins). Do you have advice on how I can find someone interested in optioning my novel? Do I need a treatment? Thank you! Lucy

Christina Pickworth - Hi, I've heard a lot about production companies acquiring rights to novels before they're published since my novel "The Accidental Arm Broker" (based on my true story) won't be published until next year. What pitch materials should I use? Pitch deck? or something else? And do managers pitch novels for acquistion? I do have a literary agent to publish the novel. Thanks, Monica

Hi Christina — really appreciate you doing this.

I’m a writer/director based in Pakistan, currently developing a limited series, Kilo Delta — a character-driven geopolitical thriller set during Pakistan’s nuclear test window. It follows a commercial pilot navigating a hijacking mid-air using intelligence and psychological maneuvering, where the outcome of a single landing could have far wider consequences.

I’ve been actively seeking representation, but coming from a market with almost no pitching or representation culture, I often feel like I’m hitting a wall with access.

From your perspective — what do UK reps look for in international clients? And more importantly, how can someone like me start landing real conversations or pitches without representation in a new market?

Would love your insight on how to break that barrier.

Hi Christina, for filmmakers with completed independent features (not yet widely released), what’s the best path to securing representation—festivals, direct outreach, or packaging the next project?

Hi Christina, I’m an Italian screenwriter and author. I’m looking to expand my reach abroad, as the industry pipeline in my country has tightened and communication with agencies and production companies has become increasingly one-way.

I’ve already reached out to several agencies in the UK and US to submit my work; I received feedback and was thrilled to hear back from them. My question is: is there a real chance for a non-native writer to be appealing in those markets? Thanks for your time.

Hi Christina,

Thank you for offering your time—this kind of access is incredibly valuable.

I’d love to ask from both a writer’s and a script consultant’s perspective:

In your experience, what truly differentiates a writer who is ready for representation from one who simply has a strong script?

More specifically, when you’re evaluating potential clients, how much weight do you place on:

the consistency of their narrative voice across multiple projects,

their ability to execute rewrites at a professional level,

and their understanding of the market positioning of their work?

From what I’ve observed, many emerging writers focus heavily on “getting one script right,” but representation seems to require something deeper—repeatable storytelling ability under different creative and commercial conditions.

As a script doctor, I often see promising concepts that stall not because of talent, but because the writer hasn’t yet developed a reliable rewriting process or a clear sense of where their work sits within the industry landscape.

So I’m curious—

when you decide to sign someone, are you primarily investing in the current material, or in the writer’s long-term creative trajectory and adaptability?

Would love to hear how you assess that distinction in practice.

Brenda Mohammed I can't speak for other agents, but I do! Sometimes if something is very rough I might stop reading and say I think a client needs to work on it more before I read (as you only have fresh eyes once), but usually even in that circumstance I will read it as they've sent it to me at that stage for a reason. But not everyone will read a whole screenplay if they're considering someone for representation. Time is short and reading piles are huge, and if something isn't drawing you in in the first 10-20 pages some people will stop reading. It's important to remember that reps read potential client work speculatively on top of the rest of their workload. If they read a feature script and give feedback that's quite a big time commitment.

@CandyCampbell to get an accurate answer you would need to ask a producer/line producer with experience in that sort of film - even if you're not commissioning a full budget they should be able to give you a ballpark idea. But also consider what the value of the film is likely to be in the marketplace (ie. what level of budget will be possible to raise based on likely audience/sales/cast level etc). Budgets need to be informed by that too - films are a business and it's not just about what something will cost, it's also about what returns a film can make. Where costs out-way potential returns is where films become unfinanciable (unless you have private equity partners who are passionate about the project and happy to lose their money!). You may need to make creative changes based on practical production costs if the budget is coming in too high. That doesn't mean you need to lower the ambitions of the script, rather just tell the story in more budget-friendly ways!

@Karen"Kay"Ross Personally I think the best way to show you can write in a particular medium is to just write well in that medium. People do move across from one to the other, but the proof will always be in the script and unless you have a strong track record in another medium you're probably just going to have to show that you can do it. The advantage of sticking to one lane is that all your time and energy goes into finessing one particular area of your craft. People know what to expect from you and what to come to you for. Also as you build connections if someone likes one thing they're more likely to like the next, because it comes from the same wheelhouse. That said, I don't believe writers have to put themselves in one box if they want to write more widely, but it does mean you have to work harder, because effectively you need to create a slate of work in every format/genre you want to work in.

@DouglasEsper It's so important to find the right rep! I think you have to choose someone you like, and whose advice/feedback you trust and respect. The best agent-client relationships work together effectively as a team, have good communication and respect one another. It also needs to be someone that you feel 'gets' you and your work, because if not, how can they pitch you effectively or give you helpful notes. An agent friend of mine always says part of how he chooses clients is someone he'd like to go for a drink with, and I think that works both ways. This is someone you're going to have to work closely with (if you're doing it right!), and it should be a good experience. Also trust your gut, it usually knows!

@UgurKayikci Having one feature film script is not enough to get rep interest. Great that you have short scripts, but shorts are really a directors medium, not a writers, and really it's better as a writer (unless you are a writer/director making their own work) to just write longer form projects.

@AnthonyMcBride I don't think writers should have to pigeon-hole themselves into one genre, but it does make it easier because then people know what to expect from you and what to come back to you for. If you want to write across lots of genres then really you need to develop a slate in EACH of those genres, so it's a lot more work. If you're able to produce the scripts to do that then great. If not, that's where it becomes difficult to have lots of different things, because if someone likes one idea, let's say a comedy, but doesn't want to make it, and wants to know what other comedies you have, but you only have a horror and an action thriller and a drama, that's end of conversation. Having things in the same wheelhouse helps build momentum, which is key. So as long as you have several of everything, it can work, but you have to be focused on every lane at once, which is hard to do!

Ms. Pickworth,

Hello, and thank you for taking the time to offer your expertise. My query is thus: I am an experienced writer, but as of yet unproduced. Had a feature almost go... then Covid hit. Had a TV series at one of the big 5 studios and it almost got picked up, but had bad timing, as a new executive was hired and negotiations ended. My project is an entertainging drama that could siginificantly increase awareness about an environmental problem. The pilot has been read, and loved, by Academy Award-nominated producers, Emmy-winning writer/producers, and Golden Globe-winning director/EPs, but TV is hard and everyone acknowledges that... so it seems I need an agent, in addition to my manager, to get the right eyes on this project to get it made. It's a ready-to-go project that is sellable right now. I really need an agent with the connections to get it into production. Any advice? Thank you very much.

@JeffreyBaca Are the A-List talent actually attached? If they are genuinely A-list and genuinely attached (people may be suspicious of if it's true!) then perhaps look at the producers who have worked with them before? They should already have a shorthand with the talent/agent and might be more likely to look at something. Also are you confident that your pitch is as good as it can be? How you're presenting the information will be very important in catching attention. Can you get introductions to the companies/producers you're trying to access? An introduction is always more effective than a cold approach. Or getting to meet someone at a networking event and starting a personal relationship also helps.

@LucySanna

Do you have a book agent or someone looking after the screen rights? They should be able to give you specific advice on the specific novel, but beyond that I'd suggest you put together a list of companies you feel might like the book and approach them with a one/two pager with info on the book, you, and how you see it being adapted. There are also book scouts who look for books specifically for companies - your agent/publisher should be able to you with who has seen it already and where else you might be able to try.

@MonicaLMatulich Similar question to Lucy's above. Yes at least a one/two pager with info on the book, you, and how you see it being adapted. A deck is great. Your agent should be able to make a plan with you about how and when to approach people, and there are book scouts who have their eyes on upcoming publications and new books, but it's good to pitch it yourself directly to production companies too. Also thinking about how you can maximise your profile and the press around the release will be important too - the more buzz about the book the more likely someone will want to acquire the rights.

@KainatChaudhary Reps are looking for slates of material and longevity of career, one project isn't enough. I'd also say don't wait for representation, focus on making your own connections, building your slate and creating momentum with the projects you already have. Reps want to jump on a moving train, not start from a standing stop. In terms of landing real conversations, I think if you have a strong pitch, a brilliant script and focus on finding the right producers then people will look at something if it interests them, regardless of whether you have an agent or not. It's not easy at all, but it can be done. And if you can get introductions to people that really helps in terms of getting them to take pitches seriously. It takes years to build a network which is why it's so important to work on that as well as scripts.

@ShrikantVishwakarma

All of those things! When people haven't heard of you it's difficult to get them excited about you and your work. What are the ways you can raise both your own profile and that of your films? It's great to have completed some features but if they can't find an audience then there's a limit to how much value they have in terms of getting attention for you. Playing well in festivals certainly helps as it creates buzz about you. But don't wait for representation. Keep building your slate and your own connections in the meantime.

@PaoloIppedico

There have been some similar questions on this topic. Really it's about why you make sense in a UK marketplace for a UK audience - above and beyond all of the British and UK-based writers also trying to get their work seen. A lot of funding (especially in film) is focused on British/UK-based talent so that can be a very real barrier. Don't think about so much in terms of why YOU want to expand your reach, think about why those countries will be interested in your work? How does it fit within their marketplaces?

@VolkanDurakcay One script is never enough. I'd say ideally someone needs to have at least 4 strong projects to be able to hit the ground running with representation. Most writers try to get an agent far too early when they're not ready, and when their time should be focused on building their own slate and making their own connections. One great script just shows you can do it once. Agents want writers that can do that again and again, and quickly. Buzz around a writer and momentum are really key - reps don't want to start from a standing stop, they want to take the traction a writer has already hustled for and amplify it. Writers need to be good at all of the things you mention to have the best chance.

Rodney Holland you don’t say if it’s a US or UK project, but in the UK Climate Spring would be a great place to try as they support projects with an environmentally adjacent element (although if it’s too on the nose it might not be for them). They may be able to make some suggestions/connections. Also look at who they’re working with, and producers that are engaging with initiatives and opportunities around environmental narratives, it’s definitely a growing area. I’m not sure you necessarily need an agent to help you with that and agents don’t usually engage when it’s for just one project. If your pitch and material are strong then I think it’s just about connecting with the right person. Also work your connections - an introduction rather than a cold approach makes a huge difference.

Christina Pickworth Hi Christina, thanks for doing this really appreciate you taking the time.

As an emerging writer with a completed screenplay, I’m trying to understand the right moment to approach representation.

From your perspective, what specifically makes a writer feel “ready” to sign beyond just having a strong script?

Is it consistency across multiple projects, a clear voice, or something else that signals long-term potential?

Hi Christina Pickworth ,

I’m César, a Spain-based screenwriter with six completed feature scripts in English and two series in development. My work sits between psychological drama, elevated genre, ethical sci-fi and dark comedy, often exploring characters confronting systems — technological, emotional, social or institutional.

I understand from your answers that UK reps need to see more than one strong script: a body of work, momentum, industry recognition, and a clear reason why the writer makes sense for the UK market.

My question is: for a European writer whose work is not UK-specific but is designed for international co-production and festival/indie spaces, what would make the approach to a UK agent feel relevant rather than premature?

Would you suggest leading with the most accessible project, or with the piece that best defines the writer’s voice?

Thank you!

Cesar Romero I think it will come down to why a particular co-production might work for them. Do they already have European funding/producer connections and is that a part of their business that they’re actively looking to build. If it is then they’re much more likely to be open to projects from European filmmakers, but it may not make sense for them to be the first producer on the project depending on their set-up, and you should also consider European producers looking to do UK co-pros. It’ll be mainly about how the financing can be achieved which will govern whether a project seems feasible I think, unless you find someone who loves the specific project for creative reasons/a personal connection to the story/material.

Abhijeet Aade lots of similar questions to this so do read through my other answers. One script is not enough, you need a strong slate, some industry recognition, buzz around you and building your own connections, plus momentum. Momentum is key!

Hi Christina!

I’m a 30-year old screenwriter who suffers from Chronic Fatigue Syndrome and has been writing as a hobby for the past 10 years when I could. I recently quit my job as I felt I needed to give my dream of writing on real chance. In the past 4 months, I’ve written several drafts of 2 features and 1 pilot for a TV show and 1 short that I want to shoot myself. I’ve had 2 pitches with Stage32 (first one requested the script, second one graded very high but passed) and am waiting to hear back from the script request. I understand I am a bit limited with my condition and the fact that I’m stuck in northeast Ohio. But I was wondering if there’s anything else I could be doing to get my name out there? Finances are tough obviously since I quit my job but I try to pitch as much as I can to help get my ideas out there. Any advice on what else I can be doing would be great! Thanks!

Hello Everyone and Christina Pickworth. Thanks for setting aside some time to share your expertise in hopes I will take away some important insights after skim reading the thread a bit. A question that’s been stirring around in my mind has been: “at what point in a writer’s development do you personally consider a scriptwriter “market-ready” and what specific assets (scripts, IP, packaging) would you need to see to justify signing a scriptwriter?”

That's a really good point. Thank you so much, Christina Pickworth !

Hi Christina! Thank you very much for your sage counsel and time. Very helpful!