As a lit manager, I’ve heard a lot of aspiring writers talk about the do’s and don’ts of writing query letters. “Make sure to include that you were a quarter finalist in the blah blah blah contest.” “Put an RE in the subject line so they think it’s an ongoing conversation.” “Tell them your script is a double recommend.” Side note: Been a manager for 19 years, and I have no idea what a “double recommend” is.
Anyway, I’m also going to give you some advice on your query letter. Don’t send them. I get 20 or 30 a day at this point, and I generally read zero of them. It’s not that I don’t think writers deserve a chance, but I literally wouldn’t have time to read that many writers. I must sleep at some point! All kidding aside though, the other reason is that there is really no way to tell if someone can write from a logline. If you gave me an hour, I could give you 10 ideas for TV shows or movies. That’s the easy part. That actual writing is the hard part, and honestly, most writers are not that good.
That’s why referrals are so important. Having a current client, agent, lawyer, producer, etc reach out and tell me that they read someone fantastic, and want to make that referral means quite a bit, and it’s where the majority of my clients come from. This is a business of relationships, and part of your job as a writer is to meet people. Those people you meet might know managers, or know someone who knows managers. I have to do my own networking to do my job as well. It’s part of the deal. While there may be some reps who look at queries, most of the managers I’ve talked to about this usually don’t.
The one other way that I look for clients is though pitchfests. I regularly do pitchfests looking for great writers. I personally don’t do the ones anymore where someone pitches on Zoom because I’d never expect a new writer to know how to do that properly (until someone teaches them). They always run long, and I would have to cut them off, which I hated doing. Instead, I only focus on written pitches. That way, the writer isn’t put on the spot, and can hone the pitch into what they want before sending. It also allows me to see how someone strings words together. I can’t tell if someone is a fantastic writer from this, but I can usually tell if they’re awful.
Anyway, instead of spending time finding emails, crafting some kind of absurd letter, and sending out into the void, take that time to write a new piece, or meet someone new who could be the connection you need.
Happy to answer any questions.
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Thanks for the practical advice!
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Appreciate the perspective here, Spencer. I actually had the opposite experience earlier in my career where a cold query to Zero Gravity led to my material being requested, which eventually opened the door to signing with CAA at the time.
That said, I completely understand your point about referrals and relationships carrying more weight long term. I think the bigger takeaway for writers is probably that the material itself still has to stand out once someone actually reads it, regardless of how it reaches them.
Part of the reason I joined Stage 32 recently was specifically to gain more perspective on how managers and agents are discovering and signing new clients in today’s environment, because the industry has changed so much over the last several years.
A lot of creators are now building more than just scripts — decks, proof-of-concepts, visual branding, audience traction, music integration, websites, and larger IP ecosystems — because it’s become harder to cut through the noise with a simple query alone.
As someone currently developing multiple television and publishing projects while looking toward new management relationships, I genuinely appreciate the transparency from the rep side. There’s a lot of value in hearing how different managers actually approach discovery.
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"Spencer, you’ve pinpointed the paradox of our time. Digital democratization opened the floodgates for everyone to write anything, creating a deafening noise where profound stories easily get buried. But here is the catch-22 in your advice: You said we should spend time 'meeting someone new who could be that connection.' How can a brilliant writer living in a remote village or another continent practically do that? When geographical boundaries act as a wall, can absolute masterclass execution ever break through this noise on its own, or is your insider network still the ultimate
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Spencer Robinson This is very helpful, thank you!
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Sabri Saada Zoom, Teams, Facebook groups, Stage32. You're asking that question while on a networking app. Sorry, but that's silly.
"Spencer, professional courtesy aside, calling a reality-based question 'silly' only exposes your inability to answer it. You are missing the irony: I am writing this from a village in Lebanon with zero electricity and failing internet, yet my screenplay just won a official fee waiver from the Sundance Institute based purely on its logline. In your own posts, you stated that you ignore cold digital queries and stopped doing Zoom pitches because they fail. Now you tell me to use Zoom and Facebook. That is the definition of a catch-22. If Hollywood's elite only read via trusted personal referrals, geography is a wall. Condescension won't change the structural flaws of your industry.
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Thanks for confirming what I already suspected. I tried query letters a couple years back; no response. Starting in 2024 I opted for networking within film festivals and film markets, treating my portfolio as a CV. Went to EFM, AFM and came prepared with small mock poster prints for my screenplays with a synopsis and my contact info printed on the back. Since the pareto distribution governs everything, over 80% of pitches ended in rejections but those 10-20% snowballed into lasting relationships and referrals. Now I'm multi-optioned, one producer moved a feature of mine into the packaging phase and another hired me to write an animated feature (decent budget too). The referrals also consist of script doctoring commissions. Lastly, I managed to get over a dozen screenplay requests and one meeting request via Stage32 over the past 9 months thanks to pitching skills developed at film markets (you stop being nervous about it). So, there is definitely a pathway but it requires persistence, professionalism, and lots of work.
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Sabri Saada If you are so deeply distressed by the failings of the US film industry, may I gently suggest you find another one more suited to you? Insulting a managerial professional whose goal is to aid fledgling screenwriters such as yourself does not seem to be a prudent way to achieve your goals of succeeding in this milieu.
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Hi Spencer,
Networking from outside LA’s hard, but even inside it’s tricky. I work retail-adjacent here. After learning about a client’s career as a prominent producer, we connected when I shared that my father retired from local 728. He bought a lot, and we had a great conversation about his upcoming show. I didn’t want to ruin a genuinely good interaction by pivoting it into “I’m also a writer” — but I also know moments like that don’t come around often. Where’s the line, in your experience? Is there a graceful way to plant a flag without making the encounter feel cheap and rude? Networking is such a big part of being seen.
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Sabri Saada I think Spencer is mostly speaking from his own experience and perspective as a working manager, which honestly is valuable for newer writers to hear even if it feels frustrating sometimes.
The industry has changed a lot over the last several years, especially with social platforms, online networking, proof-of-concepts, pitch platforms, and creators building more complete IP ecosystems around their work. Cold queries still occasionally work, but relationship-building and visibility seem to matter far more now than they used to.
I also think there are more avenues available to creators today than ever before. Pitch fests, competitions, social media, proof-of-concepts, websites, networking groups, short-form content, and creator communities can all become part of the process depending on the lane someone is pursuing.
It can absolutely feel overwhelming starting out, but building a long-term plan and continuing to create consistently really does matter. Wishing you the best with your projects and your journey forward.
Michael, telling an international writer to 'find another industry' because they challenged a flawed system is a textbook display of elitist, borders-based xenophobia. You are essentially saying that Hollywood belongs only to those with geographic and social privilege, not to talent.Let me correct your illusion about my 'prudence' and success: Write from my remote village with zero electricity, my script didn't just win a Sundance waiver; it has already been officially requested for review by Zero Gravity Management, the concept was requested by Image Nation, it holds a 92/100 AI coverage score, and MAD Solutions is interested in its distribution. Even world-renowned literary agent Julian Friedman engaged with it and called it entertaining.I am already succeeding in this milieu on my own merit, without bowing to your insider network or swallowing condescension. I belong in this industry because great stories cross oceans. Your advice doesn’t protect screenwriters; it protects the fragile egos of gatekeepers who can't handle a mirror.
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I stand corrected Sabri Saada. With your positive and pleasant attitude you will surely see nothing but success.
Don’t rush your judgments, David. We always view your world as an oasis of democracy and acceptance of differing perspectives. That being said, I truly respect your courage. I wish you nothing but success in your journey as well, and I am always open to exchanging professional insights."
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Sabri Saada You have completely missed the point. I read written pitches, as I said. You are posting here, so you have access to electricity to send messages. I'm sorry but I have answered the question, you just don't like the answer.
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Spencer Robinson thank you for taking the time to write this out. I am somewhat relieved to hear query letters are a waste of time because I have struggled to mine for emails (and putting RE: in a subject sounds deceptive and unethical).
I also like that written pitches are a good avenue, because I've seen some modicum of success with written pitches here on Stage 32 over the last two years, with script requests across multiple projects of mine and various execs (managers/agents/producers).
One quick follow up question, if I may: Assuming I'm networking (here in the lounges, attending local Austin-based festivals, etc.), submitting written pitches, and writing my seventh project, is there any other tactic I should be prioritizing? Reputable contests/fellowships, for example? I've done respectably well here, but also spent more money than I admit I should have learning that only a handful of festivals "matter" to my momentum.
Or other platforms or script coverage? (By the way, "double recommend" is a Stage32 badge that a screenwriter can get if they pitch an exec who ultimately recommends both the project being pitched/reviewed and the writer themselves.)
I appreciate the wisdom above and any additional guidance if you reply.
Best - PK
"Spencer, it is unfortunate to see a structured debate about systemic and geographical barriers in the film industry devolve into a petty argument about how I charge my phone. Turning a blind eye to the blatant contradiction between championing digital apps while openly dismissing digital queries only confirms the institutional gaslighting indie writers face. I will leave you with your contradictions. Good night."
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Thank you so much Spencer, you're always realistic. And to be honest, I have never gotten a reply from all my cold queries before. even small boutique independent producers barely replies currently.
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Spencer Robinson One more question: How should a "referral email" from a lawyer, current client, etc. be structured? What should go in the email title to get your attention so you know this is a referral and not merely a query?
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Oh yeah! love the advice here Spencer Robinson.
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This is such valuable advice. I think authenticity and clarity are often much stronger than trying to sound overly formal or overly marketable in query letters.
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Good advice. Thanks, Spencer!
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With my background in no-budget filming, I have the following to add to this discussion.
By creating something, one learns. And can alos receive comments from others, so one learns even more. Filming oneself also shows others that one can create, not just put words on paper. So by creating oneself, one increases the probability that others feel that one is a person whom it is worth supporting. Here you have the story behind the photo in my profile with me and my prize for best directing.
That others likes what one does also makes it easier when contacting production companies. I had an idea for what Wikipedia calls Nordic Christmas Calendar. About 5 hours. Sweden's public service company liked my idea. But I still failed to find a production company. But this winter I found another Swedish writer who liked my idea. And she has earlier been a writer on one of these mini series. After I told production companies that I have this professional co-author, they were more interested in my idea. So yes, it helps that others can give you a recommend, in one way or another.
Spencer the part that does not get talked about much is how networking usually means crafting an ask. The version that actually works is the opposite. Find the rooms where the people you want to know are already in conversation. Add something useful to that conversation. Not flattery. Not your logline. A real piece of your perspective on what someone just posted. Do this consistently. Over time the room learns your voice. The name lands differently when you eventually introduce a project.