Believe it or not, up until the mid-1980s there really was no such thing as animation agents. My first agent was the William Morris Agency. I signed with them after having already written 150 animation scripts, and they didn’t even attempt to get me any animation work. They wanted to represent me for live-action writing only.
Today, with major animation studios spending upwards of $150,000,000 on animated features, and prime-time animation being so popular, practically every agency represents animation writers. However, there are only a handful of companies that represent animation writers and artists exclusively, and even fewer who are looking to take on new writers. But don’t give up! Writers have been finding agents for over a century. If you’re clever and very, very persistent you can find one who will read your script. And if the script is good, and they like it, you’re on your way!
Do you really need an agent? Yes and no. Back in the mid-1980s one could argue that an animation agent wasn’t necessary. I did very well without one. Today the market is entirely different. In the 1980s there were only a few animation studios, so you didn’t have to go far to find out what shows were being produced and where. Today there are hundreds of animation studios worldwide. It can take a great deal of time and effort to find out what they’re doing and what they need. Animation agents do just that. Some studios won’t read scripts or take pitches without an agent submitting the material, others will. It’s definitely easier if you have an agent, but not a disaster if you don’t.
Beggars can’t be choosers, and new writers are definitely beggars. Unless you have a fantastic sample script, it’s not going to be that easy to find an agent. And even if you have one it’s still going to be difficult. So, before you start your agent search be sure to check if you know someone who has an agent and is willing to introduce you. In the entertainment business it’s 50 per cent talent and 90 per cent who you know.
©Jeffrey Scott, All Rights Reserved
(Jeffrey Scott has written over 700 animated and live-action TV and film scripts for Sony, Warner Bros., Disney, Marvel, Universal, Paramount, Columbia, Big Animation, Hanna-Barbera and others. His writing has been honoured with three Emmys and the Humanitas Prize. He is author of the acclaimed book, How to Write for Animation. To work with Jeffrey visit his website at www.JeffreyScott.tv.)
Read other articles from this series:
#1 The difference between live-action and animation writing
#3 It all begins with a premise
#4 The secret to developing your story
#5 Finding the scenes that MUST be there
#7 How to easily transform your outline into script
#8 A brief introduction to script writing
#9 How long should your scenes be?
#10 How to (and NOT to) edit your writing
#13 The importance of communication
#17 Assuming the point of view of your audience
#23 The screenwriter’s bookshelf
#25 Creating an animated series
#27 Developing your series concept
#28 Real vs. Cartoonish characters
#29 Making your series more sellable
#30 The basic elements of an animated series
#31 The four vital elements of an animated series bible
