The short answer to the title question is, “No.” The longer answer is, “No, but it would be extremely difficult to do so without one.” Agents exist for several reasons. Below, let’s outline: 1) what benefit an agent brings; 2) a few different agent scenarios to consider; 3) what lit agents with Hollywood connections are looking for; and 4) ways to navigate around the agent issue if you’re having trouble landing one.

Why An Agent

First and foremost, agents have the keys to the castle – the castle being Hollywood, which is fraught with walls and moats. Studios, streamers, networks, production companies – they all have very strict policies against unsolicited submissions. Most will only read your material if it’s submitted by a bona fide agent. Second, agents are experts at understanding book option and licensing deals. They know the questions to ask when valuing these deals and how to get the best bang for your buck. They can also bring in entertainment lawyers who will work with them to protect your underlying story rights, including subsidiary rights to adapt your story into sequels or other mediums like audiobooks, graphic novels, etc.

Different Agent Arrangements

If you’re already repped by a big literary agency, you’re in luck. You probably won’t have to find a dedicated film and television agent because most of them have in-house entertainment departments. They’ll already be looking for ways to get their clients’ material to Tinsel Town. For everyone else, including those repped by boutiques, you’ll need an agent that handles film and TV. “How do you get one?” I can hear you asking. That could be a whole article in itself. But many of the boutiques will do co-agent deals with entertainment reps. If yours doesn’t, start by asking if they can at least make an intro to someone. Or maybe your editor can. Anyone you know. Hollywood is built on relationships. You can also research film and TV agents who may be willing to take queries.

What Entertainment Agents Want

Attracting a lit agent in Hollywood means first having a book that makes sense for Hollywood. The best adaptations will have an original premise and a clear hook, be highly visual and have the potential for expansion through sequels, prequels, spin-offs and alternative media. For more details on this, see my article, “What Book Authors Should Know About Adapting Their Material for the Screen,” here. They also want authors who are flexible. If you insist that you’re the only one who can adapt your own work – especially with no track record of doing so – you’re going to alienate a potential ally.

Exceptions to the Agent Rule

Remember what I said Hollywood is built on. If you can leverage a personal relationship, you might be able to get in the door without an agent. Typically, though, such relationships will have to be of a higher level, like a screenwriter, director, producer or studio exec. Short of that, many authors simply hire an entertainment lawyer. They may be able to open some doors you can’t. However, while an agent might be out there looking for deals, a lawyer won’t. You’ll have to pound the pavement asking if you can submit your material through your lawyer. Some places will say okay and some won’t.

Another exception is to focus on smaller indie producers and production companies who take unsolicited submissions. This will only work, however, if your material is of a manageable scope for an indie production.

That all said, there’s no one way movie and television adaptations get made. Hard work, perseverance and a little dumb luck can pay off in the entertainment industry. True talent does get recognized, but an entertainment agent will greatly increase your chances of success.

BIO: Mark Heidelberger co-founded Beverly Hills-based Treasure Entertainment in 2000, serving as a film executive, producer and literary manager until 2011 before going freelance. Film and TV credits include Harsh Times, Comfort, Ninja Apocalypse, The Basement, Take the Night, Pray for Rain, Hallmark Channel’s You’ve Got a Friend and the recently released Last Night on Earth. Often times, he performs ghostwriting services on screenplays in addition to his producing duties. He is a member of the Producers Guild of America. He holds a BA in Film Studies from UCSB and an MFA in Producing from UCLA’s School of Theater, Film, and Television.