Agents vs. Managers: What's the difference?
When putting together a team of reps, consider the unique role each plays.
Last week we talked about what a literary manager can do for you.
In my articles and posts, I often use the term agents and managers interchangeably.
Or I default to “managers” because that’s the job I have. I work as a literary manager in film/TV, so I have the most personal experience and authority when it comes to that role, specifically.
I am often asked by screenwriters who are looking for representation, what is the difference between agents and managers (and how do lawyers fit into the equation?)
The most accurate and succinct explanations are the ones given in various episodes of the documentary series, Bojack Horseman. The difference between agents and managers is:
“Managers can produce!”
“Managers wear polo shirts.”
“Managers are always talking about the difference between agents and managers, and agents… arent?”
But seriously, these days there is a lot of overlap between what an agent does and what a manager does.
So much so, in fact, that it can seem like the distinction between the two is meaningless. And on a certain level, it is. At the end of the day, what matters is your need as a writer. Will that need be serviced by this specific company? Is this individual person right rep for you?
That being said, here are the official, legal characteristics consistent with each role:
Managers
Can be producers on movies and TV shows.
Advise clients on creative and professional decisions.
Introduce clients to industry decisionmakers.
Charge 10% commission.
Agents
Must be licensed by the government to perform talent agent services.
Legally allowed to procure work for their clients.
Per an agreement with the WGA, cannot collect fees for packaging writers.
Negotiate deals and job offers.
Charge 10% commission.
Lawyers
Passed the state bar exam.
Qualified to negotiate longform contracts.
Submit material for agent, manager, or production company consideration.
Either paid hourly or charge a 5% commission.
The role of your agent and/or manager will depend on the following 5 factors:
Factor #1: Size of Roster
The typical assumption is that agents have bigger rosters.
When they rep so many clients, it’s easy to get lost in the shuffle. Managers, on the other hand, tend to have smaller rosters, so they are known for having more of a personal, hands-on approach to development.
However, this depends on the individual rep and the company that they work for. Some agents have small rosters and some managers rep dozens of clients.
It depends on the person. There are pros and cons to each situation, depending on your needs.
You just want to make sure that you know what you’re getting.
Factor #2: Individual Personality
There’s a perception of agents in this industry as being people who act “agent-y.”
Once you start meeting agents, you’ll know what I mean. Agents can be busy, energetic, fast-talking, wheeling and dealing, big personalities. Like many stereotypes in this industry, this one exists for a reason. But there are plenty of exceptions. You might get a more laid back agent, or you could find yourself a more intense manager.
The lines are blurring more and more these days now that so many agents are quitting to become managers.
Know what kind of personality you want by your side and on your team at this stage in your career.
Factor #3: Patience with Script Notes.
Agents typically don’t read as much as managers (see: roster size, above).
But like anything, there are exceptions to this rule. I have met plenty of agents who are willing to read multiple drafts because they have a passion for creative storytelling. And I know managers who don’t like to read and/or aren’t very helpful with notes.
If you want a rep who gives you detailed, thoughtful feedback, listen closely in your signing meeting. How do they talk about your script? Do their notes go past the surface level?
If you need in-depth development on your work, you probably want a manager. But this is by no means a hard and fast rule.
Factor #4: Network Focus.
Some managers are better at staffing. Some are better at development.
Same goes for agents.
Typically, you’re going to find an assumption that managers are more helpful with developing, packaging, and setting generals, while agents are more likely to find you jobs and get you staffed on a show.
But this depends on the company, the rep’s career trajectory, and the other clients on their roster.
Know what your focus is, so that you know what kind of focus you’re seeking in a rep.
Factor #5: Size of Company
The big agencies are corporations.
Signing at one of these impressive companies (UTA, CAA, WME) looks good on a resume. But beyond the label, will they actually help you? Many emerging writers (rightfully) worry that if they sign to a big agency too early in their career, their agent will simply “park” them on their roster—aka not do any work for them until that client (though their own efforts or their manager’s efforts) starts bringing in money.
Why would you pay that person 10%?
Now, that’s not going to always be the case, even with the big agencies (the key is to find an agent who is genuinely excited about you).
Some writers find it more helpful to sign with a smaller agency or management company at the beginning of their career, when they can be confident that they’ll get more attention.
A potential solution here is to sign with a big agency and a small management company (or vice versa).
This way you can be sure that you’re getting the personal attention and expansive reach through the combination of two different teams working on your behalf.
“Do I need both?”
When you’re just starting out, you probably want to start with just a manager.
10% is a healthy chunk of your income. Why give away twice that if one rep is doing enough work and generating satisfactory opportunity?
At the early stage of your career, a literary manager and an entertainment attorney are probably all you need.
You can add an agent when it makes sense.
“How do I know when I need an agent?”
I recommend starting to think about agents when you feel like you’ve hit a plateau.
Once it feels like you have gone as far as you can with your manager. They have introduced you to tons of places, and for whatever reason, you’re just not getting the consistent jobs or kinds of jobs that you want. If you feel like your career has stagnated, once you have a new piece of material, ask your manager if you can bring this script to some agents. It might help to get an additional champion behind your next big push.
Your manager can make calls to agents, walk you through the signing process, and help you choose the right rep and company that fits your needs.
And just like that, you’re putting a team together to put the full force of their careers and their company’s resources behind you.
Still trying to figure out how to get a manager? Click the button below to subscribe for more articles about the business and craft of screenwriting—from a literary manager’s perspective.
A retired theater director once told me that you get to a certain level yourself. Then, the good agents come after you. They might even prioritize you among their more lucrative clients.