Are you ready for a manager? A checklist for screenwriters
Don't wait too long to start your literary manager search, but don't put yourself out there before you're ready.
I have been working as a literary manager in film/TV since 2018.
One of the most common questions I receive from writers is:
“How do I know I’m ready for a manager?”
There are specific recommendations I give to everyone. Before you start asking agents or managers to represent you, these are the things you need to have:
#1: A clear and compelling writer brand.
A manager isn’t going to look at you unless they see how to market you.
The first step to making this happen is to understand how to market yourself. At the beginning of your writing journey, you will probably be drawn to experimentation. Writing different types of scripts, unbound by genre limitations, is an essential part of developing your voice and craft. But once you start solidifying your abilities and looking ahead to professional moves, it’s time to start defining who you are and how that connects to the type of scripts you want to write.
Writer brand = personal experience (POV) + specific themes + tone + genre specialty.
#2: At least 2 (but no more than 5) solid scripts.
The first step is to write an amazing script that will generate heat all on its own.
Something with such a compelling concept and effective execution (ideally with an undeniable title) that when you send it to someone, that person automatically sends it to their friends, saying “you have to read this.” This is how you break into the industry. This is how you get hired.
But if you want a manager, you need to do this twice. A literary manager isn’t just hiring you to do one job. We’re signing on to be on your team for (hopefully) the rest of your career. We are buying into you at an early stage because we believe in your ability to deliver quality work over and over again.
Before we make that commitment, we need to see that you can repeat it.
Why no more than 5?
I hear from writers all the time who say they have 10-20 viable scripts (or more!) When I hear this, I immediately think, “No you don’t.”
One amazing script is all you need to generate momentum in this industry. If you have more than 5 scripts and still haven’t broken in, that means those scripts aren’t good enough.
But what if they are????
Okay, let’s say you do have 10 amazing scripts (I am dubious, but I will play along).
Here are the 2 reasons you should stick to 5 or fewer:
Reason #1: This is too much material for a potential manager to read.
In the beginning stages of talking to a rep, if they love your script and love you, they will ask for additional material.
If you send them a library of 20 scripts, the manager is going to get overwhelmed. They will feel like they need to sift through all of this before getting back to you. And then (because our schedules are incredibly busy all the time) they probably never will.
It’s best to pick your five favorite scripts (ideally a collection that conveys your strong and specific writer brand) to send over as your portfolio.
Reason #2: There are only so many executives in this town, and we can’t send multiple scripts to one person at the same time.
Even if a manager were to read and love all 10+ of your projects, they would still need to strategize with you which 2 favorites to send out.
There are hundreds of production companies in this industry and only a handful of “buyers” (networks and studios). When your manager signs you, they will put together a list of a dozen or more executives to send your script to. They will focus on companies that are looking for this type of material, whose need and brand matches yours. Your script won’t be right for everyone, but it will be right for many places, and that’s what matters.
A manager can’t send multiple scripts at the same time to an executive to read. Many writers don’t think about this, but we have to follow the same querying advice that I am always giving. We can only ask for one read from a person at a time, or they will get overwhelmed and stop returning our calls.
So there wouldn’t feasibly be room in this town to send out more than 3 of your scripts at the same time before we cover every single person.
During this time, you should be focusing on writing the next thing, continuing to develop your skills and craft. Managers, agents, and executives don’t want something from your backlog of material.
They want to read the fresh new product that comes from you later.
So once I choose 5 scripts, what happens to the others that I worked so hard on????
This is where I have good news.
After you sign with a manager, you can send them a list of loglines for your entire library of scripts. It’s good for them to have this on hand because sometimes we hear really, really specific requests for written specs (“I need a Hannukah rom-com with a genre element” or “does anyone have a TV pilot that takes place in the world of professional mini golf?”) It’s good to have a record of everything a client has written just in case something on that bench fills a need.
You never know when you’ll get to dig out and dust off an old script for an opportunity.
#3: Accolades or qualifications.
Social proof matters in the entertainment industry just as much as anywhere else (maybe more so!)
By this I mean that it is easier to get people (no matter their role) excited about a writer or a script if they see that other people whose opinion they trust excited about a writer or a script.
Before you start seeking a manager, aim to accomplish at least one of these:
Win a reputable screenwriting competition or film festival.
Participate in (or be a finalist for) a major fellowship.
Complete an industry-recognized screenwriting course or class.
If your work hasn’t received any recognition from anyone anywhere, it is unlikely that it is at a level where a manager can help you anyway.
Focus on your craft until you start getting recognized for it.
#4: Industry experience.
This one makes writers mad, but I don’t make the rules! I am simply reporting them.
The entertainment industry is a politically cutthroat, psychologically challenging place to navigate, and it is driven by personal connections. A writer who has worked in or around film/TV companies (or on sets) has an understanding of how things work. Therefore, they have a better chance of long term success.
As managers, we are in this with our clients for the long term.
We want a writer who has worked as an assistant on a TV show or at a production company, agency, management company, or studio.
But maybe you live outside of Los Angeles or New York, and you don’t want to go through the underpaid meat grinder that is the assistant experience (I don’t blame you!). Maybe you can’t afford film school (it’s a waste of money anyway!).
Here are 5 other ways you can gain entertainment industry experience:
Volunteer or work at a film festival (find one near you or travel).
Volunteer or work on a film set (you don’t have to be enrolled in film school to work on a student film).
Work as a remote reader for a coverage service company (write sample coverage and be willing to work for free at first).
The point is to be around the business in any capacity that you can make work. It will make potential reps take you that much more seriously.
#5: A professional network.
Thanks to the internet, there is no excuse for skipping this step.
As a writer, you should be making friends with other writers. As you participate in programs, classes, and work opportunities, make genuine connections with people. See how you can provide value to others, and they will offer you help in return. Organically find yourself a high level mentor who is invested in your success.
When you have favors you can call in and a support system of impressive creatives, a manager will be able to multiply the opportunities that you find and create.
Which leads me to…
#6: Promising opportunities.
A manager is a teammate, but a big mistake many writers make is thinking that their manager is solely responsible for generating your business opportunities.
A manager is a multiplier. When you write a new script, we will take it out wide. When you hear about a Showrunner friend who is hiring, we will triangulate the producers, studio executives, and network executives to get you into every relevant room. When you generate heat for yourself, we will use that heat to get even more professionals clamoring to meet you.
Even after you sign with a manager, you should still be networking and finding opportunities for yourself. It’s a team effort.
If you can line up a couple irons in the fire before you start looking for a rep, it will show managers that you are willing and able to do the work on behalf of your own career.
This will get us excited about all the ways we can multiply your opportunity.
#7: Logline(s)
Once you have the scripts and the momentum, it’s time to put together your marketing materials.
Don’t rush through writing your logline. I recommend the Jen Grisanti formula:
Who (Create Empathy) + Dilemma + Action + Goal + (optional twist of irony!)
Test your logline with friends, colleagues, and mentors. When they read it, their response should be, “Wait omg I need to read this. It sounds amazing.” If it’s not, revise your logline until you have one that makes your reader say “yes!”
Repeat this process for each of your 2-5 scripts.
#8: Bio & Resume
At this point, you should have a strong brand, writing accolades to brag about, and at least some industry experience.
Put this all together in a PDF. This is your Creative Resume. You can include your portfolio loglines in this if you’d like. In a separate document, write up a paragraph about who you are as a writer. Start with the most interesting/impressive/recent information about yourself first, then work backwards. Keep it short! When you put this in an email, you don’t want your reader to have to scroll.
Once you have checked everything off this list, you are ready to take the next step: reaching out to managers.