Writers Working with Managers: A Manager’s View

EDITOR’S NOTE: Audrey Knox is a talent manager at The Cartel. Audrey mentored with us at several programs in 2023, and this manifesto on management is an outflow of that work. Audrey’s graciously allowed us to share it.

If interested in learning more about Audrey and her approaches to working and breaking into the industry, her new email newsletter offers insights into the business. You can subscribe at http://audreyknox.substack.com.

Happy New Year, enjoy the reading, and reach out any time.

Cheers,

David Rocchio

Photo to Right: Audrey mentoring Chris Wiltz at Stowe’s September Writers’ Retreat, Stowe, Vt.

• When do you think it is realistic to start working with a manager? It seems when we need managers most (no contacts, no experience, no profile), managers are least likely to want to represent us, but when we have contacts, experience, and a professional profile, maybe we need them less. What are your thoughts on this?

  And a follow-up – what sorts of steps can we take to advance ourselves in the industry before getting representation?

AK: When starting out on your journey to becoming a professional writer, one of the biggest mistakes you can make is to misunderstand the role that your manager should serve. If you can re-frame your attitude towards representation, it will become a lot clearer to you how and when it will be beneficial. And you’ll be less likely to waste time and energy by signing with the wrong person. Having spoken to thousands of potential writer clients over the years, these are the misconceptions about management that I wish I could change:

Misconception #1: Managers are Gatekeepers. 

Many writers think that signing with an agent or manager is what makes you “legitimate.”

I understand the temptation here. In a craft that requires so much time spent banging away at a keyboard in the silence of your own home, it can be comforting to think that there is a merit-based system that will definitively prove to you that you have the talent and skills necessary to break in and get that first job. Conversely, it’s also tempting to believe that the only thing standing between you and your dreams is the unwillingness of us stubborn insiders to give you a chance because you don’t know the right people. 

In reality, adding a manager simply means that one more person is now on your side.

Misconception #2: Managers will create opportunities for you.

You’re not ready for a manager unless you’re already generating your own opportunities.

In a potential representation meeting, a rep should be able to explain in detail where there are gaps in your network and how they plan on connecting those dots to generate additional opportunities for you. But we don’t have the time or desire to start from 0. If you’re regularly getting traction on your scripts and meetings with producers but you still feel like your career development has plateaued in some way, this is a great time for a manager to come in and expand your reach. But we won’t be able to start from scratch, so you need to do some groundwork on your own.

Misconception #3: A rep’s job is to focus on networking so that you can spend all your time writing.

Signing with a manager means that you are working together with them as a team.

As much as you’d love to, this does not mean you get to sit back, ease up on the networking, and focus solely on generating new scripts. Writers should be taking the fate of their careers into their own hands and keeping their managers in the loop about meetings and opportunities that they’re setting on their own behalf. Not only will this double the speed at which your network will expand, but it will also encourage your rep to work harder for you.

If we see our clients putting themselves out there, we’ll be more motivated to make calls than if they were to just bug us that we’re not setting enough meetings.

It’s realistic to start working with a manager when you have done all the work you can on your own and you’ve hit a plateau. This means you should have a solid portfolio. You should have a solid set of skills beyond writing that make you a solid prospect in this hypercompetitive business. You should have some experience in this industry already, and you should be building an impressive network. Once you’ve done all this and you’re still not seeing the results you want to see, a manager can step in and help with those blind spots.

Or maybe you’ve gotten yourself the first few jobs but are finding it hard to level up into your next opportunity. Either way, managers need something to work with. Show us what you’ve been able to do on your own and let us pitch to you (and prove to you) how we can be additive moving forward.

 Ways to advance yourself in the industry before getting representation:

 #1 Network with other writers. – Networking out is just as important as networking up.

Find classes, programs, or writers’ groups that will put you in touch with creatives that you genuinely like and respect. These will be the people you hire in the future, and if they’re successful first, you’ll be the person that they hire. Plus, it’s helpful to have sounding boards that will help you develop your craft, so you don’t feel so alone during the earlier phases of your career.

The Stowe Story Lab is full of talented participants, so I hope you’re all keeping in touch.

#2 Find a showrunner mentor. – Easier said than done, I know, but getting a showrunner invested in your career will be a gamechanger.

There are plenty of ways to get upper level writers to become champions of your work, but no matter what your approach is, the key is to remain gracious, humble, positive, and genuinely interested in what they have to say whenever you have the opportunity to interact. The secret to getting a mentor is: 1) Find someone willing to give you advice, no matter how small. 2) Act on that advice. 3) Once you have results, report back with a thank you.

Like any creative, showrunners want to feel like they’re making a difference in a world. Be that difference, and they will find it rewarding to help you.

#3 Write short films and get them produced. – I went to one of the country’s top film schools, and one of my friends is a professional screener at a major festival.

Here is a secret: Most short films are gorgeous and expensive and make no sense because the directors also wrote them, and they have no idea how to craft a story. If you can write a compelling short film and convince a film student or friend to shoot it—hell, if you shoot it yourself using an iPhone—your piece will have a strong chance at attracting legitimate attention at film festivals. This will build your creative network, increase your storytelling skills, and attract attention in the form of accolades and credits.

And you don’t even need to go five figures in debt to do it. 

#4 Don’t give up on fellowships and competitions. – The chances of getting accepted into one of the studio-run writers’ fellowships can make it feel like a total crapshoot.

But the benefits of participating in one of them make the heartbreaking effort well worth it if you get through. It is also a little-known secret that the fellowships keep track of how many times you apply. They more positively weigh applications from people who keep coming back year after year because it shows that you’re really serious about this.

Don’t make fellowships and competitions your only attempts at getting ahead in this industry, but don’t discount them either.

#5 Get attention writing other ways. – Once you have a solid script portfolio, try finding other ways to build an audience.

This is especially true for those trying to break into comedy. Can you try stand-up, sketch performances, viral online humor, meme accounts, TikTok videos, or anything else that will get you practice writing for an audience? Even drama writers can try short story competitions, audio dramas, or blog writing.

Especially if you live and work outside the industry, anything that brings attention to your creative voice could lead to professional opportunities down the line.

• What is your philosophy on signing and representing a writing team. Is that something you are open to? And, if so, how do you manage them moving forward, as a team or individually. 

AK: Signing a writing team is risky, so I don’t prefer to do it. Unless they’re siblings or married, there is a strong likelihood that they could change their mind about the partnership later in their career. If that happens, their credits and samples all become useless and both halves of the partnership have to start their portfolio over from scratch. But sometimes people just work better together and there is a special magic in the combination. If they have a solid body of work together and a long and stable history of working with one another, I am open to it.

Moving forward, I manage them as a team. A writing team is, for all intents and purposes, a single writer. We have all strategy conversations together and they go to all meetings together. To break off and pursue separate careers at the same time would be confusing branding, so I would not advise it.

If you’re just getting started in your career and you’re not sure whether to be part of a team or not, I recommend building a portfolio and resume solo and pursue working with that person occasionally on a project-by-project basis later down the line once you’re more established.

But if you can’t imagine working apart, then more power to you. Some of my favorite writers and directors out there are teams. 

• It seems very hard to get the attention of a potential manager. What steps do you recommend we take to help meet potential reps? If referrals are recommended, can you give an example of the best way to request a referral from a friend or industry colleague?

AK: If you’re finding it hard to get the attention of a potential manager, the cold hard truth is that you probably need to focus on the creative. As a manager, I get dozens of queries every day, including referrals from people I like and respect personally. I can only represent a handful of writers at any given time, so I have to say no to 99% of the writers who are out there.

When you’re a writer just getting started, and you’re trying to get signed, here are the ways to get my attention:

Way #1: An attention-grabbing title. I have responded positively to queries and requested competition-winning scripts on title alone. I can’t give examples here without permission, but think about like Ghostbusters, High School Musical: The Musical: The Series, Honey I Shrunk The Kids or Legally Blonde. Sometimes there’s just a title that tells you everything you need to know about why you want to read that script.

Way #2: An attention-grabbing logline. Maybe the title doesn’t quite capture it, but when you pitch your story in 1-2 sentences, you want your listener to at the very least say, “Hang on, I have to see how that turns out.” You’re trying to get a manager, yes, but that manager then needs to turn around and pitch this script to producers and executives. Give them something they’ll be excited to talk about. If I am already telling my friends and family about a script that I heard about today, you’re on the right track. I’m going to be excited to read it.

Way #3: An interesting or funny bio. I know for a fact that there is something interesting and unique about you that has a funny story behind it. Include this in your bio and make me want to meet the person behind those details. In a sea of aspiring writers, everyone has been a Nicholls Quarterfinalist, I’m sorry. But what is a go-to anecdote that also gives us a little insight into why your perspective of the world is skewed from most people’s in a fascinating way?

Way #4: Content that entertains me. I’m not talking about your script here (though if that’s not firing on all cylinders, you’re going to have a hard time keeping a manager’s attention once you capture it with your catchy hook).

I think a lot of writers forget that we are people. After a long, hard day of answering emails and talking to studio executives about their mandates, I commute home from my kitchen office to my living room couch and watch TikTok videos. I listen to podcasts while walking my dog. I doomscroll through Instagram. I occasionally leave the house to go to stand-up comedy shows with my friends. I subscribe to educational or funny email newsletters. I write short stories in an online community.

If I am a legitimate fan of your work from elsewhere in the world, when your name comes across my inbox, I am going to jump at the opportunity to read your work and meet with you.

And a word of caution, even though you didn’t ask for it: This also goes in the opposite direction. I highly recommend being careful about what you post on social media. I have had really annoying Screenwriter Twitter users come across my desk. If I don’t like your online persona, I am not going to give your writing a chance. It might not be fair, but that’s my reality.

Audrey’s Referral Template:

Hi [Friend’s Name],

[Genuine compliment that shows that you care about them and have been keeping up with their work.] I heard from a friend [or saw on LinkedIn, etc.] that you know Audrey Knox. She’s a manager over at Cartel Entertainment, and she represents writers who are exactly on the kind of career trajectory I am aiming for myself [get even more specific here if you’d like. Why, exactly, do you want her as a manager as opposed to anyone else?]. I wrote a script about [brief description] that I think she’ll love. Would you be willing to ask her if she’d like to read it?

All the best,

[Your name]

Try to keep it about three sentences. No more.

If they say “yes,” send over your script, logline, and bio so that they have everything they need to make the ask.

They might offer to make an email introduction directly (depending on the level of friendship of everyone involved). If so, even better!

Notice phrases that I did not include (ESPECIALLY my dear millennial women friends): 

-       “if it’s not too much trouble”

-       “No worries if not!”

• Another Manager at the Retreat talked about clients being good at closing, and you all talked as well about writers being able to present themselves and their work ‘in the room.’ Finally, in the presentation on lookbooks, Melody showed some very good examples of look books and pitch decks to help present story to people in meetings.

  Do managers typically help writers develop these skills or do you want your clients to have all the necessary skills before they sign?

  Similarly, do you do meeting prep or do you expect the client to prepare without coaching?

AK: As managers, we are very busy. Most of us have a couple dozen clients. We provide emotional support to them, we negotiate their employment contracts, we step in if something isn’t going well at work. We pursue staffing opportunities for writers who are out of work, we give notes on clients’ spec scripts, we take pitches to producers, and we have catch-up phone calls and work lunches with our friends across the industry. Oh, and we have to answer all our emails to make sure nothing gets lost.

I would love to help give my clients comprehensive training on how to be good in a room and master all the skills necessary to kill it in meetings. Unfortunately, I just don’t have time.

I usually help clients practice pitches, and I am happy to give advice about the best way to navigate networking relationships, but when I sign someone, I expect them to be proficient most of the following basics:

#1 Idea Generating – As a writer, your most important job is to write. You should always be coming up with new ideas—for projects, for episodes, for characters. This industry is packed full of writers who want to make tons of money writing scripts for hire. But I have been shocked to learn over the years how starved all buyers are for good, original, sellable, compelling ideas. At the very, very least, you should have a notebook that you write new ideas down for TV shows or movies in every day. Once you turn on that faucet and start listening, they will flow easily (for more on this, read The Creative Act by Rick Rubin). I have very little patience for clients who don’t show up for themselves creatively and write.

#2 Mutually Engaging Conversation – I learned how to talk to people by doing beauty pageants and sorority rush. It also helps that I am a naturally extroverted person. I know many writers are introverts, but the unfortunate truth is that in order to succeed in these meetings, you’re going to need to get good at talking to people and good at listening when they talk in return. If you’re uncomfortable with this, practice going to more parties or chatting up strangers at bars. (for more on this, Jordan Harbinger has plenty of blog posts and episodes of his podcast with actionable tips). Above all, my best advice here is: Smile and pretend you like it until you do!

#3 Pitching with Confidence – I can and will help my clients with the contents of their pitch, and I am happy to help listen to as many practice pitches as they need. But there is a reason that I end up signing a lot of actors-turned-writers. They’re just better in the room. Pitching is something that you will get better at as you get more comfortable, and the only way to get more comfortable is through experience. You can speed this process up by practicing on friends, family members, Lyft drivers, etc.

#4 Following Up – I keep a list of my submissions—writers and scripts I have sent to my producer and executive friends. I also have friends and contacts I try to keep up with as much as possible. I am so busy doing this work for myself, I cannot do it on behalf of my clients. If a meeting goes well, it’s your job to make sure you stay in touch with that person. Set a Google alert for them, notice things that the two of you talked about. Stalk them and find out their birthday, then send them well wishes. If you stay on top of keeping in touch with the people I’ve introduced you to, then that frees me up to introduce you to more people.

#5 Delivering impressive work on time when you are hired. – I can get you the job, but unless you show up and blow your new bosses away, we’re going to have a hard time getting you a second one. There is a reason I prefer to sign writers who have experience working in writers’ rooms. Even if they were assistants, they at least are familiar with the politics of the setting. Or if I get a client a job writing a feature, it’s now up to them to make sure they’re turning everything in on time and not dropping the ball. I do a lot of work at the front end for free in the hopes that it will pay dividends in the long run. I am going to feel really disappointed if you can’t hold up your end of the bargain and behave professionally in every sense of the word when it’s finally your time to shine. (I cannot recommend highly enough The Writers’ Room Survival Guide by Niceole Levy).

Similarly, I try to prep clients for meetings as best I can, but I don’t always have time to research executives’ IMDb credits. I expect writers to do as much of this homework on their own as possible, but I share with them what I do know from my previous conversations with that executive.

• How many projects should a writer have before you’d consider working with them?

AK: This differs depending on the literary manager, but for me personally, I require that a writer have at least two viable scripts before I'd consider signing them. Three would be better. No more than five. I promise that if you have more than that, no more than five of them are actually good. Pick the best 2-3 and lead with those.

• When seeking management, is it important to consider the manager’s current client list?

AK: Yes. A manager’s list is a tangible example of their sensibilities. If you feel like you would be out of place on it, perhaps they’re viewing you differently as a writer than how you view yourself. Alternatively, you don’t want to be too similar to the clients on a manager’s roster if they’re not all currently working. You don’t want to be competing for this same jobs with your own manager’s other clients.

• Are their “tiers” of management companies that is important to consider as you start considering representation? 

AK: At the end of the day, the most important thing to consider is the individual agent or manager that you’re talking to and who will be your day-to-day rep. There are big name agencies and management companies with really personalized, dedicated reps who will make you feel taken care of and treated well. There are also smaller agencies and management companies with busy reps who will ignore you. There are “lesser” management companies with reps who will hustle their asses off because they have something to prove. It’s all about that individual’s personal management style, their reputation, and whether you vibe with them.

• Once a manager is secured, can you give an example of what a typical relationship looks like between a manager and client?

AK: I am hesitant to answer this one because there is no typical relationship. Every manager/client relationship is different because every writer has different needs. But here is how mine usually work:

• I sign a writer and gather all their available scripts and loglines.

• I put together a list of producers to introduce them to.

• I send their available script to those producers.

• I put them up for job opportunities as I hear about them.

• When people want to meet with the client, I email them to schedule these meetings.

• I call the executives after these meetings to see how they went.

• I call or email the client to see how they thought the meeting went.

• Continue this process until the client gets a job or the meetings start to peter out.

• Set a meeting or call with the client to talk about what their next script is going to be.

• Continue to send the client’s script out for potential jobs while I wait on that script.

• Get a draft or outline from the client (depending on their desired process).

• Set a notes call to talk about my feedback.

• Repeat the process until the script is good enough to start sending out.

• Put a list together of producers who should read it (fans they already have + new people I want to introduce them to).

• Repeat the process.

• What milestones or growth points do you consider when determining to re-sign or continue a contract with a writer?

AK: There isn’t really a “re-sign”ing process. In fact, signing itself is actually a misnomer. At most big management companies, like Cartel, everything is done on a handshake deal. Like any relationship, as soon as it is not working for one or both parties, we are free to dissolve it. When considering whether to cut ties with a client, I consider the following two criteria:

1.     Are they making me money?

2.     Do I like them?

If both answers are ‘yes,’ I will keep them. If neither answer is ‘yes,’ then I will drop them. If only one of the two are a ‘yes,’ I must carefully consider how much bandwidth I have and whether I think I can give them the attention they need to get their career to the next level. This is when the decision can be hard, but at the end of the day, if I don’t like working with someone and if I feel guilty about not doing enough for them, then it’s better to part ways than to allow resentment to continue to grow.