Screenwriting : Agent vs. Manager by Robin Gregory

I think there are many paths to take, and all have different outcomes for everyone. Perhaps reaching out to writers who have sold work and earn their living writing would shed light on what route to take.

CONSISTENT PUSH - CONSISTENT rejections- repeat.

I second what Stephen Folker said. Personally, I've been very happy with my manager, especially with his advice on packaging my material and negotiating deals on my behalf. But I don't think it's reasonable to expect intimate mentorship from a manager. At least that's not been my experience. Advice, certainly. But not in-depth mentorship. But again, no two screenwriting journeys are the same.

Thank you Stephen Folker Dan Guardino Michael David . Yes, I agree Michael David , it isn't reasonable to expect mentorship from the manager, just career guidance.

There are so many ways to approach this but I do thing, in general, that getting a manager first is a good idea. They do guide you and do have relationships with agents they share clients with and can be helpful in forging those relationships for you. I know several writers who have had multiple agents but the same managers for their entire career.

Here's a class I recommend taught by manager Audrey Knox on how to best find a manager for your screenwriter career: https://www.stage32.com/classes/Stage-32-Screenwriting-Class-How-to-Bett...

Cool! Thank you kindly Sam Sokolow !

"My mentor (a producer/director) once said it's better to engage a manager first if you want to write for film, someone who will help guide your career long term." That's one thing that my manager back in 2007 did, Robin Gregory.

"Often the manager is already hooked up with agents, and can give you a referral." I'm not sure if I've ever heard that. It could be true though.

I once had an agent at William Morris. I left after 3 years because it seemed she didn't match my work ethic (plus she sold me out to get a plum producer's spot ). Now I have a great manager who scrutinizes and works to elevate every word I write .

Thats a lot of $ fees for manager & agent, plus a 3rd party lawyer for contracts.

Anyways, if there is $ on the table, pick a manager who produces clients' projects. In theory, they cant/shouldn't double-dip commission & producer fees.

I dont know how current union writers afford to have manager & agent.

Michael Elliott Such a drag that happened with WME. Kudos to you for finding the ultimate manager, who's totally engaged and dedicated. May I ask how you found him or her?

Actually, I pitched her boss here on Stage 32...August 2021...got the intro and the invitation to join. Interestingly today my manager told me to rewrite and refresh my synopsis for "Nobody's Heroes", said it now reads "stale".

I hear you about the BIG BUCKS, Dan MaxXx . My former agent (now retired) knew as much about negotiating agreements as an attorney. Do you need both an agent and a lawyer when you're working with a pro agent who specializes in film? My first attorney, who "studied" copyright law, nearly blew an exclusive shopping agreement because she didn't understand the biz.

Wonderful to hear that you made the connection here Michael Elliott . Thanks for sharing. Nobody's Heroes looks thrilling. I wonder if she means "stale" because she wants you to reference the Vietnam War and national landscape in a new way?

Trust me. There's nothing stale about the script itself. If you didn't live through the mid-1960s (like I did) and you didn't experience Vietnam (like I did) then NH is an honest telling of what it was like from multiple perspectives.

Robin Gregory Hi Robin, I have a solicitor/lawyer but no manager or agent. I use him in the obvious context, but managers or agents, particularly agents, won’t touch a no-name talent like me.

DT Houston I really appreciate your input. It validates everything my mentor said. Also, I feel the same about the S32 platform of low cost producer reviews that are worth their weight in gold.

One thing I might add that I learned from an agent webinar through SFWA (Science Fiction & Fantasy Writers Assn.) Fiction, is agents are often open to looking at materials referred through current clients. This is where the all-important concept of forging relationships over time - offering support to other creatives - can lead to open doors later. Thank you!

Geoff Hall Boy, do I know what you mean! However, I only had awards (not sales) to sell my first novel to my first agent. And I didn't have much of a social following yet. She referred it to her mentor, an agent who reps film adaptations. That agent took it to a major animation studio. They passed on it but that's how it got in the door.

"As a side note there, whenever I've managed to receive a coveted referral, it's always been unexpected -- when I wasn't trying to do so. Build the relationships to build the relationships. And if and when those great unexpected moments happen which may help you move toward goals, then it has come from a beautiful place." 100% agree, DT Houston. That's been my experience with building relationships on Stage 32.

Exactly, DT Houston!

Just to third what DT Houston and @Maurice Vaughan say about things happening in the background. That's been the case for me too. The two biggest things that have happened for me (in terms of gaining a powerful new collaborator) have been a few weeks down the road before I've been brought into the loop.

Good networking is kinda like compound interest. It grows exponentially and somewhat passively.

Thank you for sharing, CJ Walley .

Robin Gregory the access on Stage 32 to top producers and some reps, too is a huge opportunity that is literally at our fingertips. If you have material that is in great shape, and you feel confident enough to be seeking reps, there are amazing producers fully ready and willing to read you right here on our Stage32 platform!. Sounds like you are on your way!

Oh definitely Pat Savage ! I mentioned that earlier on the thread. It's a fantastic opportunity to hone our projects!

M LaVoie , I'm so glad you've found a good attorney. It's easier because she or he gets paid as you go. But, funny thing, some attorneys will turn you down, too, if you don't have high visibility. On the other hand, as I posted earlier, I engaged one who claimed to have film experience. (I was pretty green and didn't know to ask for credits or endorsements.) When it came down to negotiating the shopping agreement, she nearly blew the deal by insisting on changing the wording of a non-significant clause that negated the exclusivity clause.

Add to that, some writers call studios directly to pitch. If they already have a polished and/or distinguished script, pitch, pitch deck, and budget, they are developing the project like a producer would. Studios are more likely answer a call from a producer than a writer because they're expected to answer business related questions.

Robin Gregory It's a fantastic opportunity to hone our craft and grow our creative family!

Robin Gregory I know a lot of folks have given great advice here. The only thing I can add is that I just took a webinar on how to get rep ready by Antonio D’Intino and he supports what a lot are saying here - manager first. I've had an entertainment lawyer for about 4 years now and although he's awesome at answering questions, he doesn't pitch. Love your opening, btw - "Brave Souls". I almost stopped reading after that. But seriously, it's a great webinar and he goes over the detail as to how to be ready, the differences, priorities and so on. Hope this helps.

DT Houston , that has been my experience as well. M LaVoie you are so blessed to have support in a way that works for you.

Good to know Leonardo Ramirez. I've taken 2 S32 webinars on pitching, and signed up for a third. They've been so helpful! Will check out Antonio's webinar. I just want to gobble it all up!

Robin Gregory You and me both sister. I’m addicted to learning.

Michael Elliott The 60s... sheesh. I was in my early teens. My dad was a Navy pilot who flew soldiers over and body bags home. He was poisoned by agent orange. That script must have taken a lot out of you. God bless you. It was a wretched time to be enlisted or drafted.

what great advice Robin Gregory!

Very interesting. I wish there were more like him! You must be writing some darn good stuff, too. Hat's off to you M LaVoie. What are you working on these days?

I'm so glad, Sam Rivera, if you got something from what I posted. Just asking questions and reflecting on experiences.

M LaVoie I looked for loglines in your profile. Are you keeping them under wraps till financing is arranged?

In Australia it's pretty hard to find a manager. Anyone think the US would help an Australian even if you wrote one heck of a script? We live in an online world.

I had successful pitches on S32 and they were afraid of the cost of this Sci Fi and no existing IP. Maybe I should go back to my other non Sci fi script. There are cheaper tools at their disposal of the companies themselves and especially with things such as the new Unreal Engine making it even easier.

Anthony Michaels With all those great Aussi film schools, there must be zillions of graduates looking for reps. Have you considered selling your sci-fi script for animation?

Absolutely on all counts, Dan Guardino . Thank you kindly for the clarification.

Yes. On all accounts. A Manger cannot negotiate a Contract (yes, some general parts) but if you do not have an Agent, then you must have an Attorney negotiate the Contract. Preferably an Entertainment Atty. . . . If you have both a Manager and an Agent, the Manager can start the process but the Agent must negotiate the Contract. If you also have an Entertainment Atty, then it is wise to have him check it over. So for fees, they are negotiable but it usually shakes out thus: Manager 10-15% (waived if they attach as a Producer); AGENT: usually 10%; ATTY: 5%. That's lot of fees. BUT. BUT you have protection for any number of your contract provisions. You also have shown yourself to professional in your approach and you also have 3 professionals who may be able to refer you to another project. With each project you become more known. In Hollywood, it s connections that advance your career. All the "you's and Your's apply to me as well.

Something else to negotiate if you are an unsold writer is a require a provision that states: "that you are to be treated as a professional screenwriter." Why is this important? This means that you qualify to become a member of the WGA with the sale of your first script. If you don't get this, what happens is that this first script sale is a qualifier because you must have a sold script under your belt to qualify to apply to the WGA. . . . If you are "treated as a professional screenwriter" on your first script that in of itself qualifies you to apply for and be admitted to the WGA - assuming the Production Company is a signatory to the WGA latest contract.

Hope this helps.

Hi Robin. Thank heavens we don't have to chose but one; and I've heard the same as you - even on some S-32 webinars. Managers hone and prep your career; while agents rep the polished product to market and deal; and many managers have agents in their network. Fingers crossed ;-)

Thank you so much for the break down, Peter Fraser . I wasn't clear on percentages. And you make a great argument for the networking power of having a all three on you team. One question: when you refer to being "treated as a professional screenwriter" what does that mean?

Matthew Kelcourse I wish you luck with your hunt for a manager. Would it help if you list your quarter and semi-finalist awards on your profile? Being singled out in any way helps!

I have no idea, Robin. But hey, I'll have a look.. Thanx :-)