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THREAD: As a literary manager, one of the questions I get asked most often is: what do literary managers do? So I wanted to lay out, in my opinion, what I do. Because one of the questions I ask potential clients is: Do you NEED a manager. And sometimes, the answer is no. 1/
I wanted to take the time to walk through all this because, honestly, there is NO industry standard for what literary managers do. Every manager does the job uniquely. All I can tell you is how I operate and how I look to add value to my clients& #39; careers. 2/
I am particularly aware that there are some prominent writers who are dismissive of managers. And it makes total sense that for successful, established writers, they wouldn& #39;t see the value in us. Because when they were breaking in, literary managers didn& #39;t really exist. 3/
See, literary managers are a relatively new phenomenon in the film/tv industry and, to my understanding, only became widespread from the late 90s on. So, if you became successful in the 90s (and remained successful), then they were likely never something you had or needed. 4/
But, obviously, the industry landscape has changed a GREAT deal since the 90s. For a clear depiction of this, check out this tweet from earlier this week about the genre breakdown from 2000 vs. today. 5/ https://twitter.com/johnzaozirny/status/1284985333424111617?s=20">https://twitter.com/johnzaozi...
As you can tell, there& #39;s a clear lack of genre diversity nowadays. As well, there are simply fewer movies being made. And what does get made is likely based on existing IP, rather than original material. Comic book movies, TV and movie remakes, maybe a best-selling book. 6/
As a result, far fewer specs are being sold because far fewer original films are being made (and, again, far fewer movies are being made, PERIOD.) And when specs do sell, they& #39;re rarely for the kind of money that writers were paid in the 90s and early 2000s. 7/
That said, TV opportunities have expanded significantly. But a great deal of those feature writers who came up in the 90s/2000s moved into it, as film jobs declined. So while there are more opportunities than ever before in TV, it& #39;s still a challenging place to break into. 8/
As a result, the film/tv writing landscape is a highly competitive one and the agencies have placed more and more of their focus on chasing IP & formats, as well as packaging & internal production entities, as the WGA-ATA conflict showcases. 9/
There& #39;s still a real need for reps to identify talented up & coming writers and bring them to the marketplace. Hence the rise in the ranks of literary managers to fill that void. Especially as agencies cut staff and those agents decide to transition to management. 10/
There& #39;s also the key difference between agents and managers -- manager can produce, while agents (who must be licensed by the state) cannot. This is also the area most ripe for abuse by managers, which I& #39;ll address later on in the thread. 11/
So now, we finally arrive at what do literary managers do? Or at least, what do I do? The simplest answer is that managers are consiglieres for their clients. We& #39;re the ones who are walking you through strategy, micro & macro. We handle the day to day. 12/
When writers are trying to decide between managers, I ask them: "Who& #39;s the person you& #39;d be most comfortable calling at 9 PM on a Saturday night? Who& #39;s the person you wouldn& #39;t feel embarrassed to ask a & #39;stupid question?& #39; Because that& #39;s most likely who& #39;s right for you." 13/
We& #39;re also, more often than not, the ones who bring talented up & coming writers to the attention of the town. Whether that& #39;s selling their spec, helping get them on the annual Black List, getting them staffed on a show, or any other way we can get execs to read their work. 14/
The way that I, and my colleagues at Bellevue, operate is to be there every step of the way with our clients. To discuss what they want to write next and to go through all the development stages on it. From idea to outline to final draft. 15/
To get the script out to the town and if/when producers want to come on board, discuss who might be the best fit and why. To discuss when to go to talent, directors, and buyers. And in what order. 16/
To discuss what assignments you should pitch a take on. Which is the best fit for you and the next step in your career? Which one do you have the best shot at and which has the best chance of getting made? Should you take the job that just came in or write your next spec? 17/
To discuss what shows they want to staff on and what the best sample is for those shows. And if there isn& #39;t an appropriate sample, to help develop one from the ground up that showcases their voice in the best possible way. To get execs and showrunners that sample. 17/
Now as to producing... As a manager, I have a straightforward, simple rule about producing my client& #39;s work. If it& #39;s my original idea, or an idea (book, article, true story) that I find and bring to a client, then I produce. If not, then I don& #39;t. That& #39;s it. 18/
I know other companies have different policies, but that& #39;s what has made sense to me. And has worked well so far. There& #39;s obviously, as has been made clear before, a high potential for abuse by managers in attaching themselves to produce. Hence why I keep it very simple. 19/
When you& #39;re sitting down with a manager, it& #39;s important to get as clear as possible a sense of how they operate. What& #39;s their process with clients? When do they produce their client& #39;s work? Get as much clarity as you can. Because every manager is unique in their process. 20/
My process, and the hands-on approach that I take, is also why some people I meet with don& #39;t need a manager. Or at least the kind of management style that I offer. And that& #39;s really about the writer knowing themselves and knowing what they& #39;re looking for in a manager. 21/
Because some people don& #39;t want another voice in their development and decision process. They may think they do... but they& #39;ll come to find they don& #39;t. Maybe they have an agent for the macro and don& #39;t feel they need someone for the micro. 22/
