Screenwriting : Where can I find a manager? by Sam Coniglio

You don't need a Manager or an Agent. You need a Producer.

The value of Managers and Agents is vastly overblown with respect to Writers. Basically, you have to already have a deal on the table for an Agent to negotiate and a career for a Manager to manage, or they have no use for you. There's simply not enough money in Writers, so it's about volume. We're not movie stars.

And know that a serious Producer is going to ask you for a bible and an estimated budget for the pilot, and a hundred people are going to ask you to buy their script improvement service. Be ready for both.

Yeah but 99% of producers won’t read a script unless it’s from a known agent or manager.

I have been sent a ton of emails from producers and companies stating they will not touch unsolicited scripts and only accept them from agents or managers.

Not true, Sam, based on personal experience. But you've got to pay to play at sites such as this one.

I don’t understand what you mean by pay to play but yes 90% of all of the people and companies I talked to only take scripts from agents or managers. I know this because I have personally spoken with them. I have only gotten positive responses by 3 companies that would accept my script to read without an agent or producer and I have contacted a TON of producers and companies.

Pay to play = pay to pitch. Try virtualpitchfest.com -- but research the producer you're pitching to so that your $$ isn't wasted.

I heard those pitch fests online and pretty much all script writing contests are scams.

Well, I have a manager now -- and for me it all started with that site. You just have to be very strategic about who you're pitching to. No doubt there are scams out there... just not this particular site. And Stage 32 has success stories, as well (but is more expensive).

Three companies? That's a shitload of positive responses. An Agent would have done no better.

That whole agent or manager only thing is a polite way of saying "we don't have time for you or the other 300 queries we got this month."

They don't have time for Agents and Managers, either. They just call constantly and hang around begging for meetings. It's all about personal relationships.

You need a Champion, and it's not going to be the secretary who answers the phone, or the guy who takes $100 for advice, or an Agent or a Manager. It's going to be a Producer or and Actor-- that's who you chase.

Think about this: Say I buy your script and sink a million bucks into shooting the pilot. What if I can't sell that pilot? How do I recoup? With a movie, I can stick it on some streaming service and at least cut my losses. But nobody wants a dead pilot.

All things being equal, I'm going to back the person I actually know who has proven herself over the voice of the anonymous person on the phone.

An A List Actor is you best shot, if you target wisely, and they have the conceit and the clout to get it made, and to take you along.

It would be great to get ahold of a known actor but they’re contact information is so discreet it’s nearly impossible to contact them. And if you were lucky enough to actually find their contact information, it would take a miracle for them to even give you their time to read your script. I am lucky to have gotten a positive response from 3 companies, well, actually 2 companies and a television producer. But again, I did contact like 30 different people and places.

Having either done all this or stood next to someone who was successfully doing it, I can tell you it is doable.

You have to understand that part of this is persistence. In the documentary "So You Want Michael Madsen" made by a friend of mine, they had Michael Madsen's home number and left 23 messages before he picked up and agreed to talk to them. But he didn't block them.

Approach the Star's connections, not them. And guess what-- Actors will read anything you hand them if they think it will be a good part. And VIP Producers will listen to you pitch if you find yourself in the elevator with them. Again, it's a person vs. a voice in the night.

But still, 10% positive is a phenomenal response; so much so, I'd pursue them-- and keep my hand on my wallet if I were you.

99% of companies won't take unsolicited material due to the legal liability.

Listing Services are legit.

But don't think People with the power are looking there. They're not. And anyone who is looking there is looking for something specific.

Why look at all? I have only to say I'm looking to buy scripts on a certain subject so post your loglines, and Stage 32 crashes under the weight.

If you're serious, get your ass to Hollywood.

I understand. All of this feedback is extremely helpful. I uploaded a logline, synopsis and script in the logline area. I would definitely like some feedback on that also, whether negative or positive.

I say this over & over & over... LISTEN UP! This industry is based (almost) entirely on interpersonal interaction - PERIOD. Get your butt out from hiding and make some personal connections.

I am trying.

Here's Jeff Lieber's advice about chasing Reps. He's not selling you script services or theories. He's showing you steps of the TV game.

https://twitter.com/JeffLieber/status/1188949296046952449?s=20

Ruben -- that's what queries are for.

You ask someone to consider reading your script, and if they're interested and legitimate, they'll have you sign a Release Form to take care of those legal issues before they read it.

We don't take unsolicited queries really means we don't take THIS PARTICULAR unsolicited query.

Yeah. That's what the ones did that I gave my script to.

Have a lawyer look over those release forms. Circle of Confusion for example accepts queries but you basically sign over all rights to them and it's laughable cause they can pretty much develop an identical project to yours and you'd have no recourse whatsoever.

What you have to understand is that it's almost always cheaper to just get the writer to sign the script over than to steal it.

If you can prove I requested your script and rejected it and then I go ahead and make a movie based on it anyway, you still have legal recourse. If you find out while I'm shooting, you can shut down my production and blow my budget. It's easier and cheaper just to buy your script.

Plus, ideally I want you as the writer on the project.

And be aware that your script is not all that original. If I'm reading a certain genre, chances are there are a lot of similarities among scripts. Personally, I wrote the Asian chick character from "Agents of Shield" almost ver batim and stuck the script in a contest a couple years before that show came on. Did they steal my character?

No. She's really not all that unique. Pretty sure I stole her from Ian Fleming in hindsight.

And then there was the young guy who pitched me and my wife an original idea for a TV show that was actually something I had watched as a kid--

But that's another story!

On the topic of theft of material. A script is 2% of the process (for argument sake). Would you risk 98% of your investment to save 2%. Because your film could be delayed for years in court.

I understand a writer’s fear. It is 100% of their effort. But it is only part of a huge process.

I decided not to sell it as a television series. I instead decided to sell it as the first short in a series of 3 short films all linked together as sequels. I find this to be more original and artistic.

I'm a big fan of the limited series idea.

Sorry. I meant a 4 part series. The first 3 will focus on the life of a particular main character and displays how they are all in connection with each other then the 4th and final of the series will be the grand finale.

A manager's first question to you will be "What else do you have?" If you have nothing else, you might have trouble convincing him/her you're a serious writer.

I’m working on part 2 of the limited series now. I’m also working on a full feature psychological horror script.

To add to what Erik said. You may be a serious writer. But they need a viable product. With one project and a draft of another, your not a viable product yet.

Hi, Sam. I agree with Craig, I learned almost a year ago that managers won't even consider a new literary client unless that writer has 3-4 solid marketable scripts, at least two of which have been optioned or sold. Good luck! And KEEP WRITING!!!

Dan MaxXx I didn’t give up at all. I just feel this would be the best way to tell the story. I see and feel myself as being more of a feature film writer than a television series writer. I have always had a passion and dream of being a film writer.

Know that the average professional screenwriter didn't make a dime until their 9th script. And that's when managers will be interested. Until then: read the trades and note sales similar to your projects - they usually include the manager's name in the stories. This gets you a list of managers who actually make deals and managers who like material similar to yours.