MANAGING YOUR AGENTComplications Ensue
Complications Ensue:
The Crafty Screenwriting, TV and Game Writing Blog




Archives

April 2004

May 2004

June 2004

July 2004

August 2004

September 2004

October 2004

November 2004

December 2004

January 2005

February 2005

March 2005

April 2005

May 2005

June 2005

July 2005

August 2005

September 2005

October 2005

November 2005

December 2005

January 2006

February 2006

March 2006

April 2006

May 2006

June 2006

July 2006

August 2006

September 2006

October 2006

November 2006

December 2006

January 2007

February 2007

March 2007

April 2007

May 2007

June 2007

July 2007

August 2007

September 2007

October 2007

November 2007

December 2007

January 2008

February 2008

March 2008

April 2008

May 2008

June 2008

July 2008

August 2008

September 2008

October 2008

November 2008

December 2008

January 2009

February 2009

March 2009

April 2009

May 2009

June 2009

July 2009

August 2009

September 2009

October 2009

November 2009

December 2009

January 2010

February 2010

March 2010

April 2010

May 2010

June 2010

July 2010

August 2010

September 2010

October 2010

November 2010

December 2010

January 2011

February 2011

March 2011

April 2011

May 2011

June 2011

July 2011

August 2011

September 2011

October 2011

November 2011

December 2011

January 2012

February 2012

March 2012

April 2012

May 2012

June 2012

July 2012

August 2012

September 2012

October 2012

November 2012

December 2012

January 2013

February 2013

March 2013

April 2013

May 2013

June 2013

July 2013

August 2013

September 2013

October 2013

November 2013

December 2013

January 2014

February 2014

March 2014

April 2014

May 2014

June 2014

July 2014

August 2014

September 2014

October 2014

November 2014

December 2014

January 2015

February 2015

March 2015

April 2015

May 2015

June 2015

August 2015

September 2015

October 2015

November 2015

December 2015

January 2016

February 2016

March 2016

April 2016

May 2016

June 2016

July 2016

August 2016

September 2016

October 2016

November 2016

December 2016

January 2017

February 2017

March 2017

May 2017

June 2017

July 2017

August 2017

September 2017

October 2017

November 2017

December 2017

January 2018

March 2018

April 2018

June 2018

July 2018

October 2018

November 2018

December 2018

January 2019

February 2019

November 2019

February 2020

March 2020

April 2020

May 2020

August 2020

September 2020

October 2020

December 2020

January 2021

February 2021

March 2021

May 2021

June 2021

November 2021

December 2021

January 2022

February 2022

August 2022

September 2022

November 2022

February 2023

March 2023

April 2023

May 2023

July 2023

September 2023

November 2023

January 2024

February 2024

June 2024

September 2024

October 2024

November 2024

 

Saturday, January 28, 2006

I have two jobs. One of them is writer. The other is my agents' manager.

I imagine there are people (like John August, say) whose agents only have to field requests for his services, and ask for the right big numbers. For the rest of us, that is what our agents would like to do, but it is not what we would like them to be doing. We want them out beating the bushes to get us jobs and to sell our material.

Any good agent should be willing to go out with your feature spec, if they have faith in the script. "Going out" with your spec, practically, means calling the 30-40 development people who matter -- someone at Morgan Creek, someone at Imagine, someone at 1492, etc. -- and letting them know that your hot new spec is coming out on Tuesday the 13th and do they want it. Then they smack 30-40 copies of your script into envelopes on Monday night and hand them to Go-Between (a messenger service) and wait for calls back. Within 48 hours you either have a big spec sale or a couple of meetings or nothing.

That's not the hard work either. The hard work is getting people to read your unsold feature when it's not part of a hot spec fire sale -- getting it to producers and directors when it's been "exposed" already. The hard work in TV is getting you read by network execs and production companies so that you are considered for staff jobs or, failing that, free lance scripts.

You can trust they'll do that, but trust is not a virtue in showbiz.

Neither, on the other hand, is being a nudge. Managing your agent is not the same as nagging your agent.

The difference is teamwork. I try to work as my agents' teammate. For starters, when I talk about jobs and, especially, money, I say "we." They owe "us" the money. This reminds both my agent and me that we're in the same boat. I get paid, she gets paid.

Then, I try to point her to places she may not have thought of. I'll email or call and say, "Hey, have they read me over at Rhombus?" or "How about sending Medieval to Equinoxe?" Agents hate making cold calls as much as anyone else. They'd rather work with people they know. My job is to track who she's sent my stuff to, and ask around and see if there's anyone she's missed, and ask her about the people she's missed. Then I have to trust her if she says some company is not worth sending material to (going into bankruptcy, pain in the ass to work for, thieves, unreliable, unpleasant, whatever).

I regularly email my agents with a list of outstanding issues: directors I'm hoping to meet, contracts that need negotiating, production companies I need an introduction to. Then I call and go through all the issues, about once a week. Then I send a recap email: okay, I'm going to call these guys, you're going to call these guys.

I make a point of only asking my agents to do those things she can do much better than I. For example, it is not useful for me to call producers out of the blue. It's amateurish. That's what agents do. On the other hand, if I've already met a producer or a development person, I can usefully check in with them. They know who I am.

Do as much as you can do on your own. But hand off the ball to the agent when they've got a better shot. That's the essence of it.

Don't stop selling yourself to your agents. Always be upbeat when you talk to them, even if your career is sucking. Any time you have good news, let your agent know. Never stop telling them positive stories about yourself. When they call producers on your behalf, those positive stories are their ammunition, even if they're not immediately related to the sale. ("You know he has a book coming out in May?")

Finally, never stop letting them know how much you appreciate their work. They're human, y'know. And no one appreciates a compliment more than someone who's always having to give them out for other people.

Labels:

1 Comments:

Thank you for posting this, Alex. I get a lot of emails from people asking me what exactly a manager (which is what I am) does, and why it differs from what an agent does. I'm going to link this post from my company message board.

By Blogger Kelly J. Crawford, at 9:19 AM  

Post a Comment

Back to Complications Ensue main blog page.



This page is powered by Blogger.