Getting Repped – Everything You Always Wanted to Know About Lit Managers [But Barri Evins Wasn’t Afraid to Ask]

The industry can seem frustratingly inaccessible, a mystery behind closed gates, while you’re stuck, locked out and longing.

Getting repped is the goal. But while landing an agent seems like a magic carpet ride to fame, fortune, and awards shows, managers may be the true Golden Ticket to breaking in and building a career.

I’m inviting you for an inside look at Literary Managers: from practical pointers to get their attention to fatal mistakes, as well as how to forge a productive working relationship.

From my time as an industry exec advancing new writers, to working with consulting clients on loglines, queries, and pitches, as well as lurking in online writing groups, I know that aspiring and up-and-coming writers have plenty of questions about getting repped. As your first step, I recommend learning how to be your own agent, to sell yourself and your material to the industry.

I reached out to some of my favorite managers – ones with impeccable taste and impressive track records – to answer FAQs, separate fact from fiction, and dispel misconceptions. I asked what I thought you would want to know. While seeking the inside scoop, I couldn’t resist slipping in a few questions to spark enlightening replies. And they most certainly didn’t disappoint!

These managers have decades of industry experience. Their specialties include feature film, television, and literary properties. They represent companies that run the gamut from prestigious boutiques to big brands that include production divisions. Each was impressively candid and eager to offer helpful advice. They’ve earned my undying gratitude for being generous with their time, and articulate and honest in their replies.

NOTE: As I promised each participant, this article is for informational purposes only. No contact information is provided because this is in no way an invitation to contact them with a query. In fact, read on to discover why this might be the absolute worst thing you could possibly do.

– Willy Wonka

Noah Rosen – WRIT LARGE

Noah Rosen is a literary manager who cofounded WRIT LARGE after working at Circle of Confusion for almost a decade. He produced the film, Dan in Real Life, and now focuses primarily on management in television and features.

Why is it so hard for a new writer to get repped?

Noah Rosen: The short answer is that we are already working with the writers we love… and their work is our priority. As much as we say we are looking for new clients (and we truly mean this) the hunt for new voices always takes a back seat to everything else.

How do most new clients come to you?

Noah: Writers come from everywhere but the two places I really trust are my current clients and playwrights. My clients know me and know what I love and what is most likely I will respond to the material they send over. Currently, over 50% of my clients were once playwrights… So any playwright that I hear about that is unrepresented will be read.

Do contest-winning scripts get your attention?

Noah: Sad to say... but not really. Our company pays attention to a few contests, but I do not. This being said, I would recommend writers enter every one they can. Any chance to be read with the expectation that your script is good can only help… And that’s what winning these competitions gives you.

Would you sign a writer with only one completed script?

Noah: YES… even though I have been burned a few times. Every manager is different and I can only speak for myself: I am looking for naked, courageous F*CK-U voices at this point in my career, and if I find one I get so excited that I disregard the logic (like signing a writer with one script) and follow my heart.

Do you read cold query letters?

Noah: I do not read queries. My advice is to hit up assistants and charm them with your query letter. Anything my assistant says is good will be read with hope…

I realize there is one exception that I will bring up at the end…

What’s the best way for a writer trying to get your attention to rub you the wrong way?

Noah: Obviously bombarding reps never works… I would also say sending multiple things isn’t great. Or not sending something over when it’s requested, “Because it’s not quite done,” also bums me out. If you are not standing by your work, it’s a non-starter for me.

What impresses you the most when you read a new writer? What qualities are you looking for?

Noah: I may have hinted at this earlier but I am looking for bold, beautiful, and honest. My background is poetry so I want to feel. I can come up with a good idea and/or a good hook, but I need real writers to make me feel the beauty and tragedy of life. This is the joy I derive by being a literary manager… to find writers that make me feel.

What do you wish every new writer knew about managers?

Noah: I can go on and on and on this one so I will throw out some bullet points:

Rich Freeman – CODE ENTERTAINMENT

Rich Freeman is a partner at Code, a Los Angeles-based production and management company. Rich is co-head of the management division for film and television writers and directors. He began his career as an agent, first at Writers & Artists, where he went on to become head of the feature film lit department, and then at Paradigm. His clients range from Academy Award and Emmy winners to newer writers. 

Founded in 1994, Code Entertainment has produced 18 feature films, working with both emerging and established talent, including Academy Award-winning actors, directors, composers, and cinematographers. The company operates with a revolving equity fund and produces and finances 2–3 films per year. Its Code Management division manages writers, directors, novelists, and entertainment related estates, with an accomplished list of clients that write and direct for both independent and major studios.

Why is it so hard for a new writer to get repped?

Rich Freeman: It’s more difficult than ever to break people with a spec feature or TV script. Executives and producers are less willing to be educated than in years past, and the spec business is not near what it was. It takes a tremendous amount of time and effort to get a writer’s first deal, which can be a very low amount of money, so therefore it’s harder to get repped than in years past. With new writers, it’s a lot of time with very little return in most cases.

How do most new clients come to you?

Rich: My clients come to me through producers, agents, lawyers, studio executives and other existing clients. Very rare, if ever, do any come from queries.

Do contest-winning scripts get your attention?

Rich: Generally, contest-winning scripts do not get my attention other than from the Nicholl’s competition. This will vary depending on the agent or manager. As someone who has been in representation for more than 25 years, I am not in the business of brand new writers much anymore.

Would you sign a writer with only one completed script?

Rich: I would not sign a writer off one script only. I need to be able to see that a writer can do it more than once. That the first script wasn’t a fluke. That said, if someone wrote one great script that I thought I could sell, I’d handle it as a one-off if the writer were willing. By that I mean, I’d try to sell it and if were successful, they’d become a client. If not, then no.

Do you read cold query letters? If you ask a writer to send you a script, how long should they wait to follow up with you?

Rich: I do read all query letters, but it’s a tiny tiny percentage where I ask them to send a script. Just not a great use of my time and through experience, it’s not led to much over the years. If I do respond, a writer should probably wait three or four weeks before following up. This also will vary depending on the rep.

What’s the best way for a writer trying to get your attention to rub you the wrong way?

Rich: The best way to rub me the wrong way is to write long, form query letters listing a whole truckload of scripts and basically being a jack of all trades, master of none. Keep the query letters short and to the point. Focus on one project. A project that puts your best foot forward as a writer. In other words, send your best piece of writing. If a rep likes it, they will ask for another script.

What impresses you the most when you read a new writer? What qualities are you looking for?

Rich: What impresses me most about a writer is when they show an ability to tell a story through a script that engages the reader immediately and can write characters with a clear arc/journey that has a beginning, middle, and an end, while at the same time, keeps the story moving at a quick pace. If you can combine that with a commercial sensibility, you will have my attention.

What do you wish every new writer knew about managers?

Rich: What new writers should know about managers is how truly time consuming and challenging it is for us to break you. That for probably two or three years (there are exceptions to this) I will lose money on you. By that I mean the amount of effort for the financial return will not be good. Hence, why it is so important that new writers have patience and are prolific. The ones I’ve worked with over the years that do well are able to turn out two to three scripts per year. The ones who write one script every other year tend to not do as well.

Brandy Rivers – INDUSTRY ENTERTAINMENT

Brandy Rivers got her start on the production side of the business, and then went on to work at Gersh and ICM as an agent in the TV lit department before moving into management at Industry Entertainment Partners where she focuses on television.

Why is it so hard for a new writer to get repped?

Brandy Rivers: You just have to stick with it. It takes time – so stay focused and stick with it.

It took me time to get to this place in my career, and it’ll take a writer the time to make the right relationships and build their craft deeply enough to be ready when it all comes towards you. Once it all comes to you, it can happen so fast that if you’re not ready, or surrounded by the right people, it can fall apart as quickly as it came. So don’t be afraid to take the time to build a strong foundation.

I personally love to take chances on new voices. I feel like I am best at my job when I have been with you long enough to instinctually know what you need both professionally and psychologically (yep, this one is most important). And building that relationship also takes time.

How do most new clients come to you?

Brandy: Most of my clients come to me via recommendation. I get recommendations from clients, executives, friends, agents, etc. I do also sign clients out of the writer development programs that are affiliated with the studios or networks. I have signed clients out of the programs at ABC, CBS, WBTV, and NBC. Though sadly, the old WBTV programs does not exist anymore, I believe that they do still have the new Warner Media program.

Do contest-winning scripts get your attention?

Brandy: It really depends on the contest. But for the most part, a long list of contest winning scripts is meaningful, but isn’t ultimately going to get someone into the business. This business is based on relationships and those relationships leading you to opportunities. Building those relationships starts with a great piece of writing – so that is one good plug for the competitions – but you have to make sure that you are entering competitions that industry professionals are paying attention to. And always continue to build your relationships as you are honing your craft.

I recommend starting out as an assistant at an agency or management company. Not only can you start to build those professional relationships that will help you for the rest of your career, [but] you also have access to the scripts that are selling and getting made now.

The business is always changing and growing so you must be paying attention to what is selling and to new shows as they come out. When I’m in a signing meeting, I always ask writers what they are watching now and what shows they think they are right for. That can mean older stuff, but it’s important to have a point of view on what is coming out right now.

This business is a 24/7 career. It will become your life. Someone told me early in my career: “If you can do anything else in this world, do that.” I was offended by the advice then, but now that it consumes my entire life, it was definitely appropriate advice – because as it turns out, this was the only thing I could do. My passion and love of it consumes me… And that’s why I’m still excited for it to be my whole life.

Would you sign a writer with only one completed script?

Brandy: Yes, but that one script would have to be excellent with a truly unique point of view. The thing that scares me about a writer with only one script is the question of whether they are doing the work to perfect their craft or if they are just focusing on telling one story. But I have sold and gotten first scripts ordered to series before – but the work has to be excellent. So I’m not afraid of it at all.

Do you read cold queries? If you ask a writer to send you a script, how long should they wait to follow up with you?

Brandy: Yes, I get hundreds of emails a day – I do try to read all of them, but some queries do get lost. And I don’t always reply to all of them, because sometimes it’s just too much. Though I am paying attention, because I have to.

I want to put out there that my pet peeve is getting queries from people who don’t know what I do. I get a lot of queries from actors, and I only rep actors for writing, producing and directing – not acting. The advice I’d give here is: Know the person you are querying. A former boss told me once: “How you do anything is how you everything.” Which means if you’re not querying thoroughly, how could I possibly think that you’re thorough in your work?

If you do submit material to me, try to do it through a referral and include a personalized note about what you are looking for, and why you think I might be a good fit. Follow up should be occasional and please don’t brow beat me. Like I said earlier, I get hundreds of emails a day, and on top of that, I also am reading every script that gets ordered, all of my clients’ scripts, and watching all of the things coming out. So my pile is very deep.

What’s the best way for a writer trying to get your attention to rub you the wrong way?

Brandy: Brow beating me and not researching what I do. If you really want to make it here, you have to be thorough. You have to strive for greatness. If you write to me that you love a client’s work – tell me what work and why. I can’t say it enough: be thorough. It applies when you are casting, hiring line producers, writers, or choosing a streamer or network when your show is competitive. It applies to every decision you will make later down the road.

I want everyone to be successful, so if someone else gets to your material before me, then they got to it first. If they are the right rep for you, then that’s great. And if you are not sure which rep to go with, you can certainly follow up and let me know when you are setting meetings.

What impresses you the most when you read a new writer? What qualities are you looking for?

Brandy: Having a point of view. A style. Every word counts. Every choice counts. I can help you with structure, character work, but I cannot give you a point of view. I cannot tell you what you want to say to the world. I often ask: “What’s the legacy you want them to remember you for?” Ultimately, the inspiration starts inside of you.

What do you wish every new writer knew about managers?

Brandy: I wish all writers could understand that the work is also on them. Sometimes I get the feeling that a writer works really hard to get a rep, then that work is on the rep to get you generals, introduce you to showrunners, etc. Yes, that is absolutely part of your managers job, but it’s still YOUR career. Take responsibility for that. It’s imperative that you continue building your own career. 

I tell clients all the time there are two buckets of work, the things we can control, and the things we can’t control. We can control the work. The writing. And continuing to grow the client’s skill set as a writer by continuously writing. My most successful writers are constantly writing. They also keep in touch with people they meet and proactively send them ideas – arenas to develop, IP to option, etc. If you want these relationships to grow, you have to nourish them, you have to focus on what you can do for them, not just what they can do for you.

We can’t control when someone else is going to hire a writer, but we can control building and selling shows. And that often is what leads to the staff job. It all goes hand and hand.

And if I may, I’ll add one more, this entire business is a giant game of telephone. Which means we all talk to each other all day, all week, and all year. So that means you should be diligent about communication with your reps, and always talk to your rep if you feel like something is not going well on a show, or with development. For example, some showrunners want Staff Writers who really contribute and others want their Staff Writers to sit quietly and learn. So it can be a delicate dance. If you alert your rep that you feel like it might not be going perfectly, your rep can check in to see how you’re doing and get some guidance for you.

Last, be nice. Be open to collaboration. Even when the stress feels like a great big pile of bricks. And I swear, if you keep doing the work, you’ll find yourself under that big pile of bricks when you program your first show and even your seventh.

And most of all, best of luck to all of your readers. I hope this helps!

David Styne – WICKED CURVE

David Styne was a longtime, motion picture literary agent and partner at Creative Artists Agency, where he represented Michael Mann, Oliver Stone, Taylor Hackford, John Logan, and many other key agency clients. He packaged many critically acclaimed and commercially successful films such as Any Given Sunday, The Aviator, World Trade Center, and Hancock, and brokered the sale of numerous spec screenplays, including American History X, Inside Man, The Island, and The Understudy, which became Black Swan. 

During a brief stint at ICM, Styne himself wrote a spec screenplay under a pseudonym. Carnaval, a fish-out-of-water, buddy comedy, was optioned by Stone Village Productions in 2009. Currently, he operates Wicked Curve, a management and production company he founded in 2013. He is representing, among others, screenwriters Caspian Tredwell-Owen (Beyond Borders, The Island) Ken Kaufman (Space Cowboys, The Missing), Vincent Ngo (Hancock), and Bruce Evans & Ray Gideon (Stand By Me, Starman, Mr. Brooks).

Why is it so hard for a new writer to get repped?

David Styne: It’s so hard for a writer to get represented now because the marketplace while expanded has become even more of a buyers side marketplace, and the buyers know exactly what they want and how they want it. So it’s not just good writing that gets new writers recognized and even “sellable”… it’s about what they’ve written, and are they writing to the marketplace. Managers are looking for writers and material they can transact with…agents are even more so in terms of what will move the needle with them in terms of signing new writers.

How do most new clients come to you?

David: Most of my clients are people I have longstanding relationships with, but a few are new people that came to me through recommendations or total cold call or email.

Do contest-winning scripts get your attention?

David: I am not focused on script competitions, although if a script or a writer has placed or won that signifies something. Most managers, management companies, and agencies cover these competitions intensely.

Would you sign a writer with only one completed script?

David: Yes, I would sign a writer with only one completed script. I LOVE to be blown away by a new writer with fire in the belly and something that’s written well and tight… not dense… that drives seasoned script readers like me bonkers.

Do you read cold query letters?

David: I have responded to cold queries, but not very often. In all honesty… it’s a slippery slope, and I feel like I’m letting someone down if I say send and I’m too busy to read.

Big mistake to say: “My script is great.” Real writers never say that. The biggest screenwriter I ever represented taught me that. I like it and am sticking with it. Describe, sell, but don’t say your work is great.

What impresses you the most when you read a new writer? What qualities are you looking for?

David: I am looking for distinct characters, economy of language. Write the way people speak, authentic world creation, no matter the world… And I love simplicity in terms of idea execution. I’m the wrong guy for Marvel, DC, etc. I like R-rated adult drama… what I call “THE GOOD STUFF.” And most or all that now is being done in cable and streaming… I’m a movie guy, and it’s only getting harder for us movie guys.

Aaron Kaplan – KAPLAN/PERRONE ENTERTAINMENT

Aaron Kaplan, founding partner of Kaplan/Perrone Entertainment spent the first 22 years of his life in Chicago. After graduating from Northwestern University he came up through the UTA Trainee Program, where he and fellow UTA trainee Sean Perrone recognized the need for forward thinking, creatively involved literary representatives. 

In 2000, the two decided to strike out on their own, forming management company Kaplan/Perrone Entertainment. Since its founding in 2000, the managers at Kaplan/Perrone Entertainment have worked tirelessly to accelerate the careers of their writer and director clients in everything from Sundance darlings to Summer tentpoles, and from smart comedies to event size dramas. Today, they represent some of the industry’s most successful writers, directors, showrunners, and creators, and have expanded to open New York offices.

Why is it so hard for a new writer to get repped?

Aaron Kaplan: It’s a numbers game. However, many reps there are in this business there are many, many more times writers in the world. Not only does a writer have to convince a rep to read their script, but the rep has to like it, and feel like at that specific moment in time there is some action that the rep can take that will move it forward. Now add all of the other factors that could make that more difficult – what if a rep is reading a script on a plane and the baby behind them starts crying incessantly? There are a million crazy scenarios where life can get in the way – and often time does.

How do most new clients come to you?

Aaron: Most clients come to me by referral – either from an executive, a lawyer, an agent, or a writer that I know or already work with. But that can change through the course of a career. We started Kaplan/Perrone Entertainment in 2000. At that time, I was reading script contests and calling universities to try to get clients.

Do contest-winning scripts get your attention?

Aaron: Not usually, although the Nicholl Fellowship usually produces some talented winners.

Would you sign a writer with only one completed script?

Aaron: Yes, absolutely and have done it many times. I’m looking for unique writing that gives me an emotional response. That’s hard to come by these days. If I can get an emotional response from one script, I’m in. Or should I say an emotional response except anger.

Do you read cold query letters?

Aaron: I used to accept queries all the time, and some amazing filmmakers that I currently work with have come from a cold query letter. That said, unfortunately, I can no longer accept them.

What’s the best way for a writer trying to get your attention to rub you the wrong way?

Aaron: When a writer sent me a list of their best scripts and loglines that always rubbed me the wrong way. It’s asking a lot to ask a stranger to read your script – it takes real time. And it’s very hard to write one great script. The odds that a list is all great scripts is nearly impossible. Just lead with your best script. Here is the one script that you’re truly passionate about.

What impresses you the most when you read a new writer? What qualities are you looking for?

Aaron: I said it before, but I want a writer who gives me a big emotional response. When I read a horror movie, I want to be scared. A comedy – I want to laugh out loud. After reading hundreds and hundreds of scripts, if I can get that response, I’m in.

What do you wish every new writer knew about managers?

Aaron: Not sure if this answers the question, but everyone is really busy. When you’re trying to get a rep, realize it’s a bit of a numbers game. If you don’t hear back, don’t take it personally. If you get a pass, don’t take it personally. There are so many little factors that have nothing to do with your writing. Keep trying and keep the passion. And keep writing.

Lisa Callamaro – Story & Voice

Lisa Callamaro created Story & Voice after a 30-year career as a boutique agent representing writers, directors and selling the film rights for books, a nod to her start in publishing. During those years running The Lisa Callamaro Literary Agency, she proudly launched screenwriters with very strong voices, including Ryan Murphy, Eric Warren Singer, Philip Eisner, and Glenn Gers among others. Her clients have been involved with hundreds of projects in tv, film, and new media all over the world.

In 2019, Lisa realized it was time to participate in the stories after the sale and launched a management/production company she named Story & Voice after her two favorite things. Under the new banner, Lisa is developing television shows and features as a producer, as well. She also consults with production companies and screenwriters in both business and creative endeavors. Lisa does one-on-one work with creatives who are looking to go deep and explore their personal voices

In 2013 she co-founded a film initiative at CSUDH called Hollywood by the Horns and still teaches a class called "Finding Your Voice, Telling Your Story". She also has taught storytelling at Tufts Medical School around the intersection of story and medicine.

She is a graduate of the Harvard Publishing Program, she serves on the Board of Directors for CineStory Foundation, and has been a victim advocate on the Sexual Assault Response Team (SART), for 13 years.

She has presented at TEDx on how to use story to call people to action. 

Why is it so hard for a new writer to get repped?

Lisa Callamaro: The first responsibility of an agent or manager is to the clients already on the list. It is usually a big investment of time and energy to begin to build the foundation for a new client. It has to be the right project and the right client.

How do most new clients come to you?

LC: Recommendations from other professionals in the business or from current clients. But, as usual, I am not taking on new clients right now.

Do contest-winning scripts get your attention?

LC: Not really. Maybe a few of the big ones if you win. Pro-tip: don't spend time or money on a contest unless the prize connects you in a real way with professionals or will get you into workshops or have reads/meetings with mentors who can push you to improve your craft.

Would you sign a writer with only one completed script?

LC: I have, but it's a big gamble and a bit foolish. If you only have one script ready for the marketplace, it better be everything that encompasses your voice and your skillsets (from multiple drafts). The representative needs to feel like not repping you will be a big mistake.

Do you read cold query letters? Do you ever respond? If you ask a writer to send you a script, how long should they wait to follow up with you?

LC: VERY Rarely. Even more Rarely. Reading it will take a month minimum, but honestly, usually longer.

What’s the best way for a writer trying to get your attention to rub you the wrong way?

LC: I had one stalk me. I don't recommend doing anything that has a representative file a police report on you.

What impresses you the most when you read a new writer? What qualities are you looking for?

LC: Voice, confidence, craft, and a look into the human condition through an unexpected lens or one that feels like I might know the characters in my own life.

What do you wish every new writer knew about managers?

LC: Managers and agents (I've been both) are people, too. We came into this business because we love stories. 

One common theme that I couldn’t possibly agree with more – Relationships, Relationships, Relationships! All these managers found most of their clients through referrals. Always Be Building Your Network. Find powerful pointers for this #1 path to creating a career here.

What were your key takeaways? Best pointer? Enlightening insight? A mistake to stop making?

Let me know your thoughts in the comments.

Just as with Charlie and the Chocolate Factory, we always want more! 

What became a beloved children's book by Roald Dahl in 1964, gave birth to the classic 1971 film, Willy Wonka & The Chocolate Factory starring Gene Wilder. Then came the remake, the darkly delicious Tim Burton 2005 take, penned by John August and starring Johnny Depp. Next up is a prequel, Wonka, starring Timothée Chalamet, in December 2023.

So there will be more scrumdidilyumptious interviews with amazing managers to come. 

Be sure to check out Part Two – it includes accomplished managers who are actively seeking new writers and open to reading queries!

Until then, is your query ready?