Getting Repped – Everything You Always Wanted to Know About Lit Managers [The Questions You Really Want Answered!] Part 2

Many writers believe getting an agent is the elusive Holy Grail, offering the miraculous salvation of career success. 

But finding a manager first may be the far better path. 

A good manager will guide every step in your career, read your work and provide feedback, offer invaluable advice on what to write next, introduce your writing to the industry, and yes – they will recommend you to an agent when the time is right.

Representation is a huge step forward. 

You’re on a quest, and I’m here to help.

Read on, to find invaluable insights, insider info, and what these managers are hungry to find. Plus my practical pointers on putting their advice into action to advance your career.

Getting Repped Part 1 featured mangers at a point in their careers when they have solidified their client base, although their advice and candid insights on navigating the industry were priceless.

Getting Repped Part 2 offers up an elite group of managers who are always seeking new writers. These top-tier managers have impressive chops, as well as a keen eye for talent. And they’re here to tell you what they really, really want.

They’re spilling the beans on which contests grab their attention, revealing if they read queries, spelling out what makes you an appealing client, giving you the straight scoop on following up on submissions, and revealing exactly what they’re looking for!

WARNING: I promised each participant that this article is for informational purposes only. They’ve all been generous with their time and advice, as well as unflinchingly honest. While many are open to queries, getting a deluge of requests would not merely break my word, but also make other industry insiders hesitant to share their insights here. This is NOT an invitation to contact them. In fact, querying them now might be the worst possible thing you could do.

John Beach – GRAVITY SQUARED

John has worked in the entertainment industry for over 20 years – starting as a literary agent at Paradigm and later with ACME Talent & Literary, where he was instrumental in the sale of Oliver Stone’s World Trade Center with Nicolas Cage and Youth in Revolt with Michael Cera. In 2011, John opened the Angeles office of INDYCAR where he invited and managed celebrities at INDYCAR events and races. In 2015, after surviving cancer, John started Gravity Squared Entertainment, a Los Angeles-based management/production company.

Gravity Squared has over 180 books, treatments, and scripts under management, many being Pulitzer Prize winners and New York Times bestsellers. They currently have over 25 projects in various stages of development/production including: developing and producing a feature film with Mosaic & Legendary Pictures with Will Ferrell and Adam McKay; optioned a book to DreamWorks Animation TV which is currently in production as a TV series at Netflix; producing a feature film with Marc Platt Productions based on Jonathan Stone’s book, Parting Shot, with a script by Derek Haas, and they optioned Judith Heumann's memoir, Being Heumann, to AppleTV+, which they will produce with David Permut and the Academy Award-winning writer/director of Coda, Sian Heder, at the helm.

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

How do most new clients come to you?

John: I’ve actually been getting most of my new clients via referrals. I do judge some of the screenwriting/manuscript contests, and I’ll sign some of those writers from time to time. I’m mostly looking for writers that have been optioned/produced previously.

Do contest-winning scripts get your attention?

John: Yes, but it’s hard to pay attention to all of the festivals and contests, as there’s so many of them; like thousands. So, with that said, I typically only pay attention to the top 10 or 20 contests, like: the Nicholl, The Page, Austin Film Festival, Bluecat, Sundance Labs, and some of the Screencraft contests. There are a lot of great resources out there to help navigate all of these like Coverfly and FilmFreeway. Just make sure the contest you’re entering has industry judges reading those entries. That’s how we find you!

Would you sign a writer with only one completed script?

John: Yes, I’ve done it before and I’d probably do it again. But, it’d have to be a great script! And I mean GREAT! I’d also want to know what the path the writer is steering towards, a manager is here for their whole career, as opposed to just one script.

Do you read cold query letters?

John: I always hope that writers understand that we get A LOT of query letters, across multiple platforms, and usually the same queries on several different platforms. And, I’d like to say that I look at all of them, but I don’t. If you don’t grab me in the first few sentences or so, I’ll probably stop reading. I know, it’s a Catch-22, but time is money, and time is something that I don’t have a lot of. Also, if we request a query, we’ll get back to you if there’s interest.

John’s Important Tip: Pay attention. I recently had a writer email me the same query, for the same script, numerous times, and for a few months. I emailed him back, saying something like: Hi _____, I’ve received your many, many query emails for ______, and I greatly appreciate your persistence. But, the way this works is you email the query, and we’ll request to read the script if we’re interested. Emailing the same query numerous times, week after week, is not a good tactic! So I’ll politely pass.

If you request a script, when is it appropriate for a writer to follow up? What’s the best way for them to follow up?

John: This is a good question. If and only if the script was requested, is it appropriate to follow up with a check-in. I’d say a month is fair, but I’m sometimes a few months behind on my reading. If you don’t hear back after that first check-in, follow up one more time. Then if you still don’t hear anything back, I’d go ahead and assume there’s no interest. I know it’s frustrating to not hear anything back, but I’d hope you’d understand that we have lot going on and sometimes things get lost in our inboxes. Rest assured, if there is interest, you will hear back.

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

John: The best way to get my attention is to be original, write with passion, and be authentically yourself. The best way to rub me the wrong way – lots of typos, I’m a stickler for typos. I might make some here and there, but I’m not applying for the job. To me, your query letter/logline/script is your resume, and it should be free of typos.

What impresses you when you read a new writer?

John: Unbelievable characters! Strong female leads, characters full of need, and the tenacity of hurdling over those obstacles. I want to feel compassion for those characters. I want to feel their need, whether that’s the need to seek revenge for something, or to right the biggest of wrongs… I want to understand that need. That’s what impresses me the most. Then, if you can pull off the anti-hero that might do something bad for a good reason… you got me! I always think of Law Abiding Citizen, when Gerard Butler’s character seeks revenge for the killing of his wife and daughter… I was with him, and I wanted him to succeed in his diabolical plan.

What are you looking for?

John: Amazing writing, amazing stories! Optioned/Produced writers. Published books. Historical non-fiction. Female action. Great romcoms. Something like The Goonies.

What do you wish every new writer knew about managers?

John: We’re here to help you. Communication is key!

Kate Sharp – BELLEVUE

Kate Sharp is a literary manager at Bellevue, a prolific production and literary management company with a focus on discovering new voices and working with them to realize their ambitions within the world of film and television.

Prior to joining Bellevue, Kate was the VP of Development and Production at Occupant Entertainment, produced short-form content for Showtime, MTV, Verizon, Facebook, and U2, and was an Executive Producer on the Hulu original, Emmy-nominated TV series Behind The Mask. Her film credits include Peep World, Better Living Through Chemistry, Madame Bovary, and The Hallow.

Kate is currently producing The Burning Season (recipient of a Film Independent Producing Fellowship, a 2016 Tribeca Sloan grant, a 2018 Fast Track Sloan grant, and placement on the 2016 Black List), as well as Fleeing with André Holland attached to star and produce via his Harper Road production banner.

On the feature side, her clients’ projects have most recently appeared on the 2021 Black List and premiered at Sundance, TIFF, and Cannes.

On the TV side, her clients have written on such series as Star Trek: Picard, Genius: Aretha Franklin, Ordinary Joe, Field of Dreams, and Apple’s Puppy Place.

Kate is a graduate of New York University where she received a B.F.A. in Film and Television from the Tisch School of the Arts.

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

Kate Sharp: Probably the number of people looking for reps coupled with access. There are so many people that want to write film and TV professionally and not enough reps (and work for that matter). Access is another hurdle. In order to become repped you have to convince someone to read your material. I often struggle to get through all the material I’m presented with. If someone I know is recommending a writer I’m much more inclined to prioritize that read because at least it feels vetted and therefore possibly more worth my time.

How do most new clients come to you?

Kate: Referrals and my own outreach. I’ve found a lot of clients through the Black List website. I’ve found clients via Coverfly. A few have been cold query emails as well.

Do contest-winning scripts get your attention?

Kate: It really depends on the contest. Candidly, I pay more attention to labs, like the Sundance labs, or the Film Independent labs. A script winning a contest doesn’t necessarily mean I’ll read it. I’m very focused on finding certain types of writers right now so I’m prioritizing that over everything else.

Would you sign a writer with only one completed script?

Kate: Of course! I have before.

Do you read cold queries?

Kate: I do read cold query emails. I read everything I get, but I don’t respond all the time. It’s pretty rare that I respond. I know what I’m looking for in a client and I can gauge enough by the letter if that person might fit it.

If you request a script, how long should a writer wait to follow up?

Kate: If I don’t respond I wouldn’t recommend following up. It’s kind of like dating, if someone isn’t responding to your texts it probably means they aren’t interested.

What’s the best way for them to remind you? In this era of the virtual script stack, is it helpful to attach the requested submission as PDF again to spare you from digging for it?

Kate: If I’ve requested your material I would wait a month before following up. A simple follow-up email is fine, and attaching the script again isn’t a bad idea, although no one’s ever done that before!

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

Kate: Trying to be cute in a cold query, or flashy, or gimmicky. I want clients who are professional. Write a simple, articulate, well-composed email. Tell me about yourself. What’s your background? What’s your brand? Why do you write the types of scripts you write? What about your background influences your work? Then tell me about one script you would like to share. I’m signing a writer, not a script. 

Hopefully, we will work on lots and lots of scripts together so understanding who you are as a person and a writer is the most important thing. More often than not people email me a logline and tell me nothing about themselves. I find that so strange.

Also, please don’t continually follow up. If I don’t respond, I’m not interested. Please don’t email me every two months with a new script I need to read. If I’m not responding, I’m not interested.

What impresses you the most when you read a new writer? What qualities do you look for?

Kate: It starts with the writing. Do I like this writer’s voice? Do I connect with it? If I do, then I want to meet with you and understand who you are and what your goals are. Then there are a million other assessments I make before deciding to work with someone. It’s actually not just the quality of the writing. It’s the person. Their work ethic. Their attitude. Their ability to take a good meeting. Do they seem personable? Do they seem like someone people would want to work with? Do they seem collaborative? Are they realistic about what it takes to make it in this business? Getting a rep doesn’t mean you’ve “made it,” there’s still many years of work ahead of you.

BONUS: Find my ScriptMag article packed with pointers on how to Be A Writer We Want to Work With.

Jack Greenbaum – The ARLOOK GROUP

Jack Greenbaum heads up the New York office of The Arlook Group, overseeing literary management and development. He has cultivated a career finding new voices, particularly in overlooked places, and nurturing them into dynamic careers writing and directing. He began his career in Gersh’s motion picture literary department in Beverly Hills, proceeded into feature development first at Walt Disney Studios, and later at The Weinstein Company. In 2016, he joined Richard Arlook’s company to establish his East Coast outpost.

In addition to managing traditional screenwriters and filmmakers, he represents playwrights, authors, journalists, and comedians transitioning them into the entertainment landscape. On the producing side, he develops film and television including projects HBO Max and TriStar and recently produced the independent film Space Oddity with Kyra Sedgwick directing released in March 2023. He graduated from Occidental College and is a proud Kansas City native where he’s always happy to recommend a good barbecue spot.

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

Jack Greenbaum: Because this whole business is hard! Writers think getting signed is the solution when it’s only the beginning of the problem – a good problem but a problem nonetheless. Getting representation is hard, getting good representation is harder, getting paid to write is hardest. But as Jimmy Dugan says in A League of Their Own, “It’s supposed to be hard. If it wasn’t hard, everyone would do it. The hard is what makes it great.”

How do most new clients come to you?

Jack: All different ways. I get referrals, I seek out interesting writing in unexpected areas, I respond to the right queries – some of my most fun successes have been queries.

Do contest-winning scripts get your attention?

Jack: No. The marketplace is the only contest that matters.

Would you sign a writer with only one completed script?

Jack: Doubtful. It shows either they haven’t put in the time or they don’t have anything else to show for it.

Do you read cold query letters?

Jack: Yes. I make an effort to respond to every query letter (usually “no thank you” but still). It does often take me a while, but I believe every writer deserves the respect of a response (apologies to those I might not have).

If you request a script, how long should a writer wait to follow up?

Jack: If I’m reading your script, let me read it. I’m not opposed to a gentle nudge after a month or two, but better if you put it out of your mind and move on to finding the next rep. If I’m smart, I’ll read it. (I’m not always smart.)

By the way, if I pass on your material, don’t come back to me with something else. I want to read your best script. Define that however you like, but I see it as the writing that you think is most representative of your voice.

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

Jack: Demand that I read their work. Plead me to. I think writers become so desensitized to the hustle of finding representation they stop thinking of potential reps as people; they reach out with their 25 loglines for scripts complete with sequels and a TV bible and tell me that they’ve placed in 8 different contests I’ve never even heard of. Pick your best script, pitch it well, tell me why you as a writer are right for me, and be polite. That’s all you have to do.

BONUS: Read more on Creating The Outstanding Query Letter – Dr. Paige Turner’s Prescription for “What Not To Do” so your query gets results – not regrets!

What impresses you the most when you read a new writer? What qualities do you look for?

Jack: An impressive first 10 pages… and then the rest of it is great too. Seriously though, I think it’s about a writer being a complete storyteller: on the page, how they sell themselves, and when they’re in conversation. I need to know that I can send their script somewhere, and people are going to be intrigued to read them because of how I pitched their story and also pitched them. And then I need to know that I can put them in a room with that producer or exec and they’re going to get excited beyond their writing.

What do you wish every new writer knew about managers?

Jack: There’s no easy path to success and obtaining representation doesn’t change that. If it’s the right fit, we’re just the ones who want to help figure it out with you. There’s a scene in The West Wing where Leo McGarry tells this parable:

Jack: As managers, we’re just the first ones to jump in the hole, and by the way, they’re always changing the way out.

Daniel Seco – EMPIRICAL EVIDENCE

A former sports journalist covering U.S. Soccer, MLB, and the NBA, Daniel Seco began his Hollywood career at Resolution. He joined CAA where he worked in the motion picture literary department before venturing into literary management on the feature side at Writ Large as a coordinator/junior manager. 

A series of consulting jobs, including a stop at Netflix in its Original Film department, gave way to Seco joining Schemers Entertainment as a literary manager. Currently, Seco is a literary manager and partner at Empirical Evidence, a literary creative company founded by Derrick Eppich.

Seco is a proud graduate of the University of Maryland and the University of Florida, as well as a cancer survivor.

How do most new clients come to you?

Daniel Seco: There are several ways in which I'm able to sign new clients. On one end of the spectrum, it is referrals from agents, producers, and executives. There's also current clients referring other writers/directors, as well as introductions made by writer/director friends within the industry. I also serve as a judge for several contests and will look for potential clients that way. Furthermore, I'm constantly scouring sites like The Black List, Coverfly, and Stage 32 for up-and-coming talent as well. Finally, responding to cold queries is another way to find a potential client, as I recently signed a writer off of a query in January.

BONUS: Learn what to do when your query gets a response – the next best steps to take, whether it’s a “Yes” or a “No thank you.”

Do contest-winning scripts get your attention?

Daniel: Lesser scripts occasionally place in contests just as well-crafted scripts can fall through the cracks. I'm definitely intrigued to take a peek when something fares well in a contest like Nicholl or Austin, but not placing or a lower placing does not preclude my interest when the concept itself is intriguing.

Would you sign a writer with only one completed script?

Daniel: Yes, I've done so several times. Two to three strong scripts would be even better, but having an actionable plan with that one script can sometimes outweigh two to three very good scripts. That said, there are so many factors in play beyond what's written on the page.

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

What impresses you the most when you read a new writer? What qualities do you look for?

Daniel: Having an understanding and appreciation for how the industry works is an important characteristic. I look for writers that strive for joy in what they are doing while still being mindful of the business side of Hollywood. It's also great when a writer showcases a lively voice on the page and is willing to take risks in hopes of crafting something additive to the conversation within the genre.

What do you wish every new writer knew about managers?

Daniel: It must be a fantastic feeling to secure literary representation for the first time. There's no discounting that milestone in one's journey. That being said, it should be viewed as an important, albeit minor mile marker amidst what can hopefully evolve into a long-term career. It's so important to stay mindful of why one writes and what they aim to achieve with their work. Writers should always be considering the present and the future as they navigate their careers in tandem with a strong team supporting them.

John Zaozirny - BELLEVUE

As President of Feature Film Production and Literary Management, John Zaozirny oversees Bellevue’s film production slate and the Literary Management Team.

His clients’ writing and directing credits include Infinite, Parallel, Eli, Bad Match, Texas Chainsaw Massacre(2022), Heavy Trip, Office Uprising, Jolt, and Splinter, amongst others. His clients have written feature scripts that are set up at Warner Bros, Paramount, Fox, Lionsgate, New Line, Focus Features, Fox 2000, Sony, Universal, amongst others. In addition, his clients have had 30 scripts on the last eight Black Lists, the annual list of the best unproduced feature scripts, including Blonde Ambition, the number one script on the 2016 Black List, Headhunter, the number one script on the 2020 Black List, and Cauliflower, the number one script on the 2021 Black List.

His clients have written on TV shows such as Shantaram, FBI International, Bosch: Legacy, Mr. Robot, Training Day, Tiny Pretty Things, Hawaii Five-O, The Man In High Castle, and Hand of God, among others. He also reps the writer of the Eisner nominated comic book Little Bird.

As a producer, John’s feature film projects include Cristo (set up at Warner Bros, Black List 2010), Warden(set up at New Line), Capsule (set up at Fox, Black List 2013), Blonde Ambition (set up at Universal, Black List 2016), and Lionhunters (set up at Warner Bros, Black List 2017.) He was an executive producer on the feature films Always Watching and Parallel, and produced Eli, released by Netflix. He most recently produced Infinite, directed by Antoine Fuqua and starring Mark Wahlberg, Chiwetel Ejiofor, and Dylan O’Brien, released by Paramount Plus.

Raised in Vancouver, Canada, John is a graduate of the Tisch Film and Television program at New York University.

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

John: Because there are so many writers looking to get repped, and only so many representatives, given the amount of writing opportunities available.

How do most new clients come to you?

John: Via query letters, trusted contests, the Black List website, Coverfly, Script Pipeline, and referrals from those whose taste I trust.

BONUS: Here’s my step-by-step guide to getting an agent or a manager through building fans that spark referrals, creating what I call a “win-win-win” for everyone involved.

Do contest-winning scripts get your attention?

John: If it's from a contest I know and trust.

Would you sign a writer with only one completed script?

John: I have before and will continue to do so.

Do you read cold query letters? Do you ever respond?

John: I do read them, and I do respond to those I'm interested in.

If you ask a writer to send a script, how long should they wait to follow up?

John: If I've requested a script, I'd say at least two weeks. Though nowadays, as a new dad, I'm often taking longer to read requested scripts.

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

John: I'm looking for a talented writer who is driven and collaborative.

What do you wish every new writer knew about managers?

John: I wish people were aware that managers don't get paid until clients get paid, so while we are always passionate about clients, we're also weighing how quickly we feel we can get them paid, as that's the only way we'll get paid and be able to financially continue being a manager.

Sean Dubravac is the Co-founder of Entertainment Lab, a bicoastal Talent Management and Production company, with locations in Beverly Hills, CA and Manhattan, NY.

The company guides and develops careers of established actors, writers and directors in film, TV, theatre, commercial, print and voice overwork. The roster includes Academy Award, Emmy Award, BAFTA, GLAAD, AFI, Sundance, SXSW, Kids’ Choice Award and other festival and award contenders, nominees and winners. Sean graduated from UCLA in International Development Studies. He has been a UCLA MFA Screenwriting Program Judge since 2018, a Scriptapalooza Screenwriting Contest Judge since 2020, and a Page Turner Awards Screenwriting Contest Judge.

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

Sean Dubravac: The number of writers in the market is exceptionally high making it a competitive field. If you compare it to the number of actors in the market, you realize that on every TV series or movie that gets made, there are many more actors than writers. Also, when considering a writer, literary agents and managers often need to spend a couple of hours on each writer reading their writing samples so this makes the reps very selective when it comes to deciding which scripts they will read.

How do most new clients come to you?

Sean: We sign most new screenwriters through film festival and screenwriting contests, and other client and industry referrals. Sometimes wild submissions do get read by our staff, and we end up signing a screenwriter this way as well.

Do contest-winning scripts get your attention?

Sean: Yes, I like reading scripts that have been previously vetted by other screenwriting judges. Also, producers are more likely to request a read if the script has won one or more notable contests.

Would you sign a writer with only one completed script?

Sean: Yes, I would and I have. One script is all we need to start.

Do you read cold query letters?

Sean: Yes, I do read all of them. I would advise every writer to only include the title, genre, format, number of pages, tagline, logline (maybe synopsis) and a short bullet point writer's bio. Keep it brief and interesting.

BONUS: Writing The Killer Query Letter: Essential Pointers – What to Include and What to Omit

If you ask a writer to send you a script, how long should they wait to follow up?

Sean: I don't think writers should ever follow up unless the rep has requested the script, in which case it is ok to follow up after 1-2 weeks. Writers should also be aware that the lit world moves at a very slow pace and be patient since it takes hours to go through scripts.

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

Sean: To follow up more than twice, or to follow up only a few days after they have sent us the script. If I notice that a writer has followed up with me more than three times, I may block their email address, unfortunately. Also, extremely long and convoluted introductory emails can cause the rep to have a hard time figuring out what the writer actually wants to achieve/is asking for.

While many writers might still view landing an agent as the Holy Grail, managers may be the very best way to get your foot in the door. This is your opportunity to build an essential industry relationship with someone who will guide your career: help you identify what to write next, expose your writing to industry players, and ultimately provide the best possible path to finding an agent. And not just any agent, but most likely one they have an established working relationship with, as well as a track record for success. That is invaluable.

Look at projects that get set up these days, from reading the trades to scouring The Black List the annual roundup of industry insiders’ top not yet produced scripts. What I’ve noticed is now more than ever the amount of elements attached – agents, managers, producers, talent – it seems clear that it takes more people than ever to push the boulder uphill.

If you are considering querying any industry professional, first roll up your sleeves, and put in the work to build the industry relationships that will Flip The Odds In Your Favor when you're ready to send a query.

Want a professional opinion first? Get my Free Logline Appraisal here. Choose my comprehensive one-on-one Logline Consultation or Query Consultation here.

Managers are a great way to build your team and shape your career – it can be one of the most important and long-lasting relationships of your professional life.

While you are working toward representation, my best advice is: Be your own agent.

Here are my tips on how to shift your mindset and launch your career by hiring yourself!

Wake up and stop thinking about what you’re missing!

Open your eyes to the possibilities that happen when you put yourself out there.

Research who is buying and who is selling, show off your skills in all mediums and on social platforms, do the essential work of networking. Get inspired by real life success stories in this article about what you need to know to prove you are industry savvy and make a great first impression.

You can do it!