I have identified what I see as the top 87 most legit and worthwhile management companies currently operating, as of October 2016. Good news: I have figured all that out for you, and am offering you a current, vetted manager list that answers all of that. It doesn’t hurt if you’ve also placed very highly in major screenwriting contests, or have other extremely relevant information that sets you apart, which you can briefly mention.īut how does one know which managers to send to, which ones accept queries, and which ones are worth one’s time? There are a lot of “managers” out there who might not be.
The good news is that many of them accept queries via e-mail, and if they like an idea you send them (a logline and synopsis of a couple paragraphs), they will ask to read the script. (It’s similar to the service consultants like me offer, to writers who don’t yet have a manager.) Mostly, they will help you get your work to a place where it has its best chance to sell or get you hired as a writer on a project. Managers also help you market your work, more informally, and sometimes will produce it, as well, which agents can’t do. Agents tend to not have the time for that, and are more about selling something that is already “there” - and are in a better position to do the selling (and negotiating of deals for you). They will work with you on your ideas, outlines and scripts, giving notes over multiple rewrites. What’s the difference? Managers have fewer clients, and are more hands on. One generally has to get a manager first, to land an agent. It used to be signing with an agent, but most agents today aren’t looking at unrepresented writers. Some of this high-octane drama was lost in the screen translation, which is a shame, since the script is as good as it gets.The first concrete step in any screenwriter’s career these days tends to be signing with a manager.
In one instance he 'trades up' for superstar Bo Callahan, sacrificing his team's first round picks for the next four years, and then doubts whether Callahan is the man for the team after all.ĭraft Day reads like it's set in a warzone, and shines a light on the frenzied backstairs machinations that besets the NFL on transfer day. Sonny Jnr is hit with setback after setback he's a laughing stock, the players are against him, the fans are against him, he's being outmanoeuvred by rival clubs, he's forced to take wildly risky chances on superstar players.
The reason Draft Day works so well as a script is it follows one of the central tenets of screenwriting which is, 'thou shalt make things as hard as possible for your protagonist.'. SummitĮverything that can go wrong does go wrong for our poor beleaguered coach, Sonny Weaver Jnr, general manager of the declining Buffalo Bills and son to the beloved Sonny Weaver, the talismanic icon of the Buffalo's, whom Sonny Jnr fired-talk about a gutsy call! Worse, Sonny's dad's just died today, which coincides with the day all hell breaks loose on the trading floor that is the drafting system of NFL-in short, it's a tough day for Sonny Jnr to navigate. Everything happened at a million miles an hour in this script, every decision was made in relation to a ticking clock, the frantic backroom panic was visceral and credible. Its focus on deadline day was a novel approach to the sports drama genre, imbuing the script with an immediacy and urgency we hadn't seen before. The story of a single hectic day, the eponymous Draft Day of the NFL, was a surprise hit in the screenwriting community, indeed, becoming the number one script of 2012's Black List, a listing of the best unproduced screenplays of the year.
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