Reader Question: Do reps (agents & managers) hate it when writers have directing and producing ambitions?
Question from Eric Harris:
Do reps (agents & managers) hate it when writers have directing and producing ambitions?
Is this something you’ve read or heard, Eric, because generally I don’t think this is the case. I suppose there could be a concern the writer might get distracted trying to stretch into producing and/or directing, which might lead to fewer writing gigs. And, indeed, because directing requires full-time dedication to a go-project, that is time the [now] writer-director can’t be chasing writing gigs, let alone focusing on their writing. Potentially that could result in lower income, at least initially.
On the other hand, if successful, a writer-director can make more money per project which is good both for the creative and her/his reps. Meanwhile producing allows a writer to be involved in multiple projects at any given time, maximizing their chances of actually getting something greenlit.
But the bottom line here would be this: A good rep will listen to their client about what they [the client] want to do creatively with their career. If they are passionate to direct or produce, that should be a consideration in the discussions between the rep and writer. Obviously the rep will be important in strategizing how to get the writer into a position become a hyphenate, and they would, I think, be motivated to do that. After all, a happy client is a good client… assuming they’re making money!
It just so happens that Part 2 of the Screenwriters Roundtable which ran today features a discussion in which the writers lay out some of the reasons why they want to direct, and in fact, some of them are directing their own projects. Presumably their reps were actively involved in helping to make that happen.
That said, given how hot TV is right now, I would think the default Big Pitch a rep would make to a screenwriter is, “Why don’t we explore getting you into television.” There’s a lot of money on that side of the table, at least at present, and employment numbers suggest more gigs there, too [still super competitive].
I’m curious if any writers out there have ever had resistance from their reps about moving into writing-directing or writing-producing. My guess is the answer would be few and far between.
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