In this episode, which was recorded in November of 2018, literary manager Evan Lewis of Stagecoach Entertainment joins the podcast to discuss how he goes about helping writers find jobs; whether that be a staff position or freelance work. He also talks about the most popular trends in the TV/Film industry, the difference between an agent and a manager, and gives some advice new writers can use to get a manager. Don't forget to rate and subscribe!
Follow Courtney on Twitter: Courtneyj_media
Email: thehollywoodguide@gmail.com
In this episode, which was recorded in November of 2018, literary manager Evan Lewis of Stagecoach Entertainment joins the podcast to discuss how he goes about helping writers find jobs; whether that be a staff position or freelance work. He also talks about the most popular trends in the TV/Film industry, the difference between an agent and a manager, and gives some advice new writers can use to get a manager. Don't forget to rate and subscribe!
Follow Courtney on Twitter: Courtneyj_media
Email: thehollywoodguide@gmail.com
[inaudible].
Speaker 2:Hey guys, welcome to the Hollywood guide, a podcast designed to provide insight about the inner workings of the TV and film industry in Los Angeles. Each episode we talked to someone currently working and living in La and find out everything you need to know to navigate the entertainment capital of the world. If you're an amateur writer, actor, director, producer, etc. Then this is definitely the show for you. My name is Courtney, Jonathan[inaudible] and I'm your host. I'm a Grad student studying mass communication and actually spent this past summer working in La, so most of my guests will be people I connected with. While there for today's episode, I have another terrific guest for you guys. Evan Lewis is a literary manager at stagecoach entertainment stage. Coach is a Los Angeles based management company that represents a myriad of actors and writers currently working in the industry. Some of Evans literary clients are currently staffed on shows such as supernatural, how to get away with murder. This is us and a number of others and then I really appreciate you coming on the show today.
Speaker 3:Of course, happy to be on.
Speaker 2:I'm glad. How's your day been so far?
Speaker 3:It's good. It's good. Um, yeah, even though we're in thanks giving week, things are still pretty busy. Um, just cause you know, the industry kind of shuts down, uh, even two weeks in December, so we're just trying to raise it everything we can. Uh, all the year's still young.
Speaker 2:Oh, okay. Will you be, I'm heading out of town for Thanksgiving.
Speaker 3:Uh, no, my family is local so I haven't got a bunch of family stuff, a bunch of binge eating. Hopefully some napping catchy enough, but uh, but no. Have you traveled for it?
Speaker 2:Right. Awesome. Awesome. You get to avoid all that dreadful traffic. Um, so why don't we get started with you telling us a little bit about your background as far as I'm schooling and how you came to be a manager.
Speaker 3:Sure, sure. Um, so I was lucky enough to, um, moved to like la proper during high school. So while I didn't have immediate family in the industry, I did a lot of my friends' parents worked in the industry. So I kind of an early age, I was aware that this was a possible job you can do. You know, even in college I was interning kind of everywhere. I can everywhere from like casting to marketing to production companies, the management companies. Um, so I was able to get a pretty good overview of the industry, just run my berries, internships. Uh, I went to college back east at Wesleyan in Connecticut, which was fantastic and you know, has an amazing film program. But I was also able to kind of level that film theory and film production staff with a lot of kind of firsthand direct experience in the industry. And so the two of those I've been very helpful to me. Um, and then out of college pretty quickly, I started work at an agency. I worked my way up in the future list side purse from assistant than the coordinator, then the agent. Um, and then I kind of transitioned over to management a few years ago and I've been loving it as far as the representation stuff. I kinda liked the way we're able to both split some creative work or have some kind of business work and the two way those interact. Um, and so I feel like that's something we're able to do with managers and I really enjoy it.
Speaker 2:And what made you want to transition over from being an agent?
Speaker 3:Yeah, I mean, I'd say the biggest two things. One, you know, kind of temperamentally I've always been very hands on even if an agent. Um, and then also, you know, at most big agency that you are in a department, you're kind of expected to stay in that department. Like if you do movies, you're expected to stay in movies. Whereas I feel like as a manager, you know, you can kind of go where the, where it's best for the idea. You know, sometimes there'll be a TV show, sometimes it's a movie, sometimes you might want to start it as a piece of Ip and the back door it into a film and TV project. And so, you know, as a manager you're able to be just kind of flexible and hands on in a way that it's a little tougher to do with an agent.
Speaker 2:As a manager, what would you say normal work day looks like for you? Like what do you do on a regular basis?
Speaker 3:Yeah. Um, I mean there's kind of no typical day just cause you know, a fair amount of it is just responding to what's going on within the industry in which your clients. But I'd say it's usually some split between um, you know, uh, responding to clients either in meetings or on calls with like scripts they've written with notes or thoughts on pitches, um, you know, submitting those clients to try and get them meeting or jobs, um, you know, meals or called with executives to find out their needs and what they're looking for. And then just kind of searching out potential projects slash IEP. Uh, and then I would also say looking for potential clients,
Speaker 2:how many clients do you have right now and what are some of the things you do to help your clients?
Speaker 3:So we keep our list pretty small. Um, you know, probably the biggest difference between agents and managers that agents tend to have a larger number of clients, whereas managers tend to have fewer but be a little more focused on them. Um, you know, we keep our list small because we do really do the full job. Uh, you know, we tailor it a little bit to which each client, but it's usually some combination of uh, development work, uh, you know, coaching them for meetings and jobs. Um, and then also, you know, just trying to get them those meetings and jobs. And then also, like I said, kind of scouting dap. So it's kind of, um, and also, you know, looking at the business end and help him with that particularly is how it connects to the creative work. Um, so yeah, once again, the day to day 10 a challenge changes. But you know, there's some people who just do development or other people who are very, just kind of focused on the dead end jobs. And when we tried to do at all,
Speaker 2:how do you guys typically go about finding writers represent? Like, can you take me through the process you guys usually go to go through to find an sign writers?
Speaker 3:Sure. Um, I mean, I am a big fan of just because we're a collaborative industry and particularly since so much of the growth right now is it TV and TV as a specially collaborative, um, that you need to be not only good on the page, but you need to be someone who's good in the room and good at kind of interacting and collaborating with other creatives. You know, if you're in a writer's room, you're potentially in that room for 14 hours a day, which can sometimes be a very different skillset than being the type of person who is good in their corner writing. Um, and so referrals your show that not only has someone else read and liked your material, but you've met that person and then that person is somehow connected to us and somehow in the industry. So that kind of answers a lot of the initial questions we have. Um, just because, you know, frankly, there sometimes people who are good at writing scripts but you don't know how much time they had to do that and they could, you know, be off somewhere having a day job and you know, let's say we send it to someone and that person loved it and wanted to be with them and they're like, oh, I'm not no aim for like three months. There's not a lot of kind of job getting me can do with that. So I'm very big on referrals. Um, you know, usually it starts by reading a sample or two. If we like that, we'll train, read at least one other sample just to kind of get the range of the client's voice. Um, you know, once again, I'm a big fan of, you know, a bunch of different filmmakers and writers and directors and people like that. And so, you know, I don't, I'm not necessarily looking for someone who's having into one particular genre so much as there is like a clear voice and it's clear what like that voice could do in the industry. So as much as you're a fan of like Steven Spielberg or Martin Scorsese, like they make very different movies, but it's also very clear what a Spielberg or Scorsese movie is. And so with that in mind, I think it's just trying to pinpoint that voice, um, you know, and what types of jobs that can be right for. And then after that usually meet with them. Sometimes there's even a follow up reading or follow up call saying like, Hey, you know, we had great meetings with you. This is kind of our plan for your career. Does that sound good to you? You know, do you have any thoughts on that too? And then if we work with them then kind of take it from there. But it's usually, uh, like I said, a couple of different things that we read a samples and then at least one meeting sometimes more.
Speaker 2:And would you say that a writer that has a unique voices probably most likely to stand out?
Speaker 3:Yeah, I mean, once again, the beauty of living in a industry of 550 shows as you could have a very specific voice. And say, be right for you, dozens of thing. Um, and also if you're competing against literally hundreds of other people, it's better to be very right for a handful of things have been kind of right for everything. Um, and so yeah, once again, you know, ideally you want a little flexibility in that voice, but I think, um, within that voice yet, they're very good to be very specific and memorable, uh, particularly because early on, so much of the job is just getting remembered and sticking in people's mind.
Speaker 2:Anything else that might make a writer standout?
Speaker 3:Um, yeah, I mean, like I said, it's usually some combination of how they are in the page, how they are in the room, their ideas, and then kind of their networking. Um, and, but those can mean a bunch of different things like good in the room. That doesn't necessarily mean you're like the biggest personality or the most charismatic person. It's just can you work with other people and can you be passionate about your ideas? Um, and like likewise, the networking. Like, it's not like I need, you know, a studio head putting it in a call on your behalf. It's just do you show the skill sets showing that you know how to do that so that if you do get into position where you can get that job, you know, not only do you get the job but can you deliver well on it to the point where that person and other people will want to hire you again. Um, so yeah, we try to think in skillsets until I'm really just looking at the, if you have those skillsets and where all those skillsets to be applied and then if you're maybe not great and one of those areas you know, are you like just a rock star and other areas cause those can kind of compensate, but you generally need some combination of those.
Speaker 2:Okay. And besides talent, what would you say are some of the qualities that make a writer easier to represent in your mind?
Speaker 3:One thing that's helpful to me is like you said, I'm a big fan of filmmakers and I would say I wish more writers were able to kind of like take a step back and think of their career, like the career for their heroes. Like once again, if you think of, you know, the people you're fans of, they've probably had a bunch of different jobs and a bunch of different genres. Um, but there's still a very clear through line and you see how they've gone from one job to another job. And I think sometimes people get overly focused on a project, like they focus on finding one perfect script. Like they've cone, like they've honed like a perfect diamond. We're really, the job is going to be, okay, the studio gave us notes. You have 48 hours to turn it around. Can you do that while incorporating their note while making it good? Um, and also, you know, frankly the industry is only going to change more and more quickly. Uh, you know, as more tech players get into it. Um, and so it's also, you know, that's why we try and think of skillsets because even if, let's say TV contracts but features expands or web contract, a web content expands, then is there something where you can kind of pivot with that? Um, so I think those are, you know, once again, those are the kind of the skillset
Speaker 2:okay. That have made you guys drop writers in the past.
Speaker 3:We tend not to do it too often. Very typically I'd say there tend to be more turnover on the agent and then on the manager and with managers, like I said, we're so involved in the day to day with clients. That one, you know, usually if there's a problem you can kind of sense it early on and try and fix it then. Um, and also you can have more direct conversations with them about how to fix it. Um, but I'd say usually it's because there's kind of a divergence between what we recommend and see for their career and what they do. Um, you know, it's always a conversation, but sometimes we'll say, hey, you know, it would really help us do our job if we had a piece of material that did x, y, or z or in this space or showed this aspect of your writing. And sometimes people just don't want to do that or they don't really want to engage or they'll go off on their own and write something and like every once in awhile it's good, but then sometimes you have to have a hard conversation of like, all right, this is interesting. I don't really know what to do with it. And then that tends to be when the ceiling here
Speaker 2:agents a little bit earlier, and I know there's some people that have both agents and managers. Can you explain a little bit about why people would have both and what the benefit of having both would be?
Speaker 3:Yeah. Um, I mean once again, everyone kind of does this job differently. But I would say generally, once again the biggest different is agents tend to have a lot more clients and tend to be more focused specifically on the job getting in the negotiation. Whereas uh, managers are kind of much more hands on involved with the day to day with your clients. Um, so I'd say that's probably the biggest difference. Um, and like I said, also agents tend to specialize in one field. So like if you're someone who does both features and TV and I don't know like stand up, like you would usually have a different agent for each of those, you would typically only have one manager or you know, if if a management companies working as a team, like it would be the same team kind of weighing in on all those different aspects of your career and making sure they all kind of line up to the same career goals. Also as the industry keeps expanding and there Uber 550 shows and more and more buyers entering the market, like it just becomes more of a team sport to cover it. Like, you know, back in the day there might've been a day where there were like six studios, but like now there's so many jobs that like the more people kind of working on your behalf and getting job the better. And also I think frankly, you know, once again, if you look at some of your favorite, uh, the people your fans of in their careers, like a lot of times there's a big kid in some structure behind them, whether it's like a producing partner or assistance they're really relying on or you know, a director, producer who they always work with and are very eager to credit. Um, once again, not to take anything away from those people, but just, you know, as these jobs get more and more demanding and there's kind of more to do, it's more about, it's important that you kind of collaborate and work with other people rather than, you know, back in the day it could be a little more individually.
Speaker 2:Right. Right. When I was in la, one of the things that I learned that getting, having an agent or a manager makes it a lot easier for you to find jobs and get gigs and things of that nature. So, uh, what would you say are some of the best ways new writers can go about getting a manager?
Speaker 3:I am less of a fan of the query letter approach just because so many of the jobs are in TV and so much of this industry is collaborative, which a query letter does it tell me in the way, you know, or referral does, even though like a referral from anyone, like I'll take it from it, you know, on a fist in or someone I met once or an intern or whatever. Um, but as far as how to get attention and sometimes those contests, I would say the Nichols, um, and needy, the Austin film fest, or the ones that are probably most prominent in the industry, a lot of one, you know, frankly, I can't really keep track of them, let alone other people in the industry. And so I don't know how much having, you know, uh, you know, some random cities, film festival, third runner up really bad. I would say it's more about, you know, right, having very engaging material and you know, just having some experience in the industry, um, you know, how things get made. Um, and also, you know, that kind of ties back to the referral. Um, and yeah, as far as kind of a game plan, if you're someone who's not living in La, I would say it's better to have a couple samples under your belt before you move out here just because even if you get a day job, a lot of times those day job can get very busy and time consuming. And often you won't have the time at the end of the day to really do the writing or creating that you would want to do. And so, um, and that's fine, but a lot of times that's good to maybe take a little time to build up your bank roll, build up your trunk of samples and then come out here just because so often when you do get out here, you'll, so you'll be so busy between various jobs and networking that you might not have as much time to write until you get home.
Speaker 2:Right. Earlier you mentioned that you're not a fan of query letters. Would you say that that's a Normandy in the industry that most managers aren't really like Thai on query letters? They would prefer recommendations.
Speaker 3:I think usually those come further. Um, I mean I think query letters are kind of from an earlier era where it was more feature driven because once again, if you are like, you can be Antarctica and if you can just write a great trip like bonds, you can fly in for one meeting yet the job and then email the rest remotely. Um, but just so much of the industry is not even just focus by collaborative. Like if you look at, you know, even a lot of the feature jobs are increasingly being run like TV shows in hiring TV talent. Like you know, they're hiring the game of Thrones guys. Did you star wars or a lot of these big franchises like marble in a lot of ways are kind of run more like TV shows where they're very collaborative, a lot's changing on the ground and it's tying into a bigger master plan and so that it's just much harder to kind of do that job if you're, particularly if you're just starting out. It's another thing if you've kind of built up your reputation in the industry, then you can do or remotely. But if you're starting out, you just gained so much more by being in Los Angeles and networking with other people.
Speaker 2:Okay. And shifting gears just a little bit, we know that there are different seasons and the TV and film industry, there's, you know, a pitching season, a staffing season. Can you talk a little bit about when the season's occur and what happens during these seasons and what you may be with typical typically advise your clients to do during these times?
Speaker 3:Yeah, I mean, so, so the biggest caveat is that's very true of broadcast season. That broadcast is the smaller and smaller part of the industry. Like if you're talking cable or streaming that year round. So there's much less of a season for that and that is a bigger chunk of the industry. Um, so do you see them, you know, not only are not as important as they used to be, but we'll probably be even less important going forward for that broadcast. Who you then, I'll try to make this income tax as I can, but the big thing everyone's kind of working backwards from is this theory was back in the day, in the fall was when the new cars would come out and there would be a bunch of car ad advertising, the new cars. And so you would want the new television shows to market those cars. And so kind of working backwards from that in the fall is when you wanted the new shows on the air. Then kind of early spring is when you would want to pick those shows up to theory. So you would need all the pilot's done by event. So kind of working backwards from that. You would want to pick up things to pilot either late December, early January and then working backwards from that. Generally kind of mid summer is when the buying flash pitch scarves. So once again it's all working backwards from this, a long deadline far in the future. But at the very roughly kind of the broadcast schedule is first it goes pitching flash mine then what we call pilot season. But it was really just, you know the production of the pilots where you're casting it and shooting the pilot. But then even after that there's the staffing to use in where they're hiring the writers for the shows. I actually got picked up to series and then you know even those can be going on at different schedules cause some shows get picked up to the fall. Frankly more often. New shows are getting picked up to spring. So sometimes though shows aren't even tapping until later. Um, so yeah, the big caveat is, you know, it's becoming increasingly year round, but I would say it's generally good to, if you're trying to have a new sample for broad task staffing teams and wait until December, January to see what the big trends and what they pick up to pilot are. Like I'd say right now what we're seeing is increasingly broadcast is getting very broadcasting. You need either heavy on procedural and then kind of this is us feel good shows. Um, I think those are the two big trends. But once again, you know, since I said earlier, it's better to be very right for a few things and then kind of right for everything. If you see, you know, a new show or two is getting picked up at the very specific, it might be better to like really quickly, right. The perfect sample for those shows rather than just some kind of generic procedural that will maybe get lost in the corner.
Speaker 2:Right. Would you say is the most in demand right now? Let's regard to TV and film.
Speaker 3:Um, I mean it really depends on the needs of this specific attires which can be different. But I'd say one of the very big trends that everything's increasingly IP focused, um, that Ip, you know, usually it's a movie or a book series or comic book series, but even picked up like academic study and tried to turn it into a procedural, it's kind of, it's less about it be the IP necessarily being the best idea in the show then is that just one, it kind of reassures the buyer that okay, someone else had said yes to this idea. There's something there. And that too if you try to market it, because once again, marketing can be millions, even hundreds of millions of dollars. There's some name recognition there and that just helps you out on that. Um, so I'd say, you know, if it's game of Thrones or Harry Potter, you have to be pretty faithful. But outside of that, you know, if there's a book and it's kind of related, there might be a play there where you find a way to take someone else's book and naked into the show or movie, you want
Speaker 2:to be staffed on specific shows. What's that process like? Like can you walk me through how you would usually, um, you know, get your client on a show? Like this is a super girl.
Speaker 3:Yeah. Um, I mean, so the first step is making sure you've got the right sample for that show. Um, and so that can be a process starting earlier. Like even right now, even our people who are on staff, we're kind of say, okay, start thinking about what your new samples is going to be and you know, are you going to be able to write it over the holidays? So first is getting the sample that's right for the shows. Um, second of all, very roughly, you know, the kind of hierarchy to go through his first producers, then studio, then network, then show runner. Uh, you know, show runners typically don't have time to meet until they're done with their pilot. And it's probably about to get picked up to series. So that's the last hurdle. And you kind of can't get in generals, we're show runners just cause they're so busy picking up their pilot. But the other meetings you can kind of be in a ahead of, um, you know, this is where the broadcast season comes in handy is because of something gets picked up to pilot. You've got, you know, six plus months to potentially get clients meetings with producers or studio and network in fact ahead of time. Um, and so you kind of start then, um, when you're ugly, you know, it can be good to do it while the pilots in production because frankly the network and studio exec, other than looking at dailies don't get quite as much to do. They do at other points in the year. Um, but a lot of it's just kind of looking ahead of time and trying to connect dots between the relationships. The clients already have the material there. Right. For, um, and then like I said, it's roughly that hierarchy though. It can go in different orders.
Speaker 2:One of the things that you told me was that one of the most important things that a writer can do as sort of convey their own unique experience to their material. Can you talk a little bit more about that and how that can kind of help push them over the edge and help them get a job?
Speaker 3:This kind of ties back where, um, I was saying it's good to have kind of self awareness of your career. Um, because particularly if you're in television, they're not buying that one script you wrote. They're buying your time and your experience and you can have a lot of experience that would be very relevant to a show that may not necessarily be reflected in the sample. So it's good to think, you know, not just life experiences and that's, you know, whether that's, you know, what part of the country you grew up in or if you have like a specialist in trainer training, like, you know, if you have a law degree that can be invaluable to getting hired on illegal show or some medical experience that getting hired on a medical show, um, to like, you know, like I said, what part of the country you grew up in. If there's a certain type of thing you're a fan of, you know, things like that weirdly can be a perfect sample for a show that you don't even know exists yet. But I think the more writers are able to kind of convey, hey, this is my skillset. This is what I can bring to our room in their sample. And the way, not just, you know, your representatives knowing you, but if an executive revenue and a pile of a hundred scripts, would they be able to say, oh, this person is right for this show, for this reason. They have this relationship or set of experiences that can be a huge asset. I think it's good. Do you think about, okay, how am I putting that into my samples in a way that can be reverse engineered?
Speaker 2:Do you have any resources to recommend to up and coming writers bucks or things of that nature?
Speaker 3:Yeah. Um, I'm a big fan of, there's a podcast called the writer's panel. If you go, particularly some of the early episodes, those are working television writers and show runners. Um, and they will be very candid about not only was this my career trajectory, but like, this is what I look for when I put a room together or, you know, things like that. So that's very helpful and it's free and you can listen to it wherever. Um, you know, as far as book, I'm not a giant fan of screenwriting books just cause it's, you know, they're more better thought of as guidelines then roles. So I would say, you know, read a couple and then kind of forget them.
Speaker 4:MMM.
Speaker 3:Weirdly, the one they liked the most, and this is going to sound insane, is um, there's an online writer called film crew hole. Um, and he has a screenwriting book. But what's good about him is he's actually worked in the industry, uh, you know, particularly on the development side. And so one can kind of evaluate a bunch of the different philosophies behind screenwriting books and we'll give you some kind of good knowledge on those. Um, but I think he also tries to broaden it out a little bit. Um, cause they think a lot of screenwriting books are built to write like one type of movie or one type of show. Whereas once again, like the very biggest people in the industry have worked on a bunch of different things until it's more okay what's right for my voice and the type of things I want to do. And that's ideally how you should be thinking of rather than thinking there's one like platonic ideal of a cop script that will give you high done a hundred shit.
Speaker 4:MMM.
Speaker 3:Yeah. I'll make this quick. But like one of the examples I always think of is like, you know, Jj Abrams to Josh Sweden where writers who, you know, kind of their start within the feature business and they were getting movies made and they were making good livings but they weren't getting the kind of creative control and creative rewards they wanted. And so they went to television kind of before TV was fancy and they use that to put themselves through film school. I'm like afraid like, like some of their very first directing credits are for these TV shows and then not in a way anyone could reverse engineer, but they were building the show running and directing skills that later on would make them perfect for big franchises and Avengers and star wars that, you know, those are much less about being the coolest action director. Then are you someone who knows how to write for insoluble, to jump into a preexisting world to not only tell an engaging story, but one that can continue for years after you. And so weirdly these guys went from kind of unloved feature writers too, like running the very biggest franchises in Hollywood. Not in a way you could reverse engineer but like half following their passion but then also half building up skills that can pay off down the line. I think that's a a good way to think about your career. Even if obviously you couldn't recreate that path to think, okay, what do I want to do, what skills do I need to build to achieve that? And then while at the same time being flexible enough so that if the industry changes, you can kind of take advantage new opportunities.
Speaker 2:And do you have any more advice for people who don't live in La boat? Would like to work in the entertainment industry and move there someday and maybe become a professional writer?
Speaker 3:Yeah, I mean like what, what I said earlier, like it's totally fine to spend some time to like really, really, you know, maybe build up your bank roll cause it can be tricky to get your first job in La. Um, and you know, but it does, I, I'd say once you do that to not put off moving to la too quickly because you do, not only are you meeting with a lot of people who will be your network, as you all kind of grow in the industry, you all help each other out. We also learn a lot, you know, frankly, if you're on a, on a set and see how that movie or show has made you realize like the process is very different than what might be conveyed in a book or Hollywood. And so knowing how to navigate that system is in some ways as important as you know, someone who's off in some cabin somewhere honing the perfect diamond, you know, that kind of on the ground learning can be just as valuable, if not more valuable than kind of the stuff you do on your own. So once again, I'm a nerd. I read a ton of bugs. I went to a very film theory film school, but then I also was sure I spend my time in Hollywood and even if things weren't, even if I wasn't working in aspect in the industry that I wanted to be my full time career, I still learned a lot. And those skills and knowledges and relationships have proven very valuable in this part of my career.
Speaker 2:Okay. And is there anything else that maybe you'd like to talk about that we didn't touch on?
Speaker 3:Yeah, I mean it's kind of just, I just reiterate the advice I gave before. Um, you know, and once again as I was saying about the screenwriting books, like these are all guidelines, like odds are your specific career. We'll pick a bunch of weird terms and like, who knows, maybe you go to Canada and start some weird VR revolution taking over the industry. Like, I'm not, things are hard and fast rules, but I do think the, you know, the combination of work ethic, working with other people, you know, being willing to learn, but also, you know, picking a point on the horizon, but then also being able to adapt with the time had served a lot of people very well.
Speaker 2:Okay, awesome. Thank you so much again for coming on the show, Evan.
Speaker 3:Yeah, my pleasure.
Speaker 2:Awesome. Hope to talk to you soon.
Speaker 3:Thanks Courtney.
Speaker 2:Once again, that was Evan Lewis, literary manager at stage coach entertainment. Now, for today's edition of stuff you should read, I'd like to recommend a book called the screenwriters guide to agents and managers. It's by a writer named John Scott Lewinsky and it goes into great detail about what it takes to get an agent or a manager to represent you. As Evan mentioned earlier, agents usually specialize in one field. So for example, if there's an accurate that's capable of acting in and in theater, they will usually have two different agents representing them in those arenas. So this book really goes in depth and describes the different types of talent agencies that exists because there are different categories for them. Believe it or not, there are boutique agencies, big house agencies, mid size agencies, so on and so forth. The same goes for management companies, and this book also talks about entertainment attorneys, their role in the industry, contracts, unions, etc. It's only 150 pages 227 if you include the appendant, the appendix section, which is very helpful. So definitely buy this book if you can. It has a treasure trove of information. Once again, if you'd like to connect with me via social media, you can find me at Courtney j underscore media. If you have any thoughts or questions, please leave a review or a comment and I'll get to it as soon as possible. Thank you so much for listening.