Jake Wagner, currently with Good Fear Film + Management, spoke to Creative Screenwriting Magazine about the current state of the film and TV industry. Jake began studying screenwriting and film while a student at the University of Michigan. He began his career as a manager at Energy Entertainment, then FilmEngine, Benderspink, and is currently Head of Management at Good Fear. Jake enjoys working with writers, who have fresh, original stories to tell. Writers who are not afraid to put in the hard work that it takes to mold an idea into a screenplay that can sell and get produced.
How does a screenwriter become someone you want to work with?
I always look for 2 things, an original voice and commercial instincts. The voice is more important though, as that is not something I can teach, whereas I can guide them to more commercial ideas and concepts. Also, they have to be hungry, humble and willing and able to take meetings in LA and generate new ideas and specs consistently. Writers write, if you’re not too busy with writing assignments, everyone should be generating something new every 6 months.
Jake Wagner
How do you decide which screenwriters to read/ sign? Do you have a preference for film or TV?
I came up as a feature guy pretty much exclusively, but am now doing more TV for all the obvious reasons (more opportunity, more networks, edgier material) and the fact that it’s all blended into just great storytelling no matter the theatrical or home experience.
I still prefer to read a feature-length screenplay from a new writer as those are still very sellable if they’re great, as opposed to original TV pilots which only a handful of sell to networks every year.
Original feature scripts just have better odds of selling.
What does a healthy agent- manager relationship look like?
I love working with agents and welcome the extra firepower and strategy. It takes a village these days! The agent and manager should always be on the same page and know what the other is doing. I do most of the early development, we both put together the sales strategy, and then we both use the hot screenplay to generate activity and opportunities.
The agent should also be someone you enjoy talking to and being around because you’re going to be talking a lot if the client gets hot. I have become good friends with a lot of my agent partners.
When they have one screenplay that is great, and ready to go out wide to producers, financiers and studio executives to sell and/or generate activity. One great script is all you need to either sell, get them up for assignment work, get on all the hot lists, or all of the above.
What should writers be doing outside meetings with their managers?
Thinking of new ideas, writing a new idea that we have vetted together. Seeing tons of movies, reading scripts that sell, reading the trades, hanging out with other writers, reading books and staying curious about the world.
What most attracts you to a project?
To get excited about a project I have to see a path to getting it sold and made. It has to be relevant as in, why now? Why does the world need this story now? It needs to be castable in an interesting way, and also have a budget that makes sense for what it can be. I gravitate more towards super commercial genres like horror, thriller, sci-fi, and action.
How much time do you spend developing a screenwriter vs trying to sell them quickly?
I always spend as much time as we need to get the script the best it can be with the screenwriter. For some writers, that’s an outline and a draft while others take multiple drafts. Once I think I’ve taken it as far as it will go, I start slipping it to producer friends for early confidential reads. If those go well I can then go wider with it. It’s not about selling anything quickly, it’s more about selling something great and introducing their work to meaningful producers, financiers and studio execs that they hopefully can work and collaborate with for many years over a long screenwriting career.
What is the typical lifespan of a manager-client relationship?
It all depends on how well it’s going. The more success, the longer it lasts. It’s like dating sometimes. A lot of people try each other out for a while and it either clicks and leads to success, or it doesn’t for whatever reason. And that’s OK, not everyone is a perfect creative match. If we get along creatively and personally, and enjoy working together and have success, I want to work with that person forever.
Michelle Henderson
How would you describe your current film and TV tastes?
There is so much great content out there, that it’s hard to keep up with everything. I feel like every week someone is telling me about a new show I should watch, and I just don’t have time to watch everything. But lately, I have been into Barry, Killing Eve, Mindhunter, Bojack Horseman, Narcos and Game Of Thrones of course.
I have really enjoyed this seasons awards screeners as well. Green Book, The Favourite, Can You Ever Forgive Me, Bohemian Rhapsody, and BlacKkKsman stood out as my favorites.
What is the current state of the industry and how can screenwriters best position themselves to be part of it?
There is a ton of new opportunity with the streaming platforms. This will open up a market for the mid-range movie again. This is the start of another content goldrush, so it’s a great time to be writing an original.
What are some of the biggest misconceptions aspiring screenwriters have about having a viable screenwriting career?
I don’t come across many people with misconceptions about it. It’s been well documented that it takes a ton of hard work before the big break, as well as afterward. Every overnight success on Deadline.com was five years in the making. You just have to want it really bad and love movies.
Where do you find new screenwriter clients?
I am always looking at contest winning scripts, film schools, the blacklist website and yes I have my circle of execs and producers who tell me when they have read something great that’s unrepped. Also talking to and building relationships with assistants is key because they are the ones reading a ton and most often the first line of defense when screenplays come in, so they are a great resource for new and undiscovered writers that have the goods.
What makes you stop reading a script submission?
I usually give a new script 10-15 pages. A lot of people call it a ‘crack’ 20 (read 20 pages). I’ve been doing this a while so If it doesn’t hook me in the first 10 I’m usually out.
How can a screenwriter stay vibrant and relevant in the marketplace?
Just read everything that sells, see as many new movies as you can, network and build relationships with other writers as well as people in the business. Go to an executives birthday party or a film festival like Sundance, you will meet 20 new people in a night.
Any closing thoughts for our readers?
Everyone in this business is looking for the next new hot script and writer. We want it bad, so if you’re talented and you believe in yourself just keep writing, because someone will find you eventually.
