Matt Dy is currently a literary manager at the Lit Entertainment Group and works with Adam Kolbrenner. Previously, he worked at Austin Film Festival (AFF) where he served as the Director of Script Competitions. Dy spoke to Creative Screenwriting Magazine about his transition to literary management.
What are the qualities of a successful manager?
A manager is only successful when the client is successful. However, “success” can be defined in many ways and isn’t primarily limited to getting a screenwriter paid (but always welcome!) Whether it be helping a client develop a script from the ground up, get staffed on a TV show, or sell a screenplay.
A successful manager is someone who has the client’s best interests in mind while staying true to the writer’s goals and the stories he/she wants to tell. Also, it’s like asking “what is the key to asuccessful marriage?” The manager-writer relationship should be built on trust, commitment, patience, and constant communication.
How does a screenwriter become someone you want to work with?
The work always comes first and then the backstory and personality of the writer. The script should feel like it’s told from a singular point of view. Regardless if it’s a low budget indie or a high concept sci-fi extravaganza, I want to come away feeling that the film or TV writer has a strong vision for the story and executed it in a distinctive and compelling way.
However, sometimes a really strong script isn’t enough to want to work with a screenwriter. When I meet with the person, I want to feel that this could be a compatible relationship – that our personalities vibe together and that our goals and vision for shaping the writer’s career are aligned. I also want to know if the person is a strong “idea generator” and has a lot of interesting and distinctive projects living inside them that we can develop together.
How do you decide which screen writers to read/ sign?
If a writer sends me a query, I’ll read the script if the person took the time to communicate all the essential information needed to convince me to read it – a strong logline for a compelling and unique story, an understanding of my role and the company and why the writer is a good fit, any accolades from competitions, and maybe some references.
It also helps if I had met the film or TV writer at some point which is why it’s important to attend events, festivals, and conferences to make connections. I find it hard to say no to reading a script from someone who I met and genuinely liked. I also reach out to all the various competitions, fellowships, and labs to get recommendations on which scripts to read.
As for signing, I take my time with it. I don’t go to bed on the first date and wait until I am absolutely sure about the writer. In addition to the quality of the work, as long as I know this is a screenwriter who takes writing seriously and treats it like their day job, I will be more inclined to sign that writer. At the end of the day, sometimes it can also be based on gut instinct.
What does a healthy manager/ client relationship look like?
It should be about constant communication and transparency. A good manager should be regularly checking in about the writer’s progress with a rewrite, giving notes, finding ideas for new projects, and looking out for new opportunities. Just like with any relationship, this one requires patience because becoming a working writer doesn’t happen overnight (possible but rare).
A successful relationship is about being on the same page both literally and figuratively.
What proportion of your clients do you sell their original scripts vs place on open writing assignments (OWA)?
Since I am a new manager, I have not reached that phase yet but I just recently signed my first client – a very talented writer who I am excited to work with. However, I can say that my focus will be more on developing and selling original material. OWAs are great opportunities but, at the end of the day, we want to help our clients get their original passion projects off the ground.
What most attracts you to a project? Idea, writing or marketabilty?
Ideally, it’s the perfect marriage of all three of those. However, the priority for me is absolutely the writing. Previously, I was the Director of Script Competitions for AFF and the mandate there was the quality of the writing first and foremost. That is still in my blood so I pay close attention to all the texture, details, and nuances in a screenplay because that is how you can identify the writer’s style and voice and how they view the world. Those are things that are singular and distinctive and can’t be taught.
How would you describe your current film and TV tastes? What is must watch material you advise your clients to watch?
I tend to gravitate towards irreverent, dark humor with heart. There is something so honest about being able to laugh about something you shouldn’t really be laughing about. I find it’s cathartic to be able to laugh through the dark moments of life. Little Miss Sunshine and Eternal Sunshine of the Spotless Mind are still among my all-time faves. Currently, I love The Good Place, Schitt’s Creek, and Killing Eve among many others.
As for clients, I would just advise for them to watch current films/shows in their wheelhouse to stay abreast of what’s out there and relevant. That and RuPaul’s Drag Race just so I can have more friends to talk about it with!
What is the current state of the industry and how can screenwriters take advantage of it?
This is an exciting time for diverse voices and they should take full advantage of all the opportunities out there – fellowships, writing labs, incubators, programs, etc.
What are some of the biggest misconceptions aspiring screenwriters have?
One of those has to be that getting a manager means their writing career is now set. It takes time to develop a career and requires a lot of patience and a helluva lot of work. Rarely can it happen overnight and it usually takes at least 2-3 years to see anything come into fruition for a project.
Where do you find new writer clients? Referral/ contests/ cold call/ query letter/ networking etc.
Since I ran a competition with thousands of annual submissions and have been exposed to many many talented writers, most of the potential clients I have been considering have come from AFF. That process has been great since I already know those screenwriters and have read their work and I’m now getting acquainted with their current scripts. When I was at AFF, I really wanted to help the writers I believed in and it’s exciting to be able to potentially do something for them now in my new role. Outside of that, I’ve been receiving referrals from producers, execs, competition directors, and other film and TV writers. Clearly I’m biased about the value of entering in competitions so I’m constantly tracking what scripts rise to the top in other prominent competitions.
What makes you stop reading a script submission?
You can often tell immediately when you’re reading a very special screenplay that is undeniable. The same can be said for a script that needs a lot of development – poor formatting, lack of visual scene descriptions, overwriting, on-the-nose dialogue, etc. Regardless, I always read enough to get a sense of the story and the writer’s voice and then make a decision if the quality warrants further consideration. What often makes me want to stop reading more than anything is when the script starts to feel derivative and predictable. I want to read a script that pops and keeps me engaged and surprised.
How can a screenwriter stay vibrant and relevant in the marketplace?
The key to staying relevant in the marketplace is to not pay too much attention to the marketplace.
While it is, of course, extremely helpful to understand what types of projects are in demand, I would never advise any writer to write exclusively for the marketplace. Don’t get me wrong, it’s fine to write for the marketplace as long as you do not lose YOU in the process. Your point of view of the world will always be your secret weapon because there is only one YOU. Also, while it’s important to always keep writing, make time to read, travel, and fill your life with new experiences. Being a writer is about telling stories about the world around us. Staying in tune with what makes us human is the best way to stay relevant.
Are you a cat or a dog person?
I’m both! I think. I had an awesome cat who unfortunately passed away but I have the sweetest dog who is my best friend so I guess that maybe makes me a dog person by default?
Any closing thoughts for our readers?
There is not a singular path to becoming a working screenwriter. Ignore any naysayers and others who think they know what the path should be. Of course, do your homework and understand the nature of the business but ultimately, figure out how you can make it work for you and the stories you want to tell.
