Literary manager/ Producer Mike Diaz is well-known around Los Angeles, having worked for prestigious companies including The Coronel Group and Principato-Young Entertainment. He currently works in the talent department at ATN representing writers and actors under Jennifer Aurianne DaRe. Diaz shared his insights into the industry as it currently relates to writers.
“DaRe is making a big push into the literary and production space.” Her background is in actor and musician representation. Diaz was hired to spearhead the literary side of the company and assist her to develop projects for the marketplace. His main focus is in the film and television space, although he has occasionally signed novelists and scripted series podcasters to his roster.
The ATN production arm is currently skewed toward the socially aware stories. “One project is about a college student with anxiety. Another is a document-series about poachers,” said Diaz.
“We’re currently looking for under and untold stories with unique voices,” he continued. ATN is developing a black comedy/ drama about miscarriages to give an indication of the type of story that Diaz responds to. “It’s a light-hearted view about a couple who have suffered a few miscarriages. It has a lot of heart and really makes a point.”
There are shifts in the industry which is dominated with risk aversion and supporting known quantities that generate returns for investors. With the abundant availability of cheaper platforms to build an audience, such as podcasting, the there are more opportunities than ever for content creators to get their work out there. If the audiences are large enough, there is a high likelihood that this testing ground will allow for a television series or film adaptation. The rise of more prominent advocacy groups for social issues has also helped spur the growth in under-represented voices.
A Writer’s Voice
A writer’s voice is more than their writing style. It could refer to a general idea, or an existing idea told in a new and exciting way. “A unique voice is a different take on a subject or a story that hasn’t been told and needs to be told to a broader audience.” Diaz looks for a powerful connection and engagement to the material before reaching out the the writer.
Like most talent managers, Mike Diaz spends large chunks of his days reading screenplays and giving notes. It includes active reading on a client’s project or submissions from recommendations or prospective clients. Aside from reading, Diaz spends considerable time to build and maintain his professional networks at production companies and studios. He also spends time nurturing the careers of his clients. “I discuss their projects, give them feedback, and offer ideas for potential projects.”
The most satisfying aspect of being a manager for Diaz is his creative involvement in his clients’ scripts. Mike has two kinds of clients – the developmental and the established. The former relates to newer writers just breaking through. Their primary goal is to sell a script or get staffed. He nurtures them and gives them notes to get their scripts to a level where they can be circulated within the industry. “If I like a sample script, I might invite them to a general meeting and ask them what other ideas they have.” Ideally, Diaz likes to see two or three additional screenplays in the same genre as their sample. That makes a writer prolific and marketable because they are capable of writing several good ideas. Industry buzz is something he wants to encourage.
Although Diaz relies heavily on referrals, he still considers query letters as a worthy source for new clients.
Newer writers looking to break in, need to write for the market and understand what people are buying. “Writers should know what is trending and what people are following in order to boost the chances of creating a sale.” They should look at what films are doing well at the box office or TV shows that rate highly. “They should look for the ones done on a lower budget that found an loyal audience.”
That said, writers should be writing the personal stories that excite them. Ideally, they should be looking for an intersection between what they want to write and what is successful at the box office.
Aside from much sought after socially relevant, LGBTIQA and BIPOC stories, ATN is looking for “thumping” thrillers and horror with an original twist around $3 – 5 million, feel good stories, big broad comedies in the $15 million budget region, and high concept sci-fi movies. Movies similar to The Wedding Crashers, and The Hangover are making a comeback.
If Mike Diaz invites a potential client to a general meeting, the first order of business is to get to know them and their writing voice. He’s already read a script and become excited about it prior to any meeting. Meetings are very conversational.
Apart from asking potential clients what other projects they have in their wheelhouse, he also wants to discuss their long-term career goals. Some writers want to work in TV and aspire to becoming a showrunner one day, while others may want to be writers for hire on multiple projects. Other writers want to be writer/director/producers and make their own material.
