Are You A Creator On Different Platforms? Devon Byers, Manager At Heroes And Villains Entertainment

“Heroes and Villains is a very specific company. They’re not interested in a shotgun approach to writer representation which is more volume over quality,” said manager Devon Byers. Heroes and Villains is a management and production company that spans the breadth of film, TV, video games, comic books and new media. They refer to their clients as creators to capture the range of platforms used to tell stories. “We focus on the creators rather than simply acting in a transactional capacity.”

Devon represents producer Brittani Nichols, producer on Abbott Elementary, Mia Katherine Iverson, executive story editor on Walker: Independence, and Courtney Miller, director on Twisted House Sitter, to name a few.

Needless to say, Byers does more selling to set projects up at various production companies. “There’s a lot of that cold calling and outreach on a daily basis.“
 
The entertainment industry has been tumultuous of late and is continually evolving according to Byers. “It feels that we’ve reached the peak of outrageous spending by studios and streamers.” Much of the spending was to get their services up and running and on the consumer map. Now that times have settled, they are more realistic in their spends without sacrificing quality. “Belts are tightening.” While the established streamers with large market shares are feeling the pinch more than others, the smaller streamers have a chance to carve their niche in the industry.

Broadening the scope of IP has created new avenues for writers to tell their stories. However, they would be misled to believe that film, television and graphic novels are easily interchangeable literary forms. Each is a highly specialized art form in its own right. “There use to be a sense that writers could turn their stories into a graphic novel as the easier option and then reverse engineer it into a film or TV series.” Moreover, the games, comic book and film/television is its own level of business with a distinct set of buyers and audiences. “You should write your story in the most appropriate platform.“
 
Writing for games differs from other forms because it’s so interactive. It’s not a passive viewing experience. “It takes a special writer to create a narrative in a game because it’s a special kind of narrative because the user is guiding the experience. However, narratives in these fields generally co-align with their overall brand.“
 
Storytelling isn’t restricted to silos, so the level of cross-pollination between platforms is going to grow. “Writers will no longer be restricted to a specific medium, and would be expected to work in a range, whether it’s a game, podcast or metaverse interaction.” This model is in response to how films and television shows are now made. “We have moved away from the 22 episodes per season of TV.“
 
“Writers can no longer rely on working on full seasons of TV shows with a full staff because they are now mini-rooms lasting for 15 weeks. Writers need to strategically supplement their incomes from multiple sources.“
 
The audience is also changing. Traditional Gun-X viewers who grew up on broadcast TV are seeing the viewing dynamics changed. “Gen-Z considers TV the fourth thing they watch after YouTube, TikTok and video games.” Devon doesn’t believe that one area is growing at the expense of the other, but rather, they are intertwining in creative ways.
 
“Their narratives feed into each other, especially for the more narrative-heavy user-defined ‘choose your own adventure’ type experiences.“
 
Aside from the evolution of the fractionated entertainment landscape, writers should figure out how to work in as many media as possible because it extends their stories to greater audiences.
 
Podcasts are also having their day as being more than alternatives to existing content. They can exist as viable art forms in their own right. “The recent Batman scripted podcast on Spotify was huge. Such podcasts are brand extensions. Not only can they create a followup discussion of a show, they can also do a scripted podcast based on a particular character.” Podcasts are increasingly being sought after as IP to adapt to film and television. This is the case especially in the true crime space making it increasingly difficult to find unique stories to adapt.
 
 “The Thing About Pam was based on Dateline. They also broke the fourth wall in the TV series because it was a plot line in it. It gave a commentary on the crime.” Byers specifically mentioned this show because it found a new way into a well-trodden genre.
 
Creators Or Screenwriters?

“Both. That’s the magic of our business. You wrote a story and you have to figure out how to monetize it.” Devon Byers believes that good writers understand both. Wanting to make a living isn’t selling out. Writing a story you don’t care about because you think it will make money is.
 
Writers must choose the best versions of themselves to present to the marketplace. Although certain types of stories best lend themselves to specific platforms, they can go wide so long as the core story remains recognizable.
 
“Writers should avoid writing purely from a market ‘chase the dragon’ standpoint. It rarely works because your pitch doesn’t come across as fresh and exciting. You can talk cross platform if your story supports it.“
 
Like most managers looking for new clients, Heroes And Villains crave that special voice that permeates every page. “That way writers claim authorship of their work rather than feeling anonymous. Writers should have a singular voice.” Screenwriters should also know their lanes and be able to execute in their chosen genres.
 
A different perspective is also attractive to Byers. “I adore when somebody comes from a different world and has a different background. If there’s some sort of interesting experience they can connect to their writing, it’s a plus.” Having clients from all walks of life makes Heroes and Villains thrive. “Figuring out how to turn that experience into a good story makes them special. The personal history to a story is important.“
 
A manager’s job isn’t to teach a writer how to write. “Our job is to make the train run smoother and on time.” Representation is increasingly becoming team-based so writers may have one person to manage each aspect of their careers. “We must always communicate because we don’t know what you don’t know,” said Byers.
 
Before seeking representation, writers should know what’s in their wheelhouse and the patterns within it as well as their professional networks. They should also have some idea of their ideal place in the industry. “Don’t go out too early. Don’t jump the gun before you’re ready.“
 
Devon believes that Abbott Elementary best defines what he’s all about. “It’s the best cross-section of why broadcast storytelling exists in terms of its reach. The heart of the story is ever-lasting allowing for many episodes.“
 
Rather than competing against each other, streaming and broadcast television seems to be enhancing each other. “It all comes down your intended audience – breadth vs specificity.” It’s a balance between altering a story’s intent to placate a segment of the audience and allowing new audiences to enter and enjoy a new story world. “Blue sky, hopeful entertainment goes back into the original purpose of broadcast television.“
 
In conclusion, Byers cautions against directly comparing where you’re at in your writing career in relation to your peers. “I don’t think it’s a good bar for your creative journey.” He also warns against the adage of “fake it till you make it.” Faking your voice or personality to succeed makes it inauthentic and reduces your connection to your work. It also creates a false perception of who you are as a screenwriter to your detriment. Your journey takes as long as it takes.
 
Writers should also maintain external hobbies outside of writing. “What are the things that bring you joy and keep you motivated and feed your creative juices?“