🎧 Audrey Knox on Query Emails, Free Resources & the 3 Films That Changed Her Life

🎙️ New Podcast Episode

Audrey Knox, author of the FREE ebook
“The Query Email Guidebook For Screenwriters”

In this episode of 3 FILMS THAT HAVE IMPACTED EVERYTHING IN YOUR ADULT LIFE, screenwriter Stuart Wright chats with former literary manager Audrey Knox about:

• Her 34-page FREE ebook “The Query Email Guidebook For Screenwriters”

• Practical insights on querying, reps, and getting read

• Her 3 transformative film picks as an adult

🎁 Get the FREE ebook

🎬 Her 3 Films That Changed Everything:

• FREAKY FRIDAY (2003)

• KILL BILL: VOL 1 (2003)

• THE DEVIL WEARS PRADA (2006)

Transcript of the interview:

Part 1: Introduction & Audrey’s Free Ebook for Screenwriters

Audrey Knox introduces The Query Email Guidebook for Screenwriters, why she wrote it, and her journey from literary manager to screenwriting advocate.

Stuart:
Welcome to another BritFlix.com podcast. My name's Stuart Wright, and today's guest is Audrey Knox. She's been working in Hollywood for 14 years and is committed to pulling back the curtain on the craft and business of screenwriting for both new and working screenwriters. She offers a number of courses, which you can find on her website. I'll include a link in the show notes, along with links for consultations, portfolio reviews, and mentorship. Anyone who follows Audrey on LinkedIn knows that commitment is real—she shares a lot of valuable free advice through her newsletter.

Today, we're going to discuss her 35-page free booklet, How to Query Literary Managers for Your Screenplay — The Query Email Guidebook for Screenwriters by Audrey Knox.

Welcome to the show, Audrey.

Audrey:
Thank you so much for having me. Yes, when I wrote the guidebook, I was working as a literary manager at a company called Cartel Entertainment. That company rebranded as of December last year—they’re now called Evoke Entertainment. So if you ever see Evoke, that’s the same team as Cartel, just under a new name.

Also, as of December last year, I no longer work as a manager. I’ve pivoted to full-time writing. I also do consulting, continue teaching, and have started an online class and community for screenwriters. We guide writers from the beginning stages all the way through to completing a feature screenplay in eight weeks. I still keep in touch with everyone from my management days, and we can definitely talk about that if it's helpful. I’ve got 10 years of experience in management, and even though it’s no longer my full-time job, I’m still very much in the conversation.

Stuart:
Fantastic. That's a very exciting transition. And we’ll also be discussing three films that have impacted everything in your adult life. Does that sound like what you signed up for?

Audrey:
It does! This all aligns with our email conversation, and I’m feeling really good about it.

Stuart:
Great. The title and subtitle of your guidebook seem pretty self-explanatory, but could you give a quick summary of what it's really about?

Audrey:
Sure. I started at Cartel in 2016, became a junior manager in 2018, and was promoted to full-time manager in 2020. During that time, I’d have regular conversations with writers—whether friends, people at panels, or during roundtables—and I kept hearing the same questions over and over:

• How do I get a manager?

• What does a manager look for in a portfolio?

• What should I include in a query email?

• How do I get in front of literary managers?

• I've won some competitions—now what?

I was giving the same answers again and again, so I thought, “Why not compile all this into a single document that could reach more people?” That way, I wouldn’t need to show up at every panel or answer each email one by one. I just wrote down everything I always said.

On top of that, as a manager, I received hundreds—maybe thousands—of query emails. I got a few every day, dozens each week. I responded to very few, read even fewer, but I did read some. I even met with some writers who reached out through queries—and I signed one of them.

That writer went on to build a career in feature writing. We got her first TV staffing job, and she’s still working today. So yes, it’s rare, but it’s possible. And I’m not the only manager who signed someone from a query that turned into a real career.

---

Part 2: What Makes a Query Letter Work (and Why Most Don’t)

Audrey shares insights from the front lines of reading query emails—what grabs attention, what doesn’t, and how writers can stand out in a crowded inbox.

Audrey:
If you do the math on the odds of that happening—from receiving thousands of emails to signing just one person—it’s pretty slim. But I’m certainly not the only manager at Cartel who signed someone from a query email that went on to have a thriving career. And I’m definitely not the only manager in the industry who’s done it.

One thing I noticed was the huge difference between emails I was excited to respond to and ones that clearly came from someone who didn’t know what they were doing. There’s a clear set of things you can and should include in a query email to make managers more receptive to reading your script.

Now, even if your logline isn’t perfect, or you don’t have the exact background they’re looking for, or the subject doesn’t pique their interest—it could still be a personality fit issue, or their slate might be too full. There are all kinds of reasons a query might not get a response, even if it’s well done.

But 90% of writers aren’t even at that baseline. I’ve gotten emails that are long ramblings with a full bio, a synopsis of the movie—things that might’ve been interesting, but they were so overwhelming I didn’t want to take the time to parse them. And I’ve also received emails that just say, “Hello, I need an agent. Can you help me?” And… no, not if that’s your approach. You have to at least do some Googling.

That’s part of why I created the guide—to make sure that if someone does look for advice, it’s there. I wanted to remove the excuse of, “I didn’t know what to do.” If I put this information out consistently, then people know what to do. Whether they apply it is up to them.

Stuart:
Yeah, absolutely. I’m kind of a testament to your advice in a way. I didn’t get a manager or an agent, but I did get reads from producers after using your format. I sent about 40 targeted emails and got four reads. That’s not a bad return, as far as I understand the odds. Two of them were rejections, but they opened up dialogue. That’s better than nothing.

Audrey:
Exactly, yeah. For cold outreach—emailing people you don’t know—four out of forty is a 10% return rate. That’s actually not bad. So hats off to you. This is me giving a full endorsement to the process. It works. I’ve heard from so many people who were just getting silence until they changed how they structured their queries. And when they used this format, they started getting traction.

---

Part 3: The Power of Personalization in Querying

We dive into the importance of personalized emails, how to make a connection with a rep, and why generic blasts rarely work.

Stuart:
For our listeners—and I know you cover this in the guidebook—could you briefly explain the difference between a literary manager and an agent? I know there's some overlap, but they're definitely distinct roles, right?

Audrey:
There’s a lot of overlap, and honestly, I think there are more similarities than differences these days. In the past two or three years, we’ve seen a major shift—many agents have left their jobs or been laid off and have become managers instead.

So, let’s talk about the official differences, but I’ll start with the big-picture advice: Don't get too caught up in whether someone is an agent or a manager. At the end of the day, it comes down to whether you click with them professionally—can they be a good business advisor and collaborator? Do they specialize in the types of jobs and opportunities you’re looking for?

That said, here are the distinctions:

• In California, agents are required to be licensed to represent talent. They’re legally allowed to procure work and negotiate deals.

• Managers are not legally allowed to do either—but in practice, many do.

• Managers can be producers. Agents cannot produce.

A few years ago, some big agencies created their own studios. That led to a major dispute with the Writers Guild, where all writers were told to fire their agents en masse. That eventually got resolved. Those agencies spun off their studios into separate entities, and writers went back to their agents. But that’s part of the blurred line—managers still have producing privileges, and agents don’t.

There are also “vibes-based” differences between the two:

• Agents typically have bigger rosters—30, 40, even 50 clients. Their companies are larger, so they tend to give less one-on-one attention but have more reach. They're focused on getting your work in front of as many people as possible.

• They also have a reputation for being very business-focused—getting you jobs quickly, making money, pushing deals.

Both agents and managers take 10% of what you earn, so you don’t pay them upfront. But once they start getting you work, you owe them a percentage of your income.

Now, managers are often seen as more creatively focused and more individually dedicated to their clients. Their rosters are smaller—maybe 12 to 20 clients—so they can give more personal attention. That’s why most writers tend to sign with a manager first. Managers are often more interested in developing your work, shaping your long-term goals, and building your career step by step.

Yes, that means packaging your script, finding producers, and pitching you for jobs. But it also means talking through your career choices and being the person you turn to for moral and emotional support.

Of course, there are managers who act very agent-like—just submitting, calling, hustling—and there are agents who are much more manager-like, helping with development and long-term planning. So again, it comes down to the individual.

---

Part 4: Mistakes Writers Make & What to Do Instead

Audrey talks about common pitfalls in query letters and what writers often get wrong when reaching out to managers.

Audrey:
Most likely, you'll sign with a manager before you sign with an agent. Managers tend to take a more active interest in developing you as a person and a writer. Yes, they’ll package your script, find producers, and put you up for jobs. But they’re also the person you turn to for moral and emotional support. You’ll often ask them what path to take next in your career. Managers are known for being more invested in your long-term growth than just short-term wins.

A manager is also more likely to be the person you bring an early draft to—someone willing to give you valuable notes and development help. But like I said earlier, some managers act more like agents: they’re focused on sending material out and rolling calls, not reading multiple drafts. And some agents behave more like managers, focused on development and relationships. It really depends on the person.

Stuart:
Brilliant. That’s a really clear summary of the distinction. So let’s say one of our listeners lands a manager. You’ve been in that role—and now you're a screenwriter too—what do you think makes a screenwriter a good client? What should they be doing to support that relationship?

Audrey:
Good question. I’ll assume the writer already has a strong portfolio—maybe two to five scripts—and the manager is excited about them and ready to build a strategy to get those scripts out into the industry.

Here’s what you need to do to be a good client and keep that manager excited about working with you:

First, keep writing. I know that sounds obvious, but a lot of writers stop creating new material once they’ve signed. But you need to generate new work to maintain momentum. Managers are most excited when they first sign you—but like any relationship, that enthusiasm naturally fades over time. Writing new, exciting material is how you keep that energy going.

Second, if your manager is already sending your script out, don’t constantly ask them to send it to more people. That can be really frustrating. If you’re not getting enough meetings, one of two things is probably happening:

1. Your manager already sent it out widely, but it didn’t generate interest. That’s not their fault—executives just didn’t respond to the material.

Your manager sent it to a handful of people, got rejections, and lost some enthusiasm. They’ve quietly deprioritized it because they don’t think it’ll get traction.

---

Part 5: How to Find Reps (Without Burning Bridges)

We cover research strategies, mindset tips, and practical advice for writers looking for representation without access.

Audrey:
Sometimes, if your script isn’t getting traction, it slides to the bottom of your manager’s to-do list. They’re not motivated to keep pushing it if they don’t think it’ll result in meetings.

There’s also a third possibility: your manager just isn’t good at their job—in which case, fire them. But assuming they are competent, and either the material isn’t hitting or they’ve lost interest, the best thing you can do is write something new that reignites their enthusiasm. When you bring them something fresh that excites them, suddenly they’re ready to take it out again.

Conversely, if your script is getting you meetings, those execs will almost always ask, “What else do you have?” You need to be ready to talk about what you're writing next. Whether your current script sells or not, you're going to need another project to follow up with—so having that habit of continually generating new material is crucial.

But here’s the thing: don’t overwhelm your rep either. Too much new material lowers quality and creates a backlog. One to two strong new scripts per year is ideal. More than that—three or more—and it's too much for your manager to handle, especially given how long execs take to read (sometimes weeks or months).

Now, when your manager does get you meetings, show up prepared. Be on time, have a great conversation, leave a positive impression. When your manager checks in with that exec afterward, they should hear only good things. Even better? Turn that meeting into a job.

Maybe during the meeting, the exec mentions they're looking for writers on a specific project. You take notes, go home, come up with a take, and bring it to your manager: “Hey, I have a pitch for that project—can you set up a follow-up so I can pitch it?”

There’s a skill to making people like you in a meeting—and a whole separate skill to turning that goodwill into paid work. If you can do both consistently, you’ll be the writer your manager wants to send out more than anyone else, because you get results.

And here’s the third piece: follow up. If you connect with an exec, follow up with them directly every 6 to 12 months. Stay on their radar. Keep them updated. Build a real relationship.

Don’t rely solely on your manager to keep those doors open. Use the opportunities they set up for you as a launchpad to expand your own network. That’s how careers are built.

---

Part 6: The Bigger Picture — Building a Writing Career

Audrey discusses what reps are really looking for beyond the query, and how a single good script isn’t enough to build a sustainable career.

Audrey:
You shouldn't rely entirely on your manager to follow up or keep you on people’s radars. Use the meetings they set up as a springboard to build and strengthen your own professional network.

Because at the end of the day—even if you have a fantastic manager who’s well-connected, hardworking, smart, and driven—you’ll likely get hired by people you already know, or from opportunities you generate yourself. Especially early in your career, like getting staffed or getting a project into development, it's usually going to come from your own network.

Maybe your manager helps you build that network, and you continue to foster and expand it. Or maybe you hear about something from a friend or mentor, and you take initiative. You set up that meeting, tell your manager, and now they can help surround that opportunity—call the producers, the execs, the network. But you have to be active too.

This kind of interpersonal relationship building? That’s your job. And it doesn’t stop. You’ll be doing it your entire career.

Stuart:
That makes a lot of sense. What’s helpful for writers to understand is that a manager isn’t a boss—it’s not an employee-boss relationship. They’re someone helping guide you along a path that you decide together. You’re working in partnership. And then opportunities show up along that journey, as long as you're in the room and ready.

Audrey:
Exactly.

Stuart:
We should tell people—how can they get a copy of How to Query Literary Managers for Your Screenplay?

Audrey:
Oh, yes. It’s free! You can download the guide directly from howtogetamanager.com. Super easy.

Stuart:
Perfect. I’ll include a link in the show notes. Thanks so much for walking us through the guide and for all the additional insights you shared.

---

🎥 3 Films That Have Impacted Everything in Audrey Knox’s Adult Life

Stuart:
We shall now move into the three films that have impacted everything in your adult life.

Audrey:
Yes—everything in my adult life! Oh my goodness. I selected these three films because they really shaped my decision to go into this industry and career in the first place.

And it’s funny—when I was putting together the syllabus for the class I’m teaching, Screenwriter Brunch Club, I noticed a similar pattern. Each week, I give the writers two film options—they watch one and read the script. I usually pair a lighthearted comedy with a more serious drama.

When I made my first draft of the syllabus, I looked at it and thought, “Oh wow. You can totally tell I’m a millennial white woman from my picks.” So I had to go back and intentionally add more diversity—protagonists of different backgrounds and films from other decades.

The three films I picked for this podcast are definitely reflective of who I am, where I came from, and when I was born. But that seems to be a common thread with your guests, right?

Stuart:
Absolutely. It’s very common—and that’s the point. I went with a grander title, but really, I could’ve called it “Three Films That Hold the Fondest Memories.” But “Impact” has more pizzazz.

For anyone listening for the first time, here’s how it works: we discuss three films, each for five minutes. Every time you hear this sound [chime], we move on to the next one. Can you hear that okay?

Audrey:
Yes, I can.

Stuart:
Fantastic. First up, a live-action Disney film from 2003—a remake of the 1976 classic starring Barbara Harris and Jodie Foster. The author, Mary Rogers, considered this version the best adaptation of her novel, saying it was the first time the characters felt real despite the magical premise.

It’s the story of Tessa and her daughter Anna, who do not get along. After a freak incident, they switch bodies and are forced to live each other’s lives. Starring Jamie Lee Curtis and Lindsay Lohan—of course, we’re talking about Freaky Friday.

Tell us, Audrey—what fond memories does this film hold for you?

Audrey:
When this movie came out, I was already a fan of the franchise. As a kid, I had read the novel and watched the original film. So I came into this as one of those nerdy kids who would say, “The book is better than the movie.”

But I adored Freaky Friday. Because of my age, Lindsay Lohan was a huge idol of mine. I loved Confessions of a Teenage Drama Queen, Mean Girls—and this was really my introduction to how fabulous she was.

Audrey:
It was great to see—it was also my introduction to Jamie Lee Curtis as an actress. And then watching where she’s gone since then… I feel like she became one of my "movie moms" because of this film.

I adored the Freaky Friday soundtrack as a kid. I listened to it constantly. Every song brings me back to a simpler time.

Structurally, I think the film holds up about 95%. But there’s one part—the inciting incident—that doesn’t age well. The racial stereotypes in that moment are completely unnecessary and feel really cringey watching it now, in 2025. The original book and movie didn’t even have a magical explanation for the switch—it just happened. And I think that worked better.

As a writer, I love high-concept comedies. I adore Groundhog Day, Bruce Almighty—any movie where magic causes the character to go through a comedic transformation. But in most of these films, including Freaky Friday, the audience doesn’t care how the magic works. What matters is what happens next. The emotional and relational consequences.

And this one really delivers on that. The mother-daughter relationship feels authentic. Each of them goes on a real arc, learning to empathize with the other once they’re literally in each other’s shoes. It’s fantastic. And it’s funny! The comedy still works.

Also, on a purely nostalgic note—this came out in the DVD era, when movies had bonus features. So you’d go to the menu, and if you didn’t hit “Play,” you’d explore behind-the-scenes content. Freaky Friday had one of those, and it showed footage of the production. Everyone looked like they were having so much fun.

Looking back now, I realize it was staged—they knew they were being filmed. But at the time, I was a gullible kid. I thought, “Wow, making movies must be delightful!”

That was one of the first behind-the-scenes features that really impacted me. It made me think I would love working in this world. I always knew I wanted to be a writer, but that was one of the first times I was seduced by the filmmaking industry as a whole. I don’t actually spend much time on set now, and production itself doesn’t interest me as much as writing—but Freaky Friday was the movie that first pulled me into the idea of being part of this business.

Stuart:
Fantastic. Okay, moving on to number two. It’s from 2003. Quentin Tarantino’s first feature in six years, released as Volume One of a two-part saga. Starring Uma Thurman, Lucy Liu, and Vivica A. Fox. I’m talking, of course, about Kill Bill: Volume 1. What a pivot.

Audrey:
Yeah, I know—very different movie!

I don’t know if this film would’ve impacted me quite so much if I hadn’t watched it at such a formative age. I have one older brother—he’s this cool, edgy, artsy film guy—and I really wanted to be like him growing up. He introduced me to Kill Bill when I was maybe 11 or 12… definitely too young to be watching it. But it blew my mind.

It was the first time I watched a movie and thought, “Wait—people make these.” Like, there’s a person—Quentin Tarantino—who made all these very intentional choices. I could see all the artistic influences. I recognized shots, music cues, and stylistic flourishes from other things I’d seen, but this was the first time I saw them fully refined. This was the polished, stylized version. And I thought, You can just do that? You can take a movie and make it entirely your own?

It was also my introduction to Uma Thurman. I was just obsessed with her. Obsessed with the fact that this was a movie about a woman seeking revenge on the people who hurt her—especially the men. Obviously, in hindsight, there are some problematic things in the film. There’s a lot of violence that might be unnecessary. But I was 11, and to me, it was the coolest thing I’d ever seen.

Audrey:
It’s funny—I also watched Kill Bill: Volume 2, but it didn’t stick with me the way Volume 1 did. I think it’s just a little slower. And when I was 11, I wasn’t watching things for deep emotional character arcs—I was watching for the cool. So Volume 1 made a huge impression on me.

After that, I became a total film kid. I started watching all the Tarantino movies—Pulp Fiction, Reservoir Dogs. And I got into a lot of movies that were clearly made by people who had a strong voice and point of view. I was hooked.

Stuart:
Yeah, and now we pivot again—this time to something quite different. It’s based on a novel, from 2006. A young aspiring journalist lands her dream job at a high-end fashion magazine, but quickly discovers that working for the powerful and ruthless editor-in-chief isn’t as glamorous as it seems. Based loosely on the real experiences of the author when working for Anna Wintour, I am talking about The Devil Wears Prada. Take it away.

Audrey:
Yes! So I was a little older when I saw this. I saw it in theaters, and I want to say—it was the first time I saw a depiction of female ambition that was allowed to be messy.

The movie doesn’t portray Miranda Priestly—Meryl Streep’s character—as a purely good person. But it also doesn’t make her a villain. It doesn’t punish her for being powerful the way a lot of stories about powerful women tend to do.

Audrey:
It also, I think, created space for a lot of complex relationships between women in the workplace—which, again, is not something you see in a lot of movies. So often, it’s either a male-dominated environment or a catfight dynamic. This movie really dove into the nuance of how you can love and respect someone, and also be terrified of them… and also not want to become them.

And, of course, it was one of the first times I saw Anne Hathaway as a lead. She was just fantastic.

For a lot of women my age, this movie was incredibly formative. And the fashion—the clothes—were just fabulous.

I actually rewatched it recently, and it still holds up. Sure, there are things they’d probably change if it were made today. Some dated moments. But the emotional arc, the characters, the complexity—it all still feels really true.

And I actually think the ending is perfect. I know that might be a hot take—some people don’t love how it ends. But I love that it doesn’t end with her “winning.” It ends with her choosing herself. Choosing a life she actually wants.

That always gets me a little emotional. I just think it’s a beautiful ending.

So—those are my three movies.

Stuart:
Audrey, that’s been a brilliant run through your three films. I love the diversity. I love the millennial lens. I think that’s perfect. Thank you very much for giving your time on the BritFlicks podcast.

Audrey:
Thank you so much for having me. It was a pleasure.

Stuart:
And best of luck with the Screenwriter Brunch Club. That sounds amazing.

Audrey:
Thank you.

---

Britflicks Podcast is the home of 3 FILMS THAT HAVE IMPACTED EVERYTHING IN YOUR ADULT LIFE.

For the latest episode click here: https://www.britflicks.com/britflicks-podcast/

---

"3 FILMS THAT HAVE IMPACTED EVERYTHING IN YOUR ADULT LIFE" is a podcast by screenwriter Stuart Wright that explores the transformative power of cinema. From emotional masterpieces to thought-provoking classics, each episode delves into the films that have had a profound impact on our personal growth and perspective. Through engaging storytelling, critical analysis, and cultural commentary, Stuart aims to uncover the lasting influence that movies have had on his guests. Please join him on an emotional journey through the world of film and discover how just three movies can change the direction of a life, cement memories you will never forget or sometimes change how you see the world."

Credits:

Intro/Outro music is Rocking The Stew by Tokyo Dragons (⁠www.instagram.com/slomaxster/⁠)

Podcast for ⁠www.britflicks.com⁠ ⁠https://www.britflicks.com/britflicks-podcast/⁠

Written, produced and hosted by member of THE HUB Stuart Wright

@leytonrocks on twitter
@britflicks_podcast & @storiesbystuart on IG

---

Welcome to THE HUB

👉 Here’s how to be part of it:
• Subscribe to stay connected.
• Join the HUB and find your people. Click here
• Become a paid subscriber to support new initiatives and help this grow.