Six Things Every Writer Should Know About Producers

Written by Producer & TMS Mentor, Jonathan Hogue

Producers can seem mysterious.

I get it - I am one.

Producing is one of the few careers in theatre that isn't widely taught, and there are very few mainstream cultural reference points (other than, of course, Mel Brooks) that accurately capture what producers actually do. Most people know two things about producers:

• We look for shows to produce.
• We raise money. Lots of it.

So when an early-career writer connects with a producer - whether through a cold pitch or a casual industry meeting - it can be difficult to know what that producer is actually looking for. Having been on both sides of the table as both a producer and a writer, here are six things I wish every writer and creative understood about producers.

1. Producers have access to money - but it usually isn't their own.

Yes, some producers come into the industry independently wealthy. Some are willing to invest their own money to get a project off the ground.

But many aren't.

In fact, a surprising number of producers - even on Broadway - have day jobs or side hustles that pay the bills. Most producers finance productions by cultivating relationships with investors and co-producers rather than writing the checks themselves. The value of a good producer isn't just in having money; it's knowing how to assemble the people who do.

Which brings me to my next point...

2. Producers usually don't make money until a show recoups.

This is one of the biggest misconceptions in the industry - that producers get rich while the hardworking company barely scrapes by.

Imagine a Broadway show grosses $1 million in a week before it has recouped its investment. After weekly operating expenses - cast and crew salaries, theatre rent, marketing, royalties, and everything else - any remaining profit (which on a big musical is likely less than $100k from a $1 million weekly gross) goes entirely to investors until they've earned back their original investment.

That means a show can run for months, gross millions of dollars, and still pay nothing to most producers.

Most Broadway productions these days can have anywhere from 30-60 producers above the title. So yes, if the show closes before recoupment, almost all of those producers will have earned exactly $0 from their work.*

Of course, if a show recoups and becomes a long-running success - with national tours, international productions, licensing, and future life beyond Broadway - that's when producers can earn meaningful profits. Their initial hard work is a gamble, hoping they strike gold.

But those shows are exceptionally rare. Most producers spend five to ten years developing a project before seeing a single dollar in return. 

*Small caveat: the lead producers who actively manage the production week after week (typically four or fewer people) usually receive a modest royalty or office fee simply to cover the costs of running the production - but nothing extravagant, as lead producers ultimately want to return as much profit as they can to investors to hit recoupment as quick as possible. 

3. Producers are artists too.

The best producers aren't just money raisers, but active creative collaborators.

They care deeply about the work they're putting into the world and about the artistic identity they're building through the projects they choose.

Good producers want to be in conversation with writers. They want to wrestle with the material, ask difficult questions, and help make the show the strongest version of itself. That means their creative notes are often worth taking seriously.

In many ways, producers can serve as excellent (and free) dramaturgs. They bring an outside perspective that's difficult for writers to have about their own work, and they're often especially good at interpreting audience responses during readings, workshops, and previews to identify where further development is needed.

4. Producers say "no" all the time - and it's rarely personal.

Producers are pitched constantly. Scripts, reading invitations, pitch decks, and recommendation emails can arrive every day, often in overwhelming quantities. Many producers hire readers or assistants simply to help manage the volume.

When a producer passes on your project, it doesn't necessarily mean they don't believe in it.

Maybe they're already juggling four productions. Maybe your show overlaps with another project they're developing. Maybe they love the material but don't feel they're the right person to represent it.

Like the audition process for directors and actors, most producer decisions come down to timing, bandwidth, strategy, or circumstances outside the writer's control.

So keep pitching. Don't let one "no" convince you the project isn't viable. The right producer may simply not have read it yet.

5. Your producer should become one of your closest collaborators.

Look for a producer who passionately loves your show. Find someone whose vision aligns with yours, whose enthusiasm is infectious, and whose ideas make the work stronger.

Just as importantly, find someone you actually enjoy working with - someone who communicates clearly, treats people respectfully, and earns your trust.

You're handing over something you've spent years creating. Don't rush that relationship.

Someone may promise they can raise the money, but that doesn't necessarily mean they know how to develop, manage, and protect the project over the long term. Take the time to get to know each other before signing an option agreement.

6. Build relationships before you need something.

This may be the most important advice of all.

Get to know producers without trying to pitch them immediately.

Go to the same shows. Grab coffee. Stay in touch. Celebrate each other's successes, both in the industry and out. Become part of each other's artistic communities.

The strongest collaborations often grow out of developed relationships rather than cold introductions. In fact, most of my own projects have come from years of working alongside friends and colleagues before there was ever a pitch involved.

Producers come to theatre for the same reason writers do: to find community, purpose, and the opportunity to bring meaningful stories into the world.

And despite our mysterious reputation, we genuinely enjoy being friends with artists, too.