Screenwriting: Making Connections

You’ve heard the phrase: it’s not what you know; it’s who you know. I’m not sure I’d agree with it. Knowing “what” is crucial for anyone to do their craft, vocation, profession, or job. However, you can have the best skills or offer the best product in the world, and if you can’t get it to the right person, anything multiplied by zero gives you zero. Knowing people who can help you is essential; in fact, it is vital. A more accurate phrase would be an almost Zen statement: you need to know; and you need to know.

Talent, skill ability, and a strong portfolio are necessary, but connections are equally important. I’ve heard instructors tell talented writers that “talent will rise.” It will, but it needs the proper environment to do that. If you’re operating outside the necessary environment, you do not have an adequate place to rise. Networking does many things. It gives you access to agents, executives, producers, and other businesspeople who rarely read scripts and certainly don’t read unsolicited ones. Networking lets you be in the company of fellow professionals who can give you introductions, mentorship, and guidance. Referrals matter. It always helps when a friend recommends you to their friend. It opens doors. Networking gives you opportunities to work with other screenwriters. Film is a collaborative medium, and that includes the writing department. For every film produced, there are numerous writers, both publicly credited and not publicly credited. Involving your name in any film opens numerous doors even if it is not a public credit. Working with other screenwriters, you can bounce your work off them. Get their critiques and comments. Learn what they liked or didn’t like about your work. Grab tips. Networking lets you know who is doing what. You’ll hear what studios and producers are looking for. You’ll hear, before the “outsiders,” what the current marketing trends are.

I’ve listed all these people who can open doors. If I were you, I would take each of the above, make an Excel spreadsheet with each of these job titles, and then start making entries, targeting who you know who might know someone, and write that someone’s name down along with the contact info (or the contact info you need to get). Then, strategically get to know these people. This is how intentional networking goes. You’re like a stalker, but this is how it works. Where do you find these people who might know someone you want to know? There are numerous places where screenwriters can hang out to make connections.

In my younger days, I hung out in New York City, Los Angeles, and Miami—all significant cities for networking. Today, I live in Nashville. Any possibilities? Plenty. And I bet there are plenty where you live, too. Plus, there are online opportunities to meet people.

Almost every larger community has a film festival. Find ones in your area and support them. Go, mix, mingle, collect cards, and network. See if your city or state has a film commission. If they do, they offer mixers. Go and mingle. Are there any writing or screenwriting associations in your area? I bet there are. Are there meetup groups? More than likely. Google “[Your City] meetup group screenwriting” or “screenwriting meetup group near [Your City].” You’ll be surprised at what you find. There are also online groups. Google and see what you find that appeals to you. There’s also social media, but I don’t find it as effective. Follow those you want to learn from, but don’t expect too much interaction from busy professionals. It’s best to hit your local groups and meet people in person.

If you live near a college, check and see if there are any filmmakers there or courses offered on filmmaking. Either way, you are among like-minded individuals. Take screenwriting and writing courses in person. Take filmmaking courses to meet the directors and producers of the future and learn more about trade and craft. Pitch your projects to these future producers and directors. These are the people who are going to be tomorrow’s film industry titans. If they produce your film, even on a low-budget platform, that’s a credit. That’s going to open doors. If you live in major centers, sometimes the university professors are adjuncts, and their real job is in the film industry. They can open doors and introduce you. Work in the industry. Many successful screenwriters started as script readers, assistants, or production assistants (PAs). It’s a great way to meet people, learn, and make money doing what you love.

In all of this, don’t forget to write. You need to bring the goods when you go to market. Write some short films, pitch those to film departments, get those produced. That gives you something for your reel. It gives you a credit. Shop your script to producers on platforms like InkTip and Coverfly. And, of course, if you have several feature scripts written and polished, always look for an agent or manager who can help open doors. Ideally, you should have two or three full screenplays ready, preferably in different genres, to get an agent. Each needs a strong logline and a compelling synopsis. Find a list of WGA signatory agencies on The Writers Guild of America (WGA) website.

Now, most importantly, nobody—nobody—likes to be used. Networking isn’t about using people. It is about creating long-term, mutually beneficial, win-win relationships. View networking as such. Give as much as you get. Offer your value to someone else, don’t just suck theirs. Be gracious. Please get to know other people, not for what they can do for you, but because they are fellow beings. If you treat people like this, with this intention, you’ll find more doors open.

In closing, no matter how good you are at networking, if you are not writing and don’t have at least one great script, the networking is for nothing. You’re a writer. Write. Sometimes, the best networking strategy is to be your best and get noticed for being a great writer. In an industry where connections are usually made via word-of-mouth, demonstrating and bringing the goods is priceless.