As has been written about many a time on this platform, I’m a huge supporter of helping writers out when I can, especially when it comes to promoting their own material.
Which is why a few years ago I created The Maximum Z Script Showcase; a twice-a-year post that lists film and television spec scripts writers have sent in with the intention of letting the rest of the world know about them. Each listing includes the basic information about each script (genre, logline, awards, etc.), as well as the writer’s email in case it piques your interest and you’d like to contact them about reading it.
So I’m proud to announce that the door is now open to submit your script to the Summer ’22 edition, slated to post on Friday, June 24th.
Interested in having yours included? Here’s all you need to do:
Email the following info about your script with the subject “Maximum Z Summer ’22 Script Showcase” here:
-Film or TV?
-Awards (if applicable) – 5 at the most
And that’s it.
Two VERY important details to keep in mind:
-DO NOT SEND THE SCRIPT!!!
Just the info listed above. Nothing else.
ONLY ONE SCRIPT PER PERSON. No exceptions.
New scripts are highly encouraged, but it’s still okay to send in one that’s been featured in a previous edition.
Submissions will be accepted until Thursday, June 23rd. After that and you’re out of luck.
A few of my writing colleagues got in touch with me this week, each seeking input on a few assorted topics.
One was asking for my thoughts on their short script.
Another asked for my advice regarding how to approach some business and legal issues of working with a director.
I offered what guidance I could for both, and both expressed their gratitude.
Similarly, I met with another writer friend who offered up some great suggestions and guidance for potential ideas regarding other avenues for my scripts.
I’m definitely not the type to go around saying “Got a problem? I’ve got the perfect solution!”; maybe more “Don’t know how much I can help, but I’m certainly willing to give it a try.” Most of the time it works out, along with the occasional totally unexpected but still positive results.
A lot of this wouldn’t be possible if I hadn’t taken the time to establish and maintain a professional relationship with each of these writers. It’s how I operate overall, and a practice I heartily recommend every writer do.
Although writing is primarily a solitary activity, that doesn’t mean you have to stay isolated. Connecting and interacting with other writers is beneficial on several levels. Any help or boost you can offer another writer is always appreciated.
Same thing for when the situation is reversed and I ask another writer for help. Got time to read my latest draft? Could you look over this query letter? You’ve worked with this person before – how did that go?
A hashtag I frequently use in social media is #WritingCommunity, because that’s exactly what it is. I may not be the most active or vocal member, and sometimes it takes me a little longer to respond than I like, but I take part or help out when possible.
I’ve enjoyed it, look forward to continuing to do so, and hope you do too.
-A friendly reminder that my book GO AHEAD AND ASK!, INTERVIEWS ABOUT SCREENWRITING (AND PIE) VOLUME ONE is now available in both print and ebook formats.
Had a really nice in-person get-to-know-you coffee chat with a writer this week, which are always a pleasant experience. I highly recommend doing them, whether you’re the inviter or the invitee. (Iced sugar-free vanilla latte with oat milk for me, please.)
I’ve written about these more than a few times, including this classic post from August 2016.
(And a friendly reminder that my book is now available)
It’s been a busy week around here, and not just in terms of writing.
I’ve had some great in-person meet-ups with three other local writers over the past couple of days. Two were first-timers, the third was someone I’ve known for a couple of years. Each one was great in its own way. This really is one of my favorite parts of networking – actually meeting somebody else and getting to know them.
Because of my work schedule, lunch or early afternoon coffee are ideal. I prefer a nice little cafe because it always makes for a better one-on-one environment: quiet, sociable, pleasant. Larger networking events, usually at bars, tend to be pretty crowded and noisy, which makes it tough to establish a solid rapport. I’m not too keen on having to continuously shout and not be entirely sure either of us can hear the other.
The first meeting usually involves the exchanging of “here’s my story” mini-bios, and then moves on to what’s going on for both parties. Over the course of about an hour, we’ll share and discuss our individual journeys as writers. Everybody’s journey is different, and I always find each one quite fascinating.
We often share many similarities: our constantly working in the hopes of eventually succeeding as a writer (or filmmaker), the noticeable excitement while discussing our latest project(s), wondering how it’ll go and how it’ll be received.
We are also allowed free rein to vent our frustration about whatever’s currently sticking in our respective craws. Bad experiences, lack of funds for a project, feeling stuck with developing a story, dealing with lousy notes, and so on. One of my new connections even stated, “It’s nice to know I’m not the only one this has happened to!”
That may be what’s at the heart of all of this: knowing you’re not the only one trying to do this, and that somebody else totally understands what it is you’re going through. Simply being able to chat about it in a casual social setting can do wonders; one might even call it therapeutic.
I also make a point of offering to help out in any capacity I can, which tends to usually be either giving script notes or suggesting potential contacts and strategies, and just about everybody is more than happy to reciprocate. Who can’t use a little help?
If you haven’t done so already, I heartily recommend reaching out and connecting with somebody in your area, especially if both of you are within close proximity to each other. Chances are they’re seeking to do the exact same thing.
You know the saying, “It’s not what you know, it’s who you know”? Well, this not only applies to breaking in, but also to helping you work your way towards that. Building up your personal network of fellow creatives is easy, won’t cost you that much (just what you’d spend on a cup of coffee or a meal), and is a definite plus for all involved.
A few weeks ago, I had the pleasure of being interviewed on the Telling The Show podcast to talk about networking as it relates to screenwriters.
Over the course of the discussion came this question: in pre-COVID times, it wasn’t uncommon for a writer to have a business card. Does a writer still need one?
I thought it was a great question, and had to really think about it.
My initial thought is probably not, especially due to how most networking is now done online, and most writers have their phone with them, so contact – or at least reaching out – can be practically instantaneous.
What good is having a card to hand out when you’re practically isolated and there’s nobody around to hand it to? These days you’re more likely to connect with somebody via a social media platform, so you’ll probably do everything via email and/or texting in order to set up meeting one-on-one.
A lot of writers now have a strong online presence – websites, blogs, an account on Youtube, Twitter, Instagram, etc., so it’s significantly easier to get in touch with somebody to strike up a conversation, or at least establish a professional relationship.
Keeping that in mind, in-person interaction is slowly coming back, so if we get to the point where you show up at a venue where you don’t know anybody, and then have some nice conversations with people, would you want to have a card to hand out, or be comfortable asking for their email address?
There are exceptions, of course. A majority of writers tend to be on the introverted side, so dealing with a real live person can be somewhat intimidating. This makes online networking easier for some people. Somebody quiet and shy in person might be more involved or outgoing on a Zoom call or on Twitter.
Just as an example, I recently tweeted a compliment to the hosts of another screenwriting podcast regarding the interview they did with a high-profile manager (I also included the manager in the tweet). Both hosts and the manager liked it, and another writer friend of mine added in his two cents, leading to a brief discussion among all of them.
I didn’t do it because I was trying to suck up to the hosts or hope the manager would offer to read something; it was because I liked what I’d heard, and wanted to let them know that. Would I have achieved the same results if this had been done in person? I’m going to go with “slightly maybe, but probably not to the same extent”.
Online interaction is one of the things I encourage for writers seeking to expand their network. Nobody’s going to get to know you if you hang back and stay quiet. Become involved. Join conversations. Just make sure to be polite, civil and respectful.
There are forums and group chats to take part in, as well as lots of screenwriting groups on Facebook. I find the smaller ones to be better because the members tend to be more experienced, more mature, and of a more rational temperament.
Networking and interacting has really changed, especially over the past few years. But one thing remains the same: online or in person, business card or no, be the kind of person you’d want to know.