Seeing as how we’re in the season of giving, I thought this post from July 2019 regarding helping out other writers in multiple capacities was rather appropriate.
Enjoy.
For the most part, working towards making it as a screenwriter is a solitary effort. You’re the one who has to write the script and get it out there. It’s a tough journey, but you don’t have to go it alone.
Hence – networking.
Making that initial contact is great, but you should also strive to make it worth the other person’s while as much as you are for yourself.
Once you start to build up your own personal community of Other Writers, and those relationships gradually develop beyond the “Hi. Nice to meet you” stage, you’ll naturally seek out some help in the form of feedback – your latest draft, a query, a logline, what have you.
And that’s all well and good, but it’s equally important, if not more so, for you to return the favor. Rather than just popping up and saying “Hey, would you read my script?”, try “Hey, we’ve known each other a while, and you seem to know what you’re talking about, so would you be open to reading my script? And I’d be more than happy to reading one of yours.”
Helpful tip #1 – don’t be the person who asks for notes but isn’t willing to give them.
Helpful tip #2 – even if you don’t like what their notes say, you still need to hold up your end of the bargain and give them notes – especially if you’re the one who asked in the first place.
Sometimes the best kind of help is when it’s unexpected – either from you or from somebody you know.
A few years ago, a producer friend of a friend was looking for a certain kind of project. I didn’t have anything that met their criteria, but offered to post the listing on a few social media platforms. At least 20 writers responded. I sent their info to the producer, who then contacted a few of them (as far as I know).
What did I get out of it? Just being happy to help and the appreciation from all the writers – even the ones the producer didn’t follow up with.
I’ve also been fortunate to be on the receiving end, with friends sending me emails and messages about listings seeking scripts like mine.
A little effort really does go a long way – anything from forwarding a script or job listing to a few words of encouragement, or even offering congratulations for somebody achieving some kind of accomplishment. Don’t you like when somebody does that sort of thing for you?
As much as we’re all working towards our own individual success, we’re also part of a community; one where each member should help support the others in whatever way they can.
That little paper box full of extra cards is tucked away somewhere
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.
*Latin for “Writer, beware”. Ain’t that the truth?
Settle yourself into a comfy chair with your refreshing beverage of choice at the ready, because have I got quite a story for you. Hopefully one from which everybody can benefit.
I belong to a few screenwriting-oriented networking sites, and do what I can to engage with other members. I do what I can to be friendly, outgoing, and supportive with each connection.
Back in mid-July, I got an email from one such person. Their bio lists them as a “producer, screenwriter, and script consultant”. Would I be interested in a script swap? Despite having a few other reads already lined up, I’m always up for such a thing and agreed, telling them I’d try to get to it soon. Turns out they were in a similar situation.
They sent their script, and I sent mine. After a few days, I’d worked my way through the other projects and started in on their script.
Oh boy.
I won’t say it was awful, but I’d have to say in all honesty it simply wasn’t good. I’d also add that it made me seriously question their credentials.
Among the details:
-a passive protagonist I really didn’t care for, and who didn’t give me any reason to want to see them achieve their goal.
-a weak antagonist with a cartoonish goal
-underdeveloped story/bad structure, including several unresolved subplots and a big letdown of an ending
-unrealistic dialogue
-flat supporting characters
I pointed out what didn’t work for me and why, and offered suggestions of potential fixes. (I always make a point of never ever saying “this is how I’d do it”.) I’d estimate it was around 2 pages worth of notes, and they were free to use or ignore whatever they wanted.
I sent it out Friday afternoon.
Saturday morning, this was the email I got.
“Thanks, Paul.”
Seriously. That was it.
I came to two potential conclusions:
-I was an ignorant know-nothing boob to the nth degree with zero appreciation for their extraordinary skills (“How dare you not recognize my genius!”), and they were just saying “thanks” to be polite
-My notes were so cruel and inhuman, and if that was how we were going to play that game, then they’d be just as ruthless and grind my script into a bloody mess
Hyperbole on my part? Maybe, but check out their response again and think about what your reaction would be.
I figured it was one or the other, but all I could do now was wait (while working on other scripts, naturally).
Quick reminder – this was the end of July.
August passes. No response.
September. Still nothing. (but I did finish the outline of another script, so…yay)
Hmm. Several possibilities now.
-they still haven’t read it
-they read it, but haven’t gotten around to sending the notes
-they forgot. It happens.
-because of what I said about their script, they were deliberately not reading it OR sending the notes. To punish me, I guess?
September came to a close, and I figured I’d been patient enough.
I sent an email – “Know it’s been a while, and I’m sure you’ve been busy, but wanted to check in and see if you’ve had a chance to take a look at my script. Thanks.”
Five days later…
“Best script I ever read.”
Again, that was it.
I asked if they could elaborate. (note – this is my comedy)
Were there any parts you felt could use more work? “Nope. Perfect.”
What did you think of the characters?
“Outstanding.”
Your thoughts on the jokes?
“I was rolling on the floor laughing.”
Anybody else find this just a tad suspicious, and, oh, total and utter bullshit?
No apology. No remorse. No attempt to make amends. Just a handful of “ain’t I hilarious?” bare minimum answers.
I really wanted to say something in response. Call them out for it. Tell them what an incredibly brazen dick move that was. I even came up with several scenarios to trap them in their sinister web of lies and deceit.
But in the end, I was getting all worked up for nothing. And this person is most definitely NOT worth it. All I’d lost was two hours of reading and writing notes, as well as severing our connection on that networking site. No skin off my nose.
I can only surmise they didn’t like what I had to say, so for whatever reason, decided to not read my script, and after being asked (reminded?) to uphold their end of the deal, took it one step further and opted to not even bother.
I don’t really mind that they didn’t read the script – especially after seeing their writing “skills” in action – but if you’re going to claim you’re a “professional”, then you damned well better act like it. No matter what.
Bet they wouldn’t have done this if I’d been a paying client. Thank goodness it never came to that.
Present yourself as someone who supposedly knows what they’re doing, but then show that’s not the case, and you’re just screwing yourself. Sometimes all you’ve got going for you is your reputation, and once that’s tarnished, you might never be able to restore it.
And let me also add that YOU CAME TO ME. You wanted MY help. And this is how you react because I didn’t like your script? Too fucking bad. Is this how you’re going to treat others who make similar comments? I may not be the most talented or analytical of writers, but at least I treat everybody with respect, even when they don’t deserve it.
When we read another writer’s script, we don’t want it to just be good. We want it to be so phenomenal we can’t believe we had the privilege of being able to read it.
Notes are about the script, not the writer. Of course you’re going to take criticism personally. But you can’t. I have no idea how much work you put into it, but are you more interested in making your script better, or getting a pat on the head and told “Good job”?
I hope this little incident doesn’t deter other writers from taking part in a script swap, including with me. Schedule permitting, I’m always happy to do so. Fortunately, most of my other script-swapping experiences have been of a significantly more positive nature. This was just one of those rare negative exceptions.
Hopefully you have a strong sense of what kind of writer/note-giver the other person is, and once those scripts are swapped, definitely make sure both of you hold up your respective ends of the bargain.
Because the last thing you want is to get on a writer’s bad side.
Thanks to my ever-expanding network of savvy creative types, I get lots of chances to be on both the giving and receiving ends when it comes to reading scripts.
I consider myself extremely fortunate to be able to get exceptionally helpful notes from a lot of really talented folks. All this feedback has somehow managed to influence my writing for the better, and for that I am overflowing with gratitude.
So the least I can do when somebody asks me “Will you read my script?” or “Can I pick your brain about this idea?” is to say “Of course.”* Maybe I can offer up a few scraps of advice that might somehow work to their advantage. If anything, I can at least point out where a fix in spelling or punctuation is needed. For a script, anyway. That counts, right?
*caveat – it’s taken a lot of work spread over a long time for me to build up my network and establish connections, so I don’t mind if somebody I actually know drops me a note with such a request. If our only connection is being connected on social media and we’ve never interacted – at all, you’re little more than a total stranger to me. So heed that one word and be social. It makes a difference.
I had the pleasure of such an experience this week. I’d connected with another Bay Area creative, and we’d been trying for a while to arrange a face-to-face meeting. After much scheduling, cancelling and rescheduling, we finally made it happen.
This person had an idea for a project, wanted to talk about it, and see if I was interested in being involved. I stated at the outset that I had enough work on my own for now, but would be open to giving notes – time permitting.
After the initial introductions and our thumbnail backstories, we focused on their project. I won’t go into specifics or details about it, because those aren’t the important parts.
What was important was:
-this was a story they’d had inside them for a while, and even though they knew it needed A LOT of work, they were still happy with simply having written it all out
-they were totally open and willing to listen to my suggestions. Some they liked, some they didn’t. Totally fine.
But the more we talked, the more the seeds of ideas were planted in their head. Even though a lot of the details we came up with, including possible paths the story could take, ended up being totally different from their original incarnation, it was easy to see that spark of excitement reignite inside them.
Seeing that happen with somebody you’re trying to help is more satisfying than you can possibly imagine.
We parted ways, with them really rarin’ to go and start developing the latest draft. They added that they really appreciated me being so willing to help out.
I just like doing that sort of thing. I never had that kind of person-to-person help when I was starting out, so why not do what I can for others? Granted, the internet and social media didn’t even exist then, so it’s a lot easier now.
I got a few emails from them the next day showing me what they’d come up with since our meeting. Same concept, but a totally new approach (and, in my opinion, provided the opportunity for a lot of new possibilities). This also included a more thorough write-up of “what happened before the story starts”.
Even though it can be tough to read emotion in text, it was easy to see the spark was still burning strong within them. The way they talked about their plans for what comes next, I could tell they were actually looking forward to working on this.
It was nice knowing I had a little something to do with it.
We exchanged a few more emails (mostly me asking questions about story and characters and them providing sufficient answers), and I wrapped up with “Keep me posted.”
Their response: “Definitely. Thanks again. You’re a good dude.”
Maximum Z 