Debunking Screenwriting Myths, #12 - "...It's Who You Know!"

“It’s not what you know; it’s who you know!” - said every failure ever.

Visit a screenwriting chat room one day and before too long, some self-proclaimed screenwriting philosopher will undoubtedly post the statement “It’s not what you know, it’s who you know.” You’ll then do some research on this writer and soon determine that they’ve never had any success with any of their screenplays, which were most likely written in their mother’s basement, next to a hotplate, a crusty bottle of lotion and the latest copy of Maxim. You can pretty much guess what they spend their time doing.

They're a "master" at something...but it ain’t writing.

This expression is usually reserved for the laziest of the bunch. It’s easy to blame “not knowing anybody” or not having an “in” in the entertainment business, as opposed to simply learning to write better-er. It takes the monkey of their back, and puts it squarely on the shoulders of fate or bad luck. Maybe producers just hate all people from Oshkosh. Maybe contest readers judge more than the words on the page, and chose instead to limit the winners to straight, white 21-yr. olds. And, oh my gosh- YOU don’t fit into that category so you’re screwed; doubly-screwed if you also happen to hail from Oshkosh, too!

I used to spend half of every working day helping new(er) spec screenwriters, whether they were part of “The Script Mentor” organization or members of the several screenwriting groups I’m actively engaged in at any given time. Recently, some of these writers have surprised me with their attitude towards their craft. This makes me question if I’m not just wasting my time on them. One writer literally begged for an introduction to some agents, managers and producers. I requested to read their work, as I won’t refer ANYONE that I do not know personally, and/or know their work, and I thought what they wrote didn’t even resemble a screenplay.

When this was pointed out to them, in my usual diplomatic, straight-forward approach, they argued with me - not about whether or not the screenplay was any good or properly written, formatted or structured - but rather about MY willingness to help THEM. They weren’t listening; I was trying to help them. I was telling them that they were a long way from seeking representation and that they needed to work on their craft more. I even offered suggestions as to where and how to learn, purposely bypassing my own organization (this person would NOT listen to reason, and TSM would not be a good fit to help them). Instead, they deflected their writing problems on to our reluctance to help them network. This happens quite often, and inevitably, the frustrated writer will throw up their hands and swear to some conspiracy plot against newbie writers.

I don’t know about you, but I know I spend more time “hooking” people up with others than I actually do helping my own career. I spend hours researching, reaching out and honing relationships with people through Facebook, LinkedIn, Twitter and through about 200+ blogs and newsletters. Most of the time, when a producer is looking for a specific project, I share this information with other hundreds of other writers and screenwriting groups. I don’t always have that genre or that subject matter in my arsenal of scripts, but others may. I'll beyond just letting them know about it; I'll assist them through the process, even taking the time to help the writers with their loglines, synopses and queries, to help them gain that edge. If I know them, and/or their work, I always add a personal note to the producer stating that fact. This assistance has produced over a dozen options – for others – and some new relationships between these writers and the prodco’s. Most recently, one of these searches resulted in the writer getting management representation, while another sold her script to Fox, and got her an executive producer position with the company.

However,  you will NOT get that help OR that introduction if your work is not up to a certain standard. I value my reputation, and will not refer someone who refuses to look at their work objectively. I didn’t get my writing to the level that it is today by telling others to “eff off”. I listened, especially to the people I respected most in the business. I have a personal mentor in the business as well, and while he can be a complete ass some days, I do think he knows very well what he's talking about.

So, while many use this excuse for their own failures – and don’t fool yourself; it is an excuse – the fact remains that it IS what you know – first and foremost. You must know what it takes to make a spec script successful. Once that knowledge is learned, and the spec writing “rules” are learned – then it will then BECOME who you know.

At that point, you WILL know many people and most will be willing to help move your career forward.

WRITER'S BIO: Geno Scala is the owner of "The Script Mentor" (www.thescriptmentor.com); professional screenwriter; ghostwriter who also specializes in book adaptations; known as "Ghostwriter to the Stars" for his many celebrity clients; Executive Producer at Shark-Eating Man Productions (www.sharkeatingman.com)?; former Executive Director of 72nd Academy Awards, Grammys, Soul Train, Saturn and Blockbuster Awards shows; currently developing "Bad Priest", one-hour drama, episodic TV series; two recent TV projects, (Hell Hath No Fury; Sextracurriculum) for SPIKE TV; creator and producer of reality docudrama "Just Like Elvis" TV series; screenwriter of "Banking on Betty" ?, (action adventure/comedy); winner of StoryPros and Script Pipeline competitions; runner-up in Scriptapalooza Screenwriting competition.

Mr. Scala is represented by Branden Cobb of Starring Entertainment.