Debunking Screenwriting Myths, Part IV- NETWORKING AND MARKETING

I was recently involved in a discussion with several screenwriters regarding the importance of networking and marketing one’s projects and/or themselves. One of the screenwriters debated the effectiveness- or, in his opinion, ineffectiveness- of a networking and marketing strategy. I couldn’t develop the right words fast enough to respond, and even if I could have, I wouldn’t have been able to utter them due to my lower jaw slamming against the floor. He followed this mind-numbing point of view with the comment; “I just work on my script. A great story always finds its way to the screen!”

Really?

I realized then that there is yet another myth about screenwriting- the myth that all one needs is a great screenplay. Now, having an excellent screenplay is a great goal, and should be the number one goal of the screenwriter. But, it’s still only number one. There have to be goals to set and goals to reach. One of these goals has to include the development of both a networking strategy and marketing strategy. What you do AFTER writing that wonderful screenplay is EQUALLY important to writing that screenplay. Let this sink in for a second- marketing your screenplay properly, with an effective, well-conceived plan, is EQUALLY as important as writing a great screenplay. Recently, one of my clients reached out to me asking this very question- “Where do I go from here?” I provided her with this ten-step marketing process that is really the basis of a 40-50 point, full-scale marketing and network plan.

STEP #1: Understand that your script is NOT ready to be marketed.

Once you accept that, you'll breathe a bit easier. The reason is simple- you have but one chance to make a first impression. One of the reasons there are so few "new" success stories is usually due to violating this very rule. Ninety nine percent of the hundreds of thousands of writers blow their first opportunity by rushing it. However, for the process of developing the rest of the steps, we will just ASSUME the following is true:

A) You’ve written this screenplay the best it can possibly be, and your family and friends love it! (your cheerleaders, or “CHEERS” for short!)

B) You’ve received a number of extremely positive feedbacks from your PEERS; those other writers whom you respect and whose opinions and advice you treasure.

C) You’ve received one (preferably more) “recommend” from a highly-regarded script coverage service, script doctor, consultant or mentor (your “ROCKETEERS”)

D) You have entered and won, or placed well, in several screenwriting contests, including several of the most respected, highly regarded contests.

STEP #2: Enhance your networking opportunities. By now, it is assumed you have hundreds of business-related connections, to include fellow screenwriters, filmmakers, script readers, executives, producers, marketers and almost anybody affiliated with the entertainment business. These connections are often made through the Internet at Facebook, LinkedIn, Twitter, and a host of different sites. Work on spending at least one hour a day at these sites, cultivating relationships through discussions, and inquiries. Avoid getting political or too personal. Comment on a photo, ask what their latest project is, and learn about their likes and dislikes before jumping in and talking about yourself. Personally, I work marketing to a 2:1 ratio to my writing. If I write eight hours, I'll spend another four in the marketing area.

* The worst thing you can do is turn a personal, comfortable relationship into an obvious means to a stepping-stone to get introduced somewhere else or TO someone else.

STEP #3: Post your script. Sites like Moviebytes (www.moviebytes.com), Talentville (www.talentville.com), The Black List (www.blcklst.com/) and Ink Tip (www.inktip.com), among many others allow you to post your script for marketing purposes, while others may give additional feedbacks, in exchange for script reads. NOTE: With sites that allow OTHER members to provide feedback- be very cautious about making major changes on your screenplay based on this feedback. Many members are going to have far less experience and working knowledge than you. If much of the feedback makes several of the same points over and over, it's a good chance there is an obvious flaw in the writing. It is still important to get at least three reviews with notes from experienced and noted writing professionals or those dreaded "consultants".

STEP #4: Determine which movies are like yours in genre and/or subject matter, and research them. This is a great technique that many writers fail in doing correctly- or at all. If your high concept movie is similar to “Star Wars”, you’ll want to research Star Wars through IMdbPro, and find all of the key players from the movie- the screenwriter, director, producer, the talent, etc. Through IMdbPro, you can then find out what other movies they’ve worked on, and create a talent tree. You will find that some of the same talent usually work with each other picture after picture; this is especially true with Clint Eastwood, Ron Howard, and Judd Apatow films. In IMdbPro, you can trace back all the way to their representatives, including managers and agents. Again, it is not unusual for an agent representing Daniel Craig (James Bond) to also rep other “action” stars. Therefore, if you have an action script, you would want to target those who are probably most interested in that genre.

STEP #5: Prepare you query letter. This letter is quite different from most other business or marketing letters. Much like your logline, it is designed to develop a “taste”; some intrigue; some interest; in your project.

STEP #6: Create a Facebook “LIKE” page, Twitter account and other networking pages for your projects. This keeps the name out there, and also keeps your supporters up-to-date on any happenings involving you or the script. 

STEP #7: Attend any and all “pitch fests” and conventions possible. Include film festivals, producer conventions, director conventions, etc. If you are not in LA schedule a future visit and center it near these important events. Through networking, you may develop an opportunity to stay with a fellow writer for a period of time, in exchange for them piggy-backing to a producer’s lunch or meeting with you. It will help defray the travel cost, and the lunch bill when it comes time to “pick up the tab”.

STEP #8: Sign up for Skype. You may be able to schedule face-to-face meetings through Skype without having to make the trip. 

STEP #9: Have multiple projects prepared when the meeting is scheduled. Most producers will ask to see or hear additional projects that you might have, so be prepared to at least discuss the logline and/or a synopsis with them. They want to see if you are in this for the duration, and not just a one-trick pony. They’ll get an immediate feel as to the way you and your creative mind works. 

STEP #10: Be someone everyone would want to work with. Don’t be argumentative, picayune, difficult, demanding, overly sensitive, overly shy, embarrassed, overly humble, not humble enough, outrageous, outlandish, over-the-top, unprofessional, or boring.

Be perfect- just be yourself.

WRITER'S BIO: Mr. Scala spent 22-plus years in the Hollywood community, and was the Executive Director for the 72nd Annual Academy Awards, as well as The Soul Train Awards, The Grammys, The Blockbuster Video Awards Show and The Saturn Award Show.

Geno has dozens of completed feature film screenplays and television pilots. His company has completed nineteen (19) novel-to-screenplay adaptations for clients. He counts many celebrities among his vast clientele. His television project, "Bad Priest", is in development with a cable network, where one executive said the following:

"This pilot is compelling and clear and offers just enough to tease us with where these stories and characters might go. It begs for a full season..."

Today, he and his writing team are actively working on several ghostwriting projects for his celebrity (and non-celebrity) clientele, including the adaptation of pop star Jimmie Rodgers autobiography, and a Harry Chapin screenplay. They are also writing adaptations or mentoring on several projects from new writers and several self-published authors.