Screenwriting : Networking by Nikhil Bagore

Hi Nikhil,

I don't live in the US also. But I'm Thai American citizen. At the moment I have to be in BKK. So

I can share my way doing from faraway. I sent my script to good festivals such as AFF (Austin) and FLICKERS' RHODE ISLAND INTERNATIONAL FILM FESTIVAL. Once I got accepted, they would invite me so I went to the festival to network. Additionally I look for producers, actors, etc. who involves in films in my genre, similar budget range and complexity. I try to reach those people by reaching them via emails and phones which you can get their contacts via IMDbPro. Now I need to reach Ashotoush and Aamir Khan because their movies are epic similar to my script. I can't mail things to them because of COVID. Would you be able to collaborate with me? I promise to return your favors. Please consider. We can DM to discuss more.

I need to reach Richard Gere because he's a serious Buddhist. So I hired a detective to get his address and phone. I have sent a few beautiful postcards of Buddha and will move forward with a better plan after trying for one month.

What do you think?

Start with being someone they'd like to contact...

Kiril is 500% correct. Networking is about building a connection with someone that can benefit both.

You bring nothing to the relationship. Why would they want to talk to you. I am not saying you are a bad person. But they have enough contacts and there are 1,000,000 writers already reaching out to them.

Pattana Thaivanich If I were Richard Gere, I don't think I would appreciate someone tracking down my personal contact info with a detective.

You don't network with Execs. Even most well-established writers don't network with Execs. Writers network with directors; other writers; cinematographers, ADs, indie producers; and others at your level of progress within the industry.

And always, always, remember it's about giving more than getting.

Too, always, always remember, this is a long haul - years and years of thankless, frustrating toil. Not to be discouraging, but it's the truth.

Craig D Griffiths , Kiril Maksimoski - I absolutely understand that they will be interested in my scripts only if there's something for them too. But since I am a writer, my priority is to sell my scripts. And for the sake of this conversation, let's assume that those scripts are good. Isn't that enough to get them interested? Or are there more things I should be concerned about?

The best way to get them interested is to find representation to help you open doors to these elusive executives. After Covid19 subsides, and Festivals go live again, that can be a good place to connect with people. Entering competitions that offer access to production people is another route, but be discerning about which ones are worth entering. I enjoy marketing and look forward to shopping my screenplays around. Just take the action and let the results take care of themselves. Expectations always lead to disappointment. Fortunately, I love writing my screenplays so I don't consider my creativity frustrating. It's exciting for me.

Congratulation to Nick and Brooklynn again for a year of fun and great notes.

Hi, Nikhil Bagore I think networking and working your craft is the way to go! That way, when opportunity hits, you are ready to meet the challenge. I think staying in the lounges and networking here on Stage 32 is huge; there are 3/4 of a million people on here, including exec's and managers! I also agree with Jill, submitting to festivals and contests and finding a rep is the way to go. In addition, I think you would love the Writers' Room. It's a way to work on your craft and learn about the business. We have the opportunity to pitch executives, practice pitching, give and receive script coverage, attend table reads (and submit our scripts for them) and so much more! I can't tell you how my understanding of the craft and business has grown in such a short time just by being in the Room. It's also a great place to network and build a wonderful community of writers. If you want to try it out for a free month, please email Jason Mirch (j.mirch@stage32.com), the Director of Script Services. Jason's also a great go-to for questions about your career. I've done a mentor call with him and it was priceless.

No good is not good enough. God like may be getting close. They know world class writers and producers already, they are not looking for us. We are like insects buzzing around their heads. We could have the greatest script in the world. They already have a stable.

You have to do all the small steps. If you don’t like that truth it will be a disappointing experience.

Answer this one question. Why would I take your call? And you can’t say because you could have great work. What have you done to make me pick up that call?

Some Math: 100,000 screenplays at 30 mins each 3,000,000 minutes which is nearly 6 years working 24 hours a day to take a call from just this years crop of hopeful writers. So why are you important when you will not put in the work to earn that phone call?

Craig D Griffiths - I get what you are saying. Thank you . That's the most honest and helpful advice I have ever received.

Hollywood has built a giant wall to keep aspiring screenwriters out. Only about one out of 4,000 will make money. The ones that do knew someone so you have to find someone on the inside to let you in.

Think about what Dan G says. There are maybe a dozen or so 'working' screenwriters in the Hollywood crowd. Do you really think that they want you competing with their livelihood, do you really think that they will help you so that you can compete with 'em?

really depends on what level of "industry/Hollywood" do you mean? You want to be the next Malcolm Spellman- he is 8-figures salary writer. Then, you gotta write lights out consistently on the page, stacks of multiple ideas, have powerful peers-friends, and must crush face to face meetings with Studio Execs & legit Producers.

And then you got my guy. He makes crappy horror movies and he's really good at niche low budget indie industry, has made over 200 movies, and he cant get a studio meeting or an Agent, but he's happy being his own Boss. He turned a hobby into a full-time occupation.

See FAQ for Stage 32.

Good suggestion, Tasha. You'll find FAQ under Script Services tag. I find it useful.

FAQ is just going to tell someone where you can spend money to submit to one of their executives.

The Pitching Template is free and accessible on the FAQ page. The chance to pitch to an Executive at the very reasonable price of $35 is a great way to practice pitching to an Executive, which could lead to the Executive requesting to read your screenplay. It's happened to me. Even if the Executive passes on your screenplay, you receive a brief feedback report explaining why they passed, which can be very helpful.

Where do I find the pitching template?

In the FAQ like I mentioned in my previous post. Scroll down the list and you'll find it.

Jill. I’m glad you are happy to pay $35 for the chance to pitch to an executive. Personally, I don’t spend money on stuff like that but I am not against other people do that if that is what they want to do.

Nikhil, you need to make it happen. You are in this great site with wonderful resources. The internet and even coronavirus has changed a lot of things to open the connections worldwide. This is the time to network from whenever you are. I second what Jill said. The pitching sessions, classes, and feedback from executives here is extremely valuable.

Maybe I am wrong but when I think of networking I don't think of paying for pitching, feedback and class. Again I don't pay for stuff like that so maybe I am missing something. It wouldn't be the first time.

If you have representation, Dan, then you don't need ways to get to Executives. Your agent/manager will do that for you. If not, then networking with other screenwriters helps you hone your skills, get feedback on your screenplays and practice your pitch. Taking advantage of pitch sessions, mentoring and webinars are ways to meet Executives and get feedback from them. These Executives read scripts all the time and it's rare that they would accept to read a spec script without representation. But because of the relationships they have with Stage 32, we have access to these opportunities for what I think is a reasonable fee. That's why I'm a member of the Writers Room and utilize Stage 32's script services.

I do have an Agent. I am not saying the services they offer here aren't worth it because I wouldn't know if they are or not. All I am saying is I don't consider paying for services is the same thing as networking. When I think of a screenwriter networking I think of them as the party doing the selling not the other way around. They don't have to network to buy something. They can do that by just paying someone,

I'm with you Dan - I don't pay anyone to 'network' with. But then. I'm old school.