On Writing : How Do You Genuinely Network at Events or Festivals? by Debbie Seagle

I'm not as advanced as you in my career so I have no advice... however I do admire your journey so far Debbie Seagle You are doing amazing things!

Thank you Lauren Hackney - You're doing amazing things too! Your insight on Stage 32 is always helpful and intuitive.

Such a great post, Debbie Seagle and I love that you're tying it back to RB's blog!

A few thoughts that might help:

Lead with the story, not the ask. When you only have a few minutes, people don't connect to budgets; they connect to why this story, why now, why you. The local businesses you're approaching are going to remember the passion in your voice and the specificity of what your film captures about their area, not the dollar figure. Get them invested emotionally in the story first; the financial conversation becomes much easier from there.

Make it about them, too. Local businesses care about local visibility, community goodwill, and being part of something meaningful. Coming in with a clear sense of what they gain: credits, screenings, on-set involvement, marketing tie-ins, community recognition, turns the conversation from "I need money" into "let's build something together." That reframe completely changes the energy.

You don't have to close in the first conversation. Sometimes the goal of a few-minute meeting is just planting the seed and earning the follow-up. A warm "I'd love to share more about this over coffee next week" is often a stronger move than trying to land the ask on the spot. Festivals and events are about starting relationships, not finishing them.

And one last thing: fundraising is uncomfortable for almost every filmmaker I've ever talked to. You're not alone in dreading it, and the fact that you're walking into it anyway is the whole game. Rooting for you at that ribbon cutting!

Less about asking for money specifically, and more about networking in general, but I think being memorable (hopefully for good reasons!) is important. Everyone meets so many people at places like Cannes, that standing out can be helpful - and can be as simple as a fabulous outfit or managing to connect with someone on a personal level about a shared interest or backstory.

My approach is to start networking before the event ever happens. I research the attendees, the sponsors, the panelists, and the host organization so that when I walk in, I already have a mental map of who I want to talk to and what matters to them. That way, those first few minutes aren't a cold pitch; they're a conversation picking up where my homework left off, which is the difference between feeling like a salesperson and feeling like a peer. Honestly, the best training I ever got for this was working as an Entertainment Host on cruise ships, where we were required to walk the theater aisles before every show and chat up total strangers, and it teaches you fast that warmth and curiosity open doors that polish and pitch decks never will. For your Ribbon Cutting, lead with what the film does for their community before the ask ever comes up, because local businesses fund local stories when they feel seen in them.

I try to balance the universal importance of a story -- its commercial and artistic prospects to virtually anyone who would be interested to learn more about the subject matter at hand -- with my own personal gravitation toward this story and justification for why I should be the one to make it. Lastly, I make sure to tie the tale's relevance back to the specific person's professional and creative interests, and rinse and repeat for each prospective financier/donor. When you only have a few minutes to soft pitch before asking for hefty sums from investors, every second counts!

Hi Debbie,

First of all, I think it’s important to say this openly: almost every filmmaker I know dislikes the funding side at some level — especially writers and directors whose natural instinct is creation, not capital pursuit. So you’re definitely not alone there.

But interestingly, I’ve noticed that the most successful investor conversations usually stop feeling like “asking for money” and start feeling like “inviting someone into a meaningful opportunity.” That psychological shift changes everything.

What you’re really selling in those first few minutes is not the entire film. It’s confidence, clarity, energy, and emotional legitimacy. Investors often decide emotionally first and rationally second.

One thing I’ve found helpful is this:

don’t lead with need — lead with value.

Instead of:

“I need support for my movie.”

The conversation becomes:

“This project brings visibility, cultural identity, economic activity, and emotional connection to the local area and businesses involved.”

That reframes the interaction from charity into participation.

I also think local business investors respond strongly when they feel:

* personally connected to the location or theme

* socially associated with something creative and positive

* included in a growing movement early

* emotionally attached to the filmmaker’s conviction

And honestly, authenticity matters more than perfection in rooms like that. People can sense desperation, yes — but they can also sense genuine passion and preparedness very quickly.

One practical thing that helps tremendously:

prepare a micro-pitch, not just a pitch.

Something emotionally clear that can be delivered naturally in under 30 seconds:

* What is the story?

* Why does it matter?

* Why here?

* Why now?

* Why you?

If those five things feel emotionally aligned, the longer conversation becomes much easier.

And one final thought:

many investors are not truly investing in a screenplay. They’re investing in the filmmaker’s ability to finish the journey. Calm confidence, vision, organization, and emotional resilience often matter as much as the project itself.

Wishing you real success with the ribbon cutting and the film.

The fact that you’re stepping into the uncomfortable side of filmmaking instead of avoiding it already says a lot about your commitment to getting the project made.

I'm ready not sure because I usually network online virtually.

A good idea is to always remember you can follow up, so you want to set it up so you can, so they want you to. Feel it out, everyone is different but it's usually showing your passion. Passion is like a magnet.

I sent out my first screenplay, "The Six Sides of Truth," not knowing anything about the festival circuit. Would people like it? Read it? Be receptive? I had no expectations. And it won, and I received one of many accolades for best first time screenwriter.

I found FilmFreeway and the aggregated listing of film festivals and began letting the work speak for itself. I felt I should have object opinions about the script, so I don't usually attend the festival that I have entered my screenplays in, although I'm not opposed to attending, I just usually don't. I have some bizarre experiences but nearly all have been worth the investment.

With the screenplays well received, I have been asking for slate financing, as I believe investors have a better chance of receiving not only a return on the investment, but a profit. Even if the screenplays simply perform at expectation levels, one of the five will hit and perform better than expectations.

My networking skills suck for the most part. I do need to branch out more. The only thing I do is announce on social media, as best I can, if my screenplay (feature, pilot, or short) or a manuscript was selected in a contest for a film festival. I plan to start attending more comic conventions with people I've connected with and build from there. Receive more coverage for everything I have written and continue to write what I have planned.

This is a great post, Debbie Seagle. First, in any networking, online or physical, I am the same person as in my private life. I think that’s what makes us authentic. When I attend festivals, I’m a communicator, I talk with people, ask who they are to learn about their project, and then give a short pitch about myself, my project, and the reasons behind it. I never ask for money, because if the project is truly good, the money will come, just like in any entrepreneurial venture. I like to meet people <3

I generally eschew the idea of "networking", per se. I do love people and making connections with new friends and collaborators. For me, it's a mindset. Lean away from feeling transactional and lean into connecting humanly. ;-) As we all know, people like to work with people they like.

Oh, that's very easy for me. I worked at a bank for almost 38 years. Just smile, say Good Morning, or Good Afternoon, and the conversation moves smoothly. When I was a Bank Manager, I asked, "how is business?" Show a genuine interest in people. At cocktail parties, walk up to them and introduce yourself. I love meeting people and connecting with them.

Hey there. Best thing I can advise is to build relationships with others, like producers or writers. Get input on what you can do to help them grow and develop your ideas.

Networking in any group setting is all about practice. The more you do it, the better you will be at it.

Bring business cards. At these events, these are the a necessity.

Strike up conversations with everyone. If you don't know what to say, start by introducing yourself then ask what their thoughts are on the event. Ask what their role is. As another commenter said, do your research on who's going to be there so you know who you're approaching, if possible.

When pitching your project, start with the story, the emotional crux of it. That's what people respond to. Then follow up that you're looking for businesses and individuals to invest (invest is the key word).

Ask if they know anyone who would be willing to do that. If you think someone is genuinely interested give some more details, but be aware many people who seem interested are just being nice.

Know when to move on. Don't monopolize people's time and don't let them monopolize yours. You have a limited opportunity so cast a wide net.

Get their business card, no matter who they are. When you're done talking to them (not during), write brief notes about the interaction on them.

Part of networking is not only what they can do for you or vice versa. It's often connecting people with each other. The more you can do this, the more people will think of you as being able to help them. Being front of mind is the key to getting buy in.

Good luck!

I think the biggest shift is moving from “trying to impress” to “trying to understand.” When conversations feel transactional, people shut down quickly — especially in high-pressure environments like festivals.

What works better, in my opinion, is leading with genuine curiosity and a clear sense of your own creative voice. You may only have a few minutes, but if the other person feels you’re grounded in what you’re building — not just pitching — the interaction becomes more memorable.

For me, it’s less about saying everything and more about leaving a clear impression of perspective.

Hi Debbie,

First of all, I think a lot of filmmakers secretly feel exactly what you said about the funding side of the process — they just don’t say it out loud.

Because asking people to financially believe in something that only exists in your head can feel emotionally brutal sometimes.

But honestly, I think the biggest shift is realizing that most successful investor conversations are not actually about money first.

They’re about emotional confidence transfer.

People invest when they feel:

* trust,

* clarity,

* conviction,

* competence,

* and emotional connection to the person carrying the vision.

Not just the project itself.

And ironically, desperation is usually felt less through words and more through emotional energy.

The moment a conversation starts feeling like:

“Please validate my dream,”

people unconsciously pull away.

But when the energy becomes:

“Here’s a meaningful opportunity I genuinely believe in,”

the dynamic changes completely.

One thing I’ve noticed at festivals and industry events is that the strongest connectors rarely lead with the ask.

They lead with curiosity, enthusiasm, specificity, and human connection.

Because nobody remembers the person who aggressively pitched them near the coffee table.

They remember:

* the person who made them laugh,

* the person who spoke passionately,

* the person who clearly understood story and audience,

* or the person who made them feel emotionally included in something exciting.

In many ways, networking in film is less like sales and more like casting.

People are subconsciously asking:

“Do I want to spend two years emotionally trapped inside this project with this person?”

That matters enormously.

Especially for independent film financing.

I also think local-business partnerships become much easier when the conversation shifts away from:

“Please fund my movie…”

and toward:

“Here’s how this project becomes part of the cultural identity and visibility of this community.”

That reframes the relationship from donation to participation.

Huge psychological difference.

Another thing that helps:

specificity creates confidence.

Not:

“This movie could be amazing.”

But:

* why this audience,

* why this region,

* why this story now,

* what emotional response you want,

* how the film benefits visibility,

* what success realistically looks like,

* and why you personally are the right person to make it happen.

Confidence without arrogance is magnetic.

And honestly, preparedness reduces anxiety because uncertainty is usually what creates desperation in the first place.

The filmmakers who seem relaxed in investor conversations are often the ones who already know:

* their story,

* their budget,

* their audience,

* their tone,

* their comps,

* their production realities,

* and their emotional “why.”

That clarity becomes contagious.

Also — small but important thing — people invest in emotional momentum.

If your energy feels exhausted, apologetic, or defeated, the project unconsciously feels risky.

If your energy feels grounded, excited, collaborative, and purposeful, people begin imagining success with you.

That emotional transfer matters more than most pitch decks ever will.

Wishing you luck with the ribbon cutting, Debbie.

And honestly, the fact that you care enough about the local community to build the project around regional visibility already gives you something many pitches lack: authenticity.

A lot of these posts have already laid the groundwork…be prepared…know the people attending…have your elevator pitch ready…tell a story first…relax relax relax…don’t bring up money…plan a follow-up over coffee…it’s hard for artists who are for the most part born introverts…I know I’m one of them…but believe you can do it…the relationship comes first…they want to know you and your story and how they can be a part of the building process…hope that helps

Absolutely agree — especially on leading with story and not rushing into the ask. That shift alone changes the entire dynamic of a conversation.

The only time I've ever attended a film festival was at the Austin Film Festival last year, and I attended the Stage 32 Meet and Greet. The reason I attended was that my screenplay was a Second-Rounder. I had no idea what to expect, and as far as networking, I'm sure there is a lot I got wrong. However, I did meet a few people, and have continued contact with a couple, but I don't know that the networking has amounted to much other than, a learning experience, and at this point (since I'm still a film industry novice) learning is very important. Speaking of which, I'm always open to more information. Frank Detrano, I'm still trying to figure out what an elevator pitch actually is. There's a lot I've looked up on line, but about all I know is, here I am, here's my story, I hope you like it. Blessings, everyone.

I relate to this a lot — especially the part where networking feels more like a learning experience than immediate results. I think that’s actually where the real value is at this stage.

About the elevator pitch — the way I’ve started looking at it is not as “selling a story,” but as sharing something intriguing in a very simple and clear way.

For example, instead of explaining everything, it’s more like:

“A man discovers that invisible forces are influencing human behavior — and the more he uncovers, the more he risks losing his own sanity.”

Just enough to spark curiosity, not to explain the whole story.

Still figuring it out myself, but that shift in perspective helped a lot.

And honestly, just showing up and talking to people like you did — that’s already a big step forward.

Hi Debbie,

Honestly, I think one of the biggest mindset shifts is realizing that most investors are not actually investing in a screenplay first — they’re investing in emotional confidence, clarity of vision, and the feeling that the creator understands people as much as story.

The strongest networking interactions I’ve seen usually don’t begin with “Please fund my film.” They begin with genuine curiosity, shared values, regional pride, or a meaningful human conversation. Especially for locally rooted projects, people often respond when they feel the film is emotionally connected to the identity of the community, not just using it as a backdrop.

Also, in a very short interaction, emotional memorability matters more than information overload. A clear emotional hook tends to travel farther than a detailed pitch deck.

And strangely enough, desperation often disappears the moment the creator starts speaking less like someone asking for money and more like someone inviting people into a meaningful experience, cultural moment, or lasting story.

Wishing you huge success with the ribbon cutting and the film. The fact that you care this much about approaching people authentically already puts you ahead of many creators.

Love this conversation! Something that I like to remind creatives is that we're all just people, so let's make conversation. A well-versed investor, producer, exec, etc. can smell a pitch a mile away. And typically, it's a major turn-off.

There's a strange notion that you need to close within the first conversation. These relationships take time to flourish and grow. Simply have a conversation with someone, prove to them you're someone worth their time, and build a connection that opens the door for investment or partnership opportunities down the road.

While some may view this as "the slow path", I view it as tactical. This is business that is built on the backs of relationships, so go make relationships. The rest will follow so long as you can remain cordial, professional, and have a strong business plan (but that's a whole separate thread haha)!

This is such a valuable perspective — especially the “two boxes” point.

I think a lot of writers (myself included early on) focus heavily on making the script compelling, but don’t always think about the practical pathway to production.

That second box — “how does this actually get made?” — really changes how you approach writing. Budget, location, market, all of it starts influencing the creative decisions in a much more grounded way.

It’s a great reminder that storytelling and feasibility have to work together, not separately.

Begin with a smile and a warm greeting. Introduce yourself and be brave. Talk about the script you wrote and listen to his response.

That’s such a great and simple way to put it.

I think the “listening” part is especially important — sometimes we get so focused on talking about our own script that we forget to actually understand the other person’s perspective.

In many ways, a genuine conversation can be more powerful than any pitch, because it creates a real connection first.

Confidence, curiosity, and being present — that combination really makes a difference.

I've found that the most successful "networking" stems from getting to know someone without an agenda. If you click, you'll know it, and then make can make the NEXT interaction about how you can help each other (it's a two-way street). Don't be so focused on immediacy, no matter how tempting that urge is. AND, don't feel like you have to connect with everyone in a room. When it comes to networking, it's all about quality over quantity.

That’s a really honest and practical perspective.

I think focusing on genuine connection without an immediate agenda makes a big difference. When the interaction feels natural, the collaboration side can grow much more organically over time.

Quality over quantity is definitely something more people need to keep in mind.

Thanks, Sachin!

The problem lies first in finding the important people who can help you bring your work to light, and then in finding directors and producers who trust you if you are a beginner and will take a chance on you.

I just love this group! Thank you for sharing your insight– with truth & warmth. Reading through the advice from our Stage 32 members reveals the thought and attention you put into your responses, and proves that we genuinely care about each other’s success. It’s heartwarming.

I've been on a feature set for 2 weeks & may survive another week before rushing into my ribbon cutting. You’ve removed the stress by reminding me to present the project as an OPPORTUNITY for local businesses to Be A Part Of the regional film project – rather than focusing on getting their monetary support. Thank you.

Thank you, Debbie. That really means a lot.

And honestly, I think the way you’re approaching it already feels very genuine. Presenting the project as something the community can emotionally connect to and participate in creates a much stronger relationship than simply asking for funding.

Wishing you the best with both the feature set and the ribbon cutting. Hope everything goes smoothly for you!

Thank you Sachin Yadav : )

You’re very welcome, Debbie

How many people here believe a script is truly “strong” before it ever reaches an audience?

I sometimes feel that no matter how confident producers, directors, consultants, or writers are about a screenplay, the real judgment only begins when the audience finally experiences the finished film.

Before that, a script is still an idea, a vision, a possibility.

A movie can have a technically strong screenplay and still fail to emotionally connect with viewers. And sometimes projects people doubted become deeply loved by audiences.

So can anyone actually predict with certainty that a script will succeed before the public responds to it?

Curious to hear different perspectives on this.

This is honestly something every filmmaker deals with. The funding and networking part can feel incredibly daunting and awkward. But, remember–they need you just as much as you need them. At the Chamber Ribbon Cutting, you’ll actually have a massive built-in advantage. These business owners already care deeply about the community and want to network.

Here are a few tips I’ve learned over the years that may help.

1. Do your homework. I usually try to find out who is attending any festival, market, conference, or event weeks or months ahead of time so I can identify who I want to speak with and a little about them

2. Lead with genuine curiosity about them. What do they do? How long have they been in the area? What are their thoughts on the event? What genre or style of project are they looking for? This helps the interaction feel organic rather than a business transaction. It also helps down the line in building your network, and lets you gauge if your project would even be appropriate to pitch.

3. Remember that you aren't simply begging for a few thousand dollars, you are inviting them to be a part of a meaningful project that puts a spotlight on the very area where they do business. You have the creative vision, and you are giving them a vehicle to boost their community's profile.

4. Emphasize the emotional crux of your story and the "why." Why this story? Why this region? Why now? Because you are dealing with local businesses, highlight how your film benefits the area's visibility. If they feel your clarity, conviction, and competence, they will trust you with their time—and eventually, their capital.

Good luck and have fun!

That's a good point of view, Sachin. Unfortunately, people with clout will confuse that with authoritative expertise. It's like dating. Do you really go to a third party to ask you how to succeed? No. You get in the water and sink or swim and hopefully learn from your experiences enough to find the lasting (or not) love you're looking for. Although there has been a slew of smart-aleck movies about pathetic protagnoists who carry visivle or invisible guides around on their dates trying to seek advice from them without letting on to the date that they are asking for help. I try to tap into my own love for my script, the lines I keep laughing at before the script has come to them, the scenes provoking deep thought, reflection and emotion, and run with that. Many will not connect but some will. Luck definitely has a lot to do with it but not everything. As with everything, you gotta be in it to win. The more you're in it, the greater your chances of success.

That’s a great comparison, Marc. I think creative work really does function a lot like trial and error in relationships — at some point you have to stop searching for perfect validation and actually put yourself emotionally into the experience.

And I agree that personal connection to the material matters a lot. If the writer genuinely feels something while revisiting scenes, dialogue, or themes repeatedly, there’s a better chance at least some audience members will connect to it too. Not everyone will, but no film ever reaches everyone equally anyway.

Sachin Yadav I believe that if the script is strong, it's in the hands of the Actors & Directors to bring it to life. Am experiencing that on set now - it's exciting to see how actors interpret the script. I have a one-liner in the film Monday: "Ya killed him!" - and since I'm not an actor - I have no idea how to say it! LOL

Thank you Grady Craig - I'm going to try to find time to do everything you suggested! Hopefully the set I'm on will wrap on Friday & I can be home to focus on my project by Saturday!!! yikes

That’s actually one of the most fascinating parts of filmmaking to me — watching actors and directors bring completely new emotional layers to lines that may have seemed simple on the page.

And honestly, sometimes the smallest lines become memorable purely because of the performance and timing behind them. Hope Monday’s shoot goes smoothly!

Awwhh Thank you Corey Hood! I'm breaking my back but a leg has more meaning.

Yes Sachin Yadav the actors amaze me. Eric Roberts was on set 2 days, and when he got behind the camera, he was a different person.

Volkan Durakcay thank you for the good advice; we're using some of your words on a poster!

That must have been incredible to witness. I think moments like that really show how much transformation acting actually requires beyond what’s written on the page.

Seeing a familiar person suddenly become the character once the camera rolls must be a fascinating experience on set.