How to Build Relationships that Lead to Paid Screenwriting Jobs

The business of film and television is all about who you know. So how do you meet the right people, and how do you build genuine connections with them? Here are some tactics to start practicing.

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It is impossible to become a professional screenwriter without the right connections.

Despite what certain pitch festivals, competitions, fellowships, or websites will tell you, at the end of the day, it all comes down to who you know. Showrunners hire their own friends when they’re staffing TV shows. Executives buy from their friends when they’re putting together a network or streamer’s programming slate.

Due to the realities of human nature, these practices will not change any time soon, no matter how unfair you might feel that they are.

The entertainment industry is not a meritocracy. It never has been one.

As a literary manager, I saw how frustrating this was firsthand. My colleagues and I ran into this problem when trying to find work for our clients. Managers spend dozens of hours every week chasing mandates, leads, and contact information. They meticulously compile submissions with qualified writers and pitch their best samples.

Only to be told 99% of the time that the show already knows who they want to hire.

But this is actually good news for you as a writer.

It means you don’t need a manager to open doors for you. The fate of your career is in your hands more than you realize. Yes, this industry is all about who you know.

But the solution to that is baked right into the articulation of the problem:

You need to know more people.

Luckily, this is 100% within your control.

Here are 7 approaches you can use to build relationships that will actually lead to jobs.

Photo by Kelsey Chance on Unsplash

Tactic #1: Lead with what you have to offer others.

A LinkedIn follower of mine, Jonathan Wymer, recently posted this astute comment:

Everything in this industry is created through relationships. Despite the longing for access to every single person with a creative aspiration to work in the industry, exclusivity has and will always remain open to those who pursue it and maintain it for themselves. You get a piece of the pie only if you show up to the party with some of the ingredients to make it.

This has been my experience as a literary manager, especially someone who publicly writes about my role in the industry.

Too many writers network with open hands.

You can see it in the comments of my posts, and I see it in the dozens of emails and DM’s I receive in my inbox every day. There are too many hopeful writers that need and want help. No one with access has time to give it to them all.

Instead of getting lost in a sea of artists clamoring for favors, analyze where your experiences, insights, and connections can move other people closer to their goals.

Whether you’re meeting someone new or talking to a friend, as soon as you hear a need of theirs, start immediately strategizing how you can help them solve their problems and get ahead.

Not the other way around.

When you show up to conversations by calculating whether a person’s job or connections can be beneficial steppingstones for you, they can feel it.

It doesn’t feel good.

It’s why networking gets a bad rap among sensitive, well-meaning artists.

No one likes interacting with sleazy, social climbing people.

But if you focus instead on what you can do for someone else (with no expectation of receiving anything in return), you will generate goodwill that pays off dividends later in unexpected ways.

Don’t think you have anything to offer anyone?

You do.

It doesn’t have to be big, influential, or even entertainment-related. Just try it in the next conversation you have with a friend or acquaintance in any context. Ask about their goals and projects. What are their frustrations? What challenges are they facing in their life? Do they have any trips, plans, or dreams that they’re working towards?

When they open up to you, see if you know anyone you can offer to introduce them to who might help them.

Or offer to lend them a book or send them an article on the subject. Connect them with any resources or recommendations that they’ll find useful.

You can even show up for them in a supportive way if they have an event, a show, or a publication that needs an audience (no matter how small).

If, in the middle of the conversation, you can’t think of anything helpful immediately off the top of your head, write a note to yourself. Record who this person is and what their needs are. Now that this action item is simmering in the back of your mind, you will probably meet someone or get inspiration later today or in a few days.

You can always go back to that person with something helpful.

It shows that you’re thinking about them and genuinely care about their needs.

And this helps build your habit of constantly strategizing over how to help others.

Photo by Renáta-Adrienn on Unsplash

Tactic #2: Reach out to your contacts in a systematic way.

The best way to practice showing up for others is to initiate conversations with the people you already know.

You should do this every single day as part of your routine.

Here are the steps:

Step 1: Make a list of everyone you know in this industry or adjacent to it.

Even if you’re not sure whether they can or would help you.

Write down all the names that come to the top of your head. Scroll through your phone contacts, your emails, and your social media friend lists if you need help with inspiration and reminders here.

Don’t hold back. List them all.

Step 2: Reach out to five of these people.

It can be via text, email, or phone call.

Whatever you feel comfortable with, depending on your relationship with them, your preferred form of communication, your age, and how you talked to them in the past.

Catch up with them, ask about their lives, and put into practice your new habit of taking note of what they’re working on and figuring out ways you can help them.

And also, mention that you’re shopping a script or looking for a manager or looking for TV staffing jobs (whatever your next steps career goal is). They most likely won’t have any immediate leads for you, but you’ll never know if you don’t put it out there. You might be pleasantly surprised.

You can also ask whether they know anyone who they think you should meet.

Again, they might not have any suggestions right away. That’s okay! You have to ask. The worst they can say is no. But again, you will likely be surprised.

Things start happening once you put yourself out there.

Step 3: Repeat the process every day until you’ve made it all the way through your list.

Set a daily goal and stick with it.

Incorporate this outreach into your morning or afternoon routine. Just make sure that you’re being mindful of the other person’s time zone and don’t reach out to anyone before business hours that day.

Once you make this a habit, you’ll see the benefits start piling up, and this will motivate you to keep going.

Step 4: Keep meticulous records.

Every time you do outreach, write down who you talked to, when you talked to them, and what you talked about.

Include any action items. For example, if you offered to introduce them to anyone or if they recommended a book or TV show to you. Write down what they’re working on, what they’re planning, and what they need help with.

You can do this in a Google or Excel spreadsheet if you’re that kind of person.

You can also invest in one of the many CRM’s available on the internet (Relatable and Dex are useful and easy to use).

Or you can write your notes down in your phone contact and log the conversations in your calendar. It doesn’t matter how you keep this record as long as you keep it somehow. A simple system that you use is better than a perfect system that you don’t use.

Just make sure you also add a calendar reminder to catch up with them again later.

Which brings me to the next step…

Step 5: Reconnect with everyone you talk to within 6-12 months.

After you talk to someone, set a reminder to reach out to them again.

If you’re good friends with them or if they tell you about something exciting that’s coming up, set the reminder for a date after which it makes sense to check in. You can and should also put their birthday on your calendar.

But if they are more of an acquaintance than a friend, set your reminder for six months out. Or even a year, if you don’t think you’ll have too much to talk to them about between now and then.

No matter what duration you choose, you should never let more than 12 months go by without reconnecting with a contact.

When you do follow up, it doesn’t need to be a super involved conversation. A simple update on what you’re up to and asking them about what they’re working on is fine.

But make sure that your follow up is more than simply saying “How are you?” (Especially if you’re touching base via email).

Give your contact something that will interesting to them, benefit them or compliment them:

1. Share an update about one of your projects.

2. Ask them about one of their projects.

3. Send them a funny meme or relevant article that refers to something you previously discussed.

4. Tell them that you read the book they recommended, and mention what parts you liked about it.

5. Tell them you watched a TV show or movie that they produced.

6. Set a Google alert for their name and reach out with congratulations about any announcements or updates.

7. Check in on something they posted about on social media.

The key is to make this an interesting small conversation that enriches their life in a short but meaningful way. And to do this regularly.

There’s nothing worse than trying to hit someone up because you need something from them, only to realize that you haven’t kept up the friendship, they barely remember you, and now they feel used.

Step 6: Repeat steps 1-5 with all the rest of your contacts, even if they don’t work in entertainment.

You are fewer degrees of separation from this industry than you realize.

Sometimes it’s the least expected connections that result in the biggest opportunities.

It sounds counterintuitive, but your best results might come from talking to people who can’t immediately help you.

For example, my family is originally from Texas (on my dad’s side) and Kentucky (on my mom’s side). Because of the structure of our family tree, I have tons of cousins in these places whom I’ve never met and I don’t know.

But people like my grandmothers keep in touch with everyone much more closely.

If one of these extended cousins was pursuing a career in screenwriting, they would never know that they have a connection to a literary manager with access to hundreds of executives, agents, and managers. Unless, of course, they brought up their screenwriting goals in conversation with my grandmother.

Who would then say something along the lines of, “I don’t know what it is exactly she does, but I think Audrey produces Hallmark movies. You should talk to her.” Then she could introduce the person to me or pass along my contact information.

But if the person just assumed that a retired elementary school teacher like my grandma has no Hollywood connections and therefore they never ask her about it, then they miss out on a real opportunity to expand their network.

The size and strength of your network will lead to opportunity.

Diversity in your network is an underrated way to achieve this.

Don’t overlook anyone.

The universe works in mysterious ways, and you never know what might come from a seemingly random conversation, event, or friendship.

Photo by Olenka Kotyk on Unsplash

Tactic #3: Put yourself in a position that allows you to meet people in the industry.

As you continue to grow your network organically, you can give it a boost by growing it intentionally.

If you live in Los Angeles, do some research and go to any networking events or mixers you can find. If you live outside of Los Angeles, make plans to go to a writers’ retreat, a film festival, or a conference. Attend an online class or form a writers’ group from social media.

It might take a little bit more time and effort. It might require getting out of your comfort zone, but you can’t expect to meet people if you don’t put in the work to do it.

Tactic #4: Identify as a screenwriter when you talk to people.

When it’s relevant to the conversation, you can and should mention your screenwriting pursuits in any context.

Otherwise, how will your friends know how to help you?

Don’t hide your ambitions. Mention with specificity the exact kinds of writing you want to do and the jobs you’re looking for.

Don’t be afraid to talk about what kind of script you’re shopping around and what you’re currently writing.

Tactic #5: Don’t spend TOO long talking about your script.

It’s important to tell people what you’re working on so that they know how to help.

But don’t turn this into a whole impromptu pitch about your screenplay. Whether you’re at a formal networking event or just catching up with a friend, mention your script in a 1-2 sentences. Just enough to gauge that person’s interest.

They might respond by saying, “Wow! I’d love to read that. Can you send it to me?"

If so, that’s awesome. Send them your script in a follow up email the next day.

But if they don’t go out of their way to ask to read your script, don’t keep pitching it to them, and don’t ask if you can send it to them. People are busy, and reading a full feature or even a pilot can take a lot of time and mental energy to commit to.

Wait until later in the relationship when an ask like this feels more appropriate.

You will have the best results if you don’t come in too hot here.

Tactic #6: Only make 1-2 new friends at any event.

Yes, your success in this career depends on the size of your network, but don’t forget that it also depends on the strength of your network.

This means you should be trying to make more than just tons of superficial friendships.

Your goal is to find and nurture real friendships here.

Whether you’re at a networking event, a concert, or a friend’s birthday party, the whole thing will have been worth your time and/or money if you walk out of it having had one great conversation and getting contact information from one person.

Instead of working the room, use this event to spark a new friendship.

Just make sure you actually follow up with that person the next day so you can continue the conversation with them later and turn it into something real.

Tactic #7: Perform the right kind of cold outreach.

You don’t need someone’s permission to make them your mentor.

Once you know exactly the kind of screenwriting career you want and you’ve taken steps to build a portfolio that can get you there, do some research on the internet and see who is already living out your dream.

1. Check IMDb for your favorite movies and TV shows and read the credits.

2. Subscribe to The Hollywood Reporter, Variety, and/or Deadline for trade news.

3. Listen to industry podcasts that interview screenwriters.

4. Follow screenwriters on social media, see who they re-post, and look up those people’s credits.

Once you find someone writing what you want to be writing, make them your mentor.

Read and watch everything they’ve written. Study it. Have they posted advice and insights about the industry? Are they interviewed on podcasts or social media channels? There are so many fascinating conversations being had out there for you to access for free.

Do this, and see how much knowledge you can soak up.

Once you have a strong understanding of everything that person has to say, actually take their advice into consideration. Use them as a guide. In tough situations, ask yourself “What would they advise me to do?”

You can also reach out and ask them this directly.

Hunt down their contact information. Find it on the internet, get it through your network, or DM them on social media.

Ask them for specific advice about your career. Or ask them about their writing journey and their recommendations for you.

Keep it a short question that’s easy to answer. Seek out an actionable answer here.

That way when you actually follow their advice, you can check back in with them and report how it went for you.

Better yet, put Tactic 1 into play. Based on the content they have put out onto the Internet, can you deduce a need that they have? Have they expressed frustration with a problem that you can help them solve? Reach out to them with a useful recommendation, build a solution to their need, or share a technique that helped you.

It doesn’t need to be screenwriting related as long as it’s helpful.

The best way to network “up” is to make interactions with you short, easy, and rewarding. As you continue to build up this trust and sense of reward, this person will be more and more willing to help you with bigger and bigger asks.

It all starts with being gracious and selfless.

4 Tactics to Avoid at All Costs:

I have had many more negative interactions with strangers than positive ones.

Learn from their mistakes, and don’t try any of these networking efforts that are doomed to fail:

#1: Starting by being challenging or accusatory, then turn around and ask for a favor.

I had a screenwriter email me in response to one of my articles.

They wrote:

One thing you will probably not tell your students/subscribers, that no agent will read their screenplay unless they know someone represented by that agency…

I bristled at this because in that very article I pointed out that networking is the most important thing a writer could do for their career and offered actionable tips on how to do so.

I don’t like being accused of lying to my readers or trying to take advantage of them. I responded and pointed out that I regularly give advice on how to network and even directed them to a couple of free deep dives on the topic.

Their response was to email me back a query. This was in early January after I had left literary management. I was no longer in a position to represent writers.

The email included some information about their career, projects and progress, as well as this ask:

If any of the content below interests you and you know someone who will get it produced, or they know someone, who knows someone, I will cut you in for whatever percent you want within reason for the duration of the series. We can sign an agreement to that effect.

Which brings me to the next tactic to avoid…

#2: Asking for referrals.

But wait, didn’t I previously suggest that you ask your contacts if they know anyone you should meet?

Yes. You should ask friends, colleagues, and people you have relationships with to introduce you to people.

Your friends know who you are. They know your tastes, who you’ll get along with, and who will enjoy meeting you. They’re your friends. They can vouch for you.

Asking cold queries, on the other hand, to refer you to anyone they know who might be interested in your work is a losing strategy. I am never going to recommend a writer I don’t know personally to a friend or colleague.

Managers, producers, and executives aren’t interested in meeting with writers who are being rejected by someone else and passed off to them.

So if your outreach is met with a polite pass, don’t ask them if they’ll introduce you to a better fit.

You have to go find that fit on your own.

#3: Asking for a Zoom meeting.

I regularly receive DM’s on LinkedIn and emails from people asking if I’ll hop on a call with them so they can ask me about my journey and pick my brain for knowledge.

There are too many requests like this for it to be worth my time sitting down with these strangers.

And if you remember the recommendation at the beginning of this article, requests to ask someone for advice about their career is the behavior of a writer seeking help. Not the behavior of someone interested in helping others.

Ambitious people need to be judicious with their time.

It’s this ruthless protection of their energy and efforts that allows them to produce the work that makes you want to talk to them in the first place.

Respect their schedule and ask any questions you have in a simple, easy-to-answer email.

#4: Aiming too high.

When writers download my Free PDF Guidebook to Querying, I automatically send them an email asking about the biggest challenge they face in their screenwriting career.

Over the past year, I’ve gotten tons of answers that generally cluster around a few commonalities. One of these is the struggle to get your script read by the right people.

One writer expressed this experience:

Although he doesn’t know it at this time, Ron Howard is going to direct my movie. (If I can get him read my screenplay.)

I sent a query to his agent at CAA. I received a reply from a CAA admin assistant, telling me that unsolicited queries are returned unopened. My query was returned unopened. I have considered writing to the President of CAA with regard to this, so I am very happy to get your email today.

I have a query letter to Rob Reiner that was actually returned unopened. I plan to frame it and hang it on my Wall of Fame sometime in the future.

Now, I don’t know how much of this was intended to be tongue-in-cheek. (I hope some??? But I can’t tell with some of you…)

The mistake here is not in the ambition. I love that this writer knows what they want, and I think this confidence is excellent.

But going straight to the top is not how you get there.

This is an extreme example, but it’s emblematic of a common error:

Writers aim too high when the A-Listers they seek have much more accessible people working for them.

For example, if you do a quick Google search of Ron Howard, you will find on his Wikipedia page that he has a company called Imagine Entertainment.

Google “Imagine Entertainment development executive” and you will be rewarded with the names of the young, up-and-coming executives whose job it is to find movies and TV shows for Imagine to produce. And if you Google this person’s name + “email address,” a website gives it you for free.

I’m not saying that this person will respond favorably to your query.

But they are much more likely to do so than the Co-President of the Company or the agent who represents him.

Having an understanding of who can actually help you and a willingness to befriend those people will take you much farther than admirable but delusional ambition.

#5 Neglecting the material.

Networking is important to do from the beginning of your career efforts because by the time you need connections, it’s too late to find them.

But connections can’t help you if you don’t have a sample to back up the work that you are asking to be hired to perform. You need to be able to show material on the page that is operating at a professional level.

Yes, working on your network and doing outreach every day is essential.

And it is equally if not more essential to work on your craft and your material every single day as well.

The nice thing about slowly and organically building a network is that when your script is finally ready, the people you send it to will all know you personally and be invested in your success.

But this only works if you don’t forget that crucial step of getting those skills and materials to a place where the script is capable of getting you that job.