Wednesday, April 19, 2017

FEAR

Following on from my post two weeks ago, I thought I would take another look at networking and specifically the associated fear and how you cope with it.

THE SCENARIO - YOU'RE AT THE LONDON SCREENWRITERS FESTIVAL AND A TV PRODUCER YOU WANT TO CONNECT WITH IS STANDING JUST A FEW FEET AWAY.

(A) HOW YOU WOULD LIKE IT TO GO:

You stride over with confidence and a smile, say hello, introduce yourself, tell them you loved the last thing they produced and then ask them what they are working on. Ten minutes later you're laughing and joking and talking about your shared TV/FILM likes and swapping business cards. "Send me something," they say to you and you promise to keep in touch.

(B) HOW IT ACTUALLY GOES:

You want to go and talk to them but you don't know what to say. Your palms are sweaty. Your mouth is dry. You stare at them. They spot you staring at them and are a little bit freaked out by it. But you can't help yourself and continue to stare at them with an air of desperation. It's now or never, but your legs just won't work, let alone your voice. Your hesitation stretches from seconds to minutes and then when you finally decide to make your move someone else beats you to it. You go home beating yourself up, because it was an opportunity missed, even if you are secretly relieved.

Why does it have to be (B)? Why can't it turn out like (A)? The thing is it can.

I'm not going to write a three-hundred-page post about how you can get rid of your fear and become the most confident person in the world, I'm no self-help guru, I'm simply going to explain three truths about fear instead.

1 - Fear is a good thing. It prevents you from behaving like a twunt.
2 - Everyone feels fear, even the producer you're staring at. He's there to meet writers like you and is currently wondering why you haven't come over and introduced yourself.
3 - The majority of fear we experience is utterly wasted.

The last one is so simple and yet the one most people (including myself) overlook. I came across a great video on Facebook a few days ago that sums up number 3. You can find the link to it HERE! It perfectly illustrates how and why we spend far too much time worrying about stuff rather than just getting on with it.

Feel fear when you need to, not when you don't. Then when you do feel the fear, use it and go and do the thing that scares you anyway.

Jump in! Be awesome!

Happy writing!


Wednesday, April 05, 2017

BLOG REWIND - HOW TO NETWORK LIKE A PRO

First published - Wednesday, February 25, 2015

HOW TO NETWORK LIKE A PRO


I'm off up to London tomorrow for a day of meetings with TV types, so I thought it would be a great idea to look back and revise a previous post on networking and how it will benefit your career. So here we go...

NETWORKING 

I have found by years of trial and error that the best way to get work and make great strides in my career, is to put myself out there and meet and connect with as many people as possible. Am I just talking about producers and directors? No...I mean everyone, everyone even remotely connected to the entertainment industry, actors, casting directors, script editors and fellow writers at all levels.

And it's not good enough to just show a passing interest in other people's work, I believe you have be genuinely interested in what they're working on. If I'm not genuinely in them and their career then those people I'm talking to will soon start to suspect I'm sucking up to them simply to further my career. Luckily I don't have that problem because I have a passionate love of film and TV and a general curiosity about people, so I find it a pleasure to talk to others (even if it does terrify me sometimes) and talk about what they are working on.

Remember it's all about them, not you, so never, ever go begging for work. Remain helpful, polite and never pushy. Talk to them, ask questions and avoid talking about yourself as much as possible. If you're asked a question try and answer it as briefly as you can, before you ask them another question. If like me this comes naturally to you, then it's a great advantage, otherwise you'll have to work very hard at it.

I used to keep a spreadsheet of people I made connections with, now there's a handy little app for the iPhone called CONNECTED that reminds me who I've had contact with, when and what we discussed. I couldn't live without it, as it can get quite confusing when I've have met literally hundreds of people, especially as I'm rubbish at remembering names. Some days I even need help remembering my own.

Signing up to social networking sites like Facebook, Twitter and LinkedIn help with the process, but you must remember everyone will read what you write so keep a separate account for personal use and gobbing off, and one for professional. You are what you write after all.

Personally, I chose to only have one account on each site, as it would take too much time to keep up with separate accounts. Therefore I have to be very careful not to Twitter or Facebook when I come home from the pub and think it's funny to post a picture of my bum. General personal stuff is fine, it makes you appear human, just as long as it's not offensive.

There are plenty of other places to go and meet like-minded professionals including festivals, such as the London Screenwriters Festival, held every October in London. Not only will you meet a ton of writers at various levels, but also producers, directors and script editors. LSWF has now become so big it is now the most 'must attend' event on the calender. If you're thinking 'I can't afford to go', and you're serious about your career, then what you should actually be thinking is 'how can I afford NOT to go?'

There are also many other festivals, workshop and other great opportunities to network, set up by various well known and respected media bodies you should be looking at. You might even want to consider going on courses aimed at up and coming directors and producers... why? Because you'll probably be the only writer in a room full of hungry people who can get you screenplays made.


Writing ten or fifteen short scripts and offering them free to up and coming directors is a great idea to get your name and work out there. Plus if any are made it will give you something to be proud of and a credit on your CV. A good place to find directors is on Shooting People, Twitter and Facebook. Always remember to check out the directors previous work first to see if it's of the quality you want your short to be and if they are intending to place the finished film in festivals. That last bit is important as this will increase your exposure.

THE CALLING CARD SCRIPT

This is the one that best showcases your writing. It is not designed to ever get made (you're lucky if it does) but to show others what you can do. Make sure it is the best it can be before you send it out, as a sloppy, poorly written script will not impress anyone. And you need to send it out...to everyone - production companies first and places like the BBC Writersroom and Industrial Scripts, and then to smaller producers and directors and actors and just about everyone, but with this second group of people only if they request to read it first.

And this is where the networking comes into its own. If you've done your job properly people will also be genuinely interested in knowing what you are up to and might ask to read your script. If they like your work they might even offer you some work.

It's really all about building relationships, making friends and creating an awareness of your work. Do this and eventually people will come to you when they need a writer and one day you might even get paid for it.