Everything about making movies, TV shows, and live theater, is collaborative. Actors have to get along with directors, directors have to get along with producers, and producers have to get along with network and studio executives. The writer has to get along with everybody, and yet nobody has to get along with the writer.
The screenwriter is relegated (ironically) to the shallow end of the pool. By that I mean that writers are considered the least powerful link in the collaboration. Even successful writers generally have little or no say in the final product, the finished film. I say ironically because without a script, there is no movie.
Another reality of working as a writer in film or TV is networking. The point here is not so much to meet the most people, but rather to find some people and nurture your relationship with them. As writers meet colleagues, make a point of staying in touch outside of the parties or events where they meet.
One suggestion is to put together a contact list, and make a point of calling or emailing one person on the list every day. Since writers can communicate alone, better than they can in a room, send an email or text.n
I’d also recommend befriending other writers who are currently experiencing some success. For example, make friends with writers who are already working on a TV show, or writers who’ve had their screenplays optioned, or who already have an agent or a manager.
While at this stage, why not consider collaborating with another writer who’s had some success? For another writer to consider partnering up, they’re going to have to be mighty impressed with your writing or your contacts. You might as well try it. You have nothing to lose.
With a writing partner, you won’t feel so alone in what may be the most competitive job market ever. You’ll have someone to celebrate with when the news is good. And more importantly, you’ll have someone to commiserate with, if the news is bad.
Let’s examine some of the tools that may help a sensitive and/or introverted writer handle social situations.
I encourage writers to be more aware of their self-talk about socializing, about going to parties, and particularly about networking. When they hear “I’m too nervous, I’m going to embarrass myself.” Take some deep breaths, and strategize.
For example, think about past successful attempts to open a conversation with a contact. Remember how it felt. Redirect your thinking to something like, “I’ve done this kind of thing before, ant it worked out. It’s going to make me nervous, but it’ll be okay.”
At first I recommend always making sure the discussion centers on them, and is complementary. Even better – have facts to back up your compliment, like “I loved the way you used a hand-held camera in that scene, it gave the film a lot of energy.”
Make use of non-verbal communication; make eye contact, nod your head yes, laugh if appropriate, and learn active listening. Listening actively means given the person you’re talking with your full attention, following their narrative with empathic nonverbal reactions, and taking time occasionally to sum up what you’ve just heard in different words, letting them know they’ve been heard.bout the event and see how they respond.
Eventually, it will get easier to talk with a more important contact, like an agent, producer, or director.
Pitching a movie idea to a room full of studio executives may be the most difficult task for any writer, but especially for writers who are sensitive or introverted.
I recommend practicing the pitch with a colleague, until you’ve got it pretty well memorized. Don’t try to memorize it and recite it. Instead pick a friendly face in the room and just explain your idea to them just as you did with your colleague.
You’ll want to look around the room and make eye contact with everybody at times, but keep thinking, “I’m just talking to my best friend.” There will be a level of anxiety, but if you stumble take a deep breath and continue your pitch
Like every other skill in the world, rehearsing with friends, and taking “get to know you” meetings, will prepare you for the day when you actually try to sell a script. That’s what all this is building to. Don’t think you’re alone in this, either. Every writer has to pitch. Good luck.
If you’re struggling with sensitivity, introversion, anxiety or depression in your career, call for a free phone consult from a veteran screenwriter and Stanford University Psychotherapist.
Image credit: Creative Commons (185/365) :: on Red 2009 by Lucia Sanchez is licensed under CC By 2.0